Moodboard

Having settled on David Gibb's song, "This Young Boy," we listened to it repeatedly and then began noting down ideas through "synesthesia", jotting down what first sprang to mind. With themes such as ageing, death and loss, contrasted with the happy, folky music, we came up with a range of ideas, particularly for setting - certainly a woodland. With the darker themes in the lyrics, though, we chose not to take a redundant approach to the video, and instead looked at the darker representations of music, and were made aware of the 1973 version of "The Wicker Man", who similar combined happy folk music with dark visuals.

Inspired, me and my partner realised we wanted some sort of representations of life and death, and a clear divide between them - life - and possibly the past - represented by saturated colour, warm weather and lighting. Death, on the other hand, would be represented with more muted colours, and would take place in a wintry woodland setting. Whilst the warm life scenes would have groups of friends, perhaps having a picnic, the character in the world of death would be haunted by hanged people in the trees. Based on our ideas, we created our moodboard for our music video.

Music Video Research

I've teamed up with Beth Money in order to create a music video after a sort of "speed-pitching" session, where we had a few minutes to exchange ideas with different members of the class before switching, in order to get an idea of what other people were interested in working on, and also whose ideas would fit my own. I was hoping to look into the Indie genre, but wanted something quirky and certainly non-mainstream, as it would be a fun genre to explore artistically. Beth similarly wanted something quirky and interesting, though something more towards the folk end of the Indie genre. I liked her idea of possibly making a darker video - I had previously been thinking about something relatively bright/comic, and she was interested in the sort of video techniques I wanted to explore - the use of split screen and colour filters for example. Now, settled on folk music, we have began to explore what already exists in the range of music videos for this genre. Of those we researched, we particularly liked:

Bon Iver - The Wolves

Mumford and Sons - Winter Winds

Stornoway - I Saw You Blink

Each video contains aspects that we'd really like to explore in our own videos and has given us some idea of the general characteristics of a folk music video:

• A considerable amount of scenic shots
• Rural settings - fields, country roads, woodlands etc.
• Attention to costume - a mixture of indie and outdoor clothing, sometimes vintage style - skinny jeans and waistcoats are mixed with suits, body warmers, duffel coats and gloves
• Scenic/natural exploration

We then found this artist:

David Gibb - The English Retreat

We really liked the style and character of the songs and, indeed, the quirky nature of his videos which incorporate many of the common themes we've noted - rural settings, indie/vintage clothing etc. We explored him more on his Myspace page and discovered that he was unsigned and so would be much more likely to allow his music to be used and be much easier to contact. We went through the list of his music on his page and had initially chosen the song "Apple In My Teeth" to make into a video due to the lack of one already existing, which meant we would be in no way influenced by any existing material. However, after initial planning, wanting to go along a comedic narrative, we decided that we'd rather go back and re-explore our desire to pursue darker themes, something that this song lacked. We didn't want to abandon Gibb as an artist. We went back over his music and found "This Young Boy", and this is now the song we are convinced we will use for our video. It does, however, have an existing music video:

However, having looked briefly at this video, we know that our own ideas are developing in a completely different direction to this, so there should be no danger of accidental copying.

Music Videos - Full Analysis

Take That - Said It All

The music video for Take That's "Said It All" is interesting in its use of binary opposition (as understood by Levi-Strauss) and its challenging of redundant roles to instead cause high levels of entropy, and causing the video to differ from what would generally be expected of a more mainstream band's music videos.

The beginning of the video establishes immediately the more sombre mood of the song - a series of close-up shots of the band members' faces (as specified by Goodwin to appease an audience) reveals them to be painted like clowns. They do not, however, conform to the redundant stereotype of clowns - instead of painted smiles, their faces are painted with unhappy, unsmiling expressions; the act of turning this norm on its head from the expected to the entropic will therefore catch the view off guard, and will more greatly emphasise the sadness that is supposed to be portrayed. Similarly, where a viewer would usually associate a clown with bright colours and the carnivalesque, the lighting is instead dark, and the colours are muted as, indeed, are almost all aspects of mise-en-scene - the costumes are mostly black and white, and the settings are revealed to be shadowy and run down connoting a sense of decay to match the lyrics' depiction of a relationship in similar disrepair and decay, identifying the video as amplifying according to Goodwin's suggestions of categorisation. This initial entropy leads to a sense of unease in the viewer when they must see these unhappy, unstereotypical clowns still conform to their redundant tendencies - performing onstage, connoting falseness.

