research: a2 media music video analysis (alternative genre)

41
MEDIA A2 ADVANCED PORTFOLIO- MUSIC VIDEO ANALYSISES Music Video Brief-Holly Riley Candidate Number: 8396 Centre Number: 22321

Upload: hollyrileya2

Post on 16-Apr-2017

1.773 views

Category:

Education


0 download

TRANSCRIPT

Page 1: RESEARCH: A2 Media Music Video Analysis (Alternative Genre)

MEDIA A2 ADVANCED PORTFOLIO- MUSIC VIDEO ANALYSISES

Music Video Brief-Holly Riley

Candidate Number: 8396Centre Number: 22321

Page 2: RESEARCH: A2 Media Music Video Analysis (Alternative Genre)

Briefs(Music Video)

(Teaser Trailer)

(Advertisement)

(Soap Opera)

(Children’s TV Drama)

(Local Newspaper)

(Radio Broadcast)

(Website)

(Short Film)

My Chosen Brief:

“A promotion package for the release of an album, to include a music promo video, together with two of the

following three options o a website homepage for the band; o a digipak for the album’s release;

o a magazine advertisement for the digipak.”

This brief has been chosen because I wish to explore the area of film and I enjoy music as a whole. Creating a music video for the release of an original album will

benefit me in my understanding of the film/music/print/web industry.

Page 3: RESEARCH: A2 Media Music Video Analysis (Alternative Genre)

Research and Planning This research into music videos of my

chosen indie genre will help me to determine the conventions and stereotypical presentations/performances seen in the genres videos. With this, aided by the Goodwin theory, I will be able to demonstrate my ideas for the music video I wish to create.

Page 4: RESEARCH: A2 Media Music Video Analysis (Alternative Genre)

Music VideosMusic videos are a way of promoting a certain artist or band in various ways using different styles and/or techniques to make them unique to that artist in order to appeal to the audience of their music’s genre. Their main purposes are to: Promote the artist/band Increase the songs popularity and income The music video can be an extended outlet in order to appeal to a

wider selection of people Synergy is often used to mutually promote both the video and a

secondary product in order to increase the audience consumption Producer strategies are when a music producer changes the artists

image, and uses the music video in order to produce the end result Artist expansion is when an artist creates an artistic and unusual

video in order to shock and appeal to a wider audience

Page 5: RESEARCH: A2 Media Music Video Analysis (Alternative Genre)

ConventionsMusic videos are composed of different visual and editing techniques in order to make them unique and appeal to their genre audience. The main conventions are: Allusion, this is the way something is filmed to give the impression of

an event occurring, however, it is only edited this way to make us believe it. This can be exemplified in car crashes and explosions in film.

Links to other artists (intertextuality), this is when there is references to another artist or their work within the music video. Things such as editing style, paying homage to art and media texts is therefore seen.

Lyrical interpretations, this is when a music video uses visual accompaniment to express the lyrics literally.

Extending or consolidating the song’s meaning, this is when an artist or director subtly hint at the song’s meaning through the video.

Page 6: RESEARCH: A2 Media Music Video Analysis (Alternative Genre)

StylesMusic videos are varied, but show a similar style to one another, which are: Performance based styles which show the artist literally performing by miming the words

and expressing emotion, this is called a pure art clip. Narrative videos tell a story of the song to the viewer directly, with the video being based

around the issues within the narrative. Surrealist videos are dreamlike and often use unrealistic elements to give a sense of an

altered reality to the viewer. Animation is used to display a rapid sequence of images to create the illusion of movement

and it adds a quirky flare to a video which is often seen in alternative music genres. Interpretive is when the music video is unspecific to its audience, so they are left to decide

the videos true meaning for themselves. Impressionism is similar to surrealism as they both serve the purpose of taking the

audience away from reality. Pastiche style videos show the qualities of another music video through adaptation. Parody music videos are a sarcastic take on existing artists/music videos and are often

used to demonstrate comedic farce. Homage is a style used to demonstrate respect to someone or something through the use

of visuals. Art clip is when no perceptible narrative can be seen and there is no miming from the

artist.

Page 7: RESEARCH: A2 Media Music Video Analysis (Alternative Genre)

Techniques There a is a wide array of techniques which range from

editing to visual effects in order to impact the style of a music video, these techniques are:

Cutting to the beat, this is when a series of shots is edited to cut in time to the beat of a song.

Miming/lip syncing, this is when the artist takes on a performance style by looking as if they are signing the lyrics to make an emotional connection with their song. This is very conventional in all types of music videos.

Multi-image is the use of multiple shot types on the screen Editing techniques can include animation, such as CGI and

green screens, as well as stop motion or claymation in order to take a more artistic, surreal style in order to represent their music.

Page 8: RESEARCH: A2 Media Music Video Analysis (Alternative Genre)

Andrew Goodwin Theory: 6 statements to identify in the analysis of music videos

“Music videos demonstrate genre characteristics” (e.g. stage performances in metal/rock videos and dance routines in female pop groups)

“There is a relationship between the lyrics and the visuals” (either illustrative, amplifying or contradicting)

“The demands of the record label will include the need for lots of close-ups of the artist and the artist may develop motifs which recur across their work” (e.g. A visual style)

“There are frequent references to the notion of looking (e.g. screens within screens, telescopes, mirrors etc.) and particularly voyeuristic (sexual) treatment of the female form”

“There is often intertextual references” (to films, TV programmes or other music videos etc.)

“Whether the video is primarily performance-based, the narrative-based, or concept-based and how each element of each is used in it”

Page 9: RESEARCH: A2 Media Music Video Analysis (Alternative Genre)

Music Videos to Analyse

Fun: We are Young ft. Janelle Monae

Alt-J : Breezeblocks

"We Are Young" is a song recorded by American band Fun, featuring Janelle

Monae. It was released September 20th 2011 as the main single for their second

studio album, Some Nights. The song received generally positive reviews from

music critics, with many noting the song as a breakthrough for the indie genre. The video was directed by Marc Klasfeld to

accompany the single.

"Breezeblocks" is a song by British alternative indie rock quartet alt-J from their debut studio album An

Awesome Wave, released in 2012. The single was released on 18 May 2012 as the album's second single.

The video was directed by Ellis Bahl.

