indie-pop music video genre

Indie-Pop Music Video

Indie-Pop Music Video Genre

Shantelle Keech

Andrew Goodwins Theory of Music Videos

Generally, a music video will follow most or all of the codes and conventions of its genre whilst occasionally going against these expectations. Nevertheless, Andrew Goodwin believes that every music video will follow most, if not all, of the following ideas:

The music video demonstrates key genre characteristics

There is a relationship between the lyrics and the visuals

There is a relationship between the music and the visuals

The demands of the record label or artist; occasionally a recurring theme

Frequent references to the notion of looking and particularly voyeuristic treatment of the female body

Intertextual references to other media products

Primarily performance-based, narrative-based or concept-based

Indie Pop Genre

The music genre I will be creating a video for is indie pop.

The Indie Pop genre originated in the 1980s and is a sub genre of alternative rock, the difference being its melodically driven sound and relaxing feel.

A few examples of artists within this genre are Lana Del Rey, Vampire Weekend, The Smiths and Lorde.

I believe that this genre is quickly becoming more popular as the amount of artists involved is continuingly growing.

Mise-en-scene Concept

In correlation to Goodwins theory, the primary concept of music videos within this genre is either narrative or abstract.

The mise-en-scene will either illustrate, amplify or contradict whats being expressed through the lyrics or music.

Abstract narratives are prominent concepts within the genre; directors are able to utilize the ever-advancing technology of the modern day to create something artistic and extremely captivating for audiences. Abstract also enacts elements of a dream.

Mise-en-scene Concept

Illustration of the music video is distinctive throughout a narrative-based concept as it allows the plot to be portrayed in more depth through the mise-en-scene. Very often this concept will be used to represent social-realism themes which will relate to their target audience, most generally being teenagers. This may involve rebellions, discrimination and domestic violence.

This narrative based theme is prominent throughout Hayley Kiyokis Girls Like Girls music video; the plot features a typical rebellion of teenagers being home alone, smoking and drinking. It then concludes with the subversion of discrimination displayed by homophobic people, involving domestic violence.

Mise-en-scene Settings

Due to the production companies of indie pop artists having quite low budgets, the most frequently used settings for their music videos are either filmed in majorly natural and rural (forests/parks/beaches) or majorly unnatural and urban (cities) locations.

The music videos set in natural/rural locations are normally developed to create a sense of the visuals following a dream-like theme which encourages audiences to suspend their disbelief. This idea is evidentially effective within an abstract based concept.

If the music video features a promo shot of the artist performing in front of an audience, people watching would be able to get a sense of what theyd experience if they were to watch the artist live.

Mise-en-scene Costume and Props

Makeup and props are very limited due to the budgets of the production being incredibly low in comparison to that of a pop music video.

Due to the budgets of music videos within this genre genuinely being a lot lower than other genres, the props and costume are genuinely either limited or hand-made. The hand-made nature is seen very evidently within Zingers music video for Astrea; the props were crafted entirely out of paper mache, cardboard and glow sticks by the director.

Costume and props assist in the act of either suspending or not suspending the audiences disbelief; Barefooted Knights, the directors of Astrea used props and puppetry work to detach audiences from the characters whilst reinforcing the concept.

Camera Language

Most music videos within the genre would feature establishing shots to form and encourage audiences to understand the setting and location as its this which sets the feel of the video.

Accompanied by long shots, they help to address the characters involved. The music video Girls Like Girls by Hayley Kiyoki begins with a track and crane shot following the protagonist; this helped audiences to recognise her as being a huge part of the narrative whilst enabling an enigma code of who she is and where shes going.

Camera Language - Shots

Many music videos found within the indie-pop genre lack promo shots of the artist; this could be due to the artistic, abstract narratives limiting the demand for this. Nevertheless, promo shots are still used regularly, ultimately it depends on the theme of the music video. If this is the case, they would be close ups as it would help to familiarize audiences with the artists face.

