Music Video Analysis Culminating Assignment Informational Material Package Every day, we see our favourite music videos being played; we watch and enjoy, but do we ever really stop and think, “What does this video really mean?” With this assignment – which is our culminating activity – we will be selecting one music video and analyzing its content. You will need to select THREE (3) scenes from the video and take an in-depth look at what they mean. You can analyze the scene of the video from many perspectives: how it specifically relates to the song; how the lyrics are portrayed in the video; how it portrays the human essence (gender, race, or sexual issues); how it comments on society at large; or just the story that it tells. You do not need to provide an in-depth look at the entire video; rather, you will need to focus on three scenes of your choosing and illustrate your analytical knowledge in relation to the videos. This project has two major components – a written piece and a classroom presentation. The written piece has five total stages, and the presentation has just one. The final written piece will be typed and presented in a template that is available on the class website, www.jasonhatch.wikispaces.com. There is also a very handy, and informative, article that accompanies this package. It is highly recommended that you read this article and use it (or at least parts of it) in your analysis of your video. As well, there is a sample analysis that has been done to give you an idea of how to approach this project. With the subject matter – you are free to choose whatever video you would like to analyze. It can come from any genre and any time period. There is a list of suggested videos following the article, and if you decided to choose your own, it would be wise to pick a video that follows a specific story line and will allow you much information in which to analyze. For each scene of the video that you analyze, you will need to include the following information: the SHOT TYPE AND MOVEMENT; an ANALYSIS section where you go into the aspects of the video and what it means (or at least what you believe it means); a small section of the EDIT, where you detail what has come immediately before and what comes immediately after the scene you have chosen; and finally, the LYRICS of the song that correspond to that specific scene. You will also need to include a SCREEN SHOT from that scene. You will also be required to make a 5-7 minute presentation to the class where you present your analysis of the video. You can present it in a number of different formats; it is completely up to you. You will need to brief the class on how you interpreted the video and what, if any, message you found. You will also show the class the music video – parts, if not all of it – as either the introduction or conclusion of your presentation. All dates for each stage of the culminating assignment can be found on the next page, and all other information needed for this project can be found throughout your package. 1

Culminating Assignment Due Dates: Stage 1 – Selection of Music Video/Song

DUE DATE: ____________________

Stage 2 – Bring in Link of Video

DUE DATE: ____________________

Stage 3 – Rough Work Sheet In-Progress (1)

DUE DATE: ____________________

Stage 4 – Rough Work Sheet In-Progress (2)

DUE DATE: ____________________

Stage 5 – Final Draft Submission

DUE DATE: ____________________

Stage 6 – Presentation

DUE DATE: ____________________

Outline of what is expected and required at each stage: Stage 1: You will simply need to complete and hand in the form (included in this package) that tells me what song and accompanying music video you have decided to analyze. Stage 2: You will simply need to complete and hand in the form (included in this package) with the Internet link to the song and accompanying music video you have decided to analyze. Stages 3 and 4: You will need to bring in any and all rough work that that you have completed to date on this culminating assignment. There are rough work sheets included in this package, and you will need to show evidence of progress with this project. At Stage 3, it is expected that you will have completed one scene analysis of your video; at Stage 4, it is expected that you will have completed two scene analyses of your video. Sheets in which to do your rough work are attached with this package. Stage 5: Here you will hand in your completed and typed written portion of your analysis. The template for the written piece is on the class website (jasonhatch.wikispaces.com) and you can access, type, and print the sheet from there. Stage 6: Here you will complete a 5-7 minute presentation to the class based on your analysis of your video. You must have a visual representation (such as PowerPoint) and be prepared to show the video to the class (the time in which the music video is playing DOES NOT count towards your 5-7 minutes of presentation time). Please be prepared for the date in which you present – make sure that your PowerPoint (or any other visual material used) is ready to go. If your technology fails, you will still have to give the presentation.

