Elliot Woodward Music Video Anaylsis

Elliot
Woodward
Music Video
Analysis

Andrew Goodwin’s 7 Features of Music Videos
• In his book ‘Dancing in the Distraction Factory’ Andrew Goodwin points out
characteristics and features that can be found in music videos.
1. Music videos demonstrate genre characters. (e.g. stage performance in metal
videos, dance routine for boy/girl band, aspiration in Hip Hop).
2. There is a relationship between lyrics and visuals. The lyrics are represented with
images. (Either illustrative, amplifying, contradicting).
3. There is a relationship between music and visuals. The tone and atmosphere of the
visual reflects that of the music. (Either illustrative, amplifying, contradicting).
4. The demands of the record label will include the need for lots of close ups of the
artist and the artist may develop motifs which recur across their work (a visual style).
5. There is a frequently reference to notion of looking (screens within screens, mirrors,
stages, etc) and particularly voyeuristic treatment of the female body.
6. The artist may develop motifs or iconography that recur across their work (a visual
style)
7. There are often intertextual reference (to films, TV programmes, other music videos
etc).

B A S T I L L E –
The Thing’s We Lost In The
Fire
Dan Smith I Kyle Simmons I Will Farquarson I Chris Wood

Bastille are a British indie pop band formed in 2010. the group began as a solo project by singer Dan Smith, who
later decided to form a band. Beside Smith, the four-piece consists of Chris Wood, Will Farquarson, and Kyle
Simmons. The name of the band derives from Bastille Day, which is celebrated on the 14th of July, Smith’s
birthday.
‘The Things We Lost in the Fire’ is the sixth single by Bastille from their debut studio album Bad Blood, which was
released as a 7-inch single and as a digital download on 23rd of August. It reached number 28 in the UK singles
Chart on the 15th of September 2013. The song was featured in an episode of The Vampire Diaries. In September
2014 the song was used as a trailer song for EastEnders. Bad Blood, was released in March 2013 and entered the
UK albums Chart at number one. The band was nominated for four Brit Awards and the 2014 ceremony, winning
the British Breakthrough Act.

Music videos demonstrate genre characters. (e.g. stage performance
in metal videos, dance routine for boy/girl band, aspiration in Hip
Hop).
Goodwin’s theory states that each genre has a particular characteristic that
define its genre. Bastille’s “The Things We Lost in the Fire” is a indie rock
genre and there are a number of factors which contribute to producing this
type of music video.
• “The Things We Lost in the Fire” is presented as a performance which
is expressed through a creative approach. The video unravels a story by
which the lead singer Dan Smith produced in relation to his real life
break up experience. It does not show the band actually playing their
instruments however does show clips of the lead singer, singing to the
song at points in the video. The video is defined by its originality and
quirkiness, which when watched as a whole, keeps the viewer engaged
through the diverse shot locations and the mix in pace of the story
being developed.
• The lighting in the video is carefully created to reflect the mysterious
atmospheric surroundings of the story. A large part of the video is
filmed with dim light, mostly relying on one source of light present,
such as a spot light on the performers face/body. At the start natural
light is evident as wide landscape shots are shown to establish the
video’s prime location and to set the mood of the performance. Plenty
of elements in the music video suggest that the Narrative and Lyrics of
the song are linked, which effectively provides the viewer with a good
idea of the resemblance behind certain objects and lyrics.

Hop).
The colour pallet in the music video is surrounding mostly
darker tones (black, grey, white to create a more subtle
presence, leaving the majority of the performance to rely on
the acting quality of the performers. However At the start a
more diverse range of colours create a picture of the
landscape using bright colours of the rainbow. Although this
strange colour combination is unusual in music videos, as it
challenges both dull and bright colours, it works effectively
as the bright colours provide more of a introduction into the
music video whereas the dull colours guide us through the
emotion of the narrative and the artists within it.
In the music video the setting is within multiple locations,
such as a gloomy snowy morning in a rural setting, a more
man-made stone studio floor, studio bar, a small village, etc.
This reflects the narrative well, as there is a range of
emotions within the song’s lyrics and it supports the mix of
colours within the video.
The styling of the band is not seen much as a whole, because
the band is only seen together for about 0:20 seconds of the
video. The style reflects their indie rock presence in the
industry, (e.g. denim/leather jackets, stripy shirts, bracelets
and long wacky styled hair).