There is also a sense of pensiveness in the video caused by the use of slow-motion and symbolism; the theme of mirrors at the start of the video can be understood as being self-reflective, the personas that the band have taken on perhaps attempting to understand themselves. As the clowns falsely perform onstage, the slow motion drags the scene out, allowing the viewer more time to understand it. Slow-motion similarly used simply when the artist is pacing through the scenes lends to a feeling of entrapment, further exaggerated by the repetition of stationary shots - the one of the band all sat against a wall for example - throughout the video.

Although there is not a developed narrative plotline (the video more devoted to simply a string of performance scenarios) which means that matching it to an identified narrative theory is difficult, it can still be noted that there is an apparent change in the situation from the beginning to the end of the video. Whereas most of the video presents the entrapment of the band within a falseness and the awareness of having to put on a front, the end shows the band members wiping their faces clean and dressing back into normal, redundant clothing expected of a boy band, and so moving back into a sort of reality. Just as the lyrics seem to suggest a person who is moving on from a broken relationship, the symbolism of their rejection of the falseness and a return to a more normal scenario embodies a similar "moving on" theme, strengthened by the last shot picturing one of the clowns dropping their ball - dropping the means to his act - and walking away.

Muse - Uprising

The music video for Muse's "Uprising" is typically amplifying - as the lyrics describe a dystopian world, the video creates stereotypically dystopian setting for the video, depicting dark skies, run-down city streets and burning piles of debris, as well as featuring anarchistic themes: the running down of a lit fuse, and the inclusion of a slow motion shot of frontman Matt Bellamy breaking a shop window. The mise-en-scene is all dark - even the band are dressed in black clothes, and Bellamy is frequently downlit, casting ominous shadows across his face during his many close-ups - it is notable that the shots of the band often last a long time, and are given a much slower editing speed, conforming to the idea Goodwin pointed out of there being many close-ups of the band to appease fan viewers.

At the beginning, due to the mostly stereotypical themes, the video becomes a relatively redundant performance video. It is only the fact that the band appears to be greenscreened and placed into a toy city that lends the video any truly entropic elements, citizens replaced by plastic dolls, perhaps symbolising how the "fat cats" of the lyrics may understand the public as playthings.
Throughout the first half, the video keeps returning to shots of a teddy bear, lying face down, though apparently beginning to move,

as well as referring to other teddies during a shot of many of them on

different tv screens in an almost Big Brother style, and bringing in Goodwin's theories about voyeurism. As teddies are understood as being synonymous with childhood innocence, the audience is intended to be shocked as they are then faced with its binary opposition (Levi-Strauss): an evil-eyed, fanged and clawed giant bear, which then leads other bears into a bizarre and highly entropic teddy bear "uprising",

who then all rampage around the city, gradually destroying it, no doubt an intertexual nod (Goodwin) to Godzilla, or any other monster-movie.

Mumford & Sons - Winter Winds

Mumford & Son's video for their song "Winter Winds" can be understood as a very typical folk performance video. Its mise-en-scene typifies the style and genre: the settings are either picturesque and scenic, obviously in the countryside, or else apparently travel/live performance shots of what appears to be a festival tent, and the costume style is clearly indie/vintage - the lack of deviation from these expected norms causes it to be a highly redundant video. The only hints of entropy are vague at best, during the shots where the band run up the road, adorned with bunting, and attempt to fight against a strong wind in an almost caricatured way, an amplified representation, no doubt, of the song's title and subject, "Winter Winds". It could be that this high redundancy is to establish itself clearly as part of the folk genre to attract its maximum audience, a much smaller, niche group than a pop act, whose music, more generic by nature, would attract far more fans and so would be able to produce videos that could afford to perhaps alienate some audience members in order to be more entropic and artistically exploratory in its themes.

Indeed, the video draws parallels with folk/indie culture where it can. The rural and natural themes are emphasized by low-angle shots of a spade digging the earth, and other close-up shots of bare, muddy feet walking across a corn field, and the youth culture is targeted during the performance scenes, particularly those taking place at a festival - a key social event to their target audience - where there are shots of people drinking beer and, angling at a fan's viewpoint, incorporating shots of the audience and, indeed, people dancing in the crowd, the latter being apparently shot from within the crowd, giving the viewer a sense of association with other apparent fans.

