History of Music Video

A music video is a short film or video that accompanies a complete piece of music/song. Modern music videos are primarily made and used as a marketing device intended to promote the sale of music recordings. Although the origins of music videos go back much further, they came into their own in the 1980s, when MTV based their format around the medium, and later with the launch of VH1. The term "music video" first came into popular usage in the early 1980s. Prior to that time, these works were described by various terms including "filmed insert", "promotional (promo) film", "promotional (promo) clip" or "film clip". In Chinese entertainment, music videos were simply known as MTVs because the network was responsible for bringing music videos to popularity in that country. Music videos are now known as MVs in Chinese entertainment.

Music videos use a wide range of styles of film making techniques, including animation, live action filming, documentaries, and non-narrative approaches such as abstract film. Some music videos blend different styles, such as animation and live action. Many music videos do not interpret images from the song's lyrics, making it less literal than expected.

Music video began in 1894. This has been termed the first music video. To promote sales of a song "The Little Lost Child" They projected a series of still images simultaneously on a screen with live performance in what became a popular form of entertainment known as illustration song. Even today, many music videos and much contemport television still use a series of still images accompanied by song.

In 1926, many musical short films were produced, with the arrival of "talkies". The first true musical video series were entitled Spooney Melodies. The shorts were approximately about six minutes long, which featured art deco style animation and background combined with film of the performer singing the song. This can be argue to be considered to be the earliest music video, the series of shorts.

1960–1967: Visual innovation

In 1964, The Beatles cemented their newfound international fame by starring in their first feature film A Hard Day's Night, directed by Richard Lester. Shot in black and white and presented as a mock documentary, it was a loosely structured musical fantasia interspersing comedic and dialogue sequences with exciting and innovative musical sequences. The musical sequences furnished the basic templates on which countless subsequent promo clips and music videos were modelled and it has exerted a huge influence on the style and visual vocabulary of the genre. It was the direct model for the successful US TV series The Monkees (1966–1968) which similarly consisted of film segments that were created to accompany various Monkees songs.

Between 1967-1973 is when promotional clips grow in importance. Bands such as Bob Dylan, The Who, The Rolling Stones, Michael Lindsay-Hogg, The Residents and David Bowie, all either featured, appeared, promoted songs by appearing in their music videos.

During the years if 1974–1980 where the beginnings of music television.
In Australia, a Australian TV shows Countdown and Sounds, both of which premiered in 1974, were significant in developing and popularizing the music video genre in Australia and other countries, and in establishing the importance of music video clips as a means of promoting both emerging acts and new releases by established acts. In early 1974, former radio DJ Graham Webb launched a weekly teen-oriented TV music show which screened on Sydney's ATN-7 on Saturday mornings; this was renamed Sounds Unlimited in 1975 and later shortened simply to Sounds. In need of material for the show, Webb approached Seven newsroom staffer Russell Mulcahy and asked him to shoot film footage to accompany popular songs for which there were no purpose-made clips (e.g. Harry Nilsson's "Everybody's Talking"). Using this method, Webb and Mulcahy assembled a collection of about 25 clips for the show. The success of his early efforts encouraged Mulcahy to quit his TV job and become a full-time director, and he made clips for several popular Australian acts including Stylus, Marcia Hines, Hush and AC/DC.

In the UK, the long-running British TV show Top of the Pops began playing music videos in the late 1970s, although the BBC placed strict limits on the number of 'outsourced' videos TOTP could use. Therefore a good video would increase a song's sales as viewers hoped to see it again the following week. In 1980, David Bowie scored his first UK number one in nearly a decade thanks to director David Mallet's eye catching promo for "Ashes to Ashes". Another act to succeed with this tactic was Madness, who shot on 16 mm and 35 mm, constructing their clips as "micro-comedic" short films.

