Thursday 30 September 2010

30/09/10-Journal

In todays lesson we looked at major record lable Sony BMG, this was very interesting because after looking at Rough Trade we were able to see the amount of money that goes into a major corperation in comparrison to that of a independent lable. We also got to see how vertical intergration is key to a major lable and we got to see the differences in the music videos these companies produce.

Sony BMG

Sony BMG is one of the four major record labels, the others are, Universal Music Group, EMI and Warner Music Group. Sony operates music labels such as, Arista Records, Upstate Records, Columbia Records, Epic Records, J Records, Jive Records, RCA Records and Zomba Records. Bertelsmann sold its stake because it's a traditional, horizontally-integrated media company. Sony bought it because it's a vertically-integrated company well equipped to take advantage of it's inter-divisional synergies.Sony makes it's money from electronics and producing films but also through products such as, playstation and blu-ray.

Sony BMG

http://www.dipity.com/legacyrecordings/SONY_BMG_Music_Entertainment_history

Sony BMG

Sony Music Entertainment UK is part of one of the largest music and entertainment companies in the world. It has a broad array of local artists and international superstars, as well as a vast catalogue comprising of some of the most important recordings in history.




In the UK they organised our frontline music companies in 2006 into the RCA and Columbia Label Groups, and in March 2007 also announced a third frontline label, Epic. These three main music companies also release music from many other famous music labels, among them; Jive, Zomba, J Records, 1965 Recordings, Syco Entertainment and Phonogenic.


Sony BMG Music Entertainment began as the result of a 50–50 joint venture between Sony Music Entertainment (part of Sony) and Bertelsmann Music Group (part of Bertelsmann) completed on March 4, 2004. It is one of the Big Four music companies, and includes ownership and distribution of recording labels such as Arista Records, Columbia Records, Epic Records, J Records, Jive Records, RCA Victor Records, RCA Records, Legacy Recordings, Sonic Wave America, and others. The merger affected all Sony Music and Bertelsmann Music Group companies worldwide except for Japan, where it was felt that it would reduce competition in that country’s music industry significantly.

Monday 27 September 2010

27/09/2010

In this lesson we looked indepth at music video director Wayne Isham; we started off looking at the first video he directed- Bon Jovi's Living On A Prayer and finished off by looking at Kelly Clarksons- My Life Would Suck Without You. This was highly benifital because it enabled us to look at how the music video has changed through time and how technology has influenced the type of videos we see today.

Wayne Isham- Themes of his music videos

Whilst looking at a slection of the vidoes Wayne Isham has directed we discoverd a running theme throughout all of them, this theme is performance. In the majority of the videos we looked at from Bon Jovi's Living On A Prayer to Kelly Clarcksons My Life Would Suck Without You they all had a performance element to the video.

However this theme has deleveloped through time for example in Ricky Martins video for She Bangs we begin to see quite alot of special effects the use of special effects is clear in Will Smiths video for Will2K.  The narritve element of Wayne Ishams Videos alothough also being seen in Will2K didn't really take off until N-Syncs video for Bye Bye Bye, it was after this video that almost all of the videos Wayne Isham directed followed a narrative.

The use of audience is also a main factor in the videos Wayne Isham has directed for example in Bon Jovi's video for You Give Love A Bad Name we see the band in concert with the fans waiting outside for their favoirte band, we then see them in the concert itself having a good time, this theme has stayed with Wayne througout his directing career and I think it is a really nice element to his videos and it is also something that has made him become his own person in the music video world

