Monday 29 September 2014

IH: Music Video Analyses

Music Video 1: George Ezra - Budapest



  • It is likely that this video was meant to be consumed as ambient viewing as the video itself is rather sleepy and slow, and merely accompanies the visuals, it doesn't particularly add to the music therefore it isn't an amplifying video.
  • George Ezra is an artist who speaks of authenticity in music and the lack of it in popular music, he has an independent image but in truth he has a record label, so he is not truly indipendant. It therefore makes sense for the record label to promote his music as being independent despite it's true industrial production. 
  • Despite this, it is true that all the actors in this video are friends of the director instead of payed extras, so in this sense the record label has attempted to make the video independent or at least low budget.
  • This music video is conceptual as it shows the artist in an dreamlike scenario in which the extras are largely stationary, except for isolated moments of interaction which gradually increase as the song goes on. This signifier could be interpreted as being a metaphor for his feeling of isolation in todays music scene, where he feels  out of place as an authentic, individual artist.
  • In some ways this is also a performance video, as Ezra is playing his guitar and looking into the camera, breaking the fourth wall in order to create para-social intimacy with the audience and thus evoke emotion.
  • The video emphasises Ezra's simplistic approach to music, as the video is minimalist in it's style and places the most focus on him with his guitar.
  • This video shows Ezra in a crowd of strangely static people who only occasionally interact with their environments, while he is the only person to be continuously doing something.
  • The video has a whimsical, dreamlike atmosphere which suggests that he sees life in an enjoyable simple way. This creates a meta-narrative which presents Ezra as being an imaginative person who is stuck in his thoughts.
  • The abstract nature of this music video creates repeatability as the audience seeks to complete the enigma that is the music videos meaning.

Music Video 2: FKA Twigs - Two Weeks            (WARNING:EXPLICIT)



  • This video constructs FKA Twigs' star image as being a person who is very aware of her sexual appeal, and uses it to better herself. This synergises with the lyrics "I can f**k you better than her" which suggests she is sexually superior to the woman she refers to. This constructs a meta-narrative that beauty and sexual power are key in her personality, and people should respect her because of it. Arguably this helps sell her product to a male audience who find her attractive, or perhaps to a female audience who respect her for her "strength" and courage.
  • As she is the only person in the video you cannot comment on the representation of any social group other than her own. FKA Twigs is half Jamaican, quarter English, quarter Spanish, and she grew up in rural Gloucestershire before moving to London to produce music. She is middle class, but perhaps her move to the city shows that she is aspiring upper class, as she seeks to better herself in London.
  • Unfortunately, while some may interpret this song as being a sign of the possibilities of female strength, others (largely male and older women) might see this video as supporting the dominant ideology that woman can only achieving power through the use of their attractiveness. On the contrary, she is also promoting emergent ideology of women as being equal to men, and through hard work one can achieve their goals as she has, not necessarily through looks alone. Furthermore she is promoting the regressive ideology of youths as being overly sexually motivated, which is very negative.
  • FKA Twigs challenges the belief that one should be faithful to ones partner, as she is seducing a man in this song who we know is already with another woman. Perhaps she does this to show her disregard for the unspoken rules of social discourse, promoting her star image as that of a maverick or rule breaker.
  • FKA Twigs is challenging a moral rule which is that cheating is unethical and unforgivable, as she openly advocates it in her music. Many would find this controversial as many people have been affected by romantic betrayal such as this.
  • Certain techniques are used to position her in a godly or otherworldly manner, for example the sunlight shines solely on her, she has steam rising from her body (suggesting she is "hot" i.e. attractive). Furthermore she is larger than anyone else on the screen, although further inspection reveals she is in fact every other person on the screen as well. She is dressed in a style of clothing which is reminiscent of the pharaohs of Egypt, which synergises with the temple background and her throne.
  • FKA Twigs prizes herself on being controversial and alternative, which is why there are no outright references to popular culture as such. One could argue that her intentional likeness to the great pharaoh Cleopatra, who was famous for being well renowned for her prowess and ability to make men fall in love with her, is in fact a historical reference.
  • This music video shows conventions of both conceptual and performance videos, as she spends the majority of the time looking into the camera as George Ezra does, breaking the fourth wall to create a sense of intimacy, but the video also has symbolic and artistic meaning.
  • This video is amplifying in that it adds to the songs lyrics. It's all about how the artist believes she is sexually superior to the partner of the songs subject, i.e. she believes she would be a better lover to the person she is singing to. In this sense she is adding to the songs lyrics with her suggestive clothing and dancing.
  • FKA Twigs is shown as being larger than the other people we can see, suggesting she is superior to them. Furthermore the golden sunlight shines on her directly, giving her an almost celestial appearance which radiates importance.
  • She is seen in some sort of bath house, and the dark skin of all the figures in the frame combined with the set design connotes ancient Egypt. She is even similar in appearance to Cleopatra, one of the pharaohs. It is likely this is a direct reference to Cleopatra who was said to be inexplicably beautiful and who charmed figures of importance in the roman empire. Similarly, FKA Twigs is constructing her star image as being sexually attractive and powerful because of it.
  • Music Video 3: SKisM - Experts (WARNING:EXPLICIT)