In 1974 the band Sparks filmed a promo video for their single "This Town Ain't Big Enough for Both of Us" from the album Kimono My House

In 1975, The Who released their all-music feature film Tommy, directed by Ken Russell, based upon their 1969 rock opera of the same name. Also in 1975, the band Queen ordered Bruce Gowers to make a promo video for their new single "Bohemian Rhapsody" to show it in Top Of The Pops; this is also notable for being entirely shot and edited on videotape.

The Alan Parker film adaptation of Pink Floyd The Wall transformed the group's 1979 concept double-LP of the same title into a confrontational and apocalyptic audio-visual labyrinth of stylized, expressionistic images, sounds, melodies and lyrics.

Between the years of 1981–1991: Music videos go mainstream. In 1981, the U.S. video channel MTV launched, airing "Video Killed the Radio Star" and beginning an era of 24-hour-a-day music on television. With this new outlet for material, the music video would, by the mid-1980s, grow to play a central role in popular music marketing. Many important acts of this period, most notably Adam and the Ants, Duran Duran and Madonna, owed a great deal of their success to the skillful construction and seductive appeal of their videos.
In this period, directors and the acts they worked with began to explore and expand the form and style of the genre, using more sophisticated effects in their videos, mixing film and video, and adding a storyline or plot to the music video. Occasionally videos were made in a non-representational form, in which the musical artist was not shown. Because music videos are mainly intended to promote the artist, such videos are comparatively rare; three early 1980s examples are Bruce Springsteen's "Atlantic City", directed by Arnold Levine, David Mallet's video for David Bowie and Queen's "Under Pressure", and Ian Emes' video for Duran Duran's "The Chauffeur". Other notable later examples of the non-representational style include Bill Konersman's innovative 1987 video for Prince's "Sign o' the Times"[23] – influenced by Dylan's "Subterranean Homesick Blues" clip, it featured only the text of the song's lyrics—and the video for George Michael's "Freedom 90" (1990), in which Michael himself refused to appear, forcing director David Fincher to substitute top fashion models in his place.Two key innovations in the development of the modern music video were the development of relatively inexpensive and easy-to-use video recording and editing equipment, and the development of visual effects created with techniques such as image compositing

In 1983, the most successful and influential music video of all time was released — the nearly 14-minute-long video for Michael Jackson's song "Thriller". The video set new standards for production, having cost US$500,000 to film.
That video, along with earlier videos by Jackson for his songs "Billie Jean" and "Beat It", also was instrumental in getting music videos by African American artists played on MTV. Earlier, such videos had been rare: according to MTV, this was because it initially conceived itself as a rock-music-oriented channel, although musician Rick James was outspoken in his criticism of the cable channel, claiming in 1983 that MTV's refusal to air the music video for his song "Super Freak" and clips by other African-American performers was "blatant racism".

The video for the 1985 Dire Straits song "Money for Nothing" made pioneering use of computer animation, and helped make the song an international hit. Ironically, the song itself was a wry comment on the music-video phenomenon, sung from the point of view of an appliance deliveryman both drawn to and repelled by the outlandish images and personalities that appeared on MTV. In 1986, Peter Gabriel's song "Sledgehammer" used special effects and animation techniques developed by British studio Aardman Animation. The video for "Sledgehammer" would go on to be a phenomenal success and win nine MTV Video Music Awards.

In 1988, the MTV show Yo! MTV Raps debuted; the show helped to bring hip hop music to a mass audience for the first time.

The 8 years, 1992–2004: Rise of the directors. In December 1992, MTV began listing directors with the artist and song credits, reflecting the fact that music videos had increasingly become an auteur's medium. Directors such as Michel Gondry, Spike Jonze, Mark Romanek and Hype Williams all got their start around this time; all brought a unique vision and style to the videos they directed. Some of these directors, including, Gondry, Jonze and F. Gary Gray, went on to direct feature films. This continued a trend that had begun earlier with directors such as Lasse Hallström and David Fincher.

