This week’s reading is about different form of music videos. Music video presents a range all the way from extremely abstract videos emphasizing color and movement to those that convey a story.  Most videos tend to be nonnarrative. Music video do not embody complete narrative or convery finely wrought stories for numerous reasons. Usually it contains a cyclical or episodic scene. The music video cannot be made like a movie, the story should not be too eye-catching, otherwise the audience will put the wrong emphasis on the story rather than music itself. If it has a story, it should only exists in the dynamic relation between the song and the image. For the first part, from narrative to nonnarrative, there are three main concepts should be contained in the music video, which are showcasing the star, reflecting the lyrics and underscoring the lyrics. As many music video, the narrative elements are established in the opening images. One of the example is “Crazy” by Aerosmith. It create the semblance of narrative through a clever technique- characters lack dialogue. Marty callner did not blunting the narrative drive by incorporate incidents involving the women and the band of using performance footage of the band. Compare to narrative music video, nonnative music video tend to create a sense of pleasure but also anxiety and trauma. There is no such thing as who, what, where, when, how or why. Michael Jackson’s “ Thriller” is an example where each shot possesses its own truth value. Music-video directors add richness and complexity to the simple structures of processes and lists in several ways. The technique of using several threads of material that intersect later works well for constructing music videos. A consideration of a video’s use of processes, threads, and contamination is helpful for analyzing videos that we judge as narrative.