And Another...

Apply theories of narrative to ONE of your coursework productions

I will apply theories to my advanced portfolio music video, as I believe it both supports and refutes many narrative theorists ideas and interpretations.

The music video uses Levi-Strauss' idea of binary oposites in narratives. It does this firstly by opposing day with the night. This opposition is clearly used to amplify the lyrics and title of the song 'one night in October'. Secondly, as part of the 'disjuncture' throughout the video, water has been used where the members of the band are seen to be having a good time, which fits the tempo of the music and the happy mood the song sets. This is then binary opposed with the dry land, and there is a strong use of irony in the fact that despite the band are on dry land, they are stood in a boat, and when they are in the water, they are all fully clothed. The third and final binary opposition I have pulled out of this particular video is the use of the girl member in the band which contrasts the name of the band: 'The Skeleton Boys'. This sort of binary opposition is quite conventional of postmodernism as it is a source of rebellion against modernist values.


The music video could be seen as using Todorov's theory of a three-part narrative structure. This is where the narrative of the video is split into: equilibrium, disruption of equilibrium and then new equilibrium. I believe that the music video uses the idea of this theory as at the beginning we see the band together in the barn area performing instruments together and having fun. This is then disrupted, mainly through the use of disjuncture with things such as the Benny Hill style banana and monkey chase. And then towards the end of the song we see the band all together for one last time before they all finish playing their instruments and leaving the room.


However, the music video refutes the idea of Laura Mulvey's male gaze theory. As the band are called 'The Skeleton Boys', the female character had to be dressed up as quite boy-like so to not stand out so much in a male band. This is significant as Laura Mulvey argues women are objectified in videos and films so that people see them in a voyeuristic manner and this is certainly not the case in this video as the female is made to wear clothes that are more suited to a male.


The music video could be seen as using Roland Barthes' theory of different codes in the text. In this instance, the video could be seen as using cultural codes, mainly through the use of disjuncture as this ensures there is no real narrative in the video. However, the video does use amplification in some scenes, such as the 'Carlisle' signage, but this is the minority of the video, the majority uses irrelevant and random scenes which do not link to the lyrics, like Andrew Goodwin suggests. The audience may see the cultural codes as not really having a plot, but merely showing them the indie culture, but some people may interpret this video as completely ignoring Barthes' theory as the video is too irrelevant to the lyrics.


In conclusion, I think that this music video could be interpreted to use many of the theories that theorists have suggested, but I believe the most apparent in this case is idea of binary opposites, as this seems to be specifically focused on to create an ironic, postmodern piece of work.

Post-Production Enhancements

• Uploading
• Editing
• Effects
• Music
• Transitions
• Sound
• Narrative
• Rendering

I think that I have progressed in using post production enhancements from AS to A2 as I have had an extra year in developing my skills. Obviously, looking back over these products, i can see where i could have improved and how to make the video's effects better and how i could of massively improved my magazine. I think by using Photoshop more regularly and facing tasks you wouldn't normally  expands your knowledge and ideas you could use, which is why they have improved over the past year.

Applying Narrative Theories To Our Music Video on Prezi

Postmodernism in relation to lady gaga

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The 1980s

For some, the 80’s were a great time. The creation of MTV revolutionised fashion, the music industry and even how we watched TV. For others, it was nothing but bad hair, worse clothing and music that often had more to do with machines than talent.  We take the former approach and relish the excess and outrageous fashions that the 80s managed to make mainstream.  We didn't accessorize - we "excessorized".

The clothes worn in the 80s depicted people who were trying to find themselves. Men wore thick make-up and women wore short hair. Both sexes were looking for an identity. 1980s clothing styles are back on the shelves now.