Wayne Isham- Videography

1984
Caught in the Act (cameraman) - Styx
1985
Smokin' In the Boys Room - Mötley Crüe
Home Sweet Home - Mötley Crüe
1986
You Know I Love You… Don't You? - Howard Jones
You Give Love A Bad Name - Bon Jovi
Livin' on a Prayer - Bon Jovi
Turbo Lover - Judas Priest
1987
Wanted Dead or Alive - Bon Jovi
Girls, Girls, Girls - Mötley Crüe
Wild Side - Mötley Crüe
You're All I Need - Mötley Crüe
So Emotional - Whitney Houston
In the Round, in Your Face - Def Leppard
1988
Pour Some Sugar on Me - Def Leppard
Miracle Man - Ozzy Osbourne
Bad Medicine - Bon Jovi
Delicate Sound of Thunder (concert film) - Pink Floyd[3]
Born to Be My Baby - Bon Jovi
1989
Dr. Feelgood - Mötley Crüe
I'll Be There for You - Bon Jovi
Lay Your Hands on Me - Bon Jovi
1990
Now You're Gone - Whitesnake
Living in Sin - Bon Jovi
Black Cat - Janet Jackson
1991
Enter Sandman - Metallica
Operation: LIVEcrime (concert film) - Queensryche
1992
Spending My Time - Roxette
Church Of Your Heart - Roxette
Symphony of Destruction - Megadeth
1993
Bed of Roses - Bon Jovi
Freakit - Das EFX
Sweating Bullets - Megadeth
99 Ways to Die - Megadeth
Whatzupwitu - Eddie Murphy featuring Michael Jackson
1994
5 Minutes Alone - Pantera
1995
You Are Not Alone - Michael Jackson
Boyz II Men:Going Home - Boyz II Men
1996
When You Love a Woman - Journey
1997
Cunning Stunts - Metallica
1998
Miami - Will Smith
Because of You - 98 Degrees
1999
I Want It That Way - Backstreet Boys
Livin' la Vida Loca - Ricky Martin
Swear It Again (UK version) - Westlife
S&M - Metallica
2000
Give Me Just One Night (Una Noche) - 98 Degrees
Try Again - Aaliyah
She Bangs - Ricky Martin
I Disappear - Metallica
Bye Bye Bye - 'N Sync
It's Gonna Be Me - 'N Sync
It's My Life - Bon Jovi
Say It Isn't So - Bon Jovi
Thank You for Loving Me - Bon Jovi
2001
Pop - 'N Sync
I'm Not a Girl, Not Yet a Woman - Britney Spears
Nobody Wants to Be Lonely -- Ricky Martin & Christina Aguilera
2002
The One You Love - Paulina Rubio
2003
Frantic - Metallica
2004
Days Go By - Keith Urban
Don't! - Shania Twain
2006
Seize the Day - Avenged Sevenfold
It Ends Tonight - The All-American Rejects
2007
Non Siamo Soli - Eros Ramazzotti & Ricky Martin
If That's OK with You - Shayne Ward
Piece of Me - Britney Spears
2008
The Best Damn Thing - Avril Lavigne
Forgive Me- Leona Lewis
Your Love Is a Lie - Simple Plan
Afterlife - Avenged Sevenfold
In Love with a Girl - Gavin DeGraw
Light On - David Cook
Don't Think I Don't Think About It - Darius Rucker
My Hallelujah Song - Julianne Hough
Winter Wonderland - Darius Rucker
2009
My Life Would Suck Without You - Kelly Clarkson
Broken, Beat & Scarred - Metallica
It Won't Be Like This for Long - Darius Rucker
Rusted from the Rain - Billy Talent
Alright - Darius Rucker
All The Right Moves - OneRepublic
Time for Miracles - Adam Lambert
Resistance - Muse
Orgullo, Pasión y Gloria: Tres Noches en la Ciudad de México - Metallica
2010
I Like It - Enrique Iglesias
Nightmare - Avenged Sevenfold
Love Left to Lose - Sons of Sylvia
Beautiful Monster - Ne-Yo
Champagne Life - Ne-Yo
Insatiable - Nadine Coyle
What Do You Got? - Bon Jovi

Wayne Isham

Wayne Isham (born 1958) is an American music video director who has directed music videos of many popular artists; such as Roxette, Mötley Crüe, Britney Spears, Kelly Clarkson, Whitesnake, David Cook, Simple Plan, Avenged Sevenfold, Pantera, *NSYNC, Shania Twain, Metallica, Muse, Keith Urban, Godsmack, Leona Lewis, Aaliyah, Pink Floyd, Sheryl Crow, Megadeth, Madonna, Avril Lavigne, Def Leppard, Bon Jovi, Darius Rucker, Adam Lambert, Nadine Coyle among others




In 1998 he also ventured into directing the feature film "12 Bucks".

Researching Music Video Director Wayne Isham

THEMES OF WAYNE ISHAM'S VIDEOS
Lots of perfomance shots (First seen in Bon Jovi's You Give Love A Bad Name Video)
Always features the band OR artist even if there is a narative running through the video
First Narrative seen in N-Syncs Bye Bye Bye video.