Two of the videos directed by Romanek in 1995 are notable for being two of the three most expensive music videos of all time: Michael and Janet Jackson's "Scream", which cost $7 million to produce, and Madonna's "Bedtime Story", which cost $5 million. "Scream" remains the most expensive video of all time. During this period, MTV launched channels around the world to show music videos produced in each local market: MTV Latin America in 1993, MTV India in 1996, and MTV Mandarin in 1997, among others. MTV2, originally called "M2" and meant to show more alternative and older music videos, debuted in 1996.

2005–present: The Internet becomes video-friendly. The earliest purveyors of music videos on the internet were members of IRC-based groups,who recorded them as they appeared on television, then digitised them, exchanging the .mpg files via IRC channels. The website iFilm, which hosted short videos, including music videos, launched in 1997. Napster, a peer-to-peer file sharing service which ran between 1999 and 2001, enabled users to share video files, including those for music videos. By the mid-2000s, MTV and many of its sister channels had largely abandoned showing music videos in favor of reality television shows, which were more popular with its audiences, and which MTV had itself helped to pioneer with the show The Real World, which premiered in 1992.
2005 saw the release of the website YouTube, which made the viewing of online video faster and easier; MySpace's video functionality, which uses similar technology, launched in 2007. Such websites had a profound effect on the viewing of music videos; some artists began to see success as a result of videos seen mostly or entirely online. The band OK Go may exemplify this trend, having achieved fame through the videos for two of their songs, "A Million Ways" in 2005 and "Here It Goes Again" in 2006, both of which first became well-known online. Artists like Soulja Boy Tell 'Em and Marié Digby also achieved some level of fame initially through videos released only online.
The 2008 video for Weezer's "Pork and Beans" also captured this trend, by including at least 20 YouTube celebrities; the single became the most successful of Weezer's career, in chart performance. In 2007, the RIAA issued cease-and-desist letters to YouTube users to prevent single users from sharing videos, which are the property of the music labels. After its merger with Google, YouTube assured the RIAA that they would find a way to pay royalties through a bulk agreement with the major record labels. This was complicated by the fact that not all labels share the same policy toward music videos: some welcome the development and upload music videos to various online outlets themselves, viewing music videos as free advertising for their artists, while other labels view music videos not as an advertisement, but as the product itself.
MTV itself now provides streams of artists' music videos, while AOL's recently launched AOL Music features a vast collection of advertising supported streaming videos. The Internet has become the primary growth income market for record company-produced music videos. At its launch, Apple's iTunes Store provided a section of free music videos in high quality compression to be watched via the iTunes application. More recently the iTunes Store has begun selling music videos for use on Apple's iPod with video playback capability.
To further signify the change in direction towards Music Video airplay, MTV officially dropped the Music Television tagline on February 8, 2010 from their logo in response to their increased commitment to non-scripted reality programming and other youth-oriented entertainment rising in prominence on their live broadcast.
In 2010, band OK Go released This Too Shall Pass, a music video that featured a giant Rube Goldberg machine that spawned over 2 stories of an LA warehouse. The video now has 15 million views on youTube alone.

Official Lo-fi Internet music clips
Following the shift toward internet broadcasting and the rising popularity of user-generated video sites such as YouTube around 2006, some independent filmmakers began recording live sessions to present on the Web. Examples of this new way of creating and presenting a music video include Vincent Moon's work with The Take-Away Shows; In the Van sessions, a similar platform; and the Dutch VPRO 3VOOR12, which puts out music videos recorded in elevators and other small, guerrilla filmmaking type locations in a similar tradition called (Behind) closed doors. All of these swiftly recorded clips are made with minimal budgets and share similar aesthetics with the lo-fi music movement of the early nineties. Offering freedom from the increasingly burdensome financial requirements of high-production movie-like clips, it began as the only method for little-known indie music artists to present themselves to a wider audience, but increasingly this approach has been taken up by such major mainstream artists as R.E.M. and Tom Jones.