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GLE2O Culminating Assignment Mark Breakdown Stage 1 – Song/Video Selection = 5 marks (Knowledge and Understanding) Stage 2 – Website = 5 marks (Application) Stage 3 – First Rough Work = 5 marks (Communication) and 5 marks (Application) Stage 4 – Second Rough Work = 5 marks (Communication) and 5 marks (Application) Stage 5 – Final Written Assignment = 15 marks (Knowledge and Understanding), 10 marks (Communication), 10 marks (Application), and 15 marks (Thinking and Inquiry) Stage 6 – Presentation = 5 marks (Knowledge and Understanding), 15 marks (Communication), and 10 marks (Thinking and Inquiry)

Total of 100 marks

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Informational article about how to analyze a music video: Audiovisual poetry or Commercial Salad of Images? - Perspective on Music Video Analysis By Sven E Carlsson Music video is a many-faceted multi-discursive phenomenon. Some generally acknowledged "facts" about music video are that ... i) music videos communicate through TV-screen and TV-speakers ii) music videos are a form of low-brow popular culture iii) the reception of music videos depends on the beholder (music video may be beautiful or ugly, art or trash, etc.). Many disparate approaches are possible when music videos are being dissected. One of the most common methods of analysis is to break up the music video into black and white boxes. Almost everything is then perceived as opposites – trash or art, commerce or creativity, male or female, naturalism or antirealism, etc. When this method is used on music videos in general, videos fall into two rough groups: performance clips and conceptual clips. When a music video mostly shows an artist (or artists) singing or dancing, it is a performance clip. When the clip shows something else during its duration, often with artistic ambitions, it is a conceptual clip. Music video artist as a "modern mythic embodiment" I have developed the following mythical method of analysis, which I call "modern mythic embodiment" . Viewed from this perspective the music video artist is seen as embodying one, or a combination of "modern mythic characters or forces" of which there are three general. The music video artist is representing different aspects of the free floating disparate universe of music video. In one type of performance, the performer is not a performer anymore, he or she is a materialization of the commercial exhibitionist. He or she is a monger of their own body image, selling everything to be in the spotlight – selling voice, face, lifestyle, records, and so on. This commercial exhibitionist wants success and tries to evoke the charisma of stardom and sexuality, he or she wishes to embody dreams of celebrity, to be an icon, the center of procreative wishes. Another type of performance in the music video universe is that of the televised bard. He or she is a modern bard singing banal lyrics using television as a medium. The televised bard is a singing storyteller who uses actual on-screen images instead of inner, personal images. Sometimes the televised bard acts in the story – sometimes he or she is far away and inserted images help him or her tell the story. The greatest televised bards create audio-visual poetry. 4

They transform the banal story of the lyrics employing on-screen images to create a story about life and death. Too often, however, the televised bards only contemplates her or his own greatness and unfulfilled wishes. The third type of performer is the electronic shaman. Sometimes the shaman is invisible and it is only her or his voice and rhythm that anchor the visuals. He or she often shifts between multiple shapes. At one moment the electronic shaman animates dead objects or have a twodimensional alter egos (as in cartoon comics), seconds later he or she is shifting through time and so on. The electronic shaman is our guide on a spiritual journey through blipping images and magical attributes. And the electronic shaman promises that there is a hidden meaning in everything; he or she promises that we live in a magical, mythical reality. The electronic shaman’s voice and rhythm form the life-line that connects images and sound simultaneously creating new experiences and associations for those involved in the conscious-streaming journey outside time and space. The electronic shaman's performance, and the other two types of performance, can be seen in Cher's music video Believe (1998) Analyzing Cher’s Video Believe By using the method of "modern mythical embodiment" it is possible to view Cher as an electronic shaman in Believe: she is a modern sorceress using the electronic magic of visual special effects. The spiritual journey begins with concentration, her eyes glow in the dark, the fog rises, and people walk in a slow-down, dreamy way, etc.. The spiritual journey concludes with a magical green surrounding Cher as a soul exchange happens between the young woman and her.. Cher also uses the electronic magic of aural effects (vocoder) on her voice to tell the audience about her own, and maybe also her younger soulsister’s unearthly pain. Cher’s voice and the "synthesized" modern dance rhythms anchor the dreamlike journey. It is also possible to see Cher as a televised bard, singing a story about life after love. An unhappy girl in the discotheque watches her ex-boyfriend against a backdrop of happy dancing people. Cher is a singing storyteller who visits this narrative world. She actively participates in the story only at its conclusion, when she changes places with the young girl. In Believe Cher also promotes her record and her audiovisual style. She scavenges on feelings of teenage unhappiness, using these feelings as a commercial commodity. Cher aims to evoke the charisma of stardom and sexuality. Older now, she takes advertising help from the images of young healthy bodies. Thus she can be also seen as commercial exhibitionist. 5