As I come to make my own music video I will include some of the things I have seen in Wayne Ishams videos e.g. Performance shots, the reason I wouldlike to include such shots is because I feel they tell the audience what the band is about.

Tuesday 21 September 2010

21/09/2010-Journal

In todays lesson we looked into the independent record lable Rough Trade. Whilst watching a two hour documentry on the life of Rough Trade we made notes on how the company has changed and developed through time we then went away and wrote four detailed analysis's of Rough Trade Through The Decades. This level of research has enabled me to gain an interest into smaller record labels and it also gave me an instite into how smaller record lables look after their acts and how they produce music videos.

Rough Trade-In the 70's



THE 70'S


The Rough Trade story began on 20th February 1976. The Rough Trade offererd an alternative to the middle-of-the-road rock music that dominated the music scene

Rough Trade began as a Punk focused shop.Punk  at the time was the furthest reach from mainstream music possible, but over time the genre basis expanded and Raggae Rough Trade was interested in characters and individuals. They weren't interested in musicians who wanted to be famous. In January 1977, when a record by the Buzzcocks appeared in store, Rough Trade found itself in the right place at the right time to make an impact. When Spiral Scratch was released in 1977, the idea of putting out a single without the support of an established record company was the most original idea to hit the music world at the time. Rough Trade was to become the headquarters of a revolt against this corporate monopoly  it was stocking records by bands inspired by the idea that they could do it themselves. In 1978 Rough Trade had a distribution system and was taking and selling records from bands benefiting from an emerging DIY culture. It was logical, then, that they should start a record label.

 Early independent labels had to hand over their distribution to the likes of EMI or CBS. But one man at Rough Trade challenged that monopoly. Richard Scott joined Rough Trade in 1977 and became the architect of a grand scheme that was nothing short of revolutionary: independent nationwide distribution. Due to the distribution system in Rough Trade, it seemed logical, then, that they should start a record label. By the end of 1979, a number of bands now commonly associated with Rough Trade had started to release records on the label, including Scritti Politti and The Raincoats. When Rough Trades first album, Stiff Little Fingers’ ‘Inflammable Material’, was released later in the 1979, it became the first independent record in history to sell over 100,000 copies and charted at number 14.

Rough Trade- The Noughties

Over the last few years the record industry has not escaped the economic downfull and one result of that has been  between Rough Trade and Sanctuary in July 2007 when the label entered an equal partnership with the Beggars Group. The Beggars deal ensured ‘stability, dynamism and expertise to grow on a worldwide basis'. Rough Trade now has a stronger US presence, one that may continue to grow and serve rising artists.

The Strokes first release ‘The Modern Age’  revitalised Rough Trade and the British music industry. Geoff’s and Jeannette’s journey to a New Jersey bar in search of the band they would bring back and promote before attending to the small detail of signing them to a contract paid off. Subsequent releases by The Strokes through 2001/2 and beyond would give their label its biggest commercial success since The Smiths.

Rough Trade- The 90's

The 80's wasn't the end of Rough Trade after a move to Finsbury Park, in  the early 90's, following a series of unfortunate business decisions affecting distribution, Rough Trade International, the parent company, went into Administration.  The Rough Trade story, at least for the moment, was over and it would be the best part of a decade before Geoff Travis and Jeannette Lee could reuinite  and get the rights to the Rough Trade name and begin again as a record company with the help of  a trading partner . All of the assets, including the record company and the rights to the Rough Trade name itself, were sold off in an attempt to cover Distribution’s debts. Rough Trade were also helped to start back up through trading partner Sanctuary.

Rough Trade- The 80's

  Around the mid-1980s, riding high on the success of The Smiths, Rough Trade decided to get into the distribution system. They were trying use their position to give other indie labels a leg up in the competitive distribution world, but unfortunately it soon became apparent that Rough Trade had taken on too much. Rough Trade Distribution went bust 1990,  the label went  with it. The collapse of Rough Trade Distribution was also a tragedy for other indie labels who worked with them, and several other smaller labels went under aswell. Rough Trade made an effort to get refinanced a couple of years ago and start over again with One Little Indian. This relationship wasn't working for Rough Trade due to their culture and the way they work. It didn't fit in with Rough Trades ideals and the way they had always worked.

Rough Trade was a small handful of people. It was a cooperative collective from the beginning to end . It was collective because it wasn't a traditional workplace. There were not bosses . People were payed equally. There was a political purpose to Rough Trade as they built a distribution system in this country which took a lot of organization . Rough Trade were interested in characters and individuals.