The episodic music video, a new concept of music video, emerged in 2009. Lo-fi episodes are created and released periodically on social networking sites offering longer term promotion than from a single music video. The Anglo-Armenian solo artist Siran was the first to create and release a music video in this format.




http://en.wikipedia.org/wiki/Music_video

Brandon Flower

Brandon Richard Flowers (born June 21, 1981) is an American musician, best known as the frontman, vocalist, and keyboardist of the Las Vegas-based rock band The Killers. He announced his solo career on April 29, 2010 on The Killers official website.

http://en.wikipedia.org/wiki/Brandon_Flowers

Final Decision for Song

Brandon Flowers - Magdalena

Lyrics
"Magdalena"

Please don't tell me I can't make it
It ain't gonna do me any good
And please don't offer me your modern method
By fixing the carpets out of wood

From Nogales to Magdalena
There are 60 miles of sacred road
And the promise is made to those who venture
San Francisco lift your load

In the land of old Sonora
A shallow river valley cries
The summer left her without forgiveness
It's mirrored in her children's eyes

Prodigal sons and wayward daughters
Carry mandalas that they made
He delivered from the debts of darkness
And born again by candlelight
And born again my candlelight

Blisters on my feet, wooden rosary
I fell them in my pocket as I ran
A bullet in the night, a feather of his life
San Francisco do you understand

Tell them that I've made the journey
And tell them that my heart is true
Not like his blessing or forgiveness
Before the angels send it through

And I will know that I am clean know
And I will dance and the band will play
And the old [unverified]
[Unverified]

And if I should fall to temptation
Will I return to evil throws [unverified]

From Nogales to Magdalena
As a two time beggar I will go
And I know I can't be forgiven
The broken heart of Mexico



http://www.youtube.com/watch?v=4hOn1rh9wrc

Cold War Kids - Hang Me Up To Dry (Jared Costa)

Cold War Kids - Hang Me Up To Dry (new version)
Uploaded by Cooperative-Music. - See the latest featured music videos.

Lyrics
"Hang Me Up to Dry"

Careless in our summer clothes splashing around
in the muck and the mire
Careless in our summer clothes splashing around
in the muck and the mire

fell asleep with stains
cake deep in the knees
what a pain

now hang me up to dry
you wrung me out
too too too many times
now hang me up to dry
I'm pearly like the whites
the whites of your eyes

all mixed up in the wash
hot water bleeding our colors
all mixed up in the wash
hot water bleeinding our colors

now hang me up to dry
you wrung me out
too too too many times
now hang me up to dry
I'm pearly like the white
the whites of your eyes

now hang me up to dry
you wrung me out
too too too many times
now hang me up to dry
I'm pearly like the white
the whites of your eyes

now hang me up to dry
you wrung me out
too too too many times
now hang me up to dry
I'm pearly like the white
the whites of your eyes


http://www.dailymotion.com/video/x2e0z4_cold-war-kids-hang-me-up-to-dry-new_music

Little Comets - Isles (Sophie Carter)

Lyrics
"Isles"

Economic downturn you can get a job,
Apologetic parents you can get a job.

Sometimes I'm feeling just like cupid with a bow and arrow,
And I'm firing it at people who remain too shallow.

In the B.R.I.T.I say British isles,
the streets are bleak the kids are running wild.

Terror on the pavement, panic in the streets,
Tension in the twisted silence of our sheets.

Sometimes I lie awake for hours feeling so synthetic,
While my eyes are screaming out for something way more epic.

It's the B.R.I.T.I say British isles,
the streets are bleak the kids are running wild.

Terribly bold they try so hard,
To never look up and see the stars,
In the B.R.I.T.I say British isles!

Your screaming Bristol torn, Belfast and Hull for York,
Slick dreaming in denial, with all it's screaming smiles,
Stuck bleeding Glasgow yorns, Dundee and Cardiff mourn,
Your breaking Sheffield crys, our fears are multiplied.

B.R.I.T.I say British isles,
the streets are bleak the kids are running wild.