Click on pictures to go to YouTube video

Page 10: RESEARCH: A2 Media Music Video Analysis (Alternative Genre)

Music Videos to Analyse

King Krule: Octopus

"Ho Hey" is a track by American folk/rock band The Lumineers,

recorded in 2011. It was released on June 4, 2012 as the lead single from their debut self-titled studio album. The music video was also released on March 11, 2012.The video was

directed by Ben Fee.

“Octopus” is a song by English singer-songwriter, King Krule, released in October 2012 with

Rinse Recordings. It was a single for his EP Rock Bottom. The video was directed by Paraic and Michael

Morrissey.

Page 11: RESEARCH: A2 Media Music Video Analysis (Alternative Genre)

MUSIC VIDEO ANALYSIS

Fun – We Are Young

Page 12: RESEARCH: A2 Media Music Video Analysis (Alternative Genre)

“Music videos demonstrate genre characteristics” (e.g. stage performances in metal/rock videos and dance routines in female pop groups)

This music video portrays a relatively typical live gig at a venue, however, its use of slow motion editing and dark lighting contrasts the genre characteristics for indie pop videos. In the shot on the left, there is a stage performance with stereotypical band proxemics, with the lead singer in centre stage, and guitarist to the side, for example. This is to show us the genre characteristics of performance style videos, which are conventional and popular, as we get to see the band for ourselves. The atmosphere on stage is portrayed through the chiaroscuro lighting, with spotlights and a dark background. We can see a hint of pink in this wide long shot, which implies passion for the music the band are playing. The long shot acts as an establishing view of the band, and displays their formal dress of black suits and ties. The lead singer is wearing a tuxedo, and holds the mic stand off to the side as he jumps to show he is passionate about the music, and expresses a “wild” representation of the band. The use of green streamers as a prop highlights the party atmosphere and makes the venue seem fun.

The shot below is a long shot which is characteristic of the performance narrative because it clearly shows the setting, which is a venue location for the band. The natural dark lighting infers it is night time in the shot, with dark shadows of the people having a disagreement. The sign above them is presented in an old fashioned movie theatre style, and promotes the band song title. The use of vintage elements is popular within indie music videos.

Above is a mid shot of the guitar player being sprayed with water during his performance. The guitarist is off-centre to give an interesting composition to the shot, and is closing his eyes to shield himself from the water. This, combined with his oversized glasses, represents him as a quirky person, which is a characteristic seen in indie videos. The shot is filmed in slow motion so we can see the pull focus of the keyboard player in the background. The guitarist takes the foreground of the shot because he could be considered a more important/ popular member of Fun. There is a smoke machine which is used for theatrical purposes, and to give the impression of a wacky atmosphere with the conventions of a performance style. We understand from this shot that everything has gone out of hand, yet the band play on, making them seem exuberant.

Page 13: RESEARCH: A2 Media Music Video Analysis (Alternative Genre)

“There is a relationship between the lyrics and the visuals” (either illustrative, amplifying or contradicting)

(Left) Amplifying the disco ball prop in this wide shot of the performance creates an emblem of the lyrics, “We can burn brighter than the sun”. The shot does this as we see the band performing on stage, and the stage lights hit the disco ball, so it reflects to the camera, highlighting its presence in the shot. The disco ball is falling which implies that the venue, as well as the night, Is falling apart. Having the sun being represented by a disco ball connotes the party atmosphere in the hall venue setting. The people in the shot are empowered to embody the sun, representing the band as dominant and confident, which gives us positive connotations for their success. The off-centre positioning of the camera and framing suggest the night is beginning to become unstable, which gives the viewer a skewed perspective of the events, it also allows us to focus more on the disco ball, allowing us to make the connection between the graphic match of the sun and the prop of the disco ball. Therefore, this shot shows us an amplified, symbolic representation of the lyrics.

The shot on the right is illustrative of the lyrics because of the literal display of a girl standing from across the room from the perspective of the viewer. This indicates a point of view shot type, which shows a direct relationship between the lyrics and the visuals, “My lover, she’s waiting for me, just across the bar”. A model is seen in the centre of the shot, with close framing, stood behind someone's shoulder which is seen in the foreground. We can see a pull focus in this shot because she is made the centre of attention by standing alone in the middle of the frame, in focus. The extra stood near her is seen in a dark top and red skirt, talking to someone off-camera, and the man in the foreground is seen running away from our view in a shirt worn informally, with the sleeves rolled up. This shows us that the extras were used to imply a busy party atmosphere, but cleverly wear darker colours in their costume so they won’t detract attention of the woman in the centre. She wears a dark tartan dress, which is fashionable and shows she has an individual style. She seems distracted however, by her phone, which she is seen smiling at, which makes us intrigued to know what she is doing, as her supposed “lover” is on stage performing while she texts someone else.

Page 14: RESEARCH: A2 Media Music Video Analysis (Alternative Genre)

“The demands of the record label will include the need for lots of close-ups of the artist and the artist may develop motifs which recur across their work” (e.g. A visual style)

Fun’s “Carry On” video features a similar focus on the band with a conventional performance style.

There are multiple mid close-ups of the lead singer as he performs by mouthing the lyrics to the song. This footage is edited in slow motion, so in order for the mouthing to still be in time to the lyrics being heard, the artist would have had to mouth lyrics while filming to a sped up version of the track. This has been done to give the video a more professional look. The conventions of having lots of close-ups in this video allows us to recognise the band from the extras in the party. Also, I have noticed that each close-up is similar to another because he is always filmed in the same place, which is on the stage in the setting of the club. We can see the dramatic dark lighting behind him to add to this party-like atmosphere.

There are visual motifs across their work as I looked at Fun’s previous and latter music video releases. I found their video for “Carry On” was the most similar in its shots of the band together. This is because the two shots either side of this text feature a long, wide shot of the stage setting to establish the scene. Also, similar red/pink and chiaroscuro lighting effects have been given to the stage, with the main difference being the audience in front of the stage in “Carry on”. Also, more obviously, the band are wearing different costume, as in “Carry On” they wear mismatched colours, and jeans which comes across as more casual than in “We Are Young” in which they all wear formal black and white costume. This shows how the record label have taken into consideration the band’s unique style to make their visual appearance more attractive and memorable to a mass audience.

