Showing posts with label RMA Research. Show all posts
Showing posts with label RMA Research. Show all posts

Monday, 5 March 2018

RMAs - Ending of Songs

As we had to cut the song of our music promo short, the music ended very suddenly and did not sound right. To improve this, I looked back at my RMA research to see how other indie music videos conventionally finish theirs.


Wild ~ Troye Sivan



The song fades out slowly during this shot and quickly cuts to black before they kiss. This is foreshadowing the next video as part of this trilogy, therefore works effectively in this sense. The elongated last note before the silence while still showing the shot is also significant to the storyline as it adds a sense of longing.
Therefore, for my music promo, I will link it to my storyline and see what themes there are to explore to finish it effectively.


Wake Me Up When September Ends ~ Green Day


This music video ends with a shot of the band playing the song and then finishing- emphasising the end of the song. The shot then fades to black. However, as this video started off with dialogue, it then cut to a pan shot of one of the characters who says dialogue, adding continuity.
As my music promo does not include dialogue, I will not be needing this, but ending on a shot that is significant to the story could also be a effective way to end it.


Born to Die ~ Lana Del Rey



This music video ends with a quick cut to black, rather than a fade. The last shot is a long slow zoom of her hugging the man, which is thought to be suggesting the afterlife - a key shot to the storyline. The cut to black, therefore, can represent life being harsh and sudden.
As the storyline of my music video is quite optimistic and hopeful, I do not think a quick cut to black would be effective to the storyline.


After conducting this research, I found that fade to blacks and the fade in music are significant to indie genre music videos. However, they need to be important to the storyline to represent continuity. As my music video is hopeful and ends on a positive note, I think that a fade transition would be effective as it is more of a lighter transition that ends smoothly, leaving the audience to think about the last shot. The last shot in my music promo is of the main protagonist laying in her bed, listening to her song happily - so a fade will elongate this shot to emphasise it.

Tuesday, 26 September 2017

Deconstruction of promotional music videos - Wild



Lyrics

(Wild, wild, hey!)

Trying hard not to fall
On the way home
You were trying to wear me down, down
Kissing up on fences
And up on walls
On the way home
I guess it's all working out, now

'Cause there's still too long to the weekend
Too long till I drown in your hands
Too long since I've been a fool, oh

Leave this blue neighbourhood
Never knew loving could hurt this good, oh
And it drives me wild

'Cause when you look like that
I've never ever wanted to be so bad, oh
It drives me wild

You're driving me wild, wild, wild
You're driving me wild, wild, wild
You're driving me wild

(Wild, wild, hey!)

White noise in my mind
Won't calm down
You're all I think about

Running on the music
And night highs
But when the light's out
It's me and you now, now

'Cause there's still too long to the weekend
Too long till I drown in your hands
Too long since I've been a fool, oh, yeah, yeah, yeah

Leave this blue neighbourhood
Never knew loving could hurt this good, oh
And it drives me wild

'Cause when you look like that
I've never ever wanted to be so bad, oh
It drives me wild

You're driving me wild, wild, wild [4x]

You make my heart shake
Bend and break
But I can't turn away
And it's driving me wild
You're driving me wild

You make my heart shake
Bend and break
But I can't turn away
And it's driving me wild
You're driving me wild

(Hey)
Leave this blue neighbourhood
Never knew loving could hurt this good, oh (hey)
And it drives me wild (hey, hey)

'Cause when you look like that
I've never ever wanted to be so bad, oh (hey)
It drives me wild (hey)

You're driving me wild, wild, wild [4x]
(Hey, hey)

(Wild, wild, wild, hey!)


Lyrics Analysis

The song 'Wild' revolves around the concepts of forbidden love and dealing with the ensuing passion in a suburban setting.









Synopsis

Troye Sivan's "Wild" is a 'narrative' music video depicting of two kids that represent Troye and the other character of the childhood friend, as well as including them as adults. The video follows two typical kids playing together, whilst their families stereotypically sit and chat whilst having a drink. The shots then cut back various time to current day, adult Troye and his unnamed childhood friend sitting on a bed, hugging.



Timeline



00:00 - 00:14
The video begins with a slow zoom in using a crane shot over the sea towards a beach whilst the text of 'Troye Sivan' and 'Blue Neighbourhood 1/3' appear in clear white text. Quick cuts are then used to show other shots which foreshadow the next two music videos in this trilogy.

