Your SlideShare is downloading. ×
Music video 4
Music video 4
Music video 4
Music video 4
Upcoming SlideShare
Loading in...5
×

Thanks for flagging this SlideShare!

Oops! An error has occurred.

×
Saving this for later? Get the SlideShare app to save on your phone or tablet. Read anywhere, anytime – even offline.
Text the download link to your phone
Standard text messaging rates apply

Music video 4

184

Published on

0 Comments
0 Likes
Statistics
Notes
  • Be the first to comment

  • Be the first to like this

No Downloads
Views
Total Views
184
On Slideshare
0
From Embeds
0
Number of Embeds
0
Actions
Shares
0
Downloads
1
Comments
0
Likes
0
Embeds 0
No embeds

Report content
Flagged as inappropriate Flag as inappropriate
Flag as inappropriate

Select your reason for flagging this presentation as inappropriate.

Cancel
No notes for slide

Transcript

  • 1. Infernal- ‘From Paris to Berlin’ Music video Analysis http://www.youtube.com/watch? feature=player_embedded&v=b0EBqZFhfOY July 2012 4th Analysis Singapore did a cover of the song in 2006 as her de- but single but changed the title ‘From Taipei to Bei- jing’ but the content was very much the same. Type of Music Video The music video is a mixture of narrative and perfor- mance. The narrative is of the woman singer of In- fernal (Law Rafn) looking for the male member (Raw Lagerman) in a digital world and trying to catch him because the character she portrays loves him and feels ditched. This digital chase happens in discos all over the planet in the digital world mean- CD Cover while the disco scenes contain the dancing conven- tions and all through the video she is singing the lyr- ics of the song as the performance. In the end she catches him and they drive off happy. Genre Specific Conventions The main location is conforming to the stereotypical music video of a pop genre– a disco– as this pro- vides the flashing lights and dance moves most dis-Bright blue and pink colours, showing conformity cos have. The main colour is green and blue, which are both vibrant and bright colours again conformingBackground to the Video to the genre. The fact the narrative is a quest for love also conforms to the genre. Most pop music videos‘From Paris to Berlin’ is generally considered also contain performance elements and there is a lotInfernal’s signature song. It is a pop song that of voyeurism in the video which is again conformingwas released in 2005 on their album ‘From Paris to the genre. The lighting is also very bright and eve-to Berlin’. The song was written by Alan Powers, rything is clear and easy to see. Also her costume isRaw Lagerman and Lina Rafn and received a a tight bright pink swimsuit conforming to coloursplatinum certificate in Denmark. It reached num- and a pop video stereotypical costume. There is alsober 2 in the UK singles charts. Sing Chew from a tight leather costume which conforms.
  • 2. Relationship between the Visuals and the LyricsMost of the visuals conform to what the lyric issaying. The lyrics tell the story of a woman search-ing the world for her ex in disco’s and clubs, andthe visuals show a woman chasing whom is pre-sumably her ex in disco’s across the planet. A line The digital discoin the song is ‘Every Disco I get in’ and they are ina disco so there is further conformity there. ‘YouLeft me Longing for You’ suggests she is desper-ately trying to find him and the visuals show herdesperately chasing him.Relationship between the Visuals and musicThe music gradually increases in pace, and the vid-eo is cut to show this increase in pace but at the endthe visuals slow, even though the music is still fastpaced, but this is to show her emotion and surpriseat finding love and to strengthen those emotions.Also there are jumps whenever the beat changes.An example of this is at 02:56 where the video goesup a beat, louder and more violent and the visualsjump cut to the disco location from the digital road The chase is on….location.
  • 3. Shot TypesAlmost every single shot is a close up, this can be aclose up of her performance, a close up of the danc-ing, a close up of the chase or a close up on objectsor places in the digital realm. However, there aresome shots that aren’t close-ups. A particular ex- The two shot showing contrast.ample of this is of the man and the digital bartend-ed which is a two shot. The reason for this is toshow the contrast between real and digital.VoyeurismThere is a lot of voyeurism in the music video,most of this in the disco scene. There are menwearing nothing but there underwear and womenwearing clothes that are tight, reveal a lot of legand tummy skin and to also help show off theircleavage and make it look grander than what theyare. This is being done to sell the song becausethere a lot of close up shots of the voyeuristic ele-ments to try and attract a sex appeal. This is heavilyreminiscent of Mulvey’s male gaze. Voyeurism
  • 4. IntertextualityThe music video looks a lot like the 1980’s film‘Tron’. The motorbike-style vehicles look thesame, the fact it is set in a digital world and thegridlines on the ground are all elements that havebeen inspired by ‘Tron’ but the narrative has noth-ing to do with ‘Tron’. It’s just the setting and thevehicles having the ‘Tron’ elements.There is another intertextual reference that isn’t soobvious. The digital bar tender has the same anima-tion style as Nintendo 64 characters such as Don-key Kond and Super Mario, they don’t look thesame but they look animated in a similar way to theNintendo 64 style. ABOVE: Nintendo 64 Donkey Kond BELOW: Bartender from video ABOVE: ‘Tron’ bike BELOW: Music video bike.

×