Fun’s “We Are Young” video resembles their other release,

resulting in a developed motif for performance style videos.

Page 15: RESEARCH: A2 Media Music Video Analysis (Alternative Genre)

“There are frequent references to the notion of looking (e.g. screens within screens, telescopes, mirrors etc.) and particularly voyeuristic (sexual) treatment of the female form”

This music video features many still shots with wide framing, so there are few references to this idea of the ‘notion of looking’. This video does highlight the screens within screens as the camera focuses on a phone. At the time of the video’s release, this was a new Windows phone model, and the home screen is shown clearly in this close-up of the phone as it was thrown through the air, creating a sense of synergy with the video and product as both mutually promote one another. The pull focus is on the object itself to allow the audience to recognise the brand and how modern the technology was in the video. It is also a contextual reference for the future, as an audience will recognise how old the model of the phone is in relation to how old the video is. I have noticed that there is a lot of low-key lighting surrounding the phone, perhaps to make the phone’s lit up screen stand out more as it soars toward the camera with slow motion editing. The slow motion editing style gives us an predisposition as to how this is a turning point in the video’s plot, as this happens before the actors go wild in the venue.

An over the shoulder shot on the right demonstrates how the notion of looking is being utilised for convention. The video has no narrative, yet we are shown this personal texting conversation between two unknown people. The messages can be read as , “When?” and the reply being texted during filming reads, “NOW” just before the woman throws the phone. This suggests that she began a planned event which leads the video into total chaos, as from this moment onward, the chorus begins and the people at the party run riot in the venue. The notion of looking is not strong in this video, because of the amount of still shots and lack of camera movement, so we act as onlookers of the events taking place, and our attention is drawn both to the party getting out of hand and the band’s performance. The shot on the right is a close-up with shallow focus as the back of the woman’s head is visible, but not focused so it gives the allusion we are reading her texts from over her shoulder, to make the audience feel as if they are participating in some way.

Page 16: RESEARCH: A2 Media Music Video Analysis (Alternative Genre)

“There is often intertextual references” (to films, TV programmes or other music videos etc.)

“Fun. Say Making ‘We Are Young’ Video ‘Was Terrifying’ Article by James Montgomery for MTV (01/20/2012) 'There were a lot of moments in the video that ... should have ended a lot worse than they did,' the band says.”

An extract from the interview, direct quote, ““We were really adamant about getting back to the heyday of music videos, you know, the mid-’90s, when we were growing up,” Antonoff said. “Videos like [the Smashing Pumpkins’] ’Tonight, Tonight’ and Spike Jonze’s slow-motion ’Wax’ video [’California’] … just these videos where it’s not some giant narrative, and it’s not a mini-movie, it’s a cool music video. It’s kind of abstract, but to us, it makes sense.”And really, that grandiose spirit of just going for it is also what fuels the band’s wide-screen, everything-but-the-kitchen-sink album Some Nights (due February 21). It is very much the sound of a band breaking barriers, pushing boundaries and gunning for the big time … and, yes, Fun. will happily admit to all of those things. After all, they’ve been working toward this moment for nearly a decade now, and they’re going to take full advantage. Even if it kills them.”

This music video pays homage to two specific music videos the band liked in their youth, which is discussed in this interview. They state that they only wanted a video which was “cool” as opposed to having a firm narrative. This interview sums up

the motive for creating the theme of chaos, because the band wanted a cool, visually uplifting video to portray their childhood, and the chaos they created as kids. This is interesting for intertextuality because the video the band created pays homage to the videos they mentioned, without being a direct copy of the visuals, as seen on the next slide.

http://www.mtv.com/news/1677668/fun-we-are-young-video/

Page 17: RESEARCH: A2 Media Music Video Analysis (Alternative Genre)

“There is often intertextual references” (to films, TV programmes or other music videos etc.)

On the right is a screen shot of both “Wax” and “Fun’s” music videos, in which it is obvious where inspiration became apparent. Fun have paid homage to this music video b including a man running, in slow motion, through a crowd but with fairy lights as part of his costume. In Wax’s music video, there is a slow motion tracking shot of a stuntman on fire, and Fun parody this by recreating it, but more safely, as seen below.

“Tonight Tonight” is a video that Fun have been inspired by because of its surreal quality, which they have tried to recreate in “We are Young” through the chaotic atmosphere with drunken people in a venue with dramatic, unusual lighting. Also, the visual motif of falling people is made obvious, as a man falls in front of the stage, like the couple in The Smashing Pumpkins’ video.

Although not copying the vintage era costume in “Tonight, Tonight”, Fun have tuxedos on to look professional whilst doing the performance, as seen in the screen shot above.

Page 18: RESEARCH: A2 Media Music Video Analysis (Alternative Genre)

“Whether the video is primarily performance-based, narrative-based, or concept-based and how each element of each is used in it”

The video has aspects of each music video style, but I think it is heavily reliant on the performance aspect in comparison to the others. Above is one of many shots of the lead singer and band performance lip-syncing the lyrics to the music in close-up, or playing instruments with pull focus, to show this is the most important facet of the video. The video opens with a close-up of the performance to make this the most utilised feature of the video, because the screen time for this is longer than for narrative or concept styles. The narrative element of the video is only really seen with the “lover…across the bar” who texts someone before throwing their phone, at which time the party gets out of hand and relatively dangerous with people falling from the ceiling and breaking glass etc. The concept falls into this as the homage style video pays respect to the slow motion style of Spike Jonze’s “Wax” music video. In this video, there is no clear narrative, which has been displayed in this video also, as we see the female “lover” once before we next see her leaving the venue alone. This is made obvious as she wears the same costume of a checked dress, and she walks away from the back door of a venue which is lit, and the old-fashioned theatre style screen on the building reads, “TONIGHT WE ARE YOUNG”. She walks away from the building and the door behind her is left open to infer she is not going back. This is the only reference to a narrative we gain as an audience, which makes me believe that the video is primarily focused on the performance and party concept.