Terribly bold they try so hard,
To never look up and see the stars,
In the B.R.I.T.I say British isles!



http://www.youtube.com/watch?v=5Qjl9f3dGik

Brandon Flowers - Magdalena (Andrew Hone)

Lyrics
"Magdalena"

Please don't tell me I can't make it
It ain't gonna do me any good
And please don't offer me your modern method
By fixing the carpets out of wood

From Nogales to Magdalena
There are 60 miles of sacred road
And the promise is made to those who venture
San Francisco lift your load

In the land of old Sonora
A shallow river valley cries
The summer left her without forgiveness
It's mirrored in her children's eyes

Prodigal sons and wayward daughters
Carry mandalas that they made
He delivered from the debts of darkness
And born again by candlelight
And born again my candlelight

Blisters on my feet, wooden rosary
[ Brandon Flowers Lyrics are found on www.songlyrics.com ]
I fell them in my pocket as I ran
A bullet in the night, a feather of his life
San Francisco do you understand

Tell them that I've made the journey
And tell them that my heart is true
Not like his blessing or forgiveness
Before the angels send it through

And I will know that I am clean know
And I will dance and the band will play
And the old [unverified]
[Unverified]

And if I should fall to temptation
Will I return to evil throws [unverified]

From Nogales to Magdalena
As a two time beggar I will go
And I know I can't be forgiven
The broken heart of Mexico



http://www.youtube.com/watch?v=4hOn1rh9wrc

Flipsyde - Someday (Sophie Li)

Lyrics
"Someday"

[Chorus]
Someday we gonna rise up on that wind you know
Someday we gonna dance with those lions
Someday we gonna break free from these chains and keep on flyin'

[Verse 1]
They tellin' me it's all good just wait
You know you're gonna be there someday
Sippin' on Jim Beam ok
Gotta get these things one day
Till then do another line you know
Searching for that other high
Stop or I gotta steal then steal
Kill or I'm gonna be killed
I got a sack in my pocket
Conscious yellin' drop it
You know we're gonna lose it someday
And we tryin' to hold it all together but the devil is too clever so
I'm gonna die you gonna die we gonna die Someday one day I said

[Chorus]
Someday we gonna rise up on the wind you know
Someday we gonna dance with those lions
Someday we gonna break free from these chains and keep on flyin'

[Verse 2]
Try to lie but it ain't me Ain't me
Try to look but I can't see
Can't stop right now cause I'm too far and I can't keep goin' cause it's too hard
In the day in the night it's the same thing
On the field on the block it's the same game
On the real if you stop then it's no pain but if you can't feel pain then it's no gain
Rearrange and you change and it's all bad and you try to maintain but you fall back
And you crawl and you slip and you slide down
Wanna make it to the top better start now
So I hold my soul and I die hard
All alone in the night in the graveyard
Someday one day I'm gonna be free and they won't try to kill me for being me
Hey someday

[Chorus]
Someday we gonna rise up on that wind you know
Someday we gonna dance with those lions
Someday we gonna break free from these chains and keep on flyin'

If you know how this is
Gonna see it's not that easy
Don't stop get it till it's done
From where you are or have begun
I said keep on try a little harder to see everything you need to be
Believe in your dreams
That you see when you're asleep

[Chorus]
Someday we gonna rise up on that wind you know
Someday we gonna dance with those lions
Someday we gonna break free from these chains and keep on flyin'

http://www.youtube.com/watch?v=e5QEAI_O2IA&ob=av2e

Discussion for song - One per person

Flipsyde - Someday (Sophie Li)
Brandon Flowers - Magdelena (Andrew Hone)
Little Comets - Isles (Sophie Carter)
Cold War Kids - Hang Me Up to Dry(Jared Costa)

Group Members

me - Sophie Li
Sophie Carter
Andrew Hone
Jared Costa

Ideas for song - Planning stage

The Academy is... - About a Girl
The Bravery - Above and Below
Meredith Andrews - Can Anybody Hear Me
The Red Jumpsuit Apparatus - Face Down
The Red Jumpsuit Apparatus - False Pretense
Flipsyde - Someday
The Bravery - Unconditional
The Red Jumpsuit Apparatus - Your Guaudian Angel
12 Stones - Anthem For The Underdog

Music Genre

A music genre is a categorical and typological construct that identifies musical sounds as belonging to a particular category and type of music that can be distinguished from other types of music.

