CAROL VERNALLIS theory

Carol's theory centres around 4 key concepts that all relate to the way the music video is constructed:

1. Narrative
2. Editing
3. Camera movement and framing
4. Diegesis

What she says about narrative:

• The video is a visual response to the music
• There is not necessarily a balance between narrative and performance
• The narrative is not always complete - it may be a partial, fragmented narrative
• The structure of the video may appear disjointed
• There may not always be a clear resolution (closure) at the end
• The video may pose questions that it doesnt actually answer

What she says about editing:

• Editing may match the musical phrases or the beat
• The video may break or disrupt many of the 'rules' of continuity editing - this is a clear convention of music video editing
• Editing may become foregrounded - the edits may be really obvious, to draw attention to themselves as opposed to invisible, continuity editing

For example, you may see:

• Jump cuts
• Breaks of the 30 degree rule 
• Breaks of the 180 degree rule
• Cutting against the movement
• Cutting within the lyrics
• Graphic matches
• Fancy edits or cuts
• Extreme jumps in time and space
• Extreme changes in pace
• Juxtaposed frames
• A style of editing that runs through the video and is distinctive to that video

  You may not see:

• An even pace throughout
• Matches on action
• Smooth transactions

What she says about Camera Movement and Framing:

• When it comes to shot types, extremes are very common
• The camera may move in time with the music
• The master shot (or other establishing shots) is used frequently, as are close-ups
• The camera may move on lyrics
• The style of framing and movement may run through the video and is distinctive to that video

What she says about Diegesis:

• The diegesis may be revealed quite slowly
• Actions are not necessarily completed - they might be disrupted or interrupted in some way
• Some frames may be more important
• Character or object movements may move to the music
• There may be gaps in the audience's understanding of the diegesis - in time and space, music, performance and narrative