Main ideas:
-Binary oppositions drive the narration of the video forward. This could be opposition between males
and females, black and white, naturalism and surrealism etc.
-All music video's fall into two sub-categories: Performance and conceptual
Performance videos: Where the audience can see the artist dancing and singing in the actual video. This can be further divided into 3 factors:
- Song performance
- Dance performance
- Instrumental performance
1) Carlsson states that the musical artist becomes the performer and is commonly manipulated to appear as a (materialistic) 'commercial exhibitionist'. So the performer is presented as almost a product, setting high aspirations and standards for the fans of the artist.
2) Another form of portraying music videos is what Calrsson named 'television bard', where the singer tells a story using on screen images rather than images that are personal to the artist.
3) 'Electronic Shaman' - Here, the artist's voice is the only form of identification for the band/artist as they themselves will not physically be involved in the music video.
Rihanna's 'Rude Boy' would be a modern example of a performance video as she fulfills both ideas of the artist singing and dancing in their video. More specifically she fulfills the 'commercial exhibitionist' convention as the video is consumed with visually stimulating images. The entire video consists of Rihanna dancing and singing, just in different settings and costumes which further sets materialistic aspirations for her fans.
Conceptual videos: When the audience are shown a music video where the focal point is something other than the artist themselves throughout the video
Lil Wayne's 'Lollipop' is a prime example of a conceptual video; the constant theme of confectionery sweets - and more obviously, lollipop's - is a focal point throughout the entire 'Lollipop' video
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