1. Music Video Textual Analysis
Bruno Mars and Mark Ronson – Uptown Funk
Shot type and camera movement: long
shot, shallow focus
Analysis
This shallow focus shots concentrates on the
woman’s body whilst we see the line of
intimidating males watch her walk. This shot
can relate closely to the male gaze as the aim is
to draw attention to the female body; the fact
that the long shot cuts off her head gives her no
identity meaning it reduces her to just a body.
This objectification of women is extremely
common in pop music as it is the convention
that attracts so many views. The males are seen
as dominant and, because they’re stood in a
line, they come across like a group of animals
hunting on prey. Whilst the woman is showing
a lot of flesh, the males are fully clothed head
to toe proposing that only women are seen as
sex objects and are there for any male to look
at or admire.
Music/lyrics: ”Girls hit you, hallelujah” Edit/transitions: The editing in this section is
quick and frequent. This mirrors the upbeat
tempo and beat of the song and represents the
quick to judge attitudes of men towards
women’s physical appearance.
Shot type and camera movement: mid shot,
handheld
Analysis
This mid shot uses the beat of the song to
match the action that takes place on screen. The
main subject (Bruno) and the backing dancers
clap to the beat which enhances the bass of the
song; doing this builds up the tempo to excite
the audience before the beat drops. Dance
routines are a common convention of pop
music videos as they add the fun, party feel
and, in this case, allows the audience to feel
involved and excited.
Music/lyrics: “Cus uptown funk don’t give
it to ya”
Edit/transitions: the cuts in this section are
extremely fast and no other transitions are
2. used. This helps the video to build up tension
and lead up to the chorus; the tempo matches
the cuts, as the beat changes the shot also
changes.
Shot type and camera movement: close up,
shallow focus
Analysis
This close up shot reveals the main subject
dominating the shot. These close ups are
extremely common in pop music videos and
enable the audience to establish who the main
subject is. Using this with the high lighting and
the shallow focus helps us identify that the
main character us the most dominant and
powerful of all that feature in the video. The
star of the video is frequently referred back to
in close ups whilst also being seen at the front
of all group shots and dance routines.
Music/lyrics: “cus uptown funk don’t give
it to ya”
Edit/transitions: this fast cut to the close up
continues the fast and exciting pace of the
video. The editing is mostly handheld which
forces the audience to feel part of the action
and as if they are watching there and then.
Shottype and camera movement: panning
midshot
Analysis
Thismidshot focusedonthe mainsubject,Bruno,
withthe backingdancersina blurredfocusshows
off theirdominance asa male group.Thisshot is
seenina party/clubvenue andthe lightingusing
blue andred connotesanexciting,dance
atmosphere forthe audience.We are able to
establishthe locationfromthiscolouring
immediatelyasthese colourscontrastcompletely
withthe natural lightingusedonthe street;this
relatestohow most popmusicvideosinvolvetwo
contrastingvenues.Inthiscase,the venue
expressesBrunoandthe othermembersasfun,
party boyswhoenjoyentertaining.We see askill
side tothemas the panningmidshotshowcases
that itis a live performance meaningtheycan
3. grasp the attentionof an audience whilstdancing
and singingwell too.
Music/lyrics:“don’tbelieveme justwatch” Edit/transitions: the editingusedinthissectionis
slowerthanbefore andusespansto showoff the
groupon stage.Thiscontrasts withthe party scene
as we wouldexpectfastandexcitingcuts,
however,doingthisallowsthe directortofitin
dance routinesandexaggerate the groupschilled
out vibe and carelessness/freedom.
Shottype and camera movement: tilt
movement,longshot
Analysis
Thistechnique isusedinthe builduptothe
chorus.As the tempobeginstoincrease,we also
heara drumbeat inthe backgroundand eachtime
thisisheard alongwithBrunosinging“oh!”a tiltof
ninetydegreesisshownandfinallyawhole spinon
the last “oh!”. Doing thisaddsto the whole fun
and disorganisedfeelof the video;popmusic
videosdonotneedto have a narrative or an order
to themand thisisa greatexample of one that
showsneither.Because the movementmatches
the beat andtempo,itenhancesthemandbrings
the musicto life;we are able to identifyaslight
dance routine done byBrunoas thisishappening
whichaddsto the fastpace builduptothe chorus.
Music/lyrics:“oh,oh,oh,oh!” Edit/transitions: the editinginthissectionuses
extremelyfastcutsandpans. Thisgivesa
disorientatedfeel forthe audience andspeedsup
the tempo.Usingthistilteditingforcesthe
audience tofeel free andgivesthemasense of
chaos and rebellion.