There is a relationship between lyrics and visuals. The lyrics are
represented with images. (Either illustrative, amplifying,
contradicting).
There is a clear link between the narrative story in the
performance and the lyrics. The song “The Things We Lost in
the Fire” was written and inspired by the lead artist Dam
Smith who faced a real life break up and decided to write a
song about it. He uses the word ‘fire’ in the lyrics line “the
things we lost in the fire, fire, fire”, to act as a metaphor for a
break up.
“All that we have amassed, sit’s before us, shattered into
ash” A bullet is picked up referencing all the memories that
Dan’s relationship held, and how they have been shattered
and fallen to the floor since the break up. The bullet could
also represent pain and death, symbolizing Dan struggling
after coming to terms with the break up.
“We were born with nothing, and we sure as hell have
nothing now” This lyrics match Dan being thrown a gun and
being dropped of out the band’s car, emphasising , that all he
has is a weapon to theoretically end his life due to the pain he
is enduring.
“Do You understand that we will never be the same again” A
women who represents Dan’s ex girlfriend is trying to escape
Dan who is comforting her in his hands. She then runs away,
emphasising, things won’t ‘ever be the same again’, like when
they were together. (2:50-2:58)

There is a relationship between music and visuals. The tone and
atmosphere of the visual reflects that of the music. (Either illustrative,
amplifying, contradicting).
There is a clear link between the music and visuals on screen
within the music video, ‘The Things We Lost in the Fire’. The
music video starts with almost silence, and then natural sound is
recreated, symbolising the cold breezy air outside where the
first location is set. The visuals support this slow mysterious
atmosphere by visualising the vast open land covered in snow.
The slow pace is supported by the row of men walking slowly
forward, away from the camera (0:00-0:15).
A blood trail from the car in the music video is shown when the
lead singer Dan sings the line ‘These are the things we lost in
the fire, fire, fire’. Except this time the final word ‘fire’ is sung
higher than the previous two, emphasising what's really been
lost for Dan. The realness of the visual image supports the
narrative effectively and the change in key.
For the last part of the music video video, the pace slows down
dramatically, and the visual image links in with this as Dan is
walking right to left across the screen in slow motion. This helps
capture the emotion behind the band and reinforces the lyrics
between them. (3:53-4:13)

The demands of the record label will include the need for lots of close
ups of the artist and the artist may develop motifs which recur across
their work (a visual style).
Close ups are a key feature of music videos which enable the
viewer to see inside the real emotion of a music video and the
performers. This often is created as a meaningful message
from the artist’s behind the song. The audience then become
familiar with the band as a whole. The demands from the
record label are as big in this music video as Bastille are stylish
and quirky, featuring the latest trends but styled in their own
unique way to create an individual identity. Close-ups are also
a way of revealing clear facial expressions and reactions within
the song, often linking to the lyrics.
Dan Smith the leader singer, is focused on the majority of the
time as the narrative of this song is dedicated to his real life
relationship breakup experience. Therefore capturing his
emotions during the song is important for the audience to see.
For example, when he is looking down to the floor, making it
look as if he is still hurting inside, showing he is still attached to
the relationship. However on the other side Dan is seen to be
laughing and joking in the car with the rest of the band
highlighting his highs within the narrative.
The motif in this particular music video of Bastille’s follows a
modern pattern, where cross cutting is predominantly seen as
the video is structured between two interlinking videos, the
narrative story and the artist’s actually singing the song.

There is frequently reference to notion of looking (screens within
screens, mirrors, stages, etc) and particularly voyeuristic treatment of
the female body.
The notion of looking in “The Things We Lost in the Fire” is very minimal in comparison to other indie rock music videos
out there. This is because it is narrative story based and offers more of a film professionalism approach where by the
fourth wall is not broken between the actors and audience. This music video maintains a cinematic feel through as it has
been filmed at a wide angle to create a more immersive experience for the audience.
However the notion of looking rule is an exception in terms of viewing the female body. The woman playing Dan’s ex
girlfriend is filmed turning from right into the camera from standing side angled and smiling. This identifies a voyeuristic
treatment of women within the video as she is the single woman that appears in the video. This type of visual image
makes the audience feel apart of the performance and triggers men through the male gaze to enjoy how the women are
portrayed. The male gaze isn’t a predominant feature through this video, which many pop videos do appear to include
such as Taylor Swift and Ellie Golding.
Fade