This video, unlike the others, doesn't even have a vague narrative plot, instead being simply a series of shots which have been cut and interchanged. Neither does it have any thematic conflict, making for an easy viewing which suits the tempo of the song and the gentler style of the genre. Indeed, it seems to reject the typical aspects of a music video laid out by Goodwin - there is no sense of voyeurism or an exhibition/sexualisation of female figures. Indeed, though there are some close-up shots of the band, they are not lingering or gratuitous, and are instead seemingly replaced with more scenic shots.

Alex Day - The Time of Your Life

At a contrast to the other videos, I also explored how a minimal/no budget amateur music video would fit different classifications and theories.

To suit the indie genre, generally more eccentric in nature, the video is high

in entropy due to the strange, surreal scenario of building a robot girlfriend, the caricature

d acting and the substitution of characters for cardboard cut-outs, in this case a cutout of character Amy Pond, intertextually referencing (Goodwin) tv show Doctor Who. The video has a self-awareness that it is entropic, and plays up to its comedic elements, having a tongue-in-cheek nature; at one point Alex even lip-syncs to his own backing vocals, and two different versions of the shot override each other in split-screen to accommodate it.

Due to the amateur nature, and lack of any real budget, the mise-en-scene reflects normal day to day life, being shot in the suburbs, and the actors all wearing normal clothing, rooting reality into an otherwise surreal plotline.

Unlike the others, it does indeed have a fully distinguishable plot, which can be most easily compared to Branigan's narrative theory - the beginning of the video introduces the viewer to the characters - singer Alex and the character of the robotic new girlfriend, as well as referencing the cut-out Amy Pond in the role of an apparently ex-girlfriend. Alex initiates the events in the video by activating this new robot girl, the response forming into an odd relationship between them both. The complicating action takes place when the robot discovers the photo of Alex and Amy, and then causes her to fly into a jealous rage and, though initially calmed again, then tries to approach Amy to fight with her. Alex, in attempts to break it up, pushes the robot to the floor, where she lies still. A series of different-angled close-ups with a low editing speed review the outcome of these events. Despite the previously light nature of the video, it ends on the close-ups of the robot girl, who is unable to be revived, lending a more solemn, almost ironic end to the video.

Music Theorists

Many, if not all, of the above theories were not intended for music video. Indeed, in the first place, many of them, particularly that of Propp, were in fact noted as base plot devices in fairy tales and were developed back in the 1920's. However, due to the similar nature of many narrative sequences, I can see that the themes can easily be carried over, as can be seen by the results of my video research involved in this presentation. Some theories last better than others. Whilst Levi-Strauss' binary opposition theories are still very much used due to their versatile nature and range of possible subject matter, and ideas of equilibrium can still be retained, the nature of narrative now differs greatly in the modern day to that of fairytales, and many stereotypical character roles as specified by Propp are now often rejected in favour of more realistic narrative plots, or nonsensical entropy.

Of course, there are also theorists that have studied the music video specifically - Andrew Goodwin is a clear example. As aforementioned, Goodwin recognised that music videos can either illustrate, amplify or reject a song's meaning in its visual representation. He also identified several other key features of music videos:

• Record companies will demand a lot of close ups of the main artist/vocalist
• Voyeurism is frequently used, particularly in the treatment of women, but also more generally as a term of "looking" - e.g. mirrors, cameras, mirrors etc.
• There is likely to be some form of intertextual reference, referring to either other music videos, films or television programmes etc. which heighten the audience's enjoyment and involvement in the video

Applying the Theories

30 Seconds to Mars - Hurricane

Wanting to understand how these theories work in context, I've found the new music video for 30 Seconds to Mars' song "Hurricane". Breaking the modern standards of a music video (loose narrative, simply a visual accompaniment to a song), "Hurricane" is instead has a very strong narrative presence and, as in the video of Lady Gaga's "Telephone", the use of credits give it the representation of a short film rather than a music video and, indeed, at 13 minutes long, divided into chapters, it appears that "Hurricane" has been intended to be exactly that - a short film. Indeed, the music in the video seems to act simply as a soundtrack to the action in many places, overrode with voice-over narration in both French and English.