Page 19: RESEARCH: A2 Media Music Video Analysis (Alternative Genre)

MUSIC VIDEO ANALYSIS

Alt-J - Breezeblocks

Page 20: RESEARCH: A2 Media Music Video Analysis (Alternative Genre)

“Music videos demonstrate genre characteristics” (e.g. stage performances in metal/rock videos and dance routines in female pop groups)

Dominant male ideology is shown in this two shot. The male runs to the females aid, as she cries to him. Use of low key lighting makes us believe they are in danger, and also follows the narrative of the male having just returned home from work. It is clear the female has been crying due to her smudged dark eye makeup, connoting her lack of control and representing her as a stereotypically emotive female character. The man turns round in the shot and so the female looks in the same direction so we as an audience understand that they are looking at the problem, which is another woman. This 2 shot is shown later on in the music video because of the reversed timeline seen in the video. This reversed timeline can be seen in other indie music videos such as “The Scientist” by Coldplay, in which the event of a car accident take place in the narrative. “Breezeblocks” therefore shows characteristics of the indie/alternative genre as it features a narrative, slow motion editing and a concept

The video is edited to the beat of the song which is an example of genre characteristics. The beat of the song is jumpy and rhythmic so this style of editing suits it as it draws attention to the music as well as keeps the pace of the editing standardised. It is important for this music video to keep the editing pace constantly upbeat because the clips are all in slow motion in reverse. This distorts the viewing experience and timeline for the viewer. They have to think backwards in order to “piece together” the puzzle of the conceptual narrative, which is based on the theme of obsessive love. In this extract, we see a close-up of a male with his head in his hands, wearing dark smart clothing (jumper and shirt) which would suggest he has come home from a working environment, adding to the stereotypical dominant male ideology of men being the workers in a household. He has his hands in his hair, and his body language (part of mise-en-scene) indicates he is frustrated and/or angered. We then have a straight edit to an extreme close-up of his hands, this is done to highlight the fact he is wearing jewellery. We can see that this ring is worn as part of costume to display that he is a married man, as he wears the gold ring to contrast the cooler tones in the shot in order to make it stand out. We immediately begin to think of negative situations in regards to relationships, which is a conventional topic for indie music as a genre. We then have a reversed slow motion shot of a tap with water running, to suggest the ex’s plan to drown his wife. This close-up makes us aware of the domestic bathroom setting and that time is passing slowly now that the event of his ex’s death has occurred.

Page 21: RESEARCH: A2 Media Music Video Analysis (Alternative Genre)

“There is a relationship between the lyrics and the visuals” (either illustrative, amplifying or contradicting)

“I love you so” are the lyrics being repeated over this screenshot. The male seems to be taping the females mouth back up, although, as the video is reversed, we do actually know that he was taking off of her. However this shot can be seen as contradicting of the lyrics as it appears he is silencing his wife, although it seems that he is to blame in the narrative as he has another woman in love with him, who has set out to kill him. This triggers the idea of infidelity issues in this married couple’s relationship. “She may contain the urge to runaway, but hold her down with soggy clothes and breezeblocks”- these lyrics are presented to us literally in this visual of the violent female having been killed by the breezeblock the male threw at her. She lies with her eyes closed to make her resemble a corpse in its coffin. The colour of the water is dark, and slightly red in colour to suggest her blood is present in the fluid. We see the breezeblock on her in the far right third of the close-up, from a slightly higher angle to make it seem like an eyeline match. We are seeing this from the perspective of the male who killed her, and we see the woman with no air bubbles, static in the water to make us realise she has passed away. The darkness of the lighting is utilised to give the impression that it is a dark event, and the element of guilt can be felt at the loss of her life.

“Citrizene, your fever’s gripped me again” is amplified as it refers to the other woman in the situation having controlled his life and made him cheat. This shows a visual example of interpretive lyrics and visuals. He grips his head in his hands, with a clear shot of his wedding ring to solidify the concept of his wrongdoings in this mid shot. His face is obscured by his arms to signify he is at loss and is ashamed to show his face now the truth is out.

“I’ll eat you whole” refers to the woman’s obsessive love for the married male, as she brandishes a knife. Low key lighting makes us believe this character is sinister, and her gaze at where the couple sit suggests she knows them, and suggests she is an ex of the male. This is somewhat amplifying with its violent nature in relation to the lyrics, however it contradicts the lyrics as she shows no inclination to actually eat the man, as the lyrics suggest.

Page 22: RESEARCH: A2 Media Music Video Analysis (Alternative Genre)

“The demands of the record label will include the need for lots of close-ups of the artist and the artist may develop motifs which recur across their work” (e.g. A visual style)

This video has a conventional narrative style, with an interpretive plot, with the use of actors to portray the events on film. The actors are used, so the video could be described as a narrative art clip, as the artists are not featured in the video, but the meaning of the song is portrayed in it.

The narrative shows us a reverse of the events of an ex having tied up the new woman in her ex’s life. The close-ups of the wedding rings (which are matching) between the woman in the cupboard and the male show that they are married, connoting the ex’s jealousy as she is shown to be obsessive, holding the male at knife point. He fights her on the table and she attempts to throw a bottle at him, until he chases her with a breezeblock from a make-shift table in the house. Eventually, they enter the bathroom at which point it is alluded that he throws the block at the woman, and she falls in the bath which she intended to drown the wife in.

There are many other interpretations of the music video, however this is what I believe to be the plotline of the narrative, although it remains open-ended. This slow motion, interpretive narrative style is developed across their work, as the artists do not feature in most of their music videos, such as:

Every Other Freckle Taro Something Good

Page 23: RESEARCH: A2 Media Music Video Analysis (Alternative Genre)

“There are frequent references to the notion of looking (e.g. screens within screens, telescopes, mirrors etc.) and particularly voyeuristic (sexual) treatment of the female form”

This music video features this notion of looking through action match editing and eyeline matches. The director wanted it to feel as if we were the woman (the wife) who is trapped in the closet, so we can only observe the violent argument between the ex and the husband.

The shots above and below are close-ups of the wife in the cupboard. She expresses her emotion by crying and shaking her head, and we see these are used as cutaway edits between the narrative of the man and woman fighting. This allows us to gain an idea of her perspective and makes us feel empathy for the female in the closet. Below is an over the shoulder close-up of her as she cowers behind her husband, showing the stereotype of female weakness as she is too scared to react.