00:14 - 00:19
The text of 'Wild' appears in the same font whilst the song begins and the lyrics of 'wild, wild, hey!' are heard, matching the text seen. The shot underneath the text depicts of a tracking shot following two kids running.

00:19 - 00:40
The lyrics begin and quick cuts are used to transition between the shots used to match the beat of the song. The shots are slowed down and follow two boys playing together and climbing trees like normal kids. Many types of shots are used, such as mid shots and long shots, which change between each transition, and tracking shots are used to follow the kids. As well as this, the camera then cuts to a close up shot of the artist, Troye, sitting on a bed hugging another person whilst lip syncing the song, and then quickly cuts back to the kids. There is no ambient sound, as only the song itself is heard.

00:40 - 00:52
The shots then change to be behind one of the kids as we follow him running up the stairs to look down to the other kid outside. A low angle shot and long shots are repeatedly used. As he looks down to the other kid a high angle shot is used where the other boy is looking back, both have facial expressions of sadness, as if they are being separated for a reason, foreshadowing what is going to happen in the following videos.

00:52 - 1:09
The camera then cuts to Troye adding a bit of aggression to his lip syncing, showing the emotion behind the song. The shots of him lip syncing are longer as it gets to the chorus. Quick cuts are then used to show mid shots of the boys playing again, with the shots still being in slow motion.

1:09 - 1:31
A quick cut then points to an adult man walking and looking quite angry. The longer take and focus on him represents how he is significant in this story. As the pace of the song quickens, the shots get shorter and the cuts between them are quicker. The camera cuts between shots of the boys playing, Troye singing and the man that has just been introduced. A significant shot is seen when the camera focuses on the man holding a bottle of alcohol, suggesting his aggression and how he has a negative impact on the story.

1:31 - 1:40
We are then shown a mid shot of a man with one of the kids playing with a baseball bat, but as the camera pans to the kid holding the bat, it then cuts to the man shown earlier holding up a sword, as if to further suggest that he is aggressive. A tracking shot is used to show he is walking with the other boy, so that we can understand that he is his father. The tracking shot continues to show the kids running up and hugging whilst the dads handshake, suggesting that this is of importance.

1:40 - 1:49
Quick cuts are then used to focus on the 'aggressive' man suggesting a foreshadowing that he will do something, particularly stressing this idea by using a mid shot and a long take. He looks behind his shoulder as we see in the background the two boys are playing, giving the audience an idea that he has a problem with this suggested by his unhappy and quite angry facial expression. It then immediately cuts to a close up of an alcohol bottle as he takes a swig from it. It then quickly cuts to the close up of Troye lip syncing, showing his anger but also tears in his eyes, giving the idea that he feels strongly against this man.

1:49 - 2:02
Typical cuts are then used to depict of the boys playing again, mainly showing them in mid shots. They are slowed down, but then contrasting to this, we see a mid shot of the dad who looks agitated and the shot looks as if it has been sped up to emphasise his uncomfortableness with the two boys playing together.

2:02 - 2:07
The camera then focuses on Troye lip syncing, and cutting from a close up to a mid shot, giving us a wider picture of him hugging the other man. It then cuts to his hand on his back, suggesting their closeness and that they have been apart, perhaps due to the dad.

2:07 - 2:17
As it cuts to the two boys playing again, we can guess that the boy Troye is hugging is actually his childhood friend. The mid shots and close ups now show the boys being closer and perhaps there is more than friendship between them, allowing us to understand why the dad does not like them being together. A quick shot shows Troye resting his head on the other mans shoulder, suggesting significance, as amongst this hatred, he is still with the man he loves.

2:17 - 2:21
It then cuts back to the dad who seems to have left his angriness behind the more alcohol he has drunk. The shots are sped up and show him laughing as if he has forgotten about the boys, illustrating how alcohol is the only way he copes with the idea of his son being gay.

2:21 - 2:34
The cuts speed up and show the kids playing happily together, and the dad laughing, however contrasting with current day Troye, with the close up showing the pain in his face. More close up shots are used to further emphasise how close the boys are. A long shot is included of the boys on their bikes riding away from the camera, perhaps to suggest the idea of running away from the homophobic dad.