  • Electronic/dance music is a genre that is very new in it's establishment compared to many other types of music, as the widespread availability of technology has made it both possible and to a degree easy to produce electronic music entirely made through a computer. This means that the rules and conventions of the genre are still being defined. However, some kind of humour or mischief is often present in the music videos of electronic songs, which we see here as the "Troll" fights various creations "in the internet". Furthermore the artistic style of the bright, flashing lighting is conventional of this genre of music as it is reminiscent of the clubs in which this music dominates.
  • There is very little relationship between the lyrics and the visuals; simply because there are very few lyrics, as is a convention of the genre. However, the sheer energy of the music is closely linked in the visuals, for example in the beginning when the music is very slow, the troll is powering up his computer, but as the music increases in tempo and intensity, the cutting rate increases proportionately. Furthermore when the song reaches its climax, the visuals become their most chaotic and violent.
  • This video is amplifying as it directs the audience in their interpretation of the visuals with the use of the fight scene, whilst also adding a sense of humour to the song with the use of the repulsive troll character.
  • The comic book style of the internet certainly could be interpreted as art as it is both drawn and animated. Many would appreciate the art style as well as the abstract colouring of the internet and the lighting as being artistic, however others would discount this video as being art because it is humorous and light hearted. The purpose of the video is to appeal to an audience who enjoys humour and perhaps more specifically those who have had to deal with internet trolls, as many people have. Therefore, it doesn't present any challenging ideas nor does it question dominant ideologies of any sort.

IH: Lyric Analysis

Sunday 28 September 2014

GP: Technical Analysis

Technical Analysis



Shot Number
Timing
Camera
Mise-En-Scene
1
0:00-0:33
Mid-CU of the lead singer’s face & Static
Low-key lighting with a (what looks like due to the black and white effect) white light on the singer’s face who is lip syncing ('meat' of the video)
2
0:33-0:37
Change-of-focus from his face (MS) to the car shining the lights (long-shot). Handicam.
The explanation of the light, the car, is revealed. Slow-motion.
3
0:37-0:40
POV/ long-shot. Static.
From-inside-the-car-shot showing an empty location with the singer tied to a chair (victim)
4
0:40-0:42
Static & MS
Car in background whilst the singer is lipsyncing in the foreground
5
0:42-0:45
Handicam MS
Half-a-face of a person in the car is lit up.
6
0:45-0:48
Handicam MS
‘White lining’ due to the car’s light on the singer’s face as he is lip-syncing.
7
0:48-0:51
Static MS
 Antagonist in the car (face hidden by shadow and lack of light on the face).
8
0:51-0:53
Handicam MS
The singer’s feet are tied up (there is a little movement of the feet).
9
0:53-0:58
Handicam MS
 Singer silhouetted and lip-syncing.
10
0:58-0:59
Handicam MS
 Antagonists in their car with shadows hiding their faces.
11
0:59-1:02
Foreground not in focus and background (of car) in focus.
Car in the background with darkness (still) apart from the car light.
12
1:02-1:05
Handicam CU Camera pans upwards.
Hands are tied up and car lights light this up with shadows.
13
1:05-1:07
Static LS
Slow-motion and shows the car moving with the lights showing the smoke/fog in the air.
14
1:07-1:11
Static MS
The light flashes on the beat (when the drums kick in & become more prominent). Singer is lip-syncing.
15
1:11-1:13
Handicam LS
Shows the car and the door opening with the lights still shining.
16
1:13-1:17
Static shot where the car, in the foreground,  is in focus and the background is not in focus. MS
This shot reveals multiple cars surrounding the singer and shining their lights on him.
17
1:17-1:19
CU handicam shot.
Close-up shot of one of the cars and the lights.
18
1:19-1:25
Static MS
Singer is still lip-syncing with lights illuminating him.
19
1:25-1:27
Static MS
A heel stomps down from the car on the beat of the guitar strum.
20
1:27-1:28
Track towards the person getting out of the car. MS
Slow-motion and silhouette of antagonist getting out of their car.
21
1:28-1:30
Jump-cut. Track to the right (towards antagonist). MS
Slow-motion and silhouette of antagonist getting out of their car and slamming car door.
22
1:30-1:33
Crab following the gas canister. MS
Gasoline is being held and walked along with (presumably by the antagonist). There is a lot of darkness part from the light on the gasoline gas canister; highlighting this prop.
23
1:33-1:35
Handicam CU
Shows the singers hands tied up & struggling; represents the struggle he is going through.
24
1:35-1:36
Handicam MS
Singer silhouetted and lip-syncing.
25
1:36-1:38
Static LS
Antagonist is shown walking away from car with gasoline towards singer (lit by other cars).
26
1:38-1:39
Handicam MS
Antagonist in car with shadow covering most of their face; less identifiable compared to the lead singer.
27
1:39-1:42
Crab MS following the gas canister.
Gasoline is being carried at a low-level (next to calves) whilst someone (antagonist) is walking a long.
28
1:42-1:44
Handicam MS
Slow-motion. Silhouette of the singer lip-syncing with the car light behind him causing the silhouette.

