The video is a performance narrative that conforms to star theory by featuring the musician Misch in various shots. It aims to portray the musician's passion for music through its relaxed, laid-back style as the characters slowly groove to the music. While the lighting and color scheme are dismal and brown, a disco ball is used to contrast and bring light, representing how music can lift any situation. The costumes have a jazz influence through denim and cord in dreary colors, subverting conventions by covering the women's bodies rather than objectifying them. Various shot types are used, including close-ups of lip syncing and wide shots of the environment. References to 1970s/80s films provide nostalgia.

2. NARRATIVE AND STYLE
• The whole video is a performance narrative which is conventional for
music videos and Misch is featured many times in lots of different shots
conforming to Richard Dyers star theory. This engages the audience
interested in music as Misch is playing guitar to represent a ‘normal’
person doing something his fans would also enjoy doing.
• The songs purpose is to celebrate the musicians passion for music.
This is portrayed in the music video through the style of it and language
techniques used like the shot types and mise en scene. The style of the
video is very relaxed and laid back like the tempo of the song in a sense
that the characters are sitting on sofas and are simply just ‘grooving’
slowly to the beat to emphasise the feel and love they have for music –
the message the video is trying to portray.

3. LIGHTING AND COLOUR
• The lighting is quite dismal and
relaxed with a dominantly brown
colour scheme throughout. Although,
to bring light there is what seems to be
a disco ball being used in most scenes
to break up the dismal colours and
contrast these dark colours to show a
sense of brightness. This could be a
message Misch is trying to put across
that music can bring light to any
situation, perhaps. This is also
something I would like to incorpoate
into my video when filming the
performance part of it. I think the disco
light used amongst a dark mise en
scene shows contrasting ideas and
gives depth in comparison to the rest
of the scenes I am planning to film
dominantly outside.

4. COSTUME AND PROPS
• All the talents styles are very jazz like incorporating a lot of denim and
cord into their dreary coloured outfits further emphasising the relaxed
notion of the video. This subverts typical conventions of music videos
especially when looking at gender. The woman featured in the video are
wearing loose fitted close that cover up most of their body.
Stereotypically in music videos woman are objectified and used (as
Laura Mulvey would say) for the ‘male gaze’. They aren’t in this video
perhaps showing new modern progressive ideologies, something else I
would like to integrate into my NEA.
• A lot of amps are featured to give an authentic feel. Instruments, plants,
microphones, studio-like features, lamps, old tvs.

5. SHOT TYPES
• A number of shot types are used throughout. The camera is almost
never still and moves a lot during scenes to match the flow of the song.
There are a number of shots of the talent but they consist of mainly
close ups of him lip syncing the song – another convention of music
videos as suggested by Goodwin.
• There are a lot of moving wide shots to show the mise en scene and to
contrast the close up shots of the talent.

6. INTERTEXTUALITY
• Throughout the video there are lots of references to 70s/80s films such
as the use of old tvs from that era. Films like grease use similar POV
shots of tvs in different scenes. Perhaps this was done to give the
audience a sense of nostalgia and tradition.