2:34 - 2:55
A significant part is depicted through the long take of the boys laughing and covering themselves in a sheet, which could be understood as part of a deeper meaning of hiding themselves away so they can be together. They are innocently playing and then they hook fingers with eachother which confirms the idea of their connection. The close up shots of their faces and their fingers show them looking at eachother as the laughter goes away and they hold serious faces when they come to the realisation of what they feel. It then cuts to a mid shot of current day Troye where we can see how wrapped up him and the other man are. He briefly pulls away from resting his head on his shoulder as if thinking what is happening became to real, however then cuts to a close up of his head resting there again. A quick cut is used to depict of a slightly lower angle shot as one of the boys the other boys hair behind his ear and smiles at him, showing they are not afraid to express their emotions to one another.

2:55 - 3:15
A tracking shot then follows the two boys running off a pier towards the sea. It then cuts to a close up of their feet running in sync and briefly cuts to a shot of a mans feet running, which is foreshadowing the last video in the trilogy. As they get ready to jump in they briefly pause before looking at eachother as if it is symbolising them jumping into the next stage of their lives. A quick cut is used again to show a close up shot from the last video, suggesting their connection. After the build up of them jumping in, they do and then a high angle shot depicts them splashing around and laughing, perhaps giving the idea that besides all the obstacles they face they are still happy together. Cuts transition to Troye lip syncing where he still looks upset and slightly angry that this did not work out the way he wanted.

3:15 - 3:38
It then cuts back to the dad on the beach with the other adults, where he has become slightly aggressive then ruffling another man's hair. The other dad took the bottle away and a close up shot then depicts of him getting angry and shouting in his face. A mid shot is then used where the kids come running and the son has to push him away, showing how the dad cannot control his anger. It then cuts to a long shot of him storming off with the kid and a close up of the other boy staying back and looking unhappy that yet again the boy is taken away from him. The long shot emphasises the distance between their two families which affect them being together.

3:38 - 3:56
It then cuts back to close ups of adult Troye looking upset and agitated that this has to happen, as well as mid shots of the boys playing together. Repeated shots of the boy walking away and looking back towards the other boy are emphasised, as the other boy is in the safe arms of his dad who he presses his face into in sadness, showing how the other boy is alone with no safeness from his own dad.

3:56 - 4:00
A mid shot is then used to show Troye and the other man pull away from the hug and look at eachother. This is the first time we see the face of the other man who equally has a face of sadness and longing. The camera then moves towards them as they move their face towards eachother. Just when they lock lips the video cuts to black. This suggests the forbiddeness of them being together, and how they are not meant to be seen.


Analysis

Time length of video - 4:11

Total number of shots used- 177

Close up shot - 47 (26%)

Mid shot - 90 (51%)

Long shot - 3 (2%)

High Angle shot - 3 (2%)

Low Angle shot - 9 (5%)

Tracking shots - 17 (10%)

Pan shots - 2 (1%)

Crane shots - 6 (3%)








Mise en scene

Setting


The video is set outdoors, as it depicts of two kids playing together. This is a typical setting to be used as kids are usually portrayed as adventurous and active.








When showing the artist Troye lip syncing the song, he is shown to be in a different setting as he is in a different time frame.
He is sat on a bed inside the same house shown where the kids are playing too, to make the audience understand that they are the adult versions of the kids.





Costume and Makeup



The clothes worn by the kids are not surprising as they are typical boyish children's clothing. They have an overall tidy look showing that they are most likely dressed by their parents.









The other character we are introduced to is one of the boys homophobic father. He is portrayed through a scruffy look, showing that he does not care for his appearance. This also reflects the fact that he is an alcoholic, who tend to look scruffy and not taking care of themselves, as seen here.







Lessons to be Learnt

  • A narrative storyline is effective, particularly in this music video, as the audience can interpret their own idea of what is happening, therefore making the video more intriguing and rememberable for them.
  • Mid shots and long shots are common in the alternate genre.
  • Matching the shots to the beat and pace of the music is effective as it is easier and more interesting to watch.
  • Including the artist as the focal point is important.







