The 1975 - Settle Down

1. The 1975 - Settle Down
In this analysis ofThe 1975’s music video for their track ‘Settle Down’ I will be focusing on the
theory of genre.
Band Information:
Reviews of the Track and Music Video:
“The happy guitar hook and trademark drum beat will have heads nodding immediately. The album’s ninth track
is a catchy fusion of 80s nostalgia and modern synth accents. The sensual ditty speaks of relationships; the
unadvised and addictive.”
“Their honest electro-pop/rock music has a versatility similar to pop of the '80s. The song, "Settle Down," possesses
a youthful vigour that is infectious.”
“Not shy of a sleek monochrome video The 1975 return with a new clip for Settle Down. The enigmatic video
seems to hold a number of different messages. Through stylistic cinematography comes another wonderfully shot
film to add to their already vastly growing collection.”
Fitting into the genre of indie rock, the band was formed in Manchester;
made up of Matthew Healy (vocals, guitar), Adam Hann (guitar), George
Daniel (drums, backing vocals) and Ross MacDonald (bass). Formed in
2002 as teenage friends, they've been writing and performing for years now.
In 2013, the self-titled debut album reached number 1 in the charts, followed by the
band touring globally. Recently, October 2015, the band announced their second
studio album ‘I Like It When You Sleep for You Are So Beautiful Yet So Unaware of It’
is due to be released in February 2016. Premiering their first
single ‘Love Me’;“Prince-aping guitar work and unabashed 80s
love”showing the band’s evolution since the 1st album; the new
look and explaining ‘Love Me’ to be about narcissism.

2. Matt Healy - lead singer of the band explains the Music Video:
“I used to have a reoccurring dream when I was younger. The
narrative was loosely based, but the setting was always the
surrounding areas of where my parents grew up. I think I was
slightly obsessed with how certain, bleak areas of Northern
England contained my history and the soul of my family, my
psyche - I always felt connected and disconnected at the same
time. Metaphorically and physically I would visit these places
frequently as a youngster and in turn have used them as the
setting to a lot of the stories in The 1975 - the North East was
the visual setting to my formative years.
I suppose, like any narrative, the meaning and the connotations within the story are subjective. I've always
been quite fascinated with the potency of same sex relationships, plutonic or otherwise. I was brought up in
a very open minded environment, somewhere I felt that, whoever I was, I would be accepted. With this
understanding I was also very aware of others, school friends, acquaintances - whom, due to where we lived,
probably didn't have such a comfortable place to grow up, we were unaffected and affected by taboos and
the small minded at the same time. I've dreamt the story of these two boys on countless occasions - every
time drawing a different conclusion on its meaning.
With 'Settle Down' I wanted to make a story about the extension of that dream, a video that explores love, a
video that was as fantastical, consuming and limitless as the love we all chase and desire. Love as I have
always imagined.
So upon meeting Nadia, who directed the video, I told her about my dream. We sat for hours looking
through pictures and talking - it was decided in those moments. We were just to film my dream. The process
of making this video was so intensely exciting for me as I was finally working through and figuring out
exactly what this place, this story and these characters meant to me. I think now that I understand it. But
I'm totally open to suggestions / interpretations.”

3. Theory of Genre
There are often certain generic conventions which are commonly used in the genre of indie-rock
music videos:
• Lighting styles which enhances the mood of the track.
• Lyrics are portrayed and illustrated in the imagery of the production.
• Presented as a low-budget, natural and simple location setting.
• Cinematic effects and filters used, like the production of a short film.
• Often edited in slow-motion.
• Extreme close-up camera angles of artists and actors, reflect the emotion of the song in facial
expression.
Gunther Kress defines genre as “a kind of text that derives its form from the structure of a frequently
repeated social occasion, with its characteristic participants and their purposes.”
Taking these points above into consideration, The 1975’s music video ‘Settle Down’ conforms to some
of these aspects, but surprises the audience by challenging a few of them. The task of identifying
generic convention aspects of the indie-rock hybrid genre therefore means the artists can choose to
conform, subvert or challenge these factors. For example, the use of reflections is a common factor of
indie-hybrid genre music video productions.
Reflections in water and in the window reflect the audience being voyeurs and intruding on the young
boys’ lives. Conforming to the repetition of the reflection image to portray the metaphorical meaning
of the young boy possibly not being true to himself.
Having to edit his being to conform to the expectations
of those around him. Showing he can’t identify or
relate with his current community of people.

