As the song we have permission to use, ‘Oh No!’ by Marina and the Diamonds, is of the indie/pop genre, I am going to investigate a music video of this genre from another British artist. This is to explore Andrew Goodwin’s factors he felt music videos had to include, and investigate if other British indie/pop videos include them. This will then help us when creating our very own indie/pop music video.
In this music video there is a clear link between the visuals and genre of the song, as we find the lead singer Shingai Shoniwa and her band are performing in an abandoned theatre. It is clear that in the performance section of the video, they want the audience to feel that ‘The Noisettes’ have set up their own performance area, as we can see the back, key and fill lights as well as the wires to all the instruments and microphones. I feel this feature of the music video is created from more of the indie, than pop side of the song, this is because in pop videos the audience does not usually see any of the band playing. Therefore this is a dominant ideology of performances of the indie genre, as we usually see instruments being played, however an alternative representation of performances of the pop genre, as it is usually only the main singer who is shown. I feel they have done this to try and appeal to audiences of pop and indie music.
As well as the performance in this music video, there is also a storyline where the character Shingai plays does not want this man to forget her, therefore leaves her silver boots in his car. This story represents young adults and they way they act. In the video we see Shingai walking out of the theatre and spotting the old car, mischievously she jumps in the car, leaves her boots on the back seat and runs back into the theatre when she sees the young man coming back. This storyline is the section of the video where the visuals link to the lyrics, as she will ‘Never Forget You’, which is one of Andrew Goodwin’s music video factors.
In this music video by the Noisettes there is a performance section where the artist is singing to the camera, acting upon the male gaze theory, and a narrative section, which creates voyeurism. I feel the video has been produced like this, as although the Noisettes are a band, therefore like an indie artist, their songs have an element of pop to them. So to please and attract audiences from the pop and indie genres, they have included both a performance with the band along with a storyline which matches the lyrics. The performance section of the video also allows more flexibility with the cinematography; as the artist is singing to us, therefore there can be many types of shot from close ups to pan shots without the viewer feel like they are intruding.
Throughout Shingai’s music videos, I feel that she has created her own star iconography, which is another factor in Andrew Goodwin’s theory. She has achieved this recognisable iconography through her modern twist on Zimbabwean fashion and afro hair styles, these make her very recognisable and unique as an indie/pop artist.
It is important in the performance section of all music videos that the lighting is correct, and it is no exception in this video. Although the impression is given that the band have set up their own lighting, as it is visible in the shots, it is done perfectly, with the help of the lighting which is out of frame. This is because Shingai and the other members of the band are lit perfectly; this lighting is low key but fits the song and location brilliantly. The way the lighting strikes the performer in this video, is a dominant representation, as performers are suppose to be faultless and look perfect.
From verse to chorus the pace of this song changes, and this is supported by the pace of the editing throughout, as the images are edited to the songs speed. This is common in the majority of music videos and is what makes them look professional, therefore when editing our footage we will edit the clips to the pace of the song.
The Noisettes music video for the song ‘Never Forget You’ fits many of Andrew Goodwin’s key music video factors, and this is what helps it look professional and industry produced. Following the steps in cinematography, editing, mise en scene, sound and lighting also makes the video look professional, especially when each factor has been perfectly manipulated to this song.
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