Deconstruction of promotional music videos - Wake Me Up When September Ends



Lyrics

Summer has come and passed
The innocent can never last
Wake me up when September ends

Like my father's come to pass
Seven years has gone so fast
Wake me up when September ends

Here comes the rain again
Falling from the stars
Drenched in my pain again
Becoming who we are

As my memory rests
But never forgets what I lost
Wake me up when September ends

Summer has come and passed
The innocent can never last
Wake me up when September ends

Ring out the bells again
Like we did when spring began
Wake me up when September ends

Here comes the rain again
Falling from the stars
Drenched in my pain again
Becoming who we are

As my memory rests
But never forgets what I lost
Wake me up when September ends

Summer has come and passed
The innocent can never last
Wake me up when September ends

Like my father's come to pass
Twenty years has gone so fast
Wake me up when September ends
Wake me up when September ends
Wake me up when September ends



Lyrics Analysis

The song 'Wake Me Up When September Ends' was written by Billie Joe Armstrong after his father died of cancer on September 1st 1982.




Synopsis

The video 'Wake Me Up When September Ends' is a 'narrative' video that follows a couple before and after they have a break up, to emphasise how much their lives change. We see the girl being portrayed as a typically emotional female who is extremely upset after the breakup. On the other hand, the man is shown to be strong and instead goes to fight for his country instead of staying at home, moping. In between this story, we see shots of the band 'Green Day' performing the song on a stage. The video ends with the girl willing herself to leave her house, and the man hiding in desperation as his team get defeated.






Timeline

00:00 - 1:46
The video begins with a smaller frame showing a couple sitting in a field whilst the text of 'Wake me up when September ends' appear in clear white text. This text carries on from the long shot to the close up shot. No music is playing in this time, as it only contains ambient sound and the dialogue of the girl and the boy. The couple share an emotional moment together whilst they talk about their feelings before embracing. After a couple of seconds of hugging the instrumental beginning part of the song starts to play.

1:46 - 2:01
The video then cuts to a much darker frame which adjusts to be an extreme close up of the singer's facial features. The camera focuses on his mouth as he begins to lip sync the lyrics of the song. The camera then cuts to show his whole face in a close up shot.

2:01 - 2:11
It then cuts back to the couple in the field, shown through an extreme long shot. It then cuts to a mid shot of them walking together through the field. The brightness of the flowers in the field contrast with the gothic look of the artist shown previously. A slight high angle shot then depicts of them laying together as the camera slightly pans upwards to show them full in the frame. The shots are long as the pace of the music is slow.

2:11 - 2:29
The camera then cuts to a different location and tracks alongside the same couple walking along the street surrounded by other people. The lighting of the sunlight cleverly focuses on them, perhaps symbolising how to them, no one else matters and they can only see eachother. The low angle mid shot focuses on them whilst there are people who are blurred in the background. The shots are also slowed down, perhaps to emphasise that time goes slowly.

2:29 - 2:56
It then cuts to a different location of a different colour pallete. The shots are still slowed down and they are laughing together. Various shots, ranging from long shot to close up are used to show them spending time together inside a house, doing normal 'coupley' things. The camera then cuts to a different location of a mid shot of the girl laughing and shoving cake into the boy's mouth. As the shot is slowed down, it makes the people in the background look like they are frozen in time, as the idea of only focusing on eachother is seen again. This is also shown by the bright lighting on just them, whereas the other people are in darker lighting, as to make the audience not focus on them.

2:56 - 3:02
The next shot shown is a mid shot of the artist lip syncing to the song, however all is seen is the silhouette of his face and the microphone. The lighting behind him is a deep shade of pink, contrasting with the colours shown in previous frames.

3:02 - 3:57
It then cuts to a mid shot the girl coming into focus as she walks towards the camera, her facial expression looking upset and slightly angry, different to her recent emotions. When she opens to door, the music stops playing and the sound cuts to ambient sound and dialogue. The camera cuts to show both of them in different shots, symbolising how there is something that has come between them and they are not acting as the 'close couple'.

3:57 - 4:10
The instrumental part of the song starts to quietly play before cutting to a long shot of the drummer hitting the drums to match the drumbeat. The lowkey lighting starts to get lighter, using the same reddish colour in the background as seen before. The camera pans around as we see the whole band on a stage through a long shot. The lyrics start again and the singer begins to lip sync.