Audiovisual Analysis of Music Video Clearly, production of meaning in music videos is complex, compromised of several flows of audio-visual information. These flows interact and the resultant meaning is perceived as one complete whole, created by both the ears and eyes. To illustrate these information flows in a particular moment I use a model of audio-visual analysis that I have developed. The model is a "crude map" which points out how three aspects of the audio-visual flow – music, image, and text – interact producing meaning for "literate" audio-viewers (cf. Chion 1994) of music video. Sound effects are not as common in music video as in ordinary TV-programming, yet when they do appear, they are often are used at the video's beginning or end. Music video is a form of audio-visual communication in which the meaning is created via carriers of information such as; (1) the music, (2) the lyrics and (3) the moving images. The Music The music video is composed by adding images to music. The music video director creates moving pictures for an already existing tune. A music video lacking a coherent narrative based on visuals and lyrics uses unifying aspects which are a distinctive trait of music. Images are bound together by the beat and other musical features. Sometimes the musical elements shape of the moving pictures. Movements like footsteps are often synchronized with the beat, so that people in the music video seem to walk in synch to the music. Melodic phrases can also be visualized by tilting the camera verticality to match the musical phrase's up and down travel on the scales. In Cher’s music video Believe there is a synthesized cymbal-rattle sound which is sometimes synchronized with effects of lightning, and which sometimes amplifies body movements. The Lyrics Lyrics and images interact creating meaning. In many music videos a new meaning is added to the banal lyrics through metaphorical language, often with a amusing twist. When presented well, the concurrence of lyrics and text opens a dimension that an create a poetic experience. The greater the leap between the content of the lyrics and the imagery in this metaphorical joining, the more difficult it becomes for viewers to understand and interpret the context. The opposite of the metaphorical joining of lyrics and images occurs when the illustration to the lyrics are simply illustrated by the visual imagery. For instance, if a dog is mentioned in the lyrics, we see a dog on the TV-screen, if a child is mentioned, we are shown a child. Like a salad of images where the visual story is missing, the story is carried by the music and lyrics and not by an independent visual story. 6