4. Theory of Genre - Audience
“Genres are not systems; traditionally, genres tended to be regarded as fixed forms, but
contemporary theory emphasises that both their forms and functions are dynamic.” (Steve Neale).
Explained that the viewing nature of the audience is pleased by “repetition and difference” with the
audience expecting some characteristics, intertextually. But the use of differentiation and uniqueness
from difference is also essential to challenge the audience’s expectations.
In continuation to the previous slide, where I presented some generic conventions for indie-rock
music video, the ‘Settle Down’ music video conforms to and challenges some of these factors.
The audience may be surprised by the music video being much more concept-based and driven rather
than performance, this may challenge the audience’s expectations because they may view music videos
to be an advertisement and marketing strategy for the artist or band. The lack of self-indulgence with
the band’s choice to barely include themselves may be different and unique to a lot of other indie-
rock music videos.
Matthew Healy is the only band member to appear in the music video, this
may be due to the concept of the music video being based on a recurring
dream Matt Healy has, so it would only be relevant for him to be in the
music video, there rest of the band not involved in this narrative story.
The audience may be challenged by the lack of performance from the band
in the music video, not connecting the track to their band, which may
mean the artists see the production as a short film, rather than a marketing
piece to promote their track. The artists viewing themselves to produce
music which is art, not selling-out into the mainstream pop-culture.

5. Theory of Genre - Audience
The production uses repetition from other texts, the use of
cinematic effects with black and white filters is a convention
often used. This allows a moody and dark tone being able to be
created; the sharper image created by the contrast between black
and white allows a more defined picture. The black and white
filter enhances the lighting style, chiaroscuro lighting allowing a
melancholy and reflective tone, reflecting the concept of it being
Matthew’s dream. (in more detail slide 12).
Also, the repeated factor of lyrical illustration is used ironically in the music video. The title being
‘Settle Down’ acts as an imperative, the commanding statement connotes the idea of telling someone
to calm down. This is portrayed in the imagery of the music video; with the young boy practicing
martial arts, his mother looking over him, this may what the song title refers to. Additionally, it may
mean that the society around these two young boys are silencing them, everyone collapsing as their
hands meet, may illustrate the oppression that the two young boys face.
therefore relatable production, specific
viewers from Northern England may be
able to recognise the characteristic of the
filming location, and identify with it more.
(more detail in slide 11).
The location choice conforms to the genre conventions of indie-rock music videos commonly looking
low-budget with simple settings. This may help to enhance the song, but also portray the rawness and
naturalness of the lyrics of the track. The real location presents the audience with a more realistic and

6. Theory of Genre - Intertextuality
“Genre is not simply ‘given’ by the culture: rather, it is in a constant process of negotiation and
change.” (David Buckingham). The dynamic nature of a genre means in contemporary society, it is
ever changing. Artists are having to revitalise and modernise their productions continuously in order
to remain interesting to the audience.
My own production fits into indie-rock/folk hybrid genre category. My music video explores the
concept of insecurity and growth, which link to this music video with how a young person identifies
themselves, younger people often portrayed to be more self-conscious and insecure, especially when
surrounded with people and a place they cant identify with. But this could even be the case for an
older person, which is something I explore right at the end of my own music video.
The track ‘Magic’ by Coldplay links to ‘Settle Down’ but he indie-rock genre of
music, but also because they have categorised their production as an art form,
rather than a promotional piece for the song. The music video presented as a short
film rather than something to market them. This may connote professionalism
and the high quality nature of performers, attracting more viewers.
Interpreting this narrative to be about two young boys being in fact lovers, this narrative is very similar
to that of Troye Sivan’s music video for his track ‘Wild.’ He created 3 music videos, all of them telling
the story of two boys growing up together and falling in love, but having to deal with homophobic
parents. Both Troye Sivan and The 1975 as artists using their productions to address an issue of
inequality which still exists in modern societies, both raising awareness for this topic.
Also, in Ed Sheeran’s ‘A-Team’ the use of a black and
white filter creates a harsh contrast between light and
dark reflects the ups and downs of an individuals life. The featured female
resorting to prostitution which led to her drug abuse. She’s very much
isolated from society; possibly similar to the two young boys.