The artist may develop motifs or iconography that recur across their
work (a visual style)
Bastille’s music work tends to be based on true stories behind the band’s real
life problems. This was especially focused on Dan Smith when he was a solo
artist for Bastille.
The iconography does appear to be very visual in their music videos, as their
style of outfit develops a pattern throughout their videos, which is stylish and
within the indie rock genre constantly. This gives the band an identity and a
label in the music industry which they stamp on each of their videos to give
them there individuality.
A lot of Bastille’s music videos tend to be filmed in open air (water orientated),
because they tend to be story narrative based with cross cutting into the
artist’s singing part of the song. Bastille follow a very emotional trail with their
music which is reflected in their slow paced songs. Dan Smith is the main focus
in all of the music videos, although most of the band is featured in the story
and the vocals. This is unusual as the band is male led with no females in the
band. However females do appear in the narratives to make them appeal to a
male audience as well as female.

There are often intertextual reference (to films, TV programmes, other
music videos etc).
‘The things We Lost in the Fire’ doesn’t appear to project any clear
intertextual references when comparing with similar genres and
structures. However I do think that The film Twilight shares similar aspects
within this music video. For example Twilight is based around open air
mostly in a snowy forest setting, this is similar with the music video.
Twilight is a romance about a man who is a vampire falling in love with a
female human, but their relationship is never easy to reach for either of
them. ‘The Things We Lost in the Fire’, is about the break up of a
relationship and mentions the line ‘Things will never be the same again’,
this links with how Bella from Twilight committing to the relationship has
made her life completely different, meaning it will never be same again.
The music video also has husky's running in the snowy location, these
animals are also a big part of twilight. The album by Bastille is called ‘Bad
Blood’, the vampires in twilight are a sign of bad blood to Bella’s family
and friends, this offers a direct link which provides an intertextual
reference by which the music video may have sparked inspiration from.

Tim Bergling who was born 8 September 1989, better known by his stage name
Avicii is a Swedish electronic musician, DJ, remixer and record producer.
Avicii was ranked third on DJ Mag in 2012 and 2013 and has been nominated
twice for a Grammy Award, once for his work on "Sunshine" with David Guetta
in 2012 and once for his song "Levels" in 2013. He released his debut studio
album, True, in 2013. It received generally positive reviews from music critics,
peaked within the top ten in more than fifteen countries and topped the
Australian, Swedish, Danish and US charts. In 2015, Avicii released his second
studio album, Stories.
“Wake Me Up” was released as the lead single from his debut studio album
True on 17th of June 2013. American soul singer Aloe Blacc provides vocals for
the tack and Mike Einziger of Incubus provides acoustic guitar. It was the third
single to be written by Aileen Marie Quinn. “Wake Me Up” peaked at number
one in much of Europe and charted well in various countries. The song has
been described as a “summer anthem”.

Hop).
• “Wake me up” By the solo artist Avicii is based mostly in the
form of a narrative story, where a mother and daughter have
arrived at this unusual town whereby they don’t feel
welcome there. The mother then goes to a party and tells
her daughter “get up pack your things”, and says that they
are going “somewhere we belong”. When the mother is at
the party the actual artist Avicii is featured in the music
video singing on stage whilst Djing as well. These parts of
the video are performance based and break up the long
narrative story between the two female performers who
carry the majority of the lyrics.
• The Lighting in the music video relies heavily on natural light
throughout except for the festival/party scene whereby
lighting equipment is sourced to light up the dark. This type
of natural lighting reflects the slow pace of the song and
offers connotations of exploration and adventure. When at
the music festival the lighting is extremely bright and bold
which fits In perfectly with the indie/electronic based music
genre that Avicii is attempting to portray.

Hop).
The colour palette in “Wake Me Up” is very subtle
when the performance based shots are shown, e.g.
dark colours to represent the old fashioned town
where as more bright colour tones are seen to appear
when the two females are in bed (white sheets) and in
the music festival (pink and blue). These different
palettes represent the change in mood effectively
which gives the song more than just a story but an
atmospheric feel.
The music video features around two central locations,
an old town and a music festival, which the artist of
the song is playing at. The two locations offer the
audience completely opposite experience s within the
song, which reflects the indie, individuality
preference/qualities of the song.
The two performers in the music video and styled in
very modern stylish outfits which fits inline with the
genre and Avicii’s ideal look, (the mother may look
attractive to a male audience as she wear a military
jacket, beany hat, skinny blue jeans and brown high-
top heeled boots looking powerful and fierce).