Artists such as King Krule, whos involved with the indie-rock genre, uses a lot of promo shots throughout the entirety of his music videos which works to as a unique selling point. His visual style refers to Andrew Goodwins idea of the artist developing a motif which recurs across their work.

Editing

Post-production of a lot of indie-pop music videos involves using different filters over the shots to offer ideas to the audience. Generally, this would involve enacting the idea of age, memory or a dream.

Throughout the music video forGirls Like Girls; the slightly faded, unstructured effect makes it clear that what were watching is the protagonists memory of her friend.

Editing

Transitions

The transitions between shots are very often used to amplify the musics beats. During a fast paced soundtrack, the clips will be short and alternate very quickly, whilst if its a slow paced soundtrack, the clips will be much longer and transitions will occur less often.

This is evident throughout the fight/action shots throughout Girls Like Girls as the tempo of the soundtrack increases; the transitions act as a reveal of the protagonists thoughts for why shes fighting her friends boyfriend.

Post production often involves incorporating transitions through cuts or through a special effect. The music video for Zingers Astrea uses an animation to alternate to different locations and incorporate a theme of sci-fi.

Sound

Occasionally, indie-pop music videos will feature dialogue at points to assist with the narrative thats being represented through the visuals.

The tempo of the soundtrack is sometimes distorted, faded or increased/decreased to portray the feelings that are being expressed. For example, in the music video for Girls Like Girls, the volume of the soundtrack decreased and became distorted, with an incorporated beeping sound. This is used to signify the protagonists experience of attaining impact from being hit to the ground.

Analysis of Music Videos

Music Videos Astrea, Zinger

ConceptAstrea follows the narrative of two beings who are on a quest for unity; whilst on their endeavours, transcendental forces pull their strings to fate.

Mise-en-sceneThe use of a projector references Goodwins notion of looking; though this prop was intended to reveal the abstract geometry throughout the following shots, the notion of looking was enacted through the transitions; as there are many uses of these transitions throughout the video, the animation is able to emphasize the transcendental forces, making the video more mystical and theatrical.The video features inexpensive props, such as hand-crafted papier-mch and cardboard masks which removed the identity of the character. It also involves puppetry to signify the concept of the mystical forces pulling them to their fates.

Post ProductionColour grading was used to create the red and blue filters throughout; the two colours allowed there to be clear differentiation between the two beings who are on their quest.

Music Videos Coyotes, Modest Mouse

Inspired by the true story of a coyote that rode Portland's MAX light rail train in 2002

Coyotes is a soundtrack by the indie-pop artists Modest Mouse; both the lyrics and the visuals obtain a corresponding relationship which aims to represent the narrative of the coyote travelling on the light rail, offering recognition to Andrew Goodwins idea of there being a relationship between the lyrics and the visuals.The narrative also references Goodwins theory ofintertextualreferences to reallifeevents/media products.Its evident throughout the video that the pace of the clips corresponds to that of the soundtrack as the transitions between shots change very seldom.In the post production of the product, a golden-green filter was added to certain sots to incorporate the dream-like feel; the coyote is represented to be sleeping whilst dreaming about a forest. Further evidence of this is identified through the order and transitioning of clips as there would be a shot of the sleeping animal between each of the deforest shots.

Music Videos Ring the Bell, Pixies

Ring the Bell follows two girls who are exploring abandoned/urban locations, collecting items to supply their forest party. The settings of the music video links to the recurring theme within this genre of a dream-like sensation. Also the choice of location reinforces the codes andconventionsof a indie-pop music video as they wouldnt necessarily be very expensive to film in.

There are many fast paced transitions occurring throughout the music video which is possibly signifying the idea of the video being a document of their day. The transitions evidently sped up when the pace and tempo of the music increased, further incorporating Andrew Goodwins theory.

This scene within the video represents one of Goodwins ideas that there are frequent references to the notion of looking through screens; the two girls in the television screen were seen throughout the video.

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indie-pop music video genre

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