4:10 - 4:37
The camera then cuts to a mid shot of the girl sitting on her own looking upset. The camera focuses in and out, perhaps acting a symbolism of how she is feeling. We then see the man surrounded by other people but looking equally lonely and unhappy. By the use of a long shot we find out that he joined the army instead. The camera cuts between extreme close ups of the artist singing and close ups of the guy being instructed what to do. Sped up shots are used when showing other people, contrasting with the slow motion shots used earlier, perhaps to illustrate that now the couple are no longer together, time does not go slowly for them anymore. When it gets to the guy's turn for his head to be shaved, the extreme close up focuses on his eyes, showing the pain in them, and to metaphorically show he is starting a new chapter in his life.

4:37 - 4:40
The camera cuts between the shot of his eyes to a close up shot of his face, both holding the same facial expression, however this time he is in his army uniform and looking at a mother and children who are stranded amongst men with guns. This is shown through a long shot as he steps away and they are then exposed.

4:40 - 5:20
As the pace of the song is quicker, shorter shots are used more often. We see him being a part of the military and running along with other men holding guns. A variety of shots are used such as mid shots to show their uniforms, and long shots to show the large machines such as the tanks. The camera cuts between the band playing and these shots. Close ups of the girl's face is seen, showing how she is still sat in the same place, and still upset, whereas the man is out fighting. This emphasises that the time frame is quite big, but as a girl, she is stereotypically more emotional, however a man can pick himself up.

5:20 - 5:47
The music changes to a loud instrumental, which is matched in the shots with various explosions happening, shown through extreme long shots and long shots. When the camera cuts back to the band, an explosion of lights is happening behind them, which is shown through a pan shot in slow motion.

5:47 - 6:03
As the pace slows down, a mid shot shows the girl still sitting on her sofa crying, contrasting with the man being surrounded by fire and bodies as someone tries pulling another into safety. Ambient sound of shots being fired can be heard underneath the music.

6:03 - 6:12
The drumbeat makes the music become louder, and the gun shots become louder. The ambient sound also includes shouting of the soldiers. A mid shot of the guy crouched on the ground is shown, whilst the long take is also sped up.

6:12 - 6:17
A mid shot then shows the girl splashing water on her face, showing how she has finally picked herself up, as well as the long take of her looking at herself in the mirror, perhaps to also show how she is starting a new chapter of her life. The camera cuts between shots of her and the band playing on the stage.

6:17 - 6:49
The camera then cuts to a mid shot of the guy turning and facing towards the camera, holding his gun. The camera cuts between him and the artist aggressively lip syncing the song, emphasising the emotion behind it. The extreme close up of the guy's face illustrates his emotions of fear and determination. The long shot then shoes one of his men getting shot, which then cuts back to him showing annoyance and sadness. The camera then cuts to a high angle shot of the girl walking outside, exaggerating than amongst how much has happened to the guy, she has only just stepped outside. This is contrasted with the long shot of all the soldiers running to the wounded man. This could be interpreted to show the different pains all the characters are going through and how they differently they are dealing with them. It then cuts back to the band playing the song, which ends in them bowing and the screen fading to black.

6:49 - 7:08
The camera cuts back to the girl and pans from a high angle shot from above her head to a mid shot showing her face. The last beat of the song elongates as she looks upwards, and the camera cuts back to the guy. Ambient sounds of gun shots are also heard whilst the dialogue of the girl is heard. We can tell it is the same dialogue as the beginning of the video, and the camera pans out to a high angle shot of her and cuts between a mid shot of the man still crouched on the floor, to emphasise how different their lives are now. When her dialogue ends, the camera keeps panning upwards before fading to black.



Analysis

Time length of video - 7:12

Total number of shots used - 179

Extreme Close up shots -  6 (4%)

Close up shots - 43 (24%)

Mid shots - 68 (38%)

Long shots - 27 (15%)

Extreme Long shots - 4 (2%)

High Angle shots - 4 (2%)

Low Angle shots - 8 (5%)

Tracking shots - 13 (7%)

Pan shots - 6 (3%)




Mise en Scene

Setting




The video begins in the location of the middle of a field, where the couple are sat together, alone. Fields tend to be romantic places to be together, so is used to emphasise this.