They were looking for the best people.A stifled independent music scene was gradually giving way to what would go on to be recognised as ‘indie’ The Smiths, found themselves at the front of the emerging scene. Before that, Rough Trade was seen as a post-punk label, but when Geoff signed The Smiths it becamemore mainstream and The Smiths became one of the biggest bands ever. Specialising in vinyl, foreign imports, and punk and reggae music, Rough Trade was – and still is – considered by many as revolutionary and unique. Other small labels were few and far between and had only a relatively small impact on the overall music business in comparison.

Wednesday 15 September 2010

15/09/2010- Journal

In todays lesson we looked indepth into the career of Madonna, we tracked her progress from the start of her career in the mind 80's to her current career. We also looked indepth to how the music industry has changed through the decades. We also wrote up an indepth case study on the life and career of Madonna and by doing this it has helped me on my research skills and it showed me different areas of music and how the music industry has changed through time.

Madonna Case Study


 MADONNA CASE STUDY
Born August 16, 1958
She's a pop singer, song-writer, record producer and an actress
From Detroit, Michigan and then moved to New York to study ballet
Released her album in 1983
She's had three number one albums on the 'Billboard 300' in the 1980's
Seventh album 'Ray of light' and made four more consecutive albums
Had roles in twenty-two films
Won a Golden Globe award for role in the 1996 film 'Evita'
Recording Indusrty Association of America - Best selling female rock artist of 20th Century
Sixty-three million certified albums in the United States
She has two biological children and an adopted child
1982-Sire Records-'Everybody'
Directed by Ed Steinberg- first release
Budget of $1500 dollars
Clothing- Lace tops, capri pants and cross jewellery were her trade marks and copied by many people- looks like a boy (80's fashion), dramatic make-up (drag queen/hooker), glam earrings, it was a hard look.

1984-Sire Records-'Like a virgin'
Directed by Mary Lambert
Stayed at Number one U.S charts for six weeks
Fairytale, more feminine, white-pure and black-tainted, different images, venice is a very romantic city.

1985-'Desperately seeking susan'
Releasing tracks with her film work
First concert tour- Virgin tour with the Beastie Boys
Penthouse and Playboy magazines published black and white nude photos of her in the 1970's

1989-'Like a Prayer'
Directed by Mary Lambert
Winner People's choice MTV awards
Signed a deal with pepsi- there was angelic crosses but seen as disrespectful as she is dressed like a slag

1991-Sire Records-'Vogue'
Directed by David Fletcher who is a fashion photographer
When Madonna became blonde
Her eighth number one single
MTV wanted to cut scene out of the video of her showing the outline of her breasts but they failed
Marilyn Monroe style, classy, black and white, classic 50's.

1992-Maverick Records-'Erotica'
Directed by Fabien Baron
Maverick was her own company
Joint venture with Time Warner
$60 million recording and business deal
20% royalty- same as Michael Jackson
Sold 500,000 copies in the United States
MTV showed it three times before banning it
Explicit images, showed use of drugs and it contrasted with the use of crosses

1996-Evita-'You must love me'
1998-Maverick-'Ray of Light'
Album debuted at number two in the United States
Album produced three U.S top ten singles
Won three grammy awards
Ranked number 363 on Rolling Stones list of '500 Greatest albums'
Inspired by 'Royaanisqatsi'
Played a violin teacher in 'Music of the Heart' but left the project
Hippie clothes, club scene, looking younger, was bit of a time lapse
2001-Maverick-'What it feels like for a girl'


2002-'Die another day'
Starred in 'Swept Away' which was directed by Guy Richie
Failed and released to video in the U.K
20th James Bond film-she has cameo role

Monday 13 September 2010

Mcfly Singles + Cover Lists 2003-2010 (courtesy of wikipedia)

2003–2004
McFly collaborated with Busted for a cover of The Kinks' song "Lola" (which was a B-side on the "5 Colours in Her Hair" single) and a version of "Build Me Up Buttercup" by The Foundations from Busted's "Crashed the Wedding" single. Their cover of "Help!", originally by The Beatles, was featured on the "Obviously" single while "She Loves You", also by The Beatles, was featured on the "That Girl" single. The New Years' carol "Deck the Halls", and "Crazy Little Thing Called Love", originally by Queen, were also featured on the "Room on the Third Floor" single. In December 2004, McFly performed "Little Saint Nick", originally by The Beach Boys, on the EastEnders Christmas Special.