This fight is shot from many angles, including close-ups and this low angle wide shot from the corner of the sofa. The setting in this shot shows us a lounge with a big sofa and a kitchen table with cupboards in the background, suggesting an open kitchen and lounge space in a modern home. This use of setting makes the video seem more realistic and adds a thriller style genre as the man is being attached in his own home, making us feel sympathy as it was unexpected. The male typically reacts to the female with violence, as he grapples her and they sprawl on this table. However, the proxemics of this screenshot make their body language seem more romantic as opposed to violent. They could be seen to be passionate, perhaps reflecting a relationship they once had as they lie on top of each other horizontally. Although in this context, we know that they are physically trying to harm each other, showing the audience an allusion as we could interpret this act as sexual as the woman is involved. The reverse editing for this makes this fight sequence particularly seem romantic at first, until we see her pushing him aggressively on the table in a later shot.

The close-up of this knife is shot from a high angle to show us that it is from the perspective of the female in the cupboard. It is used as a symbol of violence and domestics as it is clearly a kitchen knife, representing the “double edged sword” of love, as we gage that the ex is obsessed with the male in the video, and now that she cannot have him, she chooses to harm him/potentially kill him. This object signifies obsessive love to the audience from the point of view of the wife who is helplessly looking on.

Page 24: RESEARCH: A2 Media Music Video Analysis (Alternative Genre)

“There is often intertextual references” (to films, TV programmes or other music videos etc.)

Alt-J based their video on the theme of obsessive love, with links of intertextuality from the book, “Where The Wild Things Are”(1963) by Maurice Sendak. The lyrics, “Please don’t go, I’ll eat you whole” as well as “love you so” are taken directly from the book. The video for “Breezeblocks” shows the narrative of a couple fighting, which eventually leads to murder. This shows direct connotations to “I’ll eat you whole” as this also relates to death. The words in the book are spoken by a monster when Max wishes to leave, and this is interpreted in the video as the ex trying to gain control of the male once he has left her for another woman.

“Do you know, where the wild things go? They go along to take

your honey” Sleep Party People – “A Dark God Heart” is a music video which explores the innocence of love as the child plays in the water without realising the woman in the bath is dead. She does not accept the woman is dead and tries to rescue her. The video gives new meaning to death and love as the child expresses no emotion, which contrasts the married man’s reaction yet he seems to convey relief and sadness. I think this video’s shots of the female in the water are similar to those in “Breezeblocks” because the subjects looks at peace, to represent the events are over, and no more harm is to come.

Page 25: RESEARCH: A2 Media Music Video Analysis (Alternative Genre)

“Whether the video is primarily performance-based, narrative-based, or concept-based and how each element of each is used in it”

“Interpretive is when the music video is unspecific to its audience, so they are left to decide the videos true meaning for themselves.” This is evident for this music video because there is lots of speculation over the true meaning of the video narrative. Below I have taken screen shots of comments posted directly to the music video on the ‘YouTube’ website’s comment section. Obviously, the users are quite unsure of the plot themselves, and the comment from ‘Lpycb fe’ has received the most ‘thumbs up’ which means it has positive feedback, showing that most people agree with this user in regards to their interpretation. Therefore, this suggests that the video does have a secure narrative, although it is debatable among its audience. This video is primarily narrative-based, however there are concepts and the running theme of ‘obsessive love’ which must be considered in its analysis.

Page 26: RESEARCH: A2 Media Music Video Analysis (Alternative Genre)

References to wedding rings reinforces the idea of infidelity and abuse in a relationship as it is clear the other woman is obsessed with the married man. Physical and emotional abuse is explored in the video through the actors roles and performance. This therefore suggests that the music video has narrative and concept, but with the performance coming from the actors and not the band themselves.

Cross cutting used between the fight and the woman in the cupboard is used to show how the events are taking place all at once, surge of emotional performance, without artists being directly involved in the video narrative. This is used especially towards the end of the video, near the time when the woman is killed.

“Whether the video is primarily performance-based, the narrative-based, or concept-based and how each element of each is used in it”

The bottle being smashed against the wall represents domestic abuse, as well as the shattering of any relationship the ex and the male would have still had. The symbolism behind this means that this video utilises a conceptual element.

Wide shots of the runaway scene allow us to see the whole event taking place. Although it is in reverse and slow motion, which distorts our understanding of the timeline of the video. These elements make the video suited to an art clip, with a narrative performance, but without the artists being featured in the music video themselves.

Page 27: RESEARCH: A2 Media Music Video Analysis (Alternative Genre)

MUSIC VIDEO ANALYSIS

The Lumineers- Ho Hey

Page 28: RESEARCH: A2 Media Music Video Analysis (Alternative Genre)

“Music videos demonstrate genre characteristics” (e.g. stage performances in metal/rock videos and dance routines in female pop groups)

This music video is primarily performance-based as it features the band playing their instruments together and lip-syncing the lyrics of the song, all in slow motion. Above is an over-the-shoulder shot of the artist playing his guitar, this has been taken at a relatively low angle so the audience can feel the busy party atmosphere. The shot is a close-up as pull focus is used, as the shoulder closest to us is blurred, and the subject playing guitar is in focus. This puts all attention on the artist conveying the message of the song, making the indie/folk genre appear to have a personal connection with their music. This represents the folk/indie genre as fun and carefree as the extras in the video seem to enjoy the music and company in the party.

On the right is a wide angle shot of the trio band singing and playing their instruments. They seem to be smiling which is conventional for the pop genre as the song is indie/folk/pop. This shot is tracked backwards with a dolly to give emphasis to the performers, which is a key characteristic for this genre. The artists are represented to be enjoying themselves to make the song more upbeat, allowing the audience to appreciate the song for it’s catchy beat. The use of performance in this shot shows the characteristic of stage as a central concept in the production of folk and pop videos. There is dim lighting in yellow tones to make it seem realistic, as if they were just walking down a corridor. The use of warm colours in neutral beige, with red curtains gives the viewer a positive feeling. The video has red curtains which is a conventional colour in indie videos, as it represents contrasting emotions of passion/love and anger/frustration. In this context, the red adds a warm tone, making the artists seem happy.In the shot on the left, we can see an obscured shot of the artist performing once again in the crowd of party-goers. This is a genre characteristic for folk/pop because it features its target audience within the video, making it more appealing. The artists in the band are wearing dark braces, fedora hats and shirts, to signify the country feel of the song as they are using typical instruments to represent this culture. The dark lighting in the wide shot is a convention for indie videos.

