BBK: Music Video Theory Essay

When examining the value of a music video as a piece of art against the statement of its ‘simple’ uses as a marketing tool I have chosen to use the promotional package of a small time band from Sheffield called Drenge. The bands style consists of a grunge, blues/rock mix as is reflected in the EP I have selected with the name ‘Face Like A Skull’. The band itself is made up of a duo of brothers Eoin and Rory Loveless who emerged out of the Sheffield indie rock scene in 2011 when signing with their label ‘Infectious’. The band meta-narrative relies upon a youth/rebellion motif, their songs often reflecting controversial views of romance and relationships in songs such as ‘People in love make me feel yuck’. However when it comes to the bands promotional activity the questions of its label as art or advert is open to debate.

The EP I have chosen, ‘Face Like A Skull” consisted of a compact disc and vinyl release around the same time as the release of their debut album sharing the name of the band. The track featured is one of their heavier songs and the video accompanying it consists of wax models of the bands heads being destroyed in various different ways intercut with obscure shots of band performance showing the band either out of focus or only partially in shot.
When evaluating the video in accordance with Andrew Goodwins (Dancing in the Distraction factory 1992) various genre characteristics can be seen within the piece. As is common with heavier rock music a band performance is featured however coupled with the independent characteristic of obscurity no meat shots are scene. Goodwin identified the connection between the visuals and song to have important significance, the relationship between the visuals and the lyrics are amplified as although reflecting on the ‘skull’ themes within the song context the abstract nature of the video doesn’t allow for an illustrative representation of the lyrics. This can also be seen in the links between the music and the visuals as the cuts are not always matched with the beats, however the use of shots of a toy monkey playing the drums matched with that of a drum fill allows the video to keep in sync with the visuals. Although the band are not fully present this may be seen to be a reflection of their meta-narrative, reflecting on the tone of unimportance and irrelevance of themselves seen as a motif in songs such as ‘Nothing’. This could be seen as an artist message, choosing not to give importance to their identity, instead allowing the music to take priority within the video, however a negotiated reading may see it an addition to a illusion of star image reflecting on their target audiences psychographics.

When looking further into constructions of image and representation of the band through the promotional package the abstract nature of the album artwork can make it difficult to evaluate the band, the bands absence from the album artwork adds to the mythical mysterious nature of the band as an alternative being. The artwork itself of a yellow, etched style face in the centre of a black background perhaps connotes a representation of the two brothers isolated in a darkness around them anchoring the segregation and controversial views from societies norms, beliefs and values presented in their songs. The face depicted conforms to the song title however does not appear to be entirely human and its large head reflects depictions of stereotypical extra-terrestrial beings seen in popular culture again adding towards this connotation of the bands separation from humanity. However some aspects of facial expression and the closed eyes look similar to the wax models of Eoin Loveless seen in the music video mixed with the face of Rory’s models perhaps giving an artistic representation of the two brothers as one.

The promotional poster tells a different story due to their presence within it. The poster is promoting a show in their hometown of Sheffield and depicts the two lying parallel yet in opposing direction however both only having half of their face within shot. This could be adding to the brotherly connection meta-narrative of themselves becoming one, connoted within the EP cover artwork and the merging heads wax model of the two in the music video show their heads connected to one another. The body language of the two constructs two separate images, Rory the drummer is seen to be covering his body with his arm, looking up away from the camera perhaps a vulnerable and shy connotation, where as Eoin the guitarist/front man is given first person mode of address as he lets his arms hang above his head leaving his body unprotected giving the image of confidence and perhaps more power as the older brother. These two examples of printed promotional material present to aspects the bands image one as an abstract and artistic representation of the band the other as more of a promotional marketing tool allowing the audience to see what the band looks like in order to gain a personal interest in the stars.

The construction of the ‘Star image’ is discussed by media theorist Richard Dyer, in accordance with his theory Drenge would not be seen to be a entity that has yet been commodified or fetishistic within the media. Dyers theory is set to identify the semi-mythological construction of the ‘star image’ surrounding a performing therefore making them influential and worthy of purchasing as a material item. When evaluating Dyers critical theory in relation to ‘Face Like A Skull’ and the construction of the star image of Drenge a definite embodiment and be seen through the use of the two paradoxes to create an incoherent image of the band. Dyer identified the two paradoxes of the star image to be the bands presence and simultaneous absence as well as their both ordinary and extra-ordinary nature. Within the music video for ‘Face like a skull’ they maintain these paradoxes as although present within the video the lack of meat shots and first person mode of address couples with unfocused and abstract framing allows the band to be absent also as they do not connect with the audience, this is juxtaposed however by the use of direct eye contact within the promotional gig poster.

The ordinary and extra-ordinary being is presented through the visuals of the wax props and the mise-en-scene of the shoot. Each wax model is filled with a different substance ranging from raw meat and maggots to smoke and colourful liquids, this gives an obscure and extra-ordinary representation of what is going on within the heads of these stars, however this is balanced by the final shot where an ordinary skull is within the head as well as the shots of the band in jeans and t-shirts connoting their status as ordinary people. However the body language of the two is quite violent not only adding to the extra-ordinary aspect but reflecting upon the ‘Star’ qualities identified by Dyer as common within the representation of a star as they seen to be rebellious and aggressive. Although many aspects of the paradox theory do apply to aspects of Drenge’s representation I believe that the lack of balance between them tells more about the band. Although present within the video as aggressive this is seen to be a mere performance and differs in their representation on the poster as they peacefully lie together. The fact that they are rarely even presented personally within the media opposes their absence and presence and their representation within the media is often of two ordinary ‘northern lads’. It is for these reasons that the construction of a ‘star image’ for Drenge is not a convincing one as they are too hard to set apart from the crowd due to their meta-narrative as ordinary people who suffer the same problems as everyone else.

In conclusion the construction of Drenge’s ‘star image’ and the meta-narrative surrounding them would not support the argument of their music video acting as a marketing tool due to the importance put upon the artistic nature of the music and album cover. The bands absence and the opposition to Goodwin’s and Dyer’s theories relating to the commodities of bands appears to mark the music video ‘Face Like A Skull’ as a piece of art rather than a ‘simple tool’