Throughout the video, the female character is shown to stay in her house. Stereotypically, women are presented to be more emotional than men, which is emphasised here when she lets her emotions take over her day to day life.







Another location used is the centre of a war, when showing the male character. Men typically go to war to better themselves and start afresh, which is emphasised here for the audience to understand.





As well as a story being told, the band is also presented, shown to be performing the song on a stage.
This is a typical convention in music videos, especially in the indie genre to show the artist as the most important factor.








Costume and Makeup





The girl is presented wearing heavily made eye makeup. This, therefore, is used to emphasise that she has been crying, to further stereotype her as being "overly emotional".





After becoming a soldier, we see the man fighting at war wearing a full military outfit, heavily loaded with guns.











In terms of the artist, he is shown wearing dark eye makeup, further emphasised by a darker filter, making him look pale and washed out. This makes him look "emo" and links to the genre of indie.











Lessons to be Learnt

  • Having a narrative storyline is effective so the audience can relate the video to it.
  • It is important for the main singer to be the focal point.
  • Including a range of shots makes the video more interesting and more varied.
  • Dialogue could be effective by helping the audience understand the storyline, and includes a variety in sound to make the video more intriguing.



Deconstruction of promotional music videos - Born To Die



Lyrics

Why?
Who me?
Why?

Feet don’t fail me now
Take me to the finish line
Oh my heart it breaks every step that I take
But I’m hoping at the gates,
They’ll tell me that you’re mine

Walking through the city streets
Is it by mistake or design?
I feel so alone on the Friday nights
Can you make it feel like home, if I tell you you’re mine?
It's like I told you honey

Don’t make me sad, don’t make me cry
Sometimes love is not enough and the road gets tough
I don’t know why
Keep making me laugh, let’s go get high
The road is long, we carry on
Try to have fun in the meantime

Come and take a walk on the wild side
Let me kiss you hard in the pouring rain
You like your girls insane
Choose your last words
This is the last time
'Cause you and I, we were born to die

Lost but now I am found
I can see but once I was blind
I was so confused as a little child
Tried to take what I could get
Scared that I couldn't find
All the answers honey

Don’t make me sad, don’t make me cry
Sometimes love is not enough and the road gets tough
I don’t know why
Keep making me laugh
Let's go get high
The road is long, we carry on
Try to have fun in the meantime

Come and take a walk on the wild side
Let me kiss you hard in the pouring rain
You like your girls insane
Choose your last words,
This is the last time
'Cause you and I
We were born to die [3x]

Come and take a walk on the wild side
Let me kiss you hard in the pouring rain
You like your girls insane

So don’t make me sad, don’t make me cry
Sometimes love is not enough and the road gets tough
I don’t know why
Keep making me laugh
Let's go get high
The road is long, we carry on
Try to have fun in the meantime

Come and take a walk on the wild side
Let me kiss you hard in the pouring rain
You like your girls insane...
Choose your last words,
This is the last time
'Cause you and I
We were born to die



Lyrics Analysis

“Born To Die” is described by Lana Del Rey as a “homage to true love and a tribute to living life on the wild side.”











Timeline

00:00 - 00:12
The video begins with a mid shot of the artist, Lana Del Ray standing naked hugging a man whilst holding eye contact with the camera as it slowly tracks towards her.

00:12 - 00:45
The camera then pans across from a low angle shot before tilting down to show Lana sitting at the end of the room through a long shot. The camera slowly tracks towards her whilst she is lip syncing the song, showing her wearing a white dress, representing purity and innocence. She is sitting on a throne, and the only person sat inside the church, perhaps to show her authority. Besides her are two tigers, which as spirit animals, well known for representing raw feelings and emotion, which closely links to how the song is based on Lana's emotions and feelings of sadness and loneliness. As well as this, tigers also represent courage and strength, linking to how she has carried on in determination despite losing her loved one and feeling loss and despair, and losing all meaning in life.

00:45 - 00:55
It then cuts to a long shot of the man leaning against a car. As the shot is framed in lowkey lighting, and the main source of light comes from the headlights of the car. Lana runs in from the side of the shot, and the camera then cuts to a mid shot when she hugs him, to emphasise how important he is to her and how happy she is to see him.