Though both Branigan and Todorov's theories can be applied to the narrative of this video, though I feel that Branigan's is more relevant - Todorov's theory requires an attempt to fix the disruption in the narrative, which doesn't clearly take place. Rather, there is an "emotional response" and "complicating actions" as percieved by Branigan. During the course of the video, we are shown an initial equilibrium, and introduced to the setting and characters: establishing shots, aerial and from the P.O.V of the motorbike that band member Shannon Leto is seen riding, and other shots of member Tomo Miličević make us aware that the video is set in a large American city and reveal to us the first to members of the band, whilst progressing shots to a bedroom reveal the sleeping/awakening frontman, Jared Leto. As the video continues, the "explanation of the state of affairs" is slowly revealed - Jared is presented with photos in a blackmail style before being pursed by a masked hitman, Shannon meets a mysterious woman and Tomo seems to rescue another, and we are able to note their emotional responses through frequent close-ups of their faces (a specification noted by Goodwin to appease fans and the record label). As these inital actions progress, their nature complicates - the "complicating actions" and the scenarios intensify in action. The outcome however, can be noted by Todorov as a "return to equilibrium", whilst Branigan would note it as the outcome: Jared is able to conquer his pursuer, and Shannon and Tomo 'get the girls'.

The voyeurism noted by Goodwin is very clear; cuts from the narrative to sometimes suggestive, and sometimes overtly sexual shots have caused the video to be heavily censored and, even now, is considered not acceptable to be played by MTV. The women in the video are very much sexualised and, whilst sometimes apparently empowered - e.g. when the blonde woman stabs Shannon - they are mostly represented as being submissive/bound and controlled by men.

There are also vague intertextual references, though only mostly to other 30 Seconds to Mars themes and songs - another song from the same album, "Escape", is heard near the beginning of the video, whilst the triangular 'triad' necklace Jared wears is the new symbol for the "This is War" album from which this song has come.

Exploring Auteurs

Analysis of Auteurs

Chris Cunningham

Aphex Twin

In the music videos produced by Cunningham for Aphex Twin, many of Cunningham's recurring themes, techniques and symbolism rise to the fore. To address this, I compared and contrasted two videos from within Cunningham's work with Aphex Twin.

More common with the auteur movement, both the "Come to Daddy" and "Windowlicker" music videos note Cunningham as the director in the opening, and, as both videos open, it is clear that Cunningham has maintained an almost film-like approach to his videos (something which is then reinforced by the use of end credits superimposed over repeated, tinted clips of the video at the end of "Windowlicker").

At the opening of "Come To Daddy", Cunningham's use of colour filters are immediately obvious, a dark blue tint applied to all clips in the video. Indeed, he uses a similar technique in window licker, instead opting for a non-coloured, dark tint on what otherwise might have been a sunny day. The use of this technique in both sets a mood for the videos, the darkness connoting to the equally dark themes used within them.

Cinematography and editing are also key in creating the mood in these videos. "Come To Daddy"'s editing pace begins slowly, allowing the tone and scene to be established and giving room for the tense build up of the loose narrative and editing speed. In this, time is taken to construct feelings of unease. The long, establishing shots of the high rise flats are filmed at a twisting, canted angle, signifying the dysfunctional nature of the video, and there is a

sense that the old woman and her dog are being watched, built firstly by the low-angle shots, looking up at the woman as if from the possessed television's point-of view. It is then built by an additional shot/reverse shot sequence between that of a moving spectator (backlit and thus silhouetted, masking any features and causing the figure to be interpreted as dark and mysterious), and the reverse shot of the person's evident location, revealing nothing except an ominous dark space in the wall, heightening the feeling of unease and mystery. The editing then begins to speed up with the appearance of the strange children, and a sense of panic is conveyed through the use of quick, repetitive shots (the child running a stick along the fence, for example), an ever more shaky handheld camera technique, whip-pans and dark lighting, causing disorientation and an unsettling atmosphere, especially when combined with comparatively long shots of the demonic television, emphasizing and dominating the hellish themes.

