Thirty Frames Per Second: The Visionary Art of the Music Video

Steve Reiss and Neil Feiman ( Harry. N. Abrams New York, 200)

The music video has to be densely teetered so that it can hold up over repeated viewings. It has to be edgy enough to be noticed, but palatable enough to satisfy the often divergent demands of the performer, the record company and the public.

A plot-driven narrative usually gets boring...knowing that their music videos are meant to be seen repeatedly, most video directors prefer a denser, more abstract style to telling a simple story.

For Jim Faber ( The 100 Top Music Videos, Rolling Stone October 14 1993), " Video directors reprove what good film directors knew all along- that visuals can also be music. When exacted with élan, an edit becomes a back beat, a crane shot a solo, a close up a hook."