00:55 - 1:06
It then cuts back to a mid shot of her sitting in the throne before cutting to a lowkey lit mid shot of the couple sharing an intimate moment together, further developing the idea that their moments together are priceless. The shots are long and in slow motion, illustrating how time slows down when they are together and how every second counts for them.

1:06 - 1:56
It then cuts to a long shot looking up at the church ceiling before cutting back to the long shot of her sitting in the throne, lip syncing the song. A simple cut is then used to transition to an extreme close up of the man's hand holding a joint, which he then smokes and passes to Lana, based off the lyric of 'let's go get high'. The camera keeps cutting back to mid shots of her lip syncing the song, where her facial expressions show her looking upset, as the lyrics are meaningful. The shots become faster as the pace of the song quickens, as well as their actions being based on the sound effects, such as the man gestures shooting a gun with his hand as the drumbeat is heard.

1:56 - 2:18
The next shot seen is a mid shot of her laying in bed, looking upset. In terms of lighting, it fades to black before showing the next shot of her laying in the same position, but with the addition of the man, who is looking at her and stroking her arm, representing how he, as her partner, is there for her through both her highs and lows, and he is there for comfort. It then cuts to a mid shot of her sitting on the bed and lip syncing the song, whilst the camera pans around her. The shots cuts in-between her being on her own and her being with the guy, perhaps symbolising how despite him being there, she does not see her amongst her deep feelings of loneliness.

2:18 - 3:14
The camera then cuts to a tracking shot moving forwards down a road before cutting to show the front of the car, which pans upwards to show the couple sitting inside. A close up shot then shows her wiping the window to illustrate her face of unhappiness. It then cuts back to her sitting in the throne, and whilst she is lip syncing the song she makes out the gestures as well, such as doing the cut-throat gesture when singing the lyric 'we were born to die'. After this lyric, a mid shot shows the guy takes his focus off driving and turns to kiss her, whilst it cuts to the car coming quick towards the camera to emphasise the speed they are driving at and showing they are adventurous and thrill seekers, and how they are not afraid of death.

3:14 - 3:50
It then cuts back to the setting of the church seen by the long shot of the ceiling and her sitting on the throne, as the camera slowly tracks out. A tracking shot is used when following the long ceiling to exaggerate the size of the building. A long shot illustrates a corridor of the church to emphasise the wealth and how posh it is represented, particularly focused when tracking along the ceiling to show the chandeliers.

3:50 - 4:12
The cuts match the beat of the music and shows a long shot of Lana at the end of the corridor wearing a white dress and walking towards the camera in a slow motion shot, to illustrate the lyric of 'come take a walk on the wild side'. A closer mid shot then show her eyes glistening, indicating the pain she has gone through, and, her looking beyond the camera to show she seems to be unfocused and fazed. A long shot then depicts her opening a door, where only white light its seen behind, perhaps to represent her leaving life and entering heaven.

4:12 - 4:34
A close up then tracks out to a long shot where the man is looking down on Lana as he is holding her in his arms. She is covered in blood and seems lifeless, representing the name of the song of 'Born to Die', showing that at the she died. Behind them is darkness with the only light coming from the fire.

4:34 - 4:46
It then cuts back to the same mid shot as the beginning of the music video of her standing and hugging the man in front of the American flag. After watching the video, we could perhaps conclude that they are in the afterlife. The camera slowly tracks towards them before cutting to black.



Analysis


Time length of video - 4:46

Total number of shots used - 69

Extreme Close up shots - 2 (3%)

Close up shots - 10 (15%)

Mid shots - 34 (49%)

Long shots - 6 (9%)

Tracking shots - 12 (17%)

Pan - 3 (4%)

Low Angle shots - 2 (3%)






Mise en scene

Setting





The main part of the video is shot inside a large church, to emphasise the grandness of it, linking to the idea that she is in Heaven.




The other location where the video is taken place is inside the man's car where the couple are intimate together, showing their trust and his importance to her.



Costume and Makeup



In terms of the artist's costume, she is seen wearing a white dress, which is known to be representing purity. After understanding the video, however, we could guess that the white dress is worn to symbolise how she is not alive, and perhaps in Heaven.