7. Theory of Genre - Characters
Ideology and Gender:
“Mass media genres play a part in the construction of difference and
identity, notably with regard to sexual difference and identity” (Neale).
Some may interpret the two boys to identify as gay, or attracted to
each-other, their meeting the start of their relationship which goes
against the way they have been brought up. Those two being the only
The relationship between the two young boys and their parents seems tense,
neither directly communicating with the adults. In this scene the father looks
at his son through the mirror, this idea of him being a constant watcher of the
younger’s life; giving him very little freedom or exposure to the wider world.
The video is somewhat different as it include no performance-based scenes from
the band. The only appearance of a band member is Matt Healy; who wonders
around the locations. A very passive character who has no direct link to the
In my interpretation of the music video, it presents a zeitgeist of modern culture. It may reflect the
next generation being more open minded about issues of sexuality and identity. Alongside this, I
think there’s the critique of culture; the parents attempting to prevent the two boys meeting, reflecting
there is still inequality present in modern society which needs to be changed.
ones to accept their own identity and sexuality. Alternatively the two boys may be re-united brothers or
twins, separated for some reason and meeting again.
concept narrative which unfolds. Other featured characters
include the group of people acting in a spiritual worship looking activity, the
audience may see the to be waiting for the boys to meet, they're expecting it.

8. Theory of Genre - Narrative
The music video has a linear narrative; portraying the two stories of the two
young male individuals, only interrupted by Matthew Healy, a band member
walking around the same locations, and a group of spiritual worshippers.
The 2 boys narratives run parallel to each-other, building to the point at which
they meet in the street.
When they do meet, the mother, father and worshipping group collapse to the
floor. The audience being presented with the idea they have this power which
goes against nature. This may be interpreted as love, platonic friendship or
even the power that humans have between themselves.
“A small town
Dictating all the people we get around
What a familiar face.”
“But you're losing your words
We're speaking in bodies”
“For crying out loud, settle down!
You know I can't be found with you”
Even Matthew Healy, the only band member featured in
the production turns towards the harsh light created by
the young boys. Maybe this reflects the end of the dream
he’s having which the concept is based on.
It’s suggested that there is often a close connection between lyrics and the imagery. (Goodwin):
One of the young boys doing martial arts, expression through his
body. Neither boy seem to communicate well with their parents.
Ironic; the two young boys end up rebelling from their
parents to meet. First line possibly what parents have said.
The small town reflecting the simple locations used, the
boys don't recognise each other as they drive past one
another, intrigued by the other they've not seen before.

9. Theory of Genre - Camera Angles
Extreme close-up camera angles of artists and actors,
reflect the emotion of the song in facial expression.
No character is ever smiling, the very melancholy
atmosphere is created from this. Alongside the black
and white filter this sets the bleak tone, the close
camera angle makes the audience aware they are
acting as voyeurs; watching these people’s lives.
Potentially witnessing a life-changing moment in the
young boys lives. Extreme close-ups are a camera angle
convention for indie-rock music videos, explicitly referencing the hybrid genre. Although, it is
somewhat subverted in the production; the shots of characters, while usually they are of the musical
performers, challenging this usual imagery of the artists.Through these close-ups and
extended screen-time of the two young boys, the audience are positioned alongside them,
so side with them against their parents. The artists may have chosen this to make a political
message, at one point being gay was even illegal, they show some people still have that
mindset and reinforce inequality. This has an intertextual link to Gus Van Sant’s 2008
film ‘Milk’ which presents the struggle of Harvey Milk; an American gay activist and
California’s 1st openly gay elected official.
Another camera angle used are wider shots, the audience intended to
focus on the centre of the screen and the person or object which is
centred being relevant. The camera shot connotes the audience not being
involved in the relationship between the boys, but position with one of
the young males can see how intrigued they are about one another.

