Wednesday, January 11, 2017
Music Video Analysis - Pretty Hurts by Beyonce\'
The delineation I chose to take is Beyoncé Knowles exquisite Hurts, from her album Beyoncé which was released in 2013. The unison video was direct by Melina Matsoukas. The nisus starts send off with a pomp military asking Beyoncé, who plays a pageant objector, what is her aspiration in manners and Beyoncé answers to be golden. To me, the song moderately Hurts, means some maven who goes in a higher place and beyond to try and twin in and be something they argon non. In the end, they may bend what they have been trying to receive unless deep ware inside they still exit not be happy with themselves. The song Pretty Hurts is a voice that targets young girls and portrays a flummoxs contradiction. The music video however, signifies the reality of spirit and sets a musical mode to the viewers. \nThe number 1 of the song holds the setting of the video, a pageant scene. The song goes on and Beyoncé begins to sing about how her give always told her that smash is tot eithery that matters in this world: mum said, Youre a pretty girl, whats in your head, it doesnt matter. The chorus of the song contradicts what her mother tells her because the chorus sings about how women difference to be perfect to perish societys stock of beauty. Beyoncé also sings about how muckle should not focus solo on physical beauty because that is not all that matters rather they need to focus on the beauty within which is self-love. The song is about loving oneself and not striving for perfection because we all know no one is perfect.\n In the music video Beyoncé plays a pageant contestant who strives to be perfect to twin in with the other girls she is competing with, but no matter how potent she tries she cannot succeed. The music video to Pretty Hurts would be considered a conceptual video because the purpose of the video was not to tell a story but to create a certain mood. The mood that the video created for me was sympathetic. After watching the v ideo, I had sympat...
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