In the first verse of Cher’s Believe to phrases "I can’t break through" and "so sad" there is a kind of visual echo made by special effects. I interpret this feature as a text-image metaphor. A textillustration appears for example when the girl sits drinking as the lyrics intone "Sit around and wait for you". Some clichés in the video are quite amusing. For example, Cher has military pants when she is in the third verse when she forcefully repeats "I don’t need you anymore". A standard gimmick in film-making wherein the environment is made to mirror the feelings of the leading characters. The same kind of effects also occurs when the unhappy girl climbs to the rooftop and the rain of tears pours from the sky. The Image The visual form is close to the musical form. To begin the analysis of the image the basic ideas behind the footage must be discerned in order to identify the key concept behind the video. By manipulating color, motive setting, story footage, clothing and so forth, the music video director creates a couple of ideas which are repeated and varied. The concept is to rearrange visual motifs so that the work forms a whole. The concept behind Believe is that Cher is a mystic singer who comments on a girl meeting a boy. The boy rejects the girl, he leaves with another girl. In the video there are two main visual motifs: one is Cher’s performance track, the other is the narrative track about the unhappy girl. Visual motifs are lightning effects from the discotheque and especially the light that is traveling between the girl and Cher. Yet the concept does not have to consist of visual motifs: it could be a short silent movie accompanied by background music. A good example of this concept is Bruce Springsteen's I'm on fire (1986), in which a "grease monkey" falls in love with a female customer. The mechanic drives the customer's car to her house, but he lack the nerve to ring her doorbell and he walks away alone. Perceiving Music Videos There seems to be different layers of perception when a human being is audio-viewing a music video. Interacting layers of perception may be instinctive, inter-subjective and individual, which in turn activate social aspects such as family, peer group, region, country, language etc. When these different layers interact with unique personal memories and instinctive behavior the analysis of music video becomes complicated. Situation variables occur frequently and they are often the content. My experience as an educator in music video suggest that many young people are unable to view a music video if they dislike the artist or the music. To give a simplified explanation, music video pictures can be a interpreted as a merging of three traditions of moving images: singing performance, visual story-telling, and the non-narration of modern art. 7

The cinematic tradition of singing performance is as old as the first motion picture with sound when Al Johnson sang Oh Mama 1927 in The Jazz Singer. From then this type of performance has continued in promotion pictures, musicals and concert documentaries. The basic formula behind the filmed performance is to take a popular singing performer and place him or her in a setting either literally suggested by the song’s lyrics or in one that mirrors the escapist pleasantries common to movie musicals. Visual story-telling has developed from the early days of film-making into the film language of today. The basic rules of visual narration make it easy to follow a story as in a TV-soap: an outside shot on a window, inside shot presenting the room, shot of a man and woman, close shot on a face showing grief, etc. If it is possible to follow a filmed story without written text or aural cues (in speech, music or sound effects) then the film maker has used the grammar of visual narration. In opposition to traditional visual narration, the non-narration of modern art has been developed by the representatives of the 20th-century art forms and created experimental movies like Fernand Leger and Dudley Murhpy’s Ballet Mecanique (1924) and Oscar Fishinger’s Composition in Blue (1934). These experimental achievements are nowadays a part of standard music video narration technique. In a music video clip collages, paraphrases, animated abstract art, computer graphics, and unexpected combinations of pictures may appear. The chock aesthetics in music videos can, from this point of view, be interpreted as a combination of the provocative modern art tradition and a cultural interpretation of the teenage rebellion. Visual Music Video Styles Standard Clip A standard clip, as I call it, is a music video that contains more or less these three visual traditions: a filmed singer is blended with inserted images and the presentation is artistically influenced by the experimental film tradition. Queen’s influential Bohemian Rhapsody (1975) provided a model of a standard music video and has all these narrative traits. The same goes for Robert Miles' One and One (1996). The video exposes the vocalist, and the shots and the editing contain a passable portion which emphasizes strange artistic features. There is a kind of narrative inserted in the video with highlights of failure and dreams. Even Cher’s Believe is a standard clip. In relation to the visual traditions, the video is placed in the traditions of performance and visual narration. The concept of the standard clip is dynamic and has many variations. The vocalist might actively participate in the story while simultaneously standing outside the video, offering self-reflexive commentary; he might have a singing alter ego, for instance a cartoon character; or, he might change clothes between cuts, jump around in time, shift his shape, fly, float, etc. There are three pure forms of visual tradition in music video: performance clip, narrative clip, and art clip. 8