10. Theory of Genre - Editing
The use of editing the production in slow motion is a generic convention
of indie-rock music videos. The use of it in this production slowed the
pace of events, adding to the slow and gradual meeting of the two boys.
Slow motion added to the dramatic effect also, enhancing the movement
of characters and allowing the audience to linger on characters as there
are quite a few to identify from one another.
The editing begins rather slow, speeding up towards the end of the music video as it reaches its main
turning point as the two boys meet, where it slows again. One specific technique used in the editing is
cutting frames to match the next shot; allowing them to connect. This example, shows the young boy
Having two shots layered upon each-other creating a reflection-like effect
is challenging the generic conventions of the genre, presenting a new and
original idea. Portraying the mother to be constantly checking on her
son, who is caught up in his own little world. Their bodies lining up
reflect their family tie, but the low opacity of the figures may reflect how
they are distanced from one another in their ideas and opinions.
The use of a hand-held recording scenes when the
young boys are running towards each-other, with quick
cuts and short scenes, is a contrast to the slow motion
editing. The sudden frantic feel portrays the
desperation and need for them to be together.
taking up half the screen, the other half empty. In the next
shot, Healy fills the empty space. Connoting their closeness
metaphorically; this being a reconstruction of Healy’s dream.

11. Theory of Genre - Locations
Some of the final shots in the music video include performers situated
on these long streets, vanishing points created behind the person. The
locations draws the viewers eyes straight to the featured individual. In the
case of the two young boys; this establishes them meeting each-other from
different side of the street, seeing one another for the first proper time.
The empty streets show the boys alone and
isolated, this may reflect how they
emotionally feel; not being able to relate to
anyone else, apart from each-other, the
relief of knowing that they're not alone.
One aspect of indie-rock here conventions that this production conforms to is
the rather basic and simple locations chosen, these connote a low-budget,
which may not necessarily have been a problem for this specific band.
Nevertheless, I think the stripped back locations are essential to the portal of
this narrative, the presentation of the boys coming from humble beginnings
with their separate families isolated but living so nearby.
Additionally, it may be interpreted that the choice of filming in North
England reflects the band themselves; having to work hard to break into the
industry and having no background to help them with that.
However, the basic landscapes used act to portray the young boys wandering
around, finding no reliability in the areas surrounding them. Their homes are
somewhere you can assume they have shelter; but even there they don't seem to
fit in; having a sense of boredom and restlessness about their homes.

12. Theory of Genre - Lighting
Black and white filter for the production means the lighting creates the
chiaroscuro lighting contrast between black and white; which allows definite
shadows to form.
The use of cinematic effects and filters allows this music video to be like the
production of a short film. The sophisticated composition and lighting design for
shots portrays professionally. Key lighting for the audience, but additionally, slight
rim-lighting enhanced with non-ambient light from the window makes it seem
natural, the honest and true story being told.
Some of the last scenes in the production are of the two boys meeting and the
intense lighting created by their hands as they touch. This intense glow as their
hands meet connotes the idea of them being a force of nature, this magical or
spiritual extreme aspect is enhanced by the black and white filter. The strong
white lighting illuminating the dark streets.
This shot shows the lens flare, the performer
silhouetted by the ambient sunlight acting as back-
lighting for the viewer.
Also, on the left, shadows enhanced with non-ambient light creates this long
shadow behind the performer, this may connote his haunting dark past which he
wants to leave, the ‘small town’ referring to his home which he didn't feel any
belonging or emotional connection towards.