 2005
McFly released "You've Got a Friend", originally by Carole King, which they recorded as part of the official 2005 Comic Relief song, along with "All About You", where the video sees the band visiting children in Uganda affected by AIDS.McFly also recorded the 2004 hit "Mr Brightside", originally by The Killers, which is featured on the "I Wanna Hold You" single, and "I Predict a Riot", originally by the Kaiser Chiefs, which they performed at BBC Radio 1 Live Lounge session and is featured on the "Ultraviolet" single. McFly teamed up with Roger Daltrey of The Who in September, 2005 to re-record the 1965 hit, "My Generation" to raise money for the Teenage Cancer Trust and to launch HMV Digital's new download service. They also released a cover of The Who's "Pinball Wizard" on the single "I'll Be OK" with a video. At a gig in manchester they also mixed a verse of American Idiot by Green Day, into their song 5 Colours In Her Hair.

2006

McFly perform at The Point, Dublin.McFly performed a version of Thin Lizzy's "The Boys Are Back in Town" at The Prince's Trust on 20 May 2006. They released a cover of "Don't Stop Me Now", originally by Queen, which was recorded to raise money for Sport Relief 2006 as the official song along with "Please, Please". When performing this cover on their Motion in the Ocean tour, they were joined onstage by Queen guitarist Brian May at Wembley Arena, who also performed the opening riff to "5 Colours in Her Hair". Matt Willis also joined McFly to play "Don't Stop Me Now" at Wembley Arena and the Manchester Evening News Arena.Also on the tour, they performed "Fight for Your Right (To Party)", originally by the Beastie Boys and the "Ghostbusters" theme tune, originally by Ray Parker Jr.A few weeks later, they opened Children in Need 2006 with "I Want to Hold Your Hand" by The Beatles. They also covered "Happy Xmas (War Is Over)" by John Lennon for BBC Radio 1's Live Lounge.The song "Rockin' Robin", originally by Bobby Day, was performed at the Top of the Pops Christmas Special and was also featured on the "Sorry's Not Good Enough/Friday Night" single.

2007
On 23 February 2007, McFly performed Primal Scream's "Rocks" with Charlotte Church on The Charlotte Church Show. They also covered "Baby's Coming Back", originally by Jellyfish, which they released as a double A-side to "Transylvania". McFly recorded the song "You're the One That I Want" from Grease for an album which was in aid of The Association of Children's Hospices and was recorded in five days, Over the Rainbow. McFly were among a forty artists who recorded a track for Radio 1’s birthday celebrations, covering The Jam classic "Town Called Malice", to feature on the compilation album Radio 1 Established 1967. The hit Rihanna song, "Umbrella", was also covered by McFly for the single, "The Heart Never Lies", and also had a video created for it.They also covered Bruce Springsteen's "Born to Run" for BBC Radio 1's Live Lounge. And For the album All the Greatest Hits they also covered a song by small band called "Foolproof", titled "The Way You Make Me Feel" (Originally titled "Can't Stop Diggin'"), McFly also gave very small credit to the original band in the inlay of the album, and most believe the song was written by McFly themselves

2008
McFly at London 2012 Party in The Mall, London.McFly performed "The Winner Takes It All", originally by ABBA, at the London 2012 Olympic Visa Party on 24 August 2008 and an acoustic version of the song was featured on the Lies single. The band also performed "I Kissed a Girl" by Katy Perry for BBC Radio 1's Live Lounge on 10 September 2008. McFly also covered "Stay With Me", originally by Rod Stewart and The Faces as a double A side with "Do Ya" as the official 2008 Children in Need single. McFly also performed a cover of Michael Jackson's "Black or White" on their Radio:Active tour, which was sung just by Danny Jones.

 2009
In the UK McFly performed "Up Close...and This Time It's Personal" from 21 April to 10 May and covered Girls Aloud's' "The Promise". On their European tour they sang part of the Black Eyed Peas hit called I Gotta Feeling.