The use of shots to enforce a theme is used to similar effect in "Windowlicker". Although it runs at a generally much slower editing speed (particularly at the beginning, where the dramatized opening

sequence is constructed of very few shots, all very long takes), time is still spent on establishing the dominant themes, in this case the transformation of women from the sexualised representation expected of videos (and noted as a norm of music videos by Goodwin), to the

grotesque. Indeed, once transformed, what might previously have been considered voyeuristic scenes in the limo are now made all the more repulsive by the time taken on the shots depicting romantic/sexual advances between the male artist and the strange women who also have

his face, using slowly zooming long shots and then a series of shorter shots to compile a series of images to shock and repulse and generally build a highly entropic theme. This is continued further by another transformation of a woman later in the video into a deformed creature which then breaks up long, sexualised shot sequences, at one point slowly gliding towards the camera, made-up and danced around in what can be interpreted as a mocking comment on how mass media is centred around the male gaze (as noted by Laura Mulvey - 1975) and how women are overly sexualised and glamourised.

In "Come to Daddy", similar use of post-production image warping (and the costume aspect of

mise-en-scene) is used for unsettling effect. Within the theme of juxtaposing innocence with the strange and demonic (the old woman and the demon, for

example), Cunningham includes children, normally a stereotypical symbol of innocence, with the grinning heads of the artist instead, menacing members of the public, and looking after the demonic television depicting, too, the warped image of the artist. It is notable that the use of

facial expression appears beyond Cunningham's partnership with Aphex Twin - Bjork's "All is Full of Love" includes a computer-animated robot imposed with the artist's face, giving what is generally a symbol of inhumanity emotion and feeling instead.It is also interesting that the technical skill extends to the physical embedding of Aphex Twin's demonic face trademark within the frequency spectrum of "Windowlicker", so, when viewed on a spectograph, the face will be revealed.

The final sequence of "Come to Daddy" reveals the video to be loosely illustrative, conforming to Goodwin's theory of video classification. In this, the small, man-faced children gather

around the demon, freed from the television, and still possessing the face of the artist, who gathers them close and appears to embrace them in a father-like role; effectively they have come to their "daddy", the lyrics of the song repeating incessantly "Come todaddy, come to daddy...". At the resolution of the video, this scene is also accompanied by a series of very quickly edited shots, with jump cuts of the demon taken from varying degrees of zoom, and accompanied with shots of black and flashes of light at a speed that is unsettling and disorientating. The illustrative quality of "Windowlicker", however, is apparent much sooner - "Windowlicker" is a rough translation of a French phrase back into English, and is similar to the term "window-shopper"; essentially, it means that a person wants something they can't have, illustrated in the video by the men at the start of the video who attempt to attract the women at the side of the road, only to be rejected. Later, when pursued, they suddenly become ugly and undesirable - whilst from a distance they were desired, but once close up and the truth was revealed, the "windowlickers" were instead disgusted. In this, it can also be understood that perhaps there is a comment on the superficiality of love and lust; indeed, even the lyrics seem to mock this: though they are in French, the apparent 'language of love', they translate into English as meaningless nonsense ("J'aime faire des craquettes/croquettes au chien" can be translated to either "I like to have sex with dogs" or "I like to make dog biscuits").

It can be notable that, whilst rejecting theorists such as Todorov and Propp, this video seems to closely link to the ideas of Branigan - the video begins by introducing its main characters - the men in the car, and understand the current state of affairs through their initial conversation and interactions with the women. We are then introduced to the artist himself, who begins to warp and complicate this initial introduction - this can be seen at the initiating event. The emotional response by the men to the warping of the women throughout the video is that of shock and repulsion, after the initial act of pursuing the women. The apparent outcome at the end is the twisting of women from sexual icons to warped, repulsive figures. Again, the two men appear repulsed, whilst the artist thoughout the video seems to thoroughly enjoy it, and, at the end, adds to the sexual imagery with the drenching of the women with a champagne bottle.

Genre and Classification

Redundancy and Entropy: Further Research

Following my initial research into music videos and their levels of redundancy and entropy, I extended my own research, looking at other types and genres of music video and see how their redundant and entropic aspects match up.

Pulp - Common People

Pulp's "Common People" is so redundant that it might also be understood as entropic, taking the literal to the point where it in itself is surreal. It interacts with the lyrics in a very illustrative way - the mention of "I" in the lyrics corresponds with Jarvis Cocker pointing, then framing his eye with his hand, and as the lyrics jump to the description of events at a supermarket, Cocker then appears in a huge trolley in a techincolour supermarket. And indeed, once moving on to the chorus, Cocker is then situated in a street, gliding past the "common people" as the camera pans. However, this interpretation of the literal is far from expected and, despite the over-the-top redundancy, it is clear that the approach is unexpected and anything but boring, re-working it to the extent where it can even be considered entropic. There are, of course, also entropic parts in their own right: women lip-syncing to Jarvis' voice, causing them to appear like they are singing with a male voice, and the aforementioned giant trolley.

