"I suggest that there is another level of communication--style as originary relationship with the world--that music video makes concrete, or at the very least reminds us of this situation." Williams, K. p. 97 Why I [Still] Want My MTV
As Williams suggests, style not only has to do with the sense or the being (in style), but but a way of communicative interaction with one's environment. The text illustrates the idea that music video style has been driven through the processes of conceptualization, conceived in a historical context, and theorized as an aesthetic communication.
"Videos can be interpreted in terms of patriarchy and capitalism; as within the purview of contemporary myth and ideology. This is the case despite the claims that music videos deny narrative and mythos(indeed, we may be witness to a new structure of narrative and mythos)." Williams, K. p 95 Why I [Still] Want My MTV
Many critics overlook the significance of the music video's visual style. There is also, as Williams suggests, a "rear-view mirror" effect on the ways in which music is discussed. Because the music videos are understood in the context of a Hollywood narrative, there seems to be misinterpretations of the language which is understood theoretically. By looking at it visually, the music video's presentation is not at all free-floating as it is connected to the music as well as other images depicted by the media in everyday life. Not that there is anything wrong with interpreting music videos theoretically as we do learn a great deal from theory. Nonetheless, the phenomena of music video earns the videos the pre-determined right to be known as such.
"I suggest that there is another level of communication--style as originary relationship with the world-- that music video makes concrete, or at the very least reminds us of this situation."
Style and creativity are joined with the idea of pastiche as one takes a central thought and simply exaggerates it or makes it better. Thus, these binaries now become polarities in the sense that a style is combined with one's creative inspiration ("style OR creativity now becomes "style AND creativity"). The creator's artistic integrity is most important to keep in mind when viewing a music video and experiencing "musical-visuality." Although the creator's message can be immensely mis-understood by what is considered "modern," concepts of the new and old are brought about to the music video platform. Take for instance, Tool's "Schism" video above. The video was released a year after the dawn of the Millenium (2001). This video marked an excellent comeback for the band while still showing the band's creative video style from non other than guitarist Adam Jones. It was later released as a DVD single. This video depicts the musical-visuality of a band member himself. Concepts from previous singles are brought about showing the band's growth not only in music, but in music video. To many, the video is disturbing and strange, but one cannot decipher between the artist's thought process and abstract representations. In that, one can only aspire to understand another artist's perception.
Another example is Depeche Mode's "Enjoy the Silence" music video. The video is directed by Anton Corbijn. The video references the themes and storyline of the philosophical children's book The Little Prince. Footage of Gahan dressed as a stereotypical king wandering the hillsides of the Scottish Highlands, the coast of Portugal and finally the Swiss Alps with a deck chair is intercut with black-and-white footage of the band posing. Brief flashes of a single rose (which is also on the album cover of Violator) appear throughout the scenes.
Equivocation is the premise by which the style of music video stands these days. No more does rock n' roll rule the throne for this style selection as various genre have embraced the idea of using the same model to visualize their music. Keeping the audience on the edge of their seat reigns as an audience hungers to be entertained. Music visuality evokes an audience's aspiration to interpret meanings beyond their own. If anything, style sparks a genuine communicative interaction between creator and audience. Music is risen as visual style permits it eternal life and theme. Thus, one's understanding of the style and the craving one aspires for the message behind that style's content relate in the fact that MTV essentially served as no other than a promotional advertisement of self. Therefore, a work's style is indeed a concept far beyond the strive to categorize or evaluate.
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