contradicting).
Avicii’s song ‘Wake Me Up’ is based around a narrative story, therefore the
lyrics within the song at some points clearly highlight what the performers
are recreating in the audience’s head. The song does incorporate elements
of performance however these have been cleverly placed within the story
so that the narrative makes sense when matched with the performance.
There is a clear illustrative link between the lyrics and visual which
supports Andrew Goodwin’s theory.
The constant link between lyrics and the narrative, effectively portray the
song much powerfully in the audiences head, as the words are developed
into more than just a song. The line “Guided by a beating heart” is
accompanied by a birds eye shot of a performer supposedly playing a
mother looking at her child lying in bed next to her, this creates the idea
that Avicii is singing about these two performers.
“They say I'm caught up in a dream”, The woman is looking into the mirror
with her arm on display, showing a two option button like feature,
suggesting she is part of a dream which you can either fast forward or
rewind. This links to the line ‘Wake me up when I'm wiser and I'm older”,
possibly that these buttons allow her to do this or, if she wishes that they
did.

The music in the song has a clear relationship with the
visuals on screen. When the music video begins the
song is quite slow paced and less energetic in terms of
energy, this is the same as the end of the music video.
(When the mother and child are getting out of bed /
When the mother wakes up the child). Slow motion in
the video also highlights the slow pace. However the
video creates a more upbeat atmosphere as the story
unravels and the performers interact with ‘society’.
The atmosphere of the video is quite subtle in terms
of story and how its portrayed, this makes the song
seem quite calm. However when the chorus is
repeated for the final time, the singer Avicii puts
emphasis on the end of words. E.g. “All this time I
was finding myself” and “When I’m wiser and I’m
older”.
Near to the end of the video, the tone and
atmosphere of the visuals increase dramatically as
there are scenes of partying and clubbing in strobe
lighting while people are dancing in crowds. Therefore
I conclude that I think the relationship between music
and visuals is also illustrative and clearly linked.

Plenty of close-ups have been incorporated in the music video
visuals fulfilling the demands of the record label. Close-ups are a
crucial part of music videos as they allow the performers faces to
be presented in a clear and powerful way so that they facial
expressions are easily identifiable. It also clearly shows direction
of the performers eyes and can in this instance display the music
festival audience enjoying the music and atmosphere.
Most of the close-ups in this music video resemble the
unwelcomed attitude of the rural countryside village who make
the woman and child seem out of their comfort zone. (Close-ups
of the village residents glaring at them). The
excitement/enjoyment of the young party youth is also captured
through close-ups and elements of the song being mimed to by
Avicii.
The fast pace editing in the music festival
scene is very extreme therefore the close-
ups only appear for less than a second,
creating a collage of images to portray
their expression and mood as a whole.

the female body.
There is plenty of reference to notion of looking at screens within the
music video ‘Wake Me Up’, which directly creates a more personal
relationship between the performer and the audience viewer. For
example, when the woman and child step out of the house and into
the rural countryside village, the local residents glare at them. They
has been framed in close-ups with the residents faces positioned
centrally whilst looking directly in the camera lense. This creates an
uncomfortable atmosphere for the audience viewer and allows them
to feel apart of the video, as they are directly being looked at.
Voyeuristic treatment of women is in some way identifiable in the
video, which is used as a attraction and appeal for the male audience
to enjoy/find interest in. For example when the woman is in bed in her
white nighty and when she has her eyes closed and and is leaning
slightly backwards away from the camera pushing her hair back. She
also portrays a countertype of a stereotypical woman as she is
displayed as being powerful and courageous, (woman riding horse in
military jacket).
The notion of looking is also reiterated near the end when people at at
the music party enjoying themselves. One of them lifts out a camera
lense and in the frame shot you can see them smiling through the
camera lense of the phone. This is almost a double screen identity as
the audience is looking through two lenses.

work (a visual style)
All of Avicii’s work has a very subtle narrative story motif
which tend to follow a deep emotional relationship between
the performer and real life occurrences, which people
experience. This is one of the reasons Avicii has a very strong
fan based audience, because there is purpose behind his
music videos. Very rarely does Avicii choose to incorporate
performance into his visuals as he doesn’t think they connect
with the audience in the same way narrative stories do.
Another motif is the locations which his music videos are
based in. Most of them focus upon rural landscapes where a
real breath-taking view can be photographed, however some
of them adopt a more urban environment, or a combination
of the two.
Avicii has also adopted a fashion motif in his videos, showing
he is aware of the latest trends and ‘looks’. This includes such
stylish looks involving, leather/denim/bright bling jewelry.
Avicii’s music videos are well known to use slow motion and
have a lot of slow paced movement/shots, which effectively
make the videos more thought-provoking and imaginative in
terms of body movement.