In the shot below it shows a wide shot of the feet stomping on the floor to the beat of the song. This highlights the beat of the song as being catchy, encouraging the viewer to want to dance. The low key lighting in the shot allows us to see the silhouette of the legs, but the spotlight behind the legs infers they are on a stage as it appears to resemble a spotlight. This performance element is conventional for pop and folk videos as dancing is traditional practice in folk history, whereas in pop videos, it acts as another conventional performance element.

Page 29: RESEARCH: A2 Media Music Video Analysis (Alternative Genre)

The music video has genre characteristics for pop as there is a party at the end, or an allusion to one. The video portrays a positive atmosphere, with the setting of a hall with dim low key lighting. The lighting in this wide shot is bright enough for the viewer to see the party-goers, and insinuates that it is night time. The prop of party streamers/confetti adds colour to the otherwise dark shot, conveying the happy atmosphere in a literal party depiction. The people in the party are represented as happy and enjoying themselves and the company to show thy are good friends and like the song they are dancing to. The female in this shot wears bracelets to make her representation feminine and hints toward the indie genre as she has them stacked, which is a trend amongst younger audiences. This shows that the video is modern and up-to-date so a mass audience are more likely to find it appealing.

Another genre characteristic is the use of performance, as this wide long shot displays the artist playing an acoustic guitar to the song. This is done to show the artists attachment to their music and make it a personal viewing experience for an audience. This shot features conventional camera movement, as a crash zoom is used to focus the attention on the artist. There is natural lighting, however it seems to be giving a chiaroscuro effect as it is dramatically dark and light in certain areas. The light coming from behind the artist could signify how his life is deserting happiness, as he sings “I’ve been living a lonely life”. There are fairy lights draping the wall on the left. The family portrait is on the right, as it appears he is singing to his family to add emphasis to the lyrics. The idea of having sentimental lyrics with a lonesome performer in a music video is very conventional for both folk and indie genres.

Page 30: RESEARCH: A2 Media Music Video Analysis (Alternative Genre)

“There is a relationship between the lyrics and the visuals” (either illustrative, amplifying or contradicting)

(below) “I've been living a lonely life” is illustrated in a literal sense in this video because the lyrics state the artist is feeling lonely, and the mid close-up of him shows him on his own. This shot tracks his movement on his side to make it seem as if we are omniscient, so we understand he is in solitude. The brown colours deepen the authenticity of his words as it is a natural tone, and the fact his costume is mostly brown including his guitar suggests he blends in. the costume has been chosen for the lead singer to blend in to highlight that he is lonely, because it shows he doesn’t stand out from the crowd as he is represented in this shot as unremarkable.

This music video includes the convention of lyrical interpretation. This shot if a family portrait is a mid close-up with unusual dramatic low-key lighting. The light is seen as a strip across the photo frame, which appears timeworn. The complimentary colours suggest wear because of the beiges and browns. These colour are natural and implies deterioration of the relationship between the artist and his family, “So show me family, all the blood that I will bleed”. This literal shot directly relates to the lyrics as it represents his family relationship as unstable because of the drab colours and dated frame combined with a vintage sepia effect photograph. These reasons make the lyrics and visuals illustrative because of the still shot’s direct relation to the lyrics.

(below) The lyrics “she’d be standin’ next to me” is represented directly in relation to the visuals because the lead singer of the band is in a mid three shot stood next to his male and female band members. The proxemics in his shot have been used to amplify the lyrics, and suggests to us that his band are now there to support him in his struggles, and implies a romantic relationship with himself and the singer to the right of the shot. The mise-en-scene is of a domesticized hallway. Colour imagery is soft with warm reds and pinks to match the lyrics which suggests love and positivity to the viewer.

Page 31: RESEARCH: A2 Media Music Video Analysis (Alternative Genre)

“The demands of the record label will include the need for lots of close-ups of the artist and the artist may develop motifs which recur across their work” (e.g. A visual style)

There is an array of close-ups of each member of the band in this conventional folk video. I have noticed there are correspondences between the shot types and lighting for each, meaning they are represented as having unity in the band because of these characteristics. The close-ups all have high-key and natural lighting, and each band member is lip-syncing the lyrics with smiles on their faces. The use of warm tonal colours to surround them in the pull focus background gives a soft effect, and connotes the meaning of love in the song, as well as denotes the band as friendly and cheerful people.

Shots of the lead singer in the band often feature him performing with his acoustic guitar and lip-syncing. I have noticed that the lead singer appears to smile less than his fellow band members, especially during his principal appearance walking down the hallway alone, perhaps to clarify the true meaning of his seclusion at the start of the track. He has a contrast of lighting at the start of the video to the end, as he is concealed behind darker lighting at the beginning, but at the party, he is surrounded by red tones and there is a soft focus background. This close-up has been applied to make the lead singer appear to alter, as the song advances into a merry melody, he becomes happier in synchrony.

Page 32: RESEARCH: A2 Media Music Video Analysis (Alternative Genre)

“There are frequent references to the notion of looking (e.g. screens within screens, telescopes, mirrors etc.) and particularly voyeuristic (sexual) treatment of the female form”

This is an extreme low-angle view of the ceiling and chandelier. This acts as a point of view shot for one of the party-goers. This is edited to be slow motion, and it is then covered by a finger over the lens of the camera. This is to make us feel like we are looking through the lens ourselves. The notions of looking here are subtle in approach, as it is used to show the atmosphere of the party, without relying on a conventional establishing shot. This notion of looking shows that indie/folk videos explore a range of interesting shot types to portray a party in a unique way.

This mid shot of a family portrait acts as a notion of looking because it is followed by a tracking shot down the hallway. The tracking shot simulates walking through the location as a viewer, making us feel as if we are in the video. This connection made between the video and viewer immediately creates a sense of allusion in the video because it is shot to make us believe we are there, and want to take part in the events being seen.

This is a close-up of a boot stomping on a light bulb in slow motion. The slow motion effect is conventional amongst indie genres as it highlights a moment, and makes viewing seem abstracted for the viewer. The notion of looking is explored because it seems like the close-up has been used to make it feel like an eyeline match.

