Blog 3

Vernallis discusses several different modes of storytelling inherent in music videos, mainly outlining the different effects of narrative and non-narrative videos. She describes the primary objective of music videos, where they generally underscore the music, highlight the lyrics and showcase the star. In the case of narrative-based music videos, a balance should be struck between the story unfolding on the screen and the original story in the song to avoid the music “hide” into the background. For example, Michael Jackson’s Thriller is a 14-minute music video with Zombie dance and songs. It’s also a typical narrative style video.

However, the narrative function of a music video does not often reflect that of a classic Hollywood film, wherein narrative planks allow audiences to construct expectations and predictions. Instead, music videos produce vaguer and fluid temporality within the narrative, which is not necessarily presented as a cohesive whole but instead demands a relationship with the lyrical and sonic aspects of the music itself.

Non-narrative music videos tend to reflect this idea to an even further extent.  Vernallis proposes that “each shot possesses its truth value” and can be understood in its own right. But because of the length of music, music videos tend to follow the conventions of commercials or film trailers rather than films or television shows: they need to express their intention in a limited amount of time and to a gripping effect.

According to Cescca (2014), Douglas Rushkoff states ‘Most rock videos do not aspire to tell stories with beginnings, middles and ends, but instead impart meaning through visual collage’ and that ‘No attempt is made to convey reality. Instead, videos are liberated into a timeless dream world’. Unlike classic Hollywood cinema, generally “demands attention at every instant” and as such should not depend on what is to happen next, but rather what is happening at each specific moment. It is with this in mind that we can understand music videos as a unique mode of storytelling, both restricted and unbounded by its limitations and stimulus.

References:

Cescca 2014, “Narrative structure of music video”, SCRIBD, updated 24 Sep 2014, viewed 12 Nov 2019, < https://www.scribd.com/document/240792231/Narrative-Structure-of-Music-Videos>

Vernallis, C 2004, “Experiencing Music Video: Aesthetics and Cultural Context”, Columbia university press, pp 3-26