Make notes on key moments from your chosen piece of work under the following headings:CameraMid-Shot – This was the most dominant form of shot type throughout my video. This was because it allowed theaudience to view the misé-en-scene, such as costume and part of the location, quickly and easily whilst the lip-syncing still being decipherable. It also allowed my artist’s facial expression and response to connotations in thesong, for example a frustrated look whilst on the telephone, to be conveyed to the audience.Close-Up– The camera was positioned close to the subject of the shot, in this case my artist. I used this to addinterest and also portray my artist as fun and appealing. For example, I used this shot to show my artist laughing, incontrast to the widely used mid-shot, which drew the audience’s attention more focally to this side of my artist. Italso portrayed a ‘amateur’ look to the shot as it caught my artist ‘off-guard’ from the serious emotion suggested inthe rest of the music video.Extreme Close-Up– A portion of the subject filled the entire shot, which was mostly used in showing my artist’sentire lips whilst lip-syncing/singing. In addition with the misé-en-scene of heavy red lipstick in combination with anextreme close-up of her lips this sexualised my artist in order to appeal to a mass audience. This also complied withLaura Mulvey’s Male Gaze theory, where my artist became the subject of my audience’s view point. These shotswere also used in combination with short, quick straight cuts which also drew my audience’s attention to the lyricsof the song, as well as adding interest to my artist’s aesthetic.Long Shot– A long shot was used to demonstrate the location of the shot, which was mostly used during the outdoorscenes. The shot was used in combination with my artist sitting to the outer third of the shot on a bench whilstsmoking. This allowed my audience to view the tranquil night time setting in contrast to action of my artist, which inturn drew more attention to her. It also provided connotations to my audience that my artist was alone and distantto ‘normal’ civilisation. The shot also enhanced the 1950s inspired vibe, with a statue of cherubs in the background.By also adhering the ‘Rule of Thirds’, positioning the artist on the outer portion of the frame this symbolised that myartist was going through a disequilibrium by not being balanced within the frame.Camera Angle:High Angle– The camera was positioned at a tilted angle, facing downwards to the floor. I used this to film my artistwhen she was singing on the bed. For example, this was used to show my artist throwing flower petals at the camerawhilst laughing. This again, similarly to the close-up, portrayed an off-guard/amateur aesthetic to show my artist as a‘real’ person that my audience can build a rapport with. Additionally, this also broke the ‘fourth-wall’ as my artistbecame aware of the camera and an understanding of the on-looking audience. It was also used when my artist waslip-syncing in a sat position, which in combination with spot-lighting, reinforced the prominence and connoted apowerful look to my artist.Eye Level Shot– An eye level shot allowed my audience to view the scenes as if they were a spectator. This wascommonly used with a mid-shot whilst my artist was standing up-right outdoors, to give the perception that myartist was ‘talking’ (singing) directly to them. This allowed my audience to decode the emotions of my artist’s facialexpression, typically frustration and sadness, more directly.Over The Shoulder Shot – An over-the-shoulder shot is used to represent the audience as an onlooker. This wasused as my artist was lip-syncing in the mirror. Therefore the audience can view my artist from the mirror, inreverse, rather than directly forward. By also incorporating the misé-en-scene it connotes my artist in a morefeminine way. Editing
Straight Cuts– These are the most prominent form of editing between shots in my video. This creates a naturalmovement between shots and emulates the natural eye movements of the audience. During the chorus, I usedstraight cut for every repetition of words from the background song. This resulted in fast, quick shots which drawsthe audience’s attention to the central part of the song and allowed a combination of different cameraangles/locations to be shown in a short period of time. The fast cuts added drama and this wide variety of shortshots provided more interest in terms of visuals. The straight cuts were reduced in during the verses on the song,which had a slower tempo than the chorus, which represented my artist in a calmer and ‘cool’ manner.Fade Out– At the end of the video I used a quick fade out into black from my final shot. This indicated the audiencethat the music video had finished. It also connoted from the last shot of my artist hanging up on the phone that shehad had enough of whom ever was on the other end. It also gave the video a fluent and natural aesthetic to theending rather than an abrupt straight cut which may have confused the audience.Speed Up– A speed up was subtly used on a shot of my artist’s hand dialling the rotary telephone. This was becausethe original pace was too slow for a quick straight cut shot change. Therefore by speeding it up it quickly indicated tothe audience that she was calling somebody but without the elongated process being shown. LightingHigh Key Lighting – High key lighting is where all areas of the frame are lit through the use of multiple lights. Thiswas the most used technique, both outdoors and indoors. The artist could be lit from each side which allowed herface as well as the misé-en-scene to be clear and easily recognisable. This also