Imagine Dragons – I Bet My Life – Analysis

Cinematography:

The music promo starts off with an extreme long shot establishing the setting, it then proceeds to use various mid shots and close ups. The close up is of the vocalist, which adheres to the conventions of a typical music promo, although the vocalist is presented at the beginning of the music promo, unusually the band are no longer seen after this point. This specific technique used in integrating a snippet of the vocalist is again very typical in music promos, they often use it to sell the band to larger audiences, providing more recognition into the band and emphasising the main singer. There is a continuous use of mid shots, close ups and long shots throughout, providing a clear view of the narrative, in which is used very carefully to increase interest. Quick cuts in between the narrative displays a view of the setting again.

The narrative is then focussed to two men fighting near the reservoir. A high angle shot is used to display power differences as the main character within the narrative is knocked down into the water. The camera is handheld during the fight scene to put the audience in perspective of the characters, making the audience feel integrated into the narrative, making the lyrics and what is visually seen more personal and so more intriguing to watch.

Editing:

A lot of special FX is used throughout the promo, especially during the chorus when the tempo of the music increases significantly: this may be used to provide more excitement when viewing the promo. In relation to the chorus, cuts are more frequently used, adhering to the convention that the type of music and tempo relates to the speed of what is seen. On the other hand, during the verses the editing is mellow just as the music tempo provides. There is also a lot of cross-cutting used, from the main character to a tracking shot over the reservoir, maybe as a foreshadowing technique and hinting that the character is on his way to ‘freedom’ connoted by the large open space displayed.

As the chorus hits, visuals represent this. From the boy being sucked into the dam, waking up on a boat usually, to falling down a waterfall. It seems that every time the chorus is on, a key event in the narrative is shown. There is a lot of references to dreaming and sleeping within the lyrics, so the audience are already hinted that the boy may be dreaming earlier on. A graphic match is then used at the end, when he is pulled out of the reservoir. Also motivated cuts as also used, such as when the lyrics say ‘that’s the last you’ll see of me’, the boy is then submerged underwater.

Mise en scene:

Costume of the two boys seems to be typical old farmers wear. The narrative is unusual yet intriguing due to its setting in an underwater house, the lighting is low key from the beginning of the promo towards the middle section of

the narrative until the boy wakes up in a boat, lighting become high key, connoting hope and maybe forgiveness and understanding on the dispute caused with his acquaintance. Overall the lighting is set in relation to the melody of the song, so more ‘warm’ colours are used.

Narrative and Performance:

The music promo follows Todarov’s theory. From an equilibrium to a disruption (two guys fighting), to a recognition (during the boat scene, lighting expresses a happy atmosphere) and attempting to fix damage to a new equilibrium where we see the guy help him out of the water. In relation the Andrew Goodwin’s theory the music promo is amplification, where what is said can sometimes be seen within the visuals. It is overall an open ended, circular and singular narrative. Intertextuality is used within the narrative, it relates to the story of Cain and Abel within the Bible, where Cain kills his brother and is punished for his sins. In this case, the character who is pulled underwater is Abel and Cain is punished by left thought of guilt until he has the chance of forgiveness for his sins by pulling him back up from the water.