Panic Video Deconstruction

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Panic Video Deconstruction

  1. 1. The close up shots in this video are mainly to focus on the male lead vocalist as he tells his story. This entire video is narrative based, and by dressing as a ring leader, the whole video and specifically this character connotes a sense of telling a story. By using close ups initially, such as on the left, an enigma is built for this narrator/vocalist as we don’t see his eyes. As the song progresses, these close ups are imperative in portraying the story of the song as the vocalist is required to act out the story mainly using his face. All focus is placed on the vocalist and the audience are encouraged to attach themselves to this character; him being the most prominent and us seeing the most of his emotions etc and we are encouraged to mirror his feelings by the close ups displaying them to the audience. Close up distinguishing him as main character and emphasises his importance to the audience.
  2. 2. The wide shots in this video establish the scene, whilst still allowing the audience to see the action as well as the setting. The wide shots used in this are mainly to show multiple characters in one scene, establishing their relationship through their proximity. Eg. The couple getting married in the screen shot on the left could be argued to say that there is a fair distance between them, perhaps foreshadowing the ‘runaway bride’ at the end of the video. The wide shot on th right focuses on the environment the characters are in and again establishing an actor interaction helpful in moving the narrative of the video along.
  3. 3. The over the shoulder shots used in this video are primarily to show a conversation between two characters, such as pictured on the right. This helps the audience place the character in the setting and also concentrates the audience on the action, with very little else in the frame. This can emphasise the importance o the conversation/action and places the audience within the action of the video. This is shown most in the screen shot on the left, in which the audience are witnessing the magic happening by being placed just behind the actor. This encourages the audience to feel valued and almost interactive/involved with the video.
  4. 4. The extreme close ups in the video are mainly used on the lips of the two protagonists who the story follows on their wedding day. These close ups are used when the characters mouth the words, ‘I love you’. By focusing on this with the extreme close up shot, the director emphasises the importance of their dialogue. This builds tension and adds drama to the music video, which, particularly in the case of this video is the catalyst for the narrative as this video is solely narrative based. This is a very artificial shot, yet is used for dramatic effect.
  5. 5. The low angles used in this music video are used to literally ‘look up’ at the male lead singer to emphasise him as he most important person in the video and the person who has the most status in the video. This is mirrored in the costume of the character who is wearing a ‘ring leader’ style costume, connoting he has the controls over the video. The low angles in this video then support this status.
  6. 6. High angles generally are used to literally look down upon something, in either a literal way or a metaphorical sense. In the image on the left, I believe that the high angle is used to suggest that God is looking down upon this marriage ceremony and is judging the service as it isn’t honest. Similarly, the clipping on the right is shown from a moving high angle which focuses the audience’s attention on the wedding book, setting the scene and emphasising the narrative storyline.
  7. 7. Its main purpose is to show an emotional response to the immediately preceding action or words of another character in the scene. Here the reaction shots are used mainly by the two protagonists to help express an emotional response to the actions of the other character and to help the narrative make sense. As the song progresses, these close up reaction shots are imperative in portraying the story of the song and the audience are encouraged to sympathise with or repel the character dependent on the appropriateness of the character’s reaction.
  8. 8. The mid shot shows some part of the characters in more detail, whilst still showing enough for the audience to feel as if they were looking at the whole subject. In fact, this is an approximation of how you would see a person "in the flesh" if you were having a casual conversation. Ergo, this makes the audience feel as though they are immersed within the video and are actually involved in it’s narrative flow, thus encouraging the audience to want to buy more of the band’s other products by feeling as though the band require them etc. All actions of the characters can clearly be seen whilst facial expressions can still be seen but not as easily as in a medium shot.
  9. 9. This shot now moves even closer to the subject where we see more of the subject and less of the setting and environment around them. This enables the audience to focus closely on the lead vocalists facial expressions, whilst still being aware of the setting and background action whilst focusing on the male lead vocalist as he tells his story. As the song progresses, these medium shots are imperative in portraying the story of the song as the vocalist is required to act out the story mainly using his face whilst still making the audience aware of the background action. The main focus is placed on the vocalist and the audience are encouraged to attach themselves to this character; him being the most prominent and us seeing the most of his emotions etc and we are encouraged to mirror his feelings by the medium shots displaying them to the audience. By placing him at the forefront of the frame, the director distinguishes him as main character and emphasises his importance to the audience.
  10. 10. The two shots in this music video are successful in establishing a relationship between the two characters. The proximity is very close due to the tight framing of the camera and having the main character whispering into the ears of the other character, it is suggested that he is the controlling character within these scenes and is a catalyst for the other character’s decisions. The focus is purely on the character interaction mentioned above, and allows the audience to engage fully with the characters by seeing clearly their facial expressions and not being distracted by background action.

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