This shot on the left is quickly faded in through black, perhaps to make us feel like we blinked. It is edited in slow motion which is a convention for indie videos. This wide shot of the performers and party-goers is taken whilst in the crowd, to give the notion that we are a member of the party, surrounded by lots of people, giving us a sense of inclusion and a realistic atmosphere. On the right is a tracking shot of the fairy lights in the hallway. This opening tracking shot adds interest to the video as it is unusual to open a video with camera movement, so it gives the effect of a point of view shot. This notion of looking is subtle again, because we can see a window in the door and it reflects the lights, to make the viewer acknowledge the life-like mise-en-scene and draw them in to the viewing experience.

Page 33: RESEARCH: A2 Media Music Video Analysis (Alternative Genre)

“There is often intertextual references” (to films, TV programmes or other music videos etc.)

It seems to me that indie videos tend to be pastiches of horror genre games and films as these shots on the right are taken during gameplay of “PT Silent Hills”. Indie/alternative genres have a convention as using dark lighting and dark topics to sing about in their music, so the horror genre tends to be physically portrayed in their music videos. The shot of the family portrait from the music video and the drab hallway remind me of the hallway and cluttered table in the game, which also features a family photo. The colours are dark and brown, and the chiaroscuro lighting style is dramatic both in the music video and in gameplay, making them a linked parallel.

Above is a screen shot of popular music video of American singer PINK!’s ‘Family Portrait’. This acts as a pastiche as this video was highly viewed and had a mass appreciation as the song was so popular in its release. The song has similar issues you would expect the lead singer of The Lumineers to have experienced.

Page 34: RESEARCH: A2 Media Music Video Analysis (Alternative Genre)

“Whether the video is primarily performance-based, narrative-based, or concept-based and how each element of each is used in it”

The music video for ‘Ho Hey’ is very conventional as it follows a typical performance narrative. This is shown through the amount of close-ups of the artists lip-syncing the words and playing instruments throughout the video. The lead singer is given the most screen time, and this is the first time we see him on the left, which immediately introduces us to the performance style of video.

The performance-based element is used in the music video to show the genuine talent of the musicians and makes the song more personal to the artists themselves. They are seen smiling and singing to each other with close proxemics to represent their positive relationship, and this connotes that they enjoy performing. This makes the audience feel good because it seems pleasing and the happy mood of the video and performance allows us to feel relaxed and sing along, which has been chosen carefully. This song will have gained popularity because of the conventions the video has followed, showing the importance of a performance narrative in indie music videos, as the fans want to see the band perform because they are often a niche, loyal audience.

Page 35: RESEARCH: A2 Media Music Video Analysis (Alternative Genre)

MUSIC VIDEO ANALYSIS

King Krule- Octopus

Page 36: RESEARCH: A2 Media Music Video Analysis (Alternative Genre)

“Music videos demonstrate genre characteristics” (e.g. stage performances in metal/rock videos and dance routines in female pop groups)

“Octopus” is an indie/alternative song whose music video portrays the breakdown of mentality in an unstable relationship.King Krule is seen lip-syncing to the music which portrays the video’s conventional performance style. He expresses emotion through use of facial expression and body movement. The artist is seen shaking his hands near his head as if to signify a jumbled mental state as he seems frustrated to the audience. This body language is paired with the bright coloured chiaroscuro lighting in red to convey his anger at the failure of the relationship and the passion he once had for the girl. This is typical for an indie genre music video in relation to the lighting having dramatic shadows, however, it is unconventional for the video to feature coloured lighting to reflect its emotion. King Krule never looks directly into the camera (breaks the fourth wall) which is relatively conventional for indie videos as the purpose is to portray the meaning of the song. This allows us to see the acting performance and see the video as an ‘art clip’ because of its lack of narrative. This music video is therefore conventional for its genre because of its surreal quality, demonstrating the artists drug abuse through “trippy” visuals. The video is conventional for the indie genre because it consolidates the songs meaning by using interpretive visuals, such as the contrast of red and blue lighting to signify the artists emotions and the unusual editing style.

The key conventions seen in the video include the artist lip syncing the words, but in slow motion. This effect is achieved by making the artist mouth the words to a sped-up version of the track, then the footage is slowed down and layered over the original track tempo for a stylistic effect. The slow motion video sequences are very common in alternative music videos as it makes the shots surrealistic to the viewer. In this case, the artist is using drugs, as seen by the filter prop in his hand and the smoke visuals.

This canted angle low shot shows a close-up of King Krule as he closes his eyes to sing. This performance style is popular for indie music videos, making it more accessible to the audience. Red lighting is used to show his frustration with the breakdown of his relationship literally. The rule of thirds is used in this shot to make King Krule stand slightly off-centre. Close-up shots of his face show his reactions and make him seem more emotional, making us sympathise with the artist and interpret the lyrics for ourselves.

Page 37: RESEARCH: A2 Media Music Video Analysis (Alternative Genre)

“There is a relationship between the lyrics and the visuals” (either illustrative, amplifying or contradicting)

“It’s been showing me up, I’ve been losing my touch”

“So stop and think” is portrayed in this video literally, yet it is paired with visuals to make the audience re-enact the lyrics themselves. The close-up, canted angle of a bathroom sink at first appears normal, but the slow motion editing effect and the change of green to red lighting highlights an octopus tentacle. The tentacles literally portray the title of the song, which is unconventional for the indie genre, as an abstract song title often remains unrelated to the visuals. This element makes the video seem more artsy, as it carries on with its marine theme which is disconcerting to view in a domestic bathroom.

The lyrics of the song illustrate the breakdown of the artists relationship, which has been chosen to be represented in an interpretive way in this video. This shot is a steadicam with incremental backing away from the wide angle view of the male and female subjects. The bathroom setting shows the water and marine style motif of the video, but domesticates it so the visuals of the marine mask prop seem more surreal. The female is seen rocking back and forth in the bath to show she is thinking (as requested of her in the lyrics), but mentally unstable, as this is a reference to the body language seen in many horror/thriller films such as “Silent House” and “The Amityville Horror” (2005) . The use of red flashing lights behind the woman in the bath signifies the torment and instability of the pair in the disintegrating relationship.