The Parlotones - Push Me to the Floor

This video is highly entropic. Approaching the house at a canted angle and in through the door, it's clear that the mise-en-scene and characterisation is hardly normal and the cinematography often seems to be mirroring this. The objects in the house are twisted and strange - even the newspapers reporting on bizarre articles - and the costumes are often, particularly in the woman's case, odd and certainly not a normal fashion. The acting appears to be deliberately ironic and over the top in order to help convey the almost comical violence of the situations. When linked up the the lyrics, however, the video still makes sense. With lines such as "Your worth is worth nothing when it's at someone else's cost", it's clear that it has a basis in selfish relationships, the theme of the video. There are also other very clear links between video and lyrics, particularly with the line "Push me to the floor", the title of the song, which is visually enforced by Kahn, the main artist and male actor in the video, being thrown to the floor at various points in the video.

30 Seconds to Mars - From Yesterday

Whilst From Yesterday clearly uses a large amount of entropy, some of that which is utilised could be debated as being dependant on the cultural viewpoint, and seems to play up on the representation of ancient Chinese culture from the viewpoint of an outsider, so, what may be considered redundant to them, would be strange and confusing - thus entropic - to a modern western viewer, the main target audience of the video.The video is made most entropic through contrasts; it begins, after a "prologue" scene, in a very modernistic pure white room, with the band kitted out in white. Whilst this choice of mise-en-scene could be considered slightly abnormal, the behaviour of the band is relatively redundant, and seems to simply be depicting the band as backstage and bored, with drumming on the wall and vacant sitting, being instructed on where to go by a woman in black, business-like. However, this scene quickly jumps to that of the ancient China the viewer was first introduced to. Similarly, in the crowd of royals, the cameras fall briefly on one man clearly not belonging to that era or country, stood in a suit and bow-tie amongst the others in bright Chinese costume.

An Introduction to Redundancy and Entropy

Redundancy:

"...is that which is predictable or conventional in a message. Redundancy is the result of high predictability."

If something is utterly redundant, then it will be predictable, though not very informative. Though in excess this makes the product it is applied to boring, a degree of this is necessary in order for something to be understood.

Entropy:

"...unpredictability."

If something is entropic, it is portrayed in an unexpected and unfamiliar way. Whilst in small amounts it adds interest to a subject to to its unexpected nature, in larger degrees it renders a subject incomprehensible

Redundacy and entropy are utilised to achieve two things in music videos: to secure an audience and their understanding, and to confront the audience with the unexpected in order for a video to appear original and interesting.

An Introduction to Redundancy and Entropy in Music Videos

In order to confirm my understanding of redundancy and entropy in music videos, I then watched Lady Gaga's video "Telephone", taking notes as it played before forming a rough analysis on the redundant and entropic aspects of the video.

Redundant elements:

• The prison is stereotypically prison-like - heavily fenced, with barbed wire and a dull grey colour scheme. The movie-expectations of a prison are met: the guards are rough and fights break out
• Women prisoners are mostly represented as tattooed/muscled/masculine
• The police's retaliation to events is a normal reaction
• The presence of the sexualised representation of women, a common theme for music videos
• Contains normal "performance" scenes with artist and backing dancers
• Surroundings link up: drive into the western desert, encounter normal American diner

Entropic elements:

• The video opens in the manner of a movie, with titles, credits and scene subtitles, rather than a normal music video which would usually plunge straight into the video content
• Whilst the guards are uniformed in a normal, redundant fashion, Gaga and the other prison inmates don't wear prison uniforms, instead wearing a range of own outfits. Gaga in particular indulges in her entropic fashions: the wearing of chains and cigarette glasses, for instance
• The presence of acting scenes to build the narrative, but breaking up the music video
• During one of the acting scenes, characters began to communicate in subtitles, appearing in the language of the characters
• During one of the acting scenes, the video skips genre and apparently purpose, the scene in the kitchen evolving into a cooking programme

An Introduction to Music Videos

In accordance with my goal to utilise as many different types of media as possible, I've joined with the animated slide-show builder and viewer, Prezi, in order to present some of my research.