Coca-Cola rugby shirts were 'cool' in the mid-eighties in America. With bold primary (or sometimes pastel) wide stripes and that famous cursive logo:

Underoos for kids in the 1980s:

Hair from the 1980s: The basic principle of this new wave haircut involves asymmetry—specifically having hair on one side noticeably longer than the other side:

Cyndi Lauper

and the 'Flock Of Seagulls' Styling:

Mike Score

and even 'New Wave' spikes:

David Gahan

Films were released such as Karate Kid:

which showed typical fashions of the time - vest tops, grown hair and jeans pulled up high.

Arnold Schwarzenegger was also a huge hit in the 80s with films such as 'Commando':

More 1980s Fashion:

 The Mullet  hair do is such a strong look visually and is the most iconic hairstyle of this era. Mullets were generally a look that men sported, but women also had their hair styled into longer versions of a mullet. Celebrities such as Dirty Dancing actor Patrick Swayze, tennis player Andre Agassi and the infamous Michael Jackson were known for their mullet hairstyles.

In the 1980s, two women who were admired for their sense of style were Madonna and Princess Diana. Renowned for her constant fashion reinvention, Madonna's look changed from album cover to album cover. Her cone shaped bras, her punky grunger look and her peroxide blonde hair were the most iconic looks she wore. Princess Diana was adored for her smart, elegant fashion sense, and a number of high street shops imitated her designer fashion wear. This then enabled women to dress like Princess Diana.

The 1980s is known for being an experimental decade in the fashion world. Many stars started trends, which were then copied by fans. Trends from vibrant colours to mullet hairstyles will not be forgotten, as the 1980s introduced some memorable fashion trends. In the same way that many of the fashion trends are remembered and celebrated, the 1980s is a popular theme for parties.

Fame the musical made a mark on the 1980s fashion trends. Florescent colours were seen everywhere and anywhere, with clothing such as brightly coloured tights, neon coloured head bands and various items of dancewear becoming increasingly popular. This striking dance wear was even worn by people who were not sporty. One look at continues to be popular today is leggings, which initially were popular as a result of the film, Fame.