gave the setting a natural lookindoors, whereas outdoors it was clearly manipulated against the background darkness. Therefore, outdoors it gavemore eerie connotations whereas indoors it established equilibrium.Low Key Lighting –This is where some areas of the frame are lit more than others and, through the use of selectedlights, areas of shadow and darkness are created. This is evident when my artist is positioned against a plain backwall. The lighting was positioned on one side, so that a distinct shadow was visible. This was deliberate to provide athree-dimensional aesthetic.Diegetic Lighting – Lighting that appears to emanate from a source within the scene e.g. lamp. This was onlyapplicable to the indoor scenes, especially when my artist was positioned on the bed. Wall lights and lamps wereswitched on to enhance the indoor look. The diegetic lighting provided a warm colour tone to the background of themisé-en-scene which, again, suggested connotations of an equilibrium and emotional stability; as I wanted toprovide a binary opposite in emotion and scene within the music video. Whereas diegetic lighting was not used inthe outdoor scenes to provide bleak and harsh look to it.Location of the Light Source (Spot Lighting) –The projected spot or circle of light used to illuminate brilliantly asingle person or object. This effect adds interest and draws the audience’s attention directly to the subject (myartist). It also illuminates my artist more, enhancing her aesthetic appeal to my audience. With the rest of the stageunilluminated it also represented to the audience that the artist was centrally important and also suggestedconnotations of exclusivity. This was also used outdoors but more softly, which the subject becomes aware of bycovering her hand over her eyes to indicate that it is too bright. This may also be a metaphor that the spotlight ofher ‘fame’ and attention is too much for the subject to handle.Location of the Light Source (Back Lighting) –This technique is where the lighting was positioned behind the subjectto provide a halo effect. (This was a convention adopted from Lana Del Rey’s ‘Summertime Sadness’. ) The lightingequipment was completely obscured behind the subject’s head, giving a halo effect around her hair whilst frontallighting ensured her face was not blacked out. Evidently, this provided connotations of an angelic and pure persona,which contradicts the dark binary opposite conveyed in the rest of the outdoor lighting.
SoundParallel Sound (synchronous) – Sound or music which matches the kind of action on the screen. The primaryexample was the music soundtrack originally by Marina and the Diamonds called ‘Living Dead’. The subject lip-syncsin time with the music. However, this is not always necessarily the case, as cutaways and random shots are used toadd interest rather than continuous lip syncing.Mise en scene (setting, costume, colour, props)Costume:Black Dress costume vs The Red Dress costume – These costumes were used in different location. It added varietyand also enhanced the aesthetic appeal of my artist and also adhered to Laura Mulvey’s Male Gaze Theory. The1950s A-line red polka dot dress was used during the indoor sequences, and represented her content state. The redcolour of the dress, and continual house style of a red hue, represented the subject’s sexuality and providedconnotations of love. Whereas the black dress, with scarf and cigarette prop, was deliberately used to represent the‘Dead’ binary opposite of the song. It is a stark contrast to the bright hue of the indoor scenes and providesconnotations of anger and remorse, perhaps at herself or her lover.Hair in rollers –This was directly referencing the 1950s style. It represents her preparation for going out (later in theoutdoor scene). It also indicates to the audience that the subject is intentionally trying to impress someone, whichagain emphasises her feminine side.Heavy makeup with red lipstick –This again enhanced her aesthetic appeal to a mass audience and represent herfemininity.Location:Outdoors (Garden Setting) –In the night-time. Represented the artist in a lonely way, no one else was around heretc. The dark outdoors contrasted the indoors, perhaps represented the dark side of the subject.Indoors (Bedroom/Sofa/Mirror) –All furniture had a red, warm hue.Gave connotations of fulfilment.Props:Retro cigarette holder with lit cigarette – Used outside, gave connotations of ‘cool’ and uncaring/relentlesspersonality of the subject | Sunglasses (50s style)– Represented the artist’s fun side| Roses – Smelt the roses duringa mid-shot then later in the video quick shots of artist tearing them up and throwing the petals. Shows that subject isdefying the gift of love etc. | Magazine (Original from the 1950s) - Enhance the 1950s inspiration, used in a mid-shotwith artist appearing shocked.Special Effects:Increased Saturation/Decreased Brightness – Enhanced the aesthetics of the film and the result of colours ‘popping’etc. made it more attention grabbing to my audience. Increased saturation also enhanced the red house style,especially during the indoor scenes. Decreased brightness was used slightly to make shadows and dark areas sharperand consistent with one another. Made shots look fluent and natural to each other and go unnoticed by theaudience’s eye.Black and White effect –Applied during the bridge of the song which had a slow and harmonious tempo to it, incomparison with the fast up-beat rest of the verses and chorus. It provided an abrupt contrast to the colourants ofthe rest of the video. Had connotations of safety, purity and cleanliness, an emotion not as evident during theseriousness of the verses and chorus.