ç
music videos etc).
The music video ‘Wake Me Up’ makes a direct intertextual
reference to the American Television series ‘The Walking
Dead’. In the music video the woman leaves the child in bed
and goes searching for somewhere where they feel more
welcome and ‘at home’. The shot is high angled and looks
down at the woman riding a horse into an urban city
environment. In ‘The Walking Dead’ a male is seen riding on
an empty side of a motorway into a city. The context of the
series is about survival and finding a place to be safe which
links the lyrics “All this time I didn’t know I was lost”.
The music video also makes direct intertextual reference as a
marketing tool/promotion for the design clothing company
Ralph Lauren, which is featured on the saddle of the horse
before the woman gets on to it. The company is again
promoted on a wall behind the horse when she arrives in the
city.
Another intertextual marketing tool is used for the consumer
electronic company Sony, promoting the Sony Xperia when
they use the phone to take a photo in the music festival
audience crowd.

T h E H u N n A
Bonfire
R y a n
P o t t e r
D a n
Dorney
Jermaine
A n g i n
J a c k
Metcalfe

The Hunna are a four-piece indie rock band from Hertfordshire,
England. Singer/guitarist Ryan Potter, lead guitarist Dan Dorney,
bassist Jermaine Angin, and drummer Jack Metcalfe quickly built a
local following before teaming up with producer Tim Larcombe
(Lana Del Rey, Halsey) to record their debut single. "Bonfires" and
its B-side, "She's Casual," were released in October 2015,
coinciding with the Hunna's first supporting tour with Bristol-based
band Coasts. They spent much of 2016 in the studio recording their
debut album 100, which saw release later the same year.

Hop).
The song ‘Bonfire’ by The Hunna is both a combination
of performance and narrative story, which involves the
whole band on top of a roof partying and drinking
alongside a handful of separate performers. Some very
unpredictable dance routines have been given to the
background performers while the band sing at the front
central part of the framing shots. The bands are directly
singing to the audience through the camera, creating an
awareness that takes away the believability of the
narrative story.
Lighting is the music video relies heavily on natural light
as it is filmed in daylight hours on top of a roof. This
would have made filming quite lengthy and more
challenging to get right. The lighting has however been
perfectly executed as throughout the video the lighting
intensity remains the same. Part of the filming does
involve an inside brick wall room which may have
required some non-naturalistic lighting equipment to
enhance the instruments and facial expressions.

Hop).
The editing is fast paced cross cutting between shots to
create a sense of excitement and chaotic atmosphere,
which the band are surrounded by. The editing also
makes the style of genre increasingly more upbeat and
different – indie rock. The video contains many events
which make the whole video appealing to an aspiring
young indie audience. (drinking/beer pong/singing etc).
The music video is set in one location however differs
between the rooftop of a tall building and a few empty
rooms inside. This location supports the chaotic
structure of the music video and enables the shots to
provide continuity and a good background for the style
of the genre.
The band ‘The Hunna’ are styled in a very modern way
whilst combining their stylish youth looks as a whole
which works within their overall image. This includes a
range of different arm length leather jackets/blacked –
out glasses and dark colours in general to create a subtle
‘look’.

contradicting).
“And we blew up like a bonfire” Two of the band members
make some kind of hand greeting with their knuckles
emphasising how the bonfire exploded, as the line is said as
the same time as this shot is framed on screen.
“When you come at me with that face” Three women’s faces
appear in the music video for no longer than half a second
duration each, displaying a quick cross cutting technique. All of
women are centrally framed and looking directly into the
camera lense. This breaks the fourth wall between the
performer and the viewer, as they are aware of their audience.
“So let’s burn this to ashes ” A male performer is centrally
positioned in the frame holding a baseball bat in his right hand
upright whilst looking directly into the lense. The lyric suggests
violence and the illustration supports the intensity of the lyric,
whilst making the purpose behind it more realistic. The
backdrop of the image is also quite reflective of a plain and
simple idea , which relates to burning ashes, as nothing is left
after something has been burned.

