Theories 2.

Carol Vernallis:
She wrote a piece called 'The Kindest Cut'
She analysed editing in music videos compared to Hollywood films.
She identified distinct approaches to each, she discussed their impact on narrative(structure) and representation.

Vernallis believed that the music video world and the Hollywood film world is different;
Music Videos use a Multiplicity of incomplete sometimes obscure paths whereas Hollywood films use single clear paths through the world of the film.

Music videos order of shots is unconventional and shifts more freely between shots, there is not typical shot order, whereas the order of shots in a Hollywood film differs as its conventional, typical shot order is when the film begins there is an establishing shot and then it leads onto a different range of shots so that the audience know the setting and it sets the scene.

In Music Videos time, space, character and narrative are revealed incompletely as it isn't key to a music video whereas in Hollywood movies, There is a unity of space and time to show every shot in the same location as to not confuse the audience.

Music videos also use Discontinuity- pop videos draw us away from the narrative by foregrounding other structures and elements, e.g Music and the Star. In Hollywood films, continuity is key as the film draws us into the narrative.

Music videos also use visual hooks which create continuity (Motif), linked by a single feature, unified by figure,shape, colour and setting. Sometimes all the elements are equal, (Colour, edit, star) and sometimes one is dominant.

Shots of the artist in a music video will encourage us to piece together a 'phantasmagorical body' (a body made up in our mind of all shots of bits of bodies we see.
(For example Kylie Minogue)In this video at the beginning there are lots of shots of different parts of Kylie Minogue's body and the audience then build up this idea that she has the perfect 'phantasmagorical' body.


One of Carol Vernallis most famous quotes from her works is;
''In video our attention to the song shapes the way we perceive an image, but to an equal extent, what we attend to in the image helps to determine how we hear the music''