The kindest cut: functions and meanings of music video editing is a piece written by Carol Vernallis and published in 2001, described as an analysis of the difference between film and music video editing. In her theory, she considers a number of aspects, including, the role of editing, continuity and meaning, the ways in which sound and editing are synchronised through editing, the impact of star image through regular artist close-ups, and how editing reflects the music.
Vernallis' theory can be separated into four main categories which she believes to be the most significant concepts that all correlate to the ways in which music videos are produced. These categories are narrative, editing, camera movement and framing, and diegesis.
Narrative, in regards to music video production, is the visual response to the song itself, as Vernallis believes many videos to accurately reflect the song's meaning, or at least attempt to do so. Narrative themes may occur throughout the videos, but will often be shown in montages, as continuity is not required within music videos, unlike films. Differently, the narrative may be disjointed and generally confusing, as such a technique may cause the audience to focus greater on the story within the song itself, rather than the visuals. Music videos usually always need a subject to drive it forwards, but it may not always be the narrative, since it may cause the audience to generate questions, therefore wishing for more from the artist. In addition, Vernallis states that certain music videos may not have clear endings, therefore lacking in closure for the audience. She sees the main reason for this choice to be so that the narrative's conclusion is left open for the audience's interpretation, as each individual is engaged further into the story, based on their own personal opinions.
The music video for The One That Got Away by Katy Perry clearly shows the meaning of the lyrics and story through the visuals. The narrative can be seen as disjointed, since the setting frequently changes from the past to the present. The main theme throughout the video is a past relationship of Katy, and how she wishes that she could change what happened, which can through a duplication technique in which an older version of Katy appears to be speaking to her younger self at the time of the relationship. The video does reveal what happened to her past lover, thereby satisfying the audience by providing them with a definitive ending.
Editing is an extremely vital part of music video production, as it serves as the basis of the videos themselves, being placed even before the narrative in terms of priority. According to Vernallis, a main convention of music video editing is that it can break or disrupt the traditional style and 'rules' of continuity editing, making it a complete contrast to 'invisible' continuity editing featured within films. Other recognisable editing techniques of music videos include jump cuts, as well as cutting to the rhythm of the music.
In terms of the music video for Tik Tok by Kesha (stylised as Ke$ha at the time), the editing makes itself deliberately noticeable by consisting of jump cuts at the beginning of the video, presenting Kesha waking up in a bathtub while rapidly flashing monochrome shots of a party taking place, thereby informing the audience of what may have happened the previous night. Additionally, throughout the video, cuts occur in synchronisation with the beats of the song.
Camera movement and framing are suggested within Vernallis' theory to include establishing shots as a common element in music videos, alongside close-ups and extreme close-ups of the artist. Vernallis also argues that camera movement in music videos is often synchronised to the rhythm of the song in order to bring more attention to the artist. Furthermore, she states that framing in such videos is often very distinctive depending on the genre.
Within the Brazil version of the music video for Michael Jackson's They Don't Care About Us, establishing shots are used throughout, in order to focus on the poor living conditions for many citizens of the South American country. Michael is revealed through a dolly shot, as the camera smoothly travels forwards down a narrow alleyway, while presenting the cramped living area. The framing used within the video presents the artist as an important figure, due to him often being in the centre of the shot, or the closest person to the front of the camera.
Diegesis can be described as a style of fictional storytelling that presents an interior view of a world in which details about the world itself and the experiences of its characters are revealed explicitly through narrative. Therefore, in the case of music videos, 'diegesis' relates to the 'worlds' created within. In Vernallis' theory, she explains that the diegesis is revealed slowly over time, enabling the story to develop. She also states that repetition of certain shots and frames will be present in music videos, in order for such visuals to appear more important than others. Finally, Vernallis declares that some music videos may not always seem completed in terms of the stories that they tell, so as to come across as being disrupted in some way, causing deliberate gaps in the audience's understanding of the diegesis.
As the music video for Hozier's Take Me to Church plays, it unravels a story about a homosexual couple, as well as the religious troubles that their bond causes for them. The repetition of a mid-shot of the two men kissing, and a long shot of them digging a hole in the ground to hide a box, shows the significance of their relationship and how they attempt to keep it secret. The video can be seen as incomplete, since when Hozier's partner is beaten by men who obviously disapprove of his lifestyle choice, and the box is cast into a great fire - all while Hozier watches in shock from a distance - the video concludes without giving the audience any idea as to what happens next.