These lyrics signify King Krule’s lack of ability to cope with the break down. “I’ve been losing my touch” represents his recent turn to drug abuse, which is shown literally in the video with a low angled pan to the right, revealing a mirror with him smoking a joint. The shot steadily sweeps to the right, blurring the bathroom setting. The blue flashes of light creates the sense of instability as jump edits are used to slightly alter the composition of the shot for a second, then revert to how it was originally. The mirror is used as a prop to show how we are the outsiders looking in on the situation, perhaps suggesting how we are of no help to the artist as we can only watch the events unravel and his decline in sobriety. He is losing touch with reality, despite the mirror reflecting it back at him literally. Therefore, the symbolism of the mirror is represented in the lyrics as Krule is trying to indicate how his reflection of the past and present are similar in the way that he is not progressing in life, as his addiction gets worse.

Page 38: RESEARCH: A2 Media Music Video Analysis (Alternative Genre)

“The demands of the record label will include the need for lots of close-ups of the artist and the artist may develop motifs which recur across their work” (e.g. A visual style)

The label “Rinse Records” require for King Krule to have close-ups of his performance because he has so many alter-egos as an artist, such as Zoo Kid, DJ JD Sports, Edgar The Beatmaker and Lankslacks. His representation as Krule is often emotional and hazed which differentiates this artist from his other stage names. In this video, King Krule never breaks the fourth wall, despite the almost constant visuals of his face. The artist uses exasperated body language, throwing his hands in the air and, once sat on the bathtub, putting his head in his hands. This is seen below, which literally illustrates his emotional stance on the situation to make the audience find the video more relatable.

On the right, the visual motifs recur throughout the video. It includes a fade to a black setting, with a short pause, and at the top of the shot a display of LED lights flicker on. They are arranged in a pattern which appears unrelated to anything seen in the video, again making it lean towards a conceptual style. However, I believe that these lights signify hope for the relationship either to repair or for those affected to leave unscarred. The use of lights in a pattern of a block makes it seem like they are distant from each other light, perhaps showing the viewer how far the artist has to reach before resolving the situation, and therefore, finding hope. The use of cross cutting between these visuals and the artist show how these two things are directly related to one another. These shots always cute between a low angle shot in the bathroom with the red light blaring in chiaroscuro, to create a dramatic effect.

Below is an example of how the use of low angle shots and stylistic jump editing techniques can highlight the emotional state of the performer. In this case, the red lighting and dark shadows make a stark contrast and signify Krule’s inability to cope without the drugs. The shot is cut with straight edits, and the composition of the shot moves up slightly during this cut to make it more outstanding to the viewer. This clever input of editing techniques shows us how the drugs have taken over his current mental state, as he smokes in the bathroom.

Page 39: RESEARCH: A2 Media Music Video Analysis (Alternative Genre)

“There are frequent references to the notion of looking (e.g. screens within screens, telescopes, mirrors etc.) and particularly voyeuristic (sexual) treatment of the female form”

The notion of looking is a prominent concept within this interpretive style video, which is relatively conventional in alternative music videos. In the shots below, we can see the use of a mirror prop within the bathroom setting, which could be used to signify how outsiders looking in on the situation are equally as helpless as the artist in repairing the relationship. The mirrors are shot in the beginning of the video under the red chiaroscuro lighting, with blue lights flashing at the side as Krule smokes alone. The second instance we see the mirror is when he stands beside the bathtub, in a green light. The green colour makes for a sickly, aqua visual on the video, highlighting its marine theme as alluded to in the song title, “Octopus”. These marine visuals are supported when a naked female form is seen in the bathtub alone, with seaweed covering her knees, which are drawn into her chest. This scared body language is later seen in full in a wide shot of her rocking in the bath, to refer to her mental imbalance. Although this use of the female body is in its naked form, we do not see anything inappropriate, but instead gain a sense of her vulnerability. Her identity is concealed by the diving mask which adds to the surrealistic quality of this artsy video.

Contrast of coloured lighting signifies the effect the drugs are having, as Krule calms himself at the latter part of the video (by the bathtub) having taken enough drags of marijuana.

Page 40: RESEARCH: A2 Media Music Video Analysis (Alternative Genre)

“There is often intertextual references” (to films, TV programmes or other music videos etc.)

“Silent House” 2005 is seemingly an intertextual reference explored in Krule’s music video. The music video has many horror and thriller genre references, to make the audience feel uncomfortable with viewing the artists decline. In the horror film, the female character is escaping antagonists, and begins to rock herself back and forth, reminiscent of the girl in the bathtub in Krule’s adaptation/pastiche.

The use of red lighting in the bathroom reminded me of the red bathroom seen in iconic 1980’s horror film, “The Shining” in which the main character goes insane. Domesticating this scene makes the music videos visuals haunting to a viewer as it reminds us of this scene. The video reminds me of the horror “Silent Hills” playable teaser, in which you speak to a foetus, which is similar to the octopus spilling out of the sink in the music video. This had a lasting thrilling effect on me as a viewer as the idea of having a creature in the bathroom sink is frightening, as most horror scenes take place in bathrooms, such as in the film, “Psycho”. The octopus tentacles add an element of pastiche in this video as it relates to this video game.

The theology of “looking” is a recurring motif within this music video, and it relates directly to the 2001 classic horror game, “Silent Hill 2”. It seems like a direct pastiche because of the use of green lighting which is seen in the game. This green lighting adds a faint tinge to the artist, making us associate the colour with illness. This is a subtle hint of the video concept of mental illness.

Page 41: RESEARCH: A2 Media Music Video Analysis (Alternative Genre)

“Whether the video is primarily performance-based, narrative-based, or concept-based and how each element of each is used in it”

I believe that this video is conceptually based because of the use of marine visual motifs, such as the octopus in the sink. I also think that the use of the lights is hinting at the concept of hope, as we see the same lights twice in the video to serve as a reminder that, although everything seems dark in the lyrics and visuals, there is still some light in every situation.

Although this video does follow few conventions of

performance and the stylistic approach of “looking”

through mirrors and cracks in the doorway etc. I think that the video is too interpretable

for it to follow a narrative. There are clear notions to

emotional distress through Krule’s body language and the use of red chiaroscuro lighting for his emotional

demands being shown literally.

The opening shot of the opening doorway revealing a red bathroom hints at danger and immediately gives the viewer a sense of unease as they are looking through the camera to gain understanding of the situation. The lack of the videos narrative shows us how we must use the concepts to interpret our own meanings.