Performance Clip If a music video clip contains mostly filmed performance then it is a performance clip. A performance clip is a video that shows the vocalist(s) in one or more settings. Common places to perform are the recording studio and the rehearsal room. But the performance can take place anywhere, from the bath tube to outer space. Walking down the street is another performance cliché, which is common in rap videos. The performance can be of three types: song performance, dance performance and instrumental performance. Almost every music video includes song performance. Some videos combines song and dance performances. Michael Jackson’s videos often contain dance performance. Instrumental performance is not so common, but it occurs occasionally. Concert performance on stage with audience is so common that it has its own category, the concert clip. Narrative Clip If a music video clip is most appropriately understood as a short silent movie to a musical background, it is a narrative clip. A narrative clip contains a visual story that is easy to follow. A pure narrative clip contains no lip-synchronized singing. Bruce Springsteen’s I’m on fire is a pure narrative clip. Art Clip If a music video clip contains no perceptable visual narrative and contains no lip-synchronized singing then it is a pure art clip. The main difference between a music video art clip and a contemporary artistic video is the music. While the music video uses popular music the artistic video uses more modern, experimental music, such as electro-acoustic music. Genres The connections between the music genre and the visual genre of music video are weak: when you listen to a new record you may know the genre of the music but seldom do you immediately know how the moving image will realized. There are, however, some connections. Dance music video clips are sometimes art clips. The editing technique in soft ballads is mostly mixing. The hard rock music genre usually features concert clips with inserted narrative shots. Abstract form The repetition of images in a music video resembles mostly the form of music, and the formal principle may thus be called abstract form. Music videos are often organized around what we might call "theme and variations". This term applies to music in which a melody, or, motif, follow Music video works in a similar fashion using pictorial elements that function thematically. Pictorial elements are the small parts into which a moving image may be divided in - quick zooming in and out, short cuts, colors, shapes, movements, settings, clothes, footage etc. The abstract qualities of these pictorial elements assembled in thematic combinations create form. 9

An introduction often presents the basic pictorial elements, which will develop to visual motifs. For an example, in the first 20 seconds of Lisa Stansfield’s So Natural (1993) pictorial elements such as colors (orange, blue and natural), flowing water, and camera positions develop to visual themes.

Suggested Music Videos Cher - Believe Europe - Final Countdown George Michael - Killer/Papa Was A Rolling Stone Robert Miles - One and One Bruce Springsteen - I'm on fire Lisa Stansfield - So Natural Queen - Bohemian Rhapsody U.N.K.L.E. – Rabbit in Your Headlights Gnarls Barkley – Crazy Enigma – Return to Innocence OR… any video that you would like to analyze – subject to teacher approval.

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Example of Music Video Analysis Use the grid below to analyse your chosen music video. Remember you need to analyse how shot types, camerawork, Mise en Scene, editing, intertextuality and representation are used to make the video appeal to the target audience. Don’t describe what you see, analyse how it’s being presented to you. Take screenshots from the video to illustrate your analysis and use a website like www.lyrics.com to find the lyrics. Write the lyric that matches the screenshot below it. If it’s a musical break then describe it, for example, ‘Drum solo and guitar feedback’. In the section called ‘Shot type and movement’ describe what the frame is and if the camera is still or moving then analyse the effect of this. In the box labelled ‘analysis’ you need to look at everything you see in the screenshot and talk about why it’s there and how it appeals to an audience. For the box marked ‘Edits’ you should note what sort of edit or transition is used. There’s an example below. MUSIC VIDEO ANALYSIS Rolo Tomassi – Party Wounds SHOT TYPE AND MOVEMENT: Tracking shot shows whole room in long shot but over the shoulder mid-shot of the drummer makes audience feel part of the band.

ANALYSIS

The LS shows the instruments which suggest a rock genre. This is supported by the clothing of the band and audience. There’s no distance or separation between these two either which connotes a closeness which would appeal to an indie/rock audience. The location is the hall seen in the establishing shot and is decorated in a sparse way, this supports the stripped down and uncomplicated music. The lighting is also muted and the colours are limited giving a smoky look like the sort of live venue this audience understands. There’s an element of intertextuality in that it looks similar to the video for Nirvana’s Smells Like Teen Spirit, a favourite of this target audience. MUSIC/LYRICS ‘Smashed glass proceedings, wide open party wounds’

EDIT: Cuts to next shot at the end of the tracking shot, quite aggressive which matches the music.

