This is an example of gypsy punk, and is rather unusall compared to others. It is focussed on the editing and creates a flow which works very well in linking to the track. They use many edits, in the video, in particular I reckon the version of him sining in the studio version overlapping the narritive work really well.
The video doesn't really use Laura Mulvey's Male Gaze Theory as it just focusses on the singer. Hence, Andrew Goodwin's Theory would be more suited in creating the 'star image' of the artist. Moreover, it uses many forms of intertextuality of: Adam and Eve, Dracular, and Captain Hook. They have integrated these films to reinforce the passion for love. Some of the lyrics translate to:
get her, get her, get her, get her for yourselfand then when you die you’ll die for her.
This reinforces that the music video uses Andrew Goodwin's Theory.
This video is a further example of ska music, The Skatalites are a well known group whom have produced very famous ska tracks. The video with the song is very basic, it only focusses on the band and their instruments. This would be a first edition of a studio video as it was filmed within the early 60's. It does create a communitiy spirit and a happy gathering, the song and the musisians create a lively atmosphere which opitimises the ska rhythm. I believe that the song is very basic compared to more modern music videos, however, using a large band and the split screen effect works well.
In relation to the theorists, the music video certainly does not use Laura Mulvey's Male Gaze Theory, due to using male musisians. Also, in the early 60's, music artists were heavily critisised in the way they sexualise themselves, e.g. erotic dancing.
I would say that the music video does represent the genre characteristics (Andrew Goodwin's Theory). The way they intergrate a large band with vast instruments creates a lively atmosphere, which links to the ska genre. Furthermore, the split screen works well in creating that togetherness and happieness which the songs exerts.
This video is very comical, which links to the ska rhythm. It has a similar beat to the song by The Skatilites, however takes a different way into producing the video. It has both narritive and performance in the video, which creates good effect to the audience. They chose to switch to the narritive in each verse and then flick back to the performance for the chorus. This could be a technique I could apply in my music video.
Laura Mulvey's Theory again doesn't fit into this video due to no characters. However, the lyrics and her visuals do match really well, and linking in a lighthearted feel which match the genre.
Furthermore, I believe the video has an intentional view of representation. This is because the visuals on the video link to the lyrics. Especially in the narritive sections of the video this view is percieved.
This is a really interesting music video to represent ska/punk music. Instantly, Hell isn't something you would you associate with the happy lively ska beat, in this case the punk genre is exploited Further the intense introduction, singing, and the shouting/wild tone of his voice Also, the way this video is just animation makes it totally unique. I could take some of the evil, sly imagery to represent my rough sneaky feel towards my music track. Furthermore, the way they used the backing characters makes it really entertaining, and look like the main characters minions- which could symbolise bad overpowering good. I could maybe use this idea, by having my main singer having associates or evil friends.
All of Streetlight Manifesto's music videos are animations, here are some more examples:
http://www.youtube.com/watch?v=SOqenYis1iQ
http://www.youtube.com/watch?v=SOqenYis1iQ
The video definitely matches visuals and lyrics, also in parts the video too matches the characteristics of the genre as it is upbeat. Although you could suggest it was about evil and hell which connotes a negative mood. Overall, I believe that Andrew Goodwin's Theory is applied in the video as the video contains many of his principles.
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