Music Videos to Consider
As mentioned by Austerlitz, MTV essentially established its own subculture and own concept of artistry, and many feature filmmakers embraced the possibilities that can come from making music videos. He stated,
Throughout the 1980s, the music video was a hotspot for experimentation and innovation, with directors like Godley, and Crème, Russell Mulcahy, Steve Barron, Jean Baptiste, Mondino, and Danny Kleinman breaking out as exemplary short-filmmakers.
The works of these directors I am sure are worth viewing and analyzing for the appreciation of this art form. However, Austerlitz proclaims that it was not until the early 90s that the idea of director as “auteur” truly influenced music videos, and he points out two directors that dominated the form like no other had done before: Michel Gondry and Spike Jonze. These directors both playfully experimented with the genre conventions of music videos, shaping trends, and delivering self-aware shots that rewarded multiple viewings; this commenced the new movement in making videos as an art form. They are both pop-culture savvy, and explore the aesthetics of modernism which is ideal for the grade level I will be teaching. In addition to these directors, I have chosen to study the artistic approaches of director Nuno Gomes. I will be presenting music videos from each of these directors to introduce the notion of music videos as an art form to my students while meticulously uncovering them by means of mise-en-scene analysis.
(Note: Selecting music videos that interest both the teacher as well as the class is crucial in order to keep the energy going and drive the unit effectively)
Michel Gondry
Gondry is a French filmmaker who made his way to the world of music video in an unexpected manner. He was an art school graduate who was simply directing his band’s videos out of pure amusement. Two of his most well-known French videos include Jean- Francois Coen’s “La Tour de Pise (1993) and IAM’S “Je Danse Le Mie” (1993). Both demonstrated Gondry’s technical mastery and charismatic wit that consisted of playfulness and spontaneity. He is director that always welcomed challenging projects beyond his capabilities and finds it enjoyable to make the impossible possible. Subsequently, these French videos attracted the attention of Icelandic singer, Björk. They worked together in several music videos where Gondry had the opportunity to tinker with reality at different and distinctive levels. Some of these include “Human Behavior” (1993), “Army of Me” (1995), and “Bachelorette” (1997). These videos tested the limitations of fantasy over logic and narrative. They are definitely brilliant and worth viewing. I admired Gondry’s imagination in these videos. Nevertheless, the music video that piqued my interest as fan is the Foo Fighters’ video “Everlong” (1997).
In “Everlong,” Gondry dabbles with concept of irrationality in dreaming. He portrays a dark sense of humor in an exploration of a dream-like state that I am sure students would appreciate. The video begins in black and white, with two scary-looking individuals lurking from the bushes of a suburban neighborhood. The camera then starts to guide the viewer into a home and creeps up a stairway into a bedroom where a couple is sleeping (played by lead singer, Dave Grohl and drummer Taylor Hawkins). The camera then zooms into Dave’s face and the effect of water pouring over the screens occurs which traditionally means that it is the beginning of a dream sequence. Dave transforms into a punk rocker (black leather jacket and spikey hair) and the screen switches into color in the dream (a reverse of filmic conventions). The setting is revealed as a 80s-themed party (bright colors and flashing lights) as Dave explores a constricted room and finds his wife being harassed by two strange characters with exaggerated features (played by bandmates Nate Mendel and Pat Smear). The viewers then find themselves back at the home diving into his wife’s dream, which appears to be a completely different feel from Dave’s dream (dark colors and spacious landscape). At first, she is sitting peacefully reading a novel on a rocking chair in a secluded cabin. Suddenly, a hand comes out from underneath a floorboard. Suggesting that this may be the beginning of a frightful nightmare.
Rock n’Roller Dave in a rage (Figure 1)
Still Shot taken from the Foo Fighter’s “Everlong” Music Video
Back in Dave’s dream, the viewer can immediately see the anger in his face (carried through with red lighting) as he is ready to fight the two troublemakers (Shown in Figure 1). Dave’s hand then grows drastically in size (Gondry playing with the notion of exaggeration in dreams). The shot then goes back to Dave dreaming in bed and punching the air as he slaps them around. This scene is humorous and definitely one I will focus on during our discussions. I will also point out the various color choices and lighting in each dream setting as well as the bedroom scene that sets the mood as we move along. Moreover, Gondry ingeniously sets up his viewers for huge plot twist with an allegedly “back to reality” scene. What viewers might perceive as real for the couple, actually becomes another dream and thus carries the feeling of a sense of impending doom. Unexpectedly, the intruders (now in the bedroom) take-off what appear to be costumes, and new bodies sprout out of their mouths. Simultaneously, their instruments appear and they begin to jam out. Their performance of the song takes over entire scene, leaving the viewers to believe that the previous events were nothing but an awful dream. I absolutely love the playfulness of this video, and there are a number of possibilities for moods to be addressed. The world of “Everlong” seems unsafe, almost unhinged, and even tense with anxiety because the characters encounter violence and danger- a relatable concept for my students. This video subscribes to the logic of our own dreams. It also entails the ridiculousness that can magically appear because the characters take on almost superhuman powers during their course of action. In other words, Gondry wanted his viewers to grasp that reality may be out of reach, and we are just left trying to make sense of the logic that we see.