  • This music video is a conceptual video due to the high amount of symbolism (victim of misery; personifying misery and the person in the car is ‘misery’). Our video has the potential to create a lot of symbolism and amplification due to the lyrics and the mood of the song (which could be made, as this video demonstrates, to be dark).
  • Lighting is effective (especially during the lip-syncing shots) (yellow lighting can look amateur-ish) in this video shows that black and white can make it look more high quality (and stylised/dark). Clear focus is the singer due to the lighting being aimed at him, the singer lip-syncing to the lyrics and the singer getting a lot of screen-time. The shadows and silhouettes look really effective as well as they can hide or reveal aspects of the video (objects or people).

  • This video is simplistic due to the location, props, concept and costume (casual clothes are more identifiable and relatable to the audience) and may not necessarily be hi-fi (but looks professional).
  • The cutting-rate increased when the rock instrumental got ‘heavier’ & when a ‘heavier’ chorus was reached. Additionally, the cutting on the beat & mise-en-scene (lighting and non-verbal language) on the beat (they make it look seamless) look incredibly effective and contributes to the synaesthesia (these visuals fit the song). 

We can take inspiration from this by taking into consideration how effective the cutting-rate can be when the speed is appropriately fitted with the instrumental; in our Lorde song, when the cutting-rate is slow we would have a slow-cutting rate and then have a high-cutting rate near the end of the song where the instrumental picks up. Our mood is quite dark so the dark lighting & shadows can contribute to the portrayal of this mood. This video uses a black and white effect which creates white lighting, even though we are not using this effect, white lighting looks quite cold, yet also professional which would fit with our narrative for the more depressing part (with the family being harsh & the boy being upset). Overall, this video is most relevant to the darker aspects of our video.