 2010
In BBC Radio 1's Live Lounge McFly performed a cover of Taio Cruz's UK No. 1 hit Dynamite.

Mcfly



McFly are a BRIT Award winning pop rock group who first found fame in 2004. The band consists of Tom Fletcher, Danny Jones , Dougie Poynter, and Harry Judd . They are managed by Prestige Management and were signed to the Island Records label from their 2004 launch until December 2007, before creating their own label, Super Records. The band rose to fame after fellow pop band Busted helped launch them by inviting them to tour in March 2004. The band's name originates from Marty McFly, the main character of the Back to the Future trilogy.

McFly's debut album, Room on the 3rd Floor, charted  at number 1 in the UK album chart and went double platinum; this led to the band becoming known as the youngest band ever to have an album debut at number 1 – this title was formally won by The Beatles. A month after the album was released, the band had their first UK headlining tour.The band's second album, Wonderland, also charted at number 1 in the UK, and was released in 2005.Their third album, Motion in the Ocean, was released on 6 November 2006 and charted at number 6 in the UK. McFly released their All the Greatest Hits compilation album on 5 November 2007, which charted at number 4 in the UK. The band's fourth studio album, Radio:Active, was given away for free as a supplement in The Mail on Sunday on 20 July 2008, being realsed as a proper album on 22 September 2008. As of December 2008, McFly have had sixteen consecutive top twenty singles, seven of which reached number 1 in the UK Singles Chart and fifteen of which were top ten singles.

McFly appeared in the teen comedy film Just My Luck, starring Lindsay Lohan and Chris Pine, in 2006. The band played themselves in the film and released a US album, Just My Luck, which was also used as the film's soundtrack.

Mcfly-Five Colours In Her Hair Video Analysis



This video was the first video the world ever saw of Mcfly, the video presents the band as young,fresh faced and most importantly different; at the time this video came out there were very few bands like Mcfly around and this video is them saying, its okay to like us, its okay to be different and who cares if your a weirdo we're weirdo's too. The majority of the video is shot in colour apart from the shots with the young girl and her family all of whom are in black and white and she is the only one in colour emphasising to the audience how different this girl is from her family. The shots of the band have been shot in a basic studio with an audience surrounding them whilst playing. I think this is a great first video because it shows the band doing what they do love whilst running with a simple narritive.

Wednesday 8 September 2010

08/09/2010- Journal

In todays lesson we looked at the codes and conventions music videos follow, we also looked the history of the music video from Bob Dylans Subterranean Homesick Blues to Madonna's Vouge. As well as looking into the history of music videos we looked into Andrew Goodwins theory, looking into a media theorist was very interesting because it enabled me to see what I needed to think about within my own music video.

General Research Into Music Videos

Since cinema was invented it created the ability to bring songs and music to life. The music video has been around since the 1920's. Bob Dylans video for Subterranean Homesick Blues was the first modern music video.

TECHNICAL CODES AND CONVENTIONS FOR MUSIC VIDEOS.

Camera: As with any movng image text how the camera is used and how images are sequenced is vitally important. Camera Movement,Angle and Shot Distance all need to be analysed. Camera movement often accpomanies movement of performance. The close up does predominate within the music video partly because of size.

Editing: The most common form of editing associated with the music video prom is fast cut montage, rendering many of the images impossible to grasp on first viewing. Often enhancing the editing are digital effects.

DEVELOPMENT OF TECHNICAL CODES.

Chromakey- Green and Blue Screen
In the 1990's  a number of technical codes become more common:
  • Fast cut montage
  • Multiple viewing
NON-REPRESENTATIONAL TECHNIQUES
Intertextual refrences can add another dimension of meaning to a text as well as fufilling an important role for audiences.

What Is a 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

Goodwin's Theory

Andrew Goodwin believes there is a relationship between the lyrics and the visuals, with the visuals illustrating,amplifying or contradicting the lyrics.There is a relationship between the music and the visuals, with the visuals illustrating, amplifying or contradicting the music.Genres are complex and diverse in terms of music video style and iconography. Record companies will demand a lot of close-ups of the main artist or vocalist. Voyeurism is present in many music videos, especially in the treatment of females, but also in terms of systems of looking. Some examples are screens within screens,cameras, mirrors, etc. There are likely to be intertextual references, either to other music videos or to films and TV texts, these provide further gratification and pleasure for the viewers/fans. This theory was presented in his book Dancing in The Distraction Factory. Whilst researching Goodwin's theory I found a slide on slideshare underlyning his thoery in more detail.