Music can be divided into many genres in many different ways. Due to the different purposes behind them and the different points of view from which they are made, these classifications are often arbitrary and controversial and closely related genres often overlap. Many do not believe that generic classification of musical genres is possible in any logically consistent way, and also argue that doing so sets limitations and boundaries that hinder the development of music. While no one doubts that it is possible to note similarities between musical pieces, there are often exceptions and caveats associated.

A list of genres of music (including sub genres). There are a number of criteria with which one may classify musical genres, including:

The Art/Popular/Traditional distinction
Time period
Regional and national distinctions
Technique and instrumentation
Fusional origins
Sociological function



http://en.wikipedia.org/wiki/Music_genre

Music Style

Music can be divided into many genres in many different ways. These classifications are often arbitrary and controversial, and closely related styles often overlap. Many do not believe that generic classification of musical styles is possible in any logically consistent way, and also argue that doing so sets limitations and boundaries that hinder the development of music. While no one doubts that it is possible to note similarities between musical pieces, there are often exceptions and caveats associated. Labeling music with genres often do not reflect a specific culture, race, or time period. Larger genres consist of more specific subgenres.


http://en.wikipedia.org/wiki/List_of_music_styles

To do:

You Must Produce:

a) A Media Portolio comprising a main and two ancillary texts.

b) A presentation of your research, planning and evaliation in the electronic format (a bog - as you producted for your AS portfolio). This must be constantly updated and not posted a week before your deadline.

Your media portfolio will produced through a combination of TWO or more of the following media:

• Video
• Print
• Web based
• Audio
• Game Software

You may work individually or in a group.

Mark scheme:

20 marks for Planning, Research and Presentation

60 marks for construction

20 makrs for evaluation

You need to focus your notes on the specific areas specified:

• Digital Technology
• Creativity
• Research and Planning
• Post-production
• Using convention from real media texts

Analyse your production in terms of the key concepts:

• Genre
• Narrative
• Representation
• Audience
• Media language

The key is to research and plan effectively using the key concepts and also recording your skills development in your notebook, as well as updating your blog weekly.

The Purpose of this Unit is:

a) To assess your ability to PLAN and CONSTRUCT media products using appropriate technical and creative skills

b) To assess your APPLICATION of KNOWLEDGE and UNDERSTANDING in EVALUATING your own work, showing how meanings and responses for a AUDIENCE are created.

c) To assess your ability to UNDERTAKE, APPLY and PRESENT appropriate research.
So you must think about and apply the assessment objectives above, at all stages of your production.

Advanced Portfolio in Meida - Brief Specification

1. A promotional package for the release of an album, include a music promo video, together with two of the following three options:

• a website homepage for the band;
• a cover for its release as part of a digipak (CD/DVD package);
• a magazine advertisement for the digipak (CD/DVD package).

Brief

G324: Advanced Portfolio in Media

This is a coursework unit.

You will engage with contemporary Media technologies to produce a media portfolio through a combination of two or more media and then present your research, planning and evaluation in electronic form (a blog)

This is designed to develop skills from your Foundation Portfolio.
There are 13 separate briefs offered.
Each of them are feature a main text and two ancillary texts.
You can work individually or in a group.

Twenty marks are for the planning and research, and it's presentation.
Sixty marks are the construction.
Twenty marks are for the evaluation.

Your work will also provide the material for you to engage with section A of your exam, and as such your skills development and theoretical underpinning of your media texts will need to be recorded as your productions progress.

This unit is work 50% of your A2 grades and as such as 25% of your overall A-level.