Remember – Don’t just describe. You need to analyse the effect it has too. Always try and link it back to how it appeals to audience. Tip - Take a screenshot by pressing prtscreen, then go to the analysis sheet and press Ctrl+V to paste. Resize it by dragging the corners down. Now drag the image to where you'd like it. This is also what STAGE 5, your final written report, will look like – except you will have THREE (3) boxes that look at three different scenes of the video.

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GLE2O Culminating Assignment Stage 1 – Song/Music Video Selection (To Be Handed In)

Name: _______________________________________________ Date: ________________________________________________

Name of song selected: _______________________________________________ Artist: _____________________________________________________________ Album: ____________________________________________________________ Year of Release: _____________________________________________________ Genre: _____________________________________________________________

Approved by teacher to continue: _____________________________

Mark: ______/5 – Knowledge and Understanding

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GLE2O Culminating Assignment Stage 2 – Music Video Search (To Be Handed In)

Name: _______________________________________________ Date: ________________________________________________

Name of song selected: _______________________________________________ Artist: _____________________________________________________________ Website: ____________________________________________________________

Approved by teacher to continue: _____________________________

Mark: ______/5 – Knowledge and Understanding

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ROUGH WORK SHEETS – Page 1 (To be Handed in as STAGE 3)

Name: _____________________________________________ Date: ______________________________________________ Mark: _____/5 – Communication

_____/5 – Application

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ROUGH WORK SHEETS – Page 2 (To be Handed in as STAGE 4)

Name: _____________________________________________ Date: ______________________________________________ Mark: _____/5 – Communication

_____/5 – Application

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ROUGH WORK SHEETS – Page 3

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GLE2O Culminating Assignment Stage 6 – The Presentation This is the last and final stage of your culminating assignment. What you will need to do here is to give a 5-7 minute presentation to the class where you break down and analyze your video. You will need to discuss all three scenes of the video selected and detail to the class what they mean, how they represent the song, and what (if any) story the video is trying to tell. You can use almost any sort of format that you like – you can make a Bristol board presentation; you can make handouts with your three scenes on it; you can make a short video; you can do a PowerPoint presentation – the choice really is up to you. Be as creative as possible when you describe the video you have chosen. You will also need to show your music video to the class – this can be uploaded onto one of the classroom computers, separate from your presentation, for the class to view. Please note that the time it takes for the video to play does not count towards your total analysis presentation. You will be marked on how well you communicate your analysis to the class; the design and look of your presentation (in whatever format you choose); and the overall information that you present to the class. You will be marked out of TWENTY-FIVE (25) for this portion of your assignment. Your mark will count towards your KNOWLEDGE AND UNDERSTANDING, COMMUNICATION, and THINKING AND INQUIRY sections of the rubric (all of which are included in this package). The following is a checklist of all of the information and material that you should have in your presentation: Title (this can also be a title slide if your do a PowerPoint) Introduction: tell us the name of the band/artist, the song title, genre, year of release, and what the overall theme and plot of the song is Who is the target audience of the video? Overall technical directions and impressions of the video Analysis of scenes (remember, THREE in total) General thoughts and impressions of video – how does it relate to song? Conclusion

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GLE2O Culminating Assignment Project Checklist Use this checklist to help organize and keep track of everything that you have done for the assignment and everything that still needs to be done. Be sure to write both the DUE DATE and the DATE OF COMPLETION beside the stage/task. Item

Due Date

Completion Date

Introduction of project

__________________

__________________

Read analysis article

__________________

__________________

Read example slide

__________________

__________________

Stage 1 – Video Selection

__________________

__________________

Stage 2 – Website

__________________

__________________

Stage 3 – First Rough Work

__________________

__________________

Stage 4 – Second Rough Work

__________________

__________________

Stage 5 – Written Assignment

__________________

__________________

Stage 6 – Presentation

__________________

__________________

If you have ANY questions at all about anything to do with this project, please just ask. This is an opportunity for you to take a look at a favourite music video and really learn and understand what it means. Remember, your written portion needs to be typed, and the template for the written piece can be found on the class website, www.jasonhatch.wikispaces.com. When you go there you will find this entire package with all of the necessary things you will need to complete this assignment.

