Description

YouTube, the most significant storage area of online video clips, can initiate a skilled occupation for people, who might want to display their talent on the online platform (Jensen, 2016). There have been several artists in Malaysia who have confirmed that it is feasible to commence a music career on YouTube. This paper conducts a semiotic analysis of favorite music video performed by Najwa Latif, highlighting the importance of digital visual as one of the essential approaches of enhancing creativity in the popular music sector of Malaysia. The paper utilizes Najwa Latif’s favorite music clips based on two main reasons. First, Najwa’s viewing hits on all her music videos have attained a high number of views among every YouTube musicians on YouTube. The other reason is that Najwa is regarded as a multitalented artist with regards to vocal renditions and songwriting. Najwa can write her songs thus ensuring that they become favorites on the online platform every time they are released as singles.

The visual constituent that facilitates the success of Najwa in Malay’s virtual universe is the main focus of this paper. The hits that are used in creating a music video might be used as a sign of the popular reception scale on a musician’s work. It becomes difficult to ascertain the importance of the visual symbols in the music video as the least linguistic compositions like lyrics and linguistic content seem to conceal the effect of the visual substance. One of the reasons for this occurrence is the disadvantage of mono-modal decoding technique obtained from mainstream culture and is principally done by acquiring linguistic proficiency. Nevertheless, the visuals of popular music videos are used as significant improvements to the music. This paper offers a semiotic analysis founded on the visual power of music videos produced by Najwa Latif. By comprehending the components of visual symbolization in popular music videos, the paper identifies the essence of positive self-identification based on semiotic hyperconsumption of the Malay culture. The specific shots have been highlighted to discuss the essential constituents that affix the consideration of the audience to understand the online personality of Najwa Latif.

Semiotic Analysis

Considering the fundamentals of systematic-functional musical aspects, this paper examines the multimodal interplay that underlies the changes of visual frames in Najwa’s visual frames. The specific visual frames constitute vibrant constituent in the music videos experience, not because the changes illustrate new information groups that develop into a visual chain that is repetitive and can be identified by the viewers. The distinct visual frames found in Najwa’s music videos include contrasting images which form a diegetic universe that corresponds to that of film. The diegetic world includes edited and selected shots that consecutively unfold into a visual narrative (Gonclaves, 2016). The characteristic features are visually icon thus allowing precise development of meaning. Nevertheless, the comprehension of “short-circuit signs” of music content relies on the knowledge and experience of an observer. The situated connections of the typical features of the frame include a vector inside a visual sequence of a narrative. Sequences of interconnected visual syntaxes which are visible in the music highlight the textual and ideational basis of visual narratives that are open to the interpretation of the audience. This paper analyzes Cinta Muka Buku where different frames are used to indicate the prototypical arrangement of visual symbols that create part of the origin that an individual might develop from music video clips as the cognitive locus for comprehending the visual piece.

The first part includes visual symbolization which provides for different figurative elements. The visual symbolism includes Najwa who is the carrier and a male. The frame is peculiar because the visual syntax that is depicted in the specific frame is used to illustrate the transactive vector that appears to have been surprised concerning the musician’s gesture. The frame is also peculiar since it includes a given-new polarized piece of music of two characteristic features. The visual symbolizations in the music contain suggestive features in front of both carriers. The video has a visual syntax which shows a transactive vector that illustrates a carrier who attempts to grab the symbolic objective of the other carrier. This specific frame shows social congregation in new polarization that is center-given.

The second aspect of the video is the distinct visual symbols that encompass of actors who form eye contacts with the audience. A visual syntax that is non-transactive and contains mystified actors who make gestures because she is not sure if the symbolic carrier who is a man requires her attention. At this point, the clip invites the audience and ensures that they can decide the margin composition of the frame. The frame includes the visual symbols that are aimed at providing a specific symbolic element. The frame comprises a Facebook message whose intention was to present an iconic representation of the distinctive messages that are sent by young people across the different social media platforms.

The third element of the popular music video is the presence of visual representations that include characteristic features that are located at the center of the frame. The clip comprises a visual syntax which represents a vector that is non-transactive in an ardent pose. The frame of the clip is aligned at the center margin thus depicting a head-to-head composure that illustrates a couple which is full of bliss. The frame restores the assertion that the distinct visual component can be perceived as independently organized and structured messages, which are connected to verbal texts that are not dependent in any way. The frame communicates a precise direction in analyzing visual grammar.

Thematic Connection

The luxurious self is regarded as an agentic depiction of experience, performance, and action that critically helps in appreciating the popular music videos created by Malay. The intuition of self is relevant since it explicates the psycho-visual effects of music videos on the audience (Sew, 2015). The viewers feel the results because they are not just text participants but also text users. The audience as text participants takes part in identifying what the text means while utilizing the functionality of text in responding to their understanding. The videos put forward the aspect that viewing music videos might ensure that the audience can figure out the use of digitized visual grammar thus resulting in transformative connections that are similar to printed text. The video thus provides that the viewer gets involved in vibrant mental interactivity. Identity realignment is one of the aspects of the video which produces a psycho-visual effect of watching the music video and is related to the essential element of narrative-identity.

References

Goncalves, R. C. M. (2016). Pausing dramatic tension within contemporary action cinema: the relationship between time slicing/slow motion and suspenseful situations in action feature films through praxis lead research (Doctoral dissertation).

Jensen, K. M. (2016). Narrating Racial Identity Online: Asian American YouTube Channels (Doctoral dissertation, The Claremont Graduate University).

Sew, J. W. (2015). Semiotics of performing in Najwa Latif’s music videos. Jurnal Komunikasi: Malaysian Journal of Communication, 31(2).