Intertextuality in Music Videos
Since cinema was invented, it has given artists the opportunity to bring their songs to life and advances in technology have allowed music videos to transform into what they are today. Surprisingly, music videos have been around since as early as the 1920s, and older artists such as Bessie Smith, often created short films to go with their jazz music (the start of intertextuality). But then, in the 1970s, TV shows struck the music industry as a great way to promote their music and artists and focused on producing short promotional videos instead of a live performance straight to the television screen. The most groundbreaking, visualising music video was in 1975 when 'Queen' released the video for Bohemian Rhapsody and marked the beginning of an era, being the first with advanced visual effects.
Goodwin's Theory
'Every music video you watch, you'll always have a relation to the lyrics and the visual' - Andrew Goodwin, 'Dancing in the Distraction Factory', 1992
I have evaluated four music videos to test Goodwin's theory and to see how it applies to the different genres:
Since cinema was invented, it has given artists the opportunity to bring their songs to life and advances in technology have allowed music videos to transform into what they are today. Surprisingly, music videos have been around since as early as the 1920s, and older artists such as Bessie Smith, often created short films to go with their jazz music (the start of intertextuality). But then, in the 1970s, TV shows struck the music industry as a great way to promote their music and artists and focused on producing short promotional videos instead of a live performance straight to the television screen. The most groundbreaking, visualising music video was in 1975 when 'Queen' released the video for Bohemian Rhapsody and marked the beginning of an era, being the first with advanced visual effects.
Goodwin's Theory
'Every music video you watch, you'll always have a relation to the lyrics and the visual' - Andrew Goodwin, 'Dancing in the Distraction Factory', 1992
I have evaluated four music videos to test Goodwin's theory and to see how it applies to the different genres:
Name of Track: Love Story
Artist/ Director: Taylor Swift/ Trey Fanjoy
Name of Track: Watercolour
Artist/Director: Pendulum/ Barney Steel and Mike Sharpe
Name of Track: She Said
Artist/ Director: Plan B/ Daniel Wolfe
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