GOOD LUCK!

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GLE2O Culminating Assignment Rubrics Written Portion of Assignment Knowledge/Understanding Demonstrates an understanding of the meaning and symbolism of the music video and how it relates to the song ____/15 Thinking Demonstrates an ability to make appropriate, creative and thoughtful connections in analysis of music video ____/15

Communication Organizes ideas, language, grammar, spelling in their analysis of the song ____/10

Application Makes clear connections between the video and the song, linking in appropriately with material, themes and ideas found in the article. _____/10

Level 1 Demonstrates limited understanding of meaning and symbolism of the music video and how it relates to the song

Level 2 Demonstrates some understanding of meaning and symbolism of the music video and how it relates to the song

Level 3 Demonstrates considerable understanding of meaning and symbolism of the music video and how it relates to the song

Level 4 Demonstrates thoroughly understanding of meaning and symbolism of the music video and how it relates to the song

Demonstrates appropriate, creative and thoughtful connections in analysis of music video with limited effectiveness

Demonstrates appropriate, creative and thoughtful connections in analysis of music video with some effectiveness

Uses organizational, language, grammar and spelling skills with limited effectiveness in their analysis of the song

Uses organizational, language, grammar and spelling skills with some effectiveness in their analysis of the song

Demonstrates appropriate, creative and thoughtful connections in analysis of music video with a considerable effectiveness Uses organizational, language, grammar and spelling skills with considerable effectiveness in their analysis of the song

Demonstrates appropriate, creative and thoughtful connections in analysis of music video with a high degree of effectiveness Uses organizational, language, grammar and spelling skills in their analysis of the song

Makes clear connections between the video and the song, linking in appropriately with material, themes and ideas with limited effectiveness

Makes clear connections between the video and the song, linking in appropriately with material, themes and ideas with some effectiveness

Makes clear connections between the video and the song, linking in appropriately with material, themes and ideas with a considerable effectiveness

Makes clear connections between the video and the song, linking in appropriately with material, themes and ideas with a high degree of effectiveness

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Presentation Portion of Assignment Knowledge/Understanding Demonstrates an understanding of the meaning and symbolism of the music video and how it relates to the song ____/5 Thinking Demonstrates an ability to make appropriate, creative and thoughtful connections in analysis of music video ____/10

Communication Organizes ideas, language, grammar, spelling in their analysis of the song ____/15

Level 1 Demonstrates limited understanding of meaning and symbolism of the music video and how it relates to the song

Level 2 Demonstrates some understanding of meaning and symbolism of the music video and how it relates to the song

Level 3 Demonstrates considerable understanding of meaning and symbolism of the music video and how it relates to the song

Level 4 Demonstrates thoroughly understanding of meaning and symbolism of the music video and how it relates to the song

Demonstrates appropriate, creative and thoughtful connections in analysis of music video with limited effectiveness

Demonstrates appropriate, creative and thoughtful connections in analysis of music video with some effectiveness

Uses organizational, language, grammar and spelling skills with limited effectiveness in their analysis of the song

Uses organizational, language, grammar and spelling skills with some effectiveness in their analysis of the song

Demonstrates appropriate, creative and thoughtful connections in analysis of music video with a considerable effectiveness Uses organizational, language, grammar and spelling skills with considerable effectiveness in their analysis of the song

Demonstrates appropriate, creative and thoughtful connections in analysis of music video with a high degree of effectiveness Uses organizational, language, grammar and spelling skills in their analysis of the song

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