IH: Technical Analysis

Sam Smith - I'm Not The Only One




 Shot Number

 Time
Camera
Mise-en-scene
1
00:00 - 00:11
Long, wide shot of the house which acts as an establishing shot, the camera is on a steadicam moving forwards
High-key lighting, typical suburban house, establishes the location of the narrative
2
00:12 - 00:21
Steadicam, mid shot of the couple kissing and preparing to leave
High-key soft lighting, sharply dressed man and the woman is wearing some sort of elegant (so far unseen) dress
3
00:22 - 00:31
Steadicam close up of the woman leaving the house after the man, 
She looks at him with a loving expression, she is dressed like a bride
4
00:32 - 00:36
A mid shot of the lady, which turns into a long shot of the car, steadicam, rack focus to reveal car
She waves, connoting love and fondness, as he drives off in his expensive-looking car
5
00:37 - 00:41
Close up, steadicam shot of the woman as she watches her partner drive off
Her previously loving, devoted expression melts away into a cold look which unsettles the viewer, as if her previous warmth was a sham
6
00:42 - 00:49
Steadicam close up of her face as she turns around,  following her movements toward the house, shallow depth of field places focus on her
Her cold expression continues as she sullenly walks back towards the house, her body language suggesting sadness and deep thought, which creates intrigue
7
00:50 - 00:53
Steadicam close up of the reverse shot of the previous one, following her into the house
As she enters the house she leans on the door frame as if in need of support, again suggesting sadness
8
00:54 - 00:56
Steadicam close up of the woman walking through the house with the camera follows her movements
She is looking at her possessions with a sort of sad distaste, as if she has learnt something that changes how she views them
9
00:57 - 00:59
Reverse shot
We see that she owns a pool, which combined with her clothes, their house and their car suggests they are very wealthy
10
00:59 - 01:01
A steadicam close up of the man this time, following his movements. The shot is in every way similar to the previous shot sequence
We see the man walking through a dark corridor which is highly suspicous as it had previously been insinuated that he was going to work or some other such appointment
11
01:02 - 01:05
A steadicam mid/long shot of the woman kneeling by the pool
She is drinking a glass of wine, which is unusual given the early time this is set in, suggesting she is upset enough to resort to alcohol
12
01:06 - 01:08
A jump cut to a steadicam close up of the womans face as she kneels by the pool
The jump cut creates a jarring feeling and suggests negative emotions 
13
01:08 - 01:11
Continued shot 10
The juxtaposition of the man walking through the dark corridor and the woman crying suggests some sort of connection, i.e. wherever he is going is the source of her sadness
14
01:12 - 01:16
A steadicam close up of the woman lying on the floor as she removes her wedding ring
The removal of the wedding ring is a symbolic process as it suggests she is relinquishing her love for him or their marriage
15
01:17 - 01:21
A wider version of shot 10
The man is now clearly searching for something or someone in the bar, perhaps this will reveal the source of her sadness
16
01:22 - 01:25
A handicam close up shot that is static
She is visibly struggling to breathe, as if the pain of whatever she is going through is killing her. Furthermore her makeup is smeared which connotes prolonged crying and a lack of care for ones self (due to total misery)
17
01:26 - 1:29
A stationary, steadicam close up of the woman turning around
The woman turns around with a seductive smile, which seems very odd as it is inferred that she is smiling at the man (although we dont know if thats so or why)
18
01:30 - 01:32
A stationary, steadicam close up of the man smiling
The mans wide, lecherous smile disgusts the audience as we realise he has been cheating on his wife, and she knew all along. This is furthered by the way he stares at her lips, a signifier for lust
19
01:33 - 01:31
Static long steadicam shot of the two getting close
The mistress lays her hand on his shoulder and smiles brightly, confirming any doubts that they are having an affair (as opposed to being relatives etc)
20
01:32 - 01:35
Static steadicam close up of the wifes hand as she drives somewhere
We see she has removed her wedding ring, which symbolizes how she has shed her love for her husband
21
01:36 - 01:40
Static steadicam extreme close up of the wifes eyes as she wipes away tears and makeup
The raw emotion in her eyes is palpable in this shot, and inspires sadness in the audience
22
01:40 - 01:45
Static steadicam close over the shoulder shot of the couple drinking shots
The two are well dressed in fine clothes suggesting they are wealthy, and the soft warm lighting on their faces creates a sense of intimacy
23
01:46 - 01:48
Static steadicam close up of the woman as she gags on her strong drink
Her expression shows distaste at the drink, so she is clearly a relatable, real person as opposed to the heartless mistress we take her for originally
24
01:48 - 01:50
Static steadicam close up as she shakes away the drinks flavour and laughs with the man
The husband is drinking even more than her, suggesting he might need the numbness of alcohol to dull the guilt he feels about his actions
25
01:51 - 01:56
Steadicam close up of Sam Smith, the camera sways and moves sideways (panning slightly)
We finally see the singer performing (this is the performance element of the video) which creates para-social intimacy
26
01:56 - 01:59
Wide angle tripod shot of the wife as she drives home from the alcohol shop
Again she is driving somewhere but we don't know precisely where
27
02:00 - 02:02
Steadicam close up over the shoulder shot of the husband, the camera sways with them as they dance
We see in his non-verbal language (particularly facial expression) that he feels guilty about his abhorrent actions
28
02:02 - 02:07
Steadicam close up of the wife driving home
Her smeared make up reminds us of her depression and the lighting suggests innocence and vulnerability
29
02:07 - 02:09
Static close up of the couple as they kiss 
This is the first time we see the man engage in outright cheating and it repulses the audience 
30
 02:12 - 02:17
Steadicam medium shot which follows the wife 
We see he rows of bottles which we instantly associate with alcohol, which is confirmed when she emerges drinking from a bottle of wine before even paying for it 
31
 02:18 - 02:20
Steadicam mid shot which follows the couple as they playfully walk away 
They are both clearly happy and lustful and his treachery as the husband disgusts the audience 

Points of Interest

  • This is both a narrative and performance based video
  • The narrative side creates repeatability and establishes a meta-narrative of Sam Smith
  • The performance side creates para-social intimacy
  • The unanswered questions about why she took him back etc create repeatability

Technical Points

  • The footage is always shot using a steadicam which creates a sense of perpetual motion, which is a convention of popular music videos. From this I suggest we shoot very little if any of our music video with some sort of motion rig. It is also worth noting that this can be used to create a sense of pace.
  • Only soft lighting is ever used in this video, which is something I don't necessarily agree with. From research I have conducted I have learnt that hard lighting i.e high contrast, well defined lighting, can have a large effect on how the footage is interpreted, for example it can make someone appear angry or strong.
  • Slow motion is used extensively which I like as it gives the scene a sense of dreamlike gracefulness.
  • Depth of field is used to create a more visually impressive shot which places focus on the subject of the frame as it excludes the background from the shot.