In terms of make-up, the artist, Lana Del Ray, is wearing obvious makeup, mainly on her eyes and lips to emphasise her beauty.
However, women throughout media have always been shown wearing makeup to be portrayed as "beautiful" and those who do not wear any are not.






Throughout the video, her boyfriend is presented as topless, to show his tattoos. This may be to emphasise his rebelliousness which she likes, and how she wants a thrill seeker.








Lessons to be Learnt

  • Linking the lyrics to the actions in the video helps the audience to understand the song better.
  • The artist is the focal point of the video, to present their importance, as well as helping with brand recognition.
  • Shots matching the pace of the song, such as long takes to match the slow beat, and shorter, more frequent shots with a fast beat, are effective.
  • Having less characters in the video can be effective, so the video does not become too crowded and the singer is the focal point.
  • Mid shots and long shots are typically used in this genre, to create a sense of setting and a better understanding of the story.






Thursday, 21 September 2017

Andrew Goodwin's Features of Music Videos

Goodwin explains his theory by six different conventions within a music video:


1. Music videos tend to include a demonstration of typical genre characteristics
  • e.g: a dance routine is typical for a girl/boy band
  • e.g: bikini clad of women by a pool and sports cars is typical for a rap video
2. There are frequent references to the notion of looking and the voyeuristic treatment of the female body
  • the notion of looking includes men or women being portrayed seductively, including eye contact with the camera.
  • e.g: this can be shown through the use of props such as mirrors, television screens, cameras, telescopes and magnifying glasses.
3. There is a clear relationship between lyrics and visuals
  • lyrics are represented through images
  • e.g: illustrative, amplifying or contradicting
4. There is no relationship between music and visuals
  • the tone and the atmosphere of the music reflects that of the visuals
  • e.g: illustrative, amplifying or contradicting
5. The record label the artist assigned tends to have certain demands
  • often including the need for lots of close ups of the artist
  • the artist will have a visual style that recurs throughout their work
6. There is often intersexual references
  • to films, tv shows, other music videos, etc.


Therefore, in my own production I will consider these factors to make my music video as effective as possible.

Purpose and Conventions of Promotional Music Videos

Definition of a music video:
A music video is a short film integrating a song and imagery, produced for promotional or artistic purposes.


Conventions of promotional music videos

Camera
  • A wide range of shots (e.g: mid shots, close ups, long shots, high angle, low angle)
  • Camera movement (e.g: tilt, pan, tracking, crane shots)

Mise en Scene
  • Props
  • Costume
  • Lighting
  • Hair and makeup
  • Location / setting
  • Colour

Sound
  • Diegetic sound
  • Non - diegetic sound

Editing
  • Jump cuts
  • Effects (e.g: fade + dissolve)


Purpose of promotional music videos
  • To promote the artist's self image and music
  • To sell the song further and attract a wider audience



There are three categories of music videos:


  • Performance - band / singer
  • Narrative - story
  • Concept - symbolic



Performance

  • A video of the artist/ band performing their song, and tend to include dancing, lip syncing, live concerts, or musicians playing musical instruments.
  • They don't have a specific message for the audience, or a connection between the lyrics behind the song.
  • They are made up of close shots of the artist, with them making eye contact with the viewer.
  • Performance based music videos mostly build a relationship with the audience to show off the star identity.
Example of a performance based music video:




Narrative
  • Videos attempting to tell a story that features lyrics or is based on the lyrics and dramatized in the video itself.
  • They often a establish a clear relationship between the lyrics and the visuals of the song, and require the audience to understand the lyrics of the song clearly, so that they are understood fully.
  • They consist of either actors acting according to the story, or the music artists are the ones performing. They may include performance of the actors or the musicians, but mainly focus on the narrative.
Example of a narrative based music video:




Concept
  • Videos based on a specific concept or theme, could be including magic, supernatural, historical, religious, scientific, or any other idea based on a concept or theme.
  • They mainly intrigue a specific class or target audience, according to the idea of the music video.
  • These videos are not easily understood, but can be interesting to view if the audience does understand, as the unusual content attracts people, however they are more difficult to produce.
Example of a concept based music video:








Deconstruction of Magazine Advertisements

After deconstructing the album digipaks, I then analysed three magazine advertisements that were based on those albums. I annotated the conventions and other factors used that make them effective. From this, I can use these as inspiration for my own product.