Applying Jonathan Kramer's Theory To @Summercampband

1. is not simply a repudiation of modernism or its continuation, but has aspects of both a break and an extension - I think that Kramer means that the band uses the past in their work, but with a modern take. I think that this is correct with Summer Camp as in their videos they attempt to recreate the past, but in doing so, they are conforming to a modern-day 'indie' genre, as people like Vampire Weekend do the same thing with their Album cover 'Contra', for example. They also film themselves in their flat in typical 80s clothing, which makes the video look both old and new.
2. is, on some level and in some way, ironic - Irony is the expression of one's meaning by using language that normally signifies the opposite, typically for humorous or emphatic effect. I think that Summer Camp are unintentionally ironic as by trying to recreate a figment of the 80s and attempting a sense of originality, they're conforming to elements of the 'indie' genre.
3. does not respect boundaries between sonorities and procedures of the past and of the present - This is where any sense of hierarchy and procedures in the past are ignored. I do not think that this is the case as they try to recreate the past and pay homage to bands from the 80s.
4. challenges barriers between 'high' and 'low' styles - this is the challenging of styles varying from music producers, writers and performers to just performers who do not veen write their own music. They do challenge the barriers as they use other people's videos and attempt to recreate the 'high' styles, whilst only being quite a 'low' style themselves as they are simply remixing the past.
5. shows disdain for the often unquestioned value of structural unity - I'm not sure, but i think this means they dislike the unquestioned socialisation that all music and their style must remain the same - I think that they do this as if you visit their website, you see cuts and samples which displays no unity whatsoever. Their music does not sound similar in many of their tracks.
6. questions the mutual exclusivity of elitist and populist values - I think that this means they use elitist and clever ideas in order to be popular - I do not think that Summer Camp do this as they are not massively popular, but they are quite clever with their ideas.
7. avoids totalizing forms (e.g., does not want entire pieces to be tonal or serial or cast in a prescribed formal mold) - This is where they avoid using similar sounding/looking material in order to achieve a sense of branding in most cases - Musically they do not avoid totalising forms, but their website does.
8. considers music not as autonomous but as relevant to cultural, social, and political contexts - I think that this is where the band create their music with influences from culture etc. instead of ignoring the past and attempting to create something new - I think that summer Camp do this as they pay homage and respect to culture from decades ago.
9. includes quotations of or references to music of many traditions and cultures - self explanatory - Summer Camp's main focus is to reference cultures from America, as you can see from their website and music videos.
10. considers technology not only as a way to preserve and transmit music but also as deeply implicated in the production and essence of music - I think this is the idea that technology is used in the creating process of music, rather than just the storage and playing of old music - Summer camp use snippets from many areas on their websites, such as Radio, old TV programmes etc. which must use technology not just for the preservation of music.
11. embraces contradictions - self explanatory - Summer Camp does not appear to embrace contradictions as they have a set style which they stick to.
12. distrusts binary oppositions - self explanatory - Summer Camp does not seem to use binary opposites, only in that they are a boy and a girl. (But that is by nature)
13. includes fragmentations and discontinuities - Rather than using whole sources, only using demos, snippets and parts of texts in order to create a style you wish - Yes, all over their website they use clips which repeat themselves which are snippets and pulls from their songs and albums - which is quite fragmented.
14. encompasses pluralism and eclecticism - self explanatory - You could argue that Summer Camp uses Pluralism as they embrace the past, implying that it is just as good as the present, which is why they choose to base their videos and style on it. However, I'd say they encompass eclecticism more as they must make decisions for their music videos and website which they like, rather than to follow a particular doctrine or style.
15. presents multiple meanings and multiple temporalities - using polysemic ideas - I'd say that Summer Camp unintentionally presents us with multiple meanings as some people could perceive their style as conforming to the indie genre, whereas they seem to think they are simply paying homage to the past.
16. locates meaning and even structure in listeners, more than in scores, performances, or composers - I think that this is giving idea of giving the audience an active part in supporting you, which is unlike scores, performances and composers -Summer Camp do this in their website as the audience become active and take part in looking around the band.

Jonathan Kramer

A very interesting aspect of postmodern music theory. This will help you with your next essay.

Media Theorist Jonathan Kramer says "the idea that postmodernism is less a surface style or historical period than an attitude. Kramer goes on to say 16 "characteristics of postmodern music, by which I mean music that is understood in a postmodern manner, or that calls forth postmodern listening strategies, or that provides postmodern listening experiences, or that exhibits postmodern compositional practices."
According to Kramer (Kramer 2002, 16–17), postmodern music":

1. is not simply a repudiation of modernism or its continuation, but has aspects of both a break and an extension
2. is, on some level and in some way, ironic
3. does not respect boundaries between sonorities and procedures of the past and of the present
4. challenges barriers between 'high' and 'low' styles
5. shows disdain for the often unquestioned value of structural unity
6. questions the mutual exclusivity of elitist and populist values
7. avoids totalizing forms (e.g., does not want entire pieces to be tonal or serial or cast in a prescribed formal mold)
8. considers music not as autonomous but as relevant to cultural, social, and political contexts
9. includes quotations of or references to music of many traditions and cultures
10. considers technology not only as a way to preserve and transmit music but also as deeply implicated in the production and essence of music
11. embraces contradictions
12. distrusts binary oppositions
13. includes fragmentations and discontinuities
14. encompasses pluralism and eclecticism
15. presents multiple meanings and multiple temporalities
16. locates meaning and even structure in listeners, more than in scores, performances, or composers

Jonathan Donald Kramer (December 7, 1942, Hartford, Connecticut – June 3, 2004, New York City), was a U.S. composer and music theorist.

Active as a music theorist, Kramer published primarily on theories of musical time and postmodernism. At the time of his death he had just completed a book on postmodern music and a cello composition for the American Holocaust Museum.