Spike Jonze
Jonze, born Adam Spiegel, is an American director well known for his love of pranks and practical jokes. He began his filming career by making skateboard videos, and became popular among skateboarders because of his creative captures of tricks and fails simply for entertainment. Nonetheless, Jonze first broke into music video by working with the Beastie Boys in 1992. This was a great collaboration because the band members had a similar personality and shared his funny sensibility. Jonze’s first MTV success occurred with a video for Breeders’ “Cannonball” (1993). It was a notable friendly version of experimental filmmaking, and was recognized for its strange humor yet unexpected elegance. In 1994, Jonze worked alongside Weezer to direct their music video for “Buddy Holly.” This video is both a parody and tribute as Jonze places Weezer’s members in a Forest Gump-inspired real world. However, it is a real world that brings admiration to old-fashioned TV shows such as Happy Days. This created a unique cultural universe in which a modern band engages, in a sense, with characters in shows from their childhood, and it was a success. I personally appreciate the wholesomeness of tone, and the attention to detail in how these shows were conventionally played on-air. It was critically acclaimed and at the 1995 MTV Video Music Awards, it won Best Alternative Video, Breakthrough Video, Best Direction, and Best Editing. This was well deserved, and Jonze continued to enhance his trademark humor with music videos that followed. One of the particular videos that I would like to share with students is his music video for the Beastie Boys’ “Sabotage” (1994).
The Quirky Cops (Figure 2)
Still Shot taken from Beastie Boys’ “Sabotage” Music Video
“Sabotage” is also a parody of sorts that teasingly mimics TV cop shows in the 1970s that star the three members of the band as these quirky cops (Shown in Figure 2). To match the setting, they have similar costumes that include aviator sunglasses, excessive facial hair, and heavy make-up emphasizing their with feisty demeanors The prominent lighting as well as color choices are effectively out-of-date and suitable for the overall design concept. The opening shot focuses on a flashing police siren as they are on a pursuit in a cop-related cliché that viewers have seen before. Overall, this is a video in constant motion and nearly every shot is filled with speeding cars and cops on a chase. Jonze executes a variety of camera movements that go perfectly in sync with the tempo of the song itself. His format makes the viewer become part of the pursuits. The piece moves from one scene to another quite rapidly, developing an action-packed feel that ties in with the intensity of the music. The Beastie Boys, in character, make wildly over-the-top gestures and virtually meaningless hand motions in their quest to catch the bad people, which visibly pokes fun at actors playing small-screen cops. The freeze-frames are also a purposeful touch that jabs amusingly at the cheesiness of these lovable traditional shows. It is evident that this video is a reflection of both Jonze’s and the Beastie Boys’ funny mischievous personalities. Although my students may not be familiar with the subject of the parody, I am confident they will find amusement as we analyze its composition.
Nuno Eduardo Gomes
Gomes is a Venezuelan director who is widely prevalent in the Latino music industry. His videos are among the most sought after on Youtube- the most common video sharing and social media platform among this current youth (Gen Z). Thus this is a sensible choice for my predominantly Latino students. At the age of 19, Nuno obtained a scholarship at the "Instituto de Cine y TV de Venezuela”, where he completed his studies and specialized in the area of Film Direction. One of his first short films, titled “Con sabor a Helado” (2008), was the KODAK Filmschool Competition Venezuela Regional Winning Film. Presently, Gomes has more than 250 videos under his belt, and has worked with many artists such as Bad Bunny, Doja Cat, Ozuna, Cardi B, Sia, and Alejandro Sanz. One of his most famous music videos now has over 1.6 billion YouTube views since it premiered in 2016. Titled “Andas en Mi Cabeze” it was made for singers Chino Y Nacho that feature Daddy Yankee. Consequently, this will be the third music video I will present.
A proposal in Caracas, Venezuela (Figure 3)
Still Shot taken from Chino Y Nacho’s “Andad en Mi aCabeza” Music Video
In this music video, Gomes’ celebrates the concept of “old-school” romance that features couples and their “crazy marriage proposals”. One of these is especially personal because Gomes casts his girlfriend and best friend to portray a couple getting engaged on a beach setting. The entire video takes its viewers on what seems to be a vacation in beautiful locations of Miami, Florida and Caracas, Venezuela (the hometown of Gomes) as they witness these passion-filled proposals (Shown in Figure 3). The overall feel of the video is fresh and exciting, filled with almost glowing lighting and pleasant colors. Even the color of the clothing is noticeably bright and lively. As the viewer is moved from one scenery to another, Gomes continuously zooms the camera in and out and it to give the spectator the opportunity to admire its beauty as these events occur. He noticeably plays with balance in each shot which can indicate where he would like the viewers’ attention to go while creating a sense of harmony and comfort. I also appreciate the culture and diversity that is thoughtfully incorporated throughout the scenes. The couples are of different ethnicity, economic status, and age. The viewer can even see glimpses of religious representations in various landmarks. It creates a sense of inclusion and awareness that I trust my students will find admirable. The overall composition feels charming and leaves its viewer on a cheerful note. Although there is no real direct dialogue between characters, the viewers cannot help but feel excitement for the couples in the video. It noticeably depicts a happy state of mind, and a sense of new beginnings to come.
I will play these music videos in their entirety and acquire first thoughts and reactions that will commence our audiovisual study. From time to time, I will refer back to these videos and share still-shots of significant scenes when introducing film analysis terms. However, to keep the momentum flowing, I will have the students (in smalls groups) explore music videos from another renowned American director: Dave Mayers. Although my students may not know him by name, I am confident that they have watched many of his videos that ranged from 1997 to the present. Below are the following music videos I will be considering:
Korn - "Did My Time" (2003)
Katy Perry - "Firework" (2010)
Kendrick Lamar and SZA - "All the Stars" (2018)
Ariana Grande- “No Tears Left to Cry” (2018)
Billie Eilish - "Bad Guy" (2019)
Ed Sheeran – "Bad Habits" (2021)
Coldplay and Selena Gomez – "Let Somebody Go" (2022)
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