There is a clear illustrative and amplifying relationship link
between the music and visuals on screen throughout the
music video. For example, when the video pace is upbeat
and fast the performers and the band’s movement is quick
and stylish, however when the pace drops and the chorus is
slowed down, slow motion video action is apparent, where
the movement becomes more easy to watch and clearly
indicates a change in the pitch of the chorus.
The atmosphere of the music video holds the same
continuity mostly, as it’s positive and enjoyable for both for
performers and the audience to watch. The repetition of the
lyrics, especially the chorus ‘blew up like a bonfire’ displays
a strong relationship with the on screen visuals of the band
partying and singing into the camera’s lense.
At the end of the video after the slow motion the music
stops and there are a few still images will stay on screen for
a short few second duration. For example an empty plastic
cup with some alcohol split on the floor besides it, this pulls
the pace of the video down and indicates to the audience
that the song has passed the climax and that the song is
drawing to the end.

The demands of the record label have been clearly used
effectively in this music video ‘Bonfire’ as plenty of close-
ups are captured of the band/performers enjoying
themselves on the roof and in the building. This creates a
strong link between the illustrative visual style of the
narrative story and the performance based elements
where the band are framed singing into the
microphone/playing the instruments, e.g. guitar and
drums.
The close-ups also display clear emotion and expression
from the bands faces, particularly when they are singing to
the song. Their passion, enjoyment and involvement in the
song is clearly shown through the use of close-ups. The
combination of shots all together, varying between close-
ups and medium/long shots creates a clear representation
of visual work, providing the audience with knowledge of
the surroundings taking place in and around the building.
The close-ups of the artist are also used to capture the slow
paced parts of the song and how the artist may respond to
the lyrics when performing them. Eye contact is also
effectively addressed by the artist making direct eye
contact with the camera lense.

the female body.
There is an extreme use of referencing to the notion of looking at screens in
‘Bonfire’. During the video many of band members and background
performers are looking directly into the camera which makes the audience
feel apart of the performance and connects them through the lyrics-visual.
When only one person is in the frame they are always centrally positioned in
the shot with minimal background landscape so that there is no distraction.
This is mostly apparent when a it is a woman, as the male gaze is triggered
from a male audience who will see the women as more of a sexual object.
This voyeuristic treatment of the female body is displayed in many ways,
such as the licking of the tongue when rolling ‘drugs’ which is held in front
of her by a male, or the style of minimal outfit with the ‘cute’ cunny rabbit
masks/helmets on, who are dancing in a very sexual manner.

work (a visual style) There are a few developed motifs which the artist
‘The Hunna’ clearly adopts in their music videos.
In terms of location and setting the outside rural
environment is constantly used for the narrative
story/performance.
Another motif is their style of outfit, which is
always similar in terms of looking indie-rock and
appealing to their aspiring targeted audience. The
band are always individually styled so that you
can identify each artist however together the
colour scheme which they wear has been thought
about and selected carefully, so that a
professional look is always directed. (In Bonfire its
more of a casual, scruffy look, where as in the
song ‘You and Me’ brighter blue tones of colour
are incorporated into their outfit to fit with the
pace and style of the song.
A clear motif which seems to re appear in most of
‘The Hunna’s’ videos is a short introduction of
words centrally framed on the first few shots of
the video. In the following order – “High Time” –
“300” – “The Hunna” and then the name of the
song. This gives a cinematic looks which is evident
in the beginning of films.

music videos etc).
The music video ‘Bonfire’ by The Hunna is youth party orientated
throughout the video, which has a strong intertextual reference to many
British Television program series like ‘Skins’ which is about a group of
young people who are failing at school and attend parties and get drunk
most of the time. The shots are very similar scenes to that of ‘Bonfire’.
The dress sense is also very similar, in terms of it being quirky, unusual
and individual, making them stand out from the crowd.
The behavior and action of the ‘youth’ in ‘Bonfire’ is very childish which
is similar is skins, for example, spilling alcohol in some form (plastic
cups/ glass bottles). They both feature a lot of background performers
whilst the band in ‘Bonfire’ and the main characters in the TV Series
‘Skins’ are centrally positioned in most shots.
Fast pace action and movement of the camera is also similar in both of
these, with more handheld being featured in ‘Skins’ and even more
Jerkier movement in the music video.

Elliot Woodward Music Video Anaylsis

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