1. THE CITY AND HORSES - 17
Holly Leach
https://www.youtube.com
/watch?v=8e_ZW49B4z8
2. ANDREW GOODWIN –
DEMONSTRATE GENRE
CONVENTIONS A number of genre conventions can be seen
simply in this one shot, firstly it is already clear
that the music video has a low production
budget due to the fact that the whole music
video takes place in this one, rather simple
setting. This correlates to the elements of
performance that are evident in this video, these
help to convey this unperfected image of the
artist that is made obvious in the medium shot
displayed to the left, with his unkempt image.
This low production value and unperfected
image of the artist contribute to the
representation of this character as an outsider
in the narrative, who seems to be excluded due
to his differences. Finally, soft, ambient lighting
is present in this video which is a very typical
feature of an Indie/Indie Folk video – this is
provided here by the yellow tinted lighting.
3. ANDREW GOODWIN –
RELATIONSHIP BETWEEN LYRICS
AND VISUALSThis particular section of the video could be described as being illustrative,
due to the fact that this shot is displayed on the screen while the lyric: “the
sweetest little thing that I’ve ever seen” is sung which clearly is relating to
this woman. This adds to the playful nature of the song, that is conveyed
by the light-hearted tone of the music, although it is used rather sparingly
throughout the video as it is dominated by the technique of amplification.
The line “I was never young but I was stupid and a little naïve” could be used
as an example of amplification in this music video due to the fact that it
aligns with the long shot here that is displayed shortly after. This lyric
depicts the journey of adolescence for those whose lifestyle didn’t
automatically correlate with the lifestyle of ‘youth culture’. In particular, the
words “never young”, indicate that he may have never belonged to this
dominant lifestyle that seemed to fit for so many, but that instead he may
be older at heart. For example, in this long shot it is made obvious that he
does not fit in with the rest of the group due to his differing attire and
gesture codes that do not instantly match with the others in the frame –
representing how he is immediately shunned as a result of his differences
perceived by only first impressions.
4. ANDREW GOODWIN –
RELATIONSHIP BETWEEN MUSIC
AND VISUALSThe tone of dance music that this song seems to have matches the
setting of a party although is rather ironic considering the narrative of
this video is conveying the artist as straying from this party scene. It
is perhaps incorporated to emphasise the determination of this
individual to fit into the dominant culture despite his natural inability
to do so. The aspect of dance music could arguably illustrate the
individual’s willingness to change his persona so that he can more
easily belong to a conventional social group in this narrative.
This medium shot given to the left is the final shot that we receive
and is displayed after the music has stopped. Therefore, it could be
alluding to fact that this character has finally accepted that he should
stop trying so hard to belong in society as it is having the opposite
effect on his status. Additionally, the silence that is present in the
final scene resembles the solitude that now possibly exists for him,
and the disappointment that he feels with the fact that he cannot be
accepted. This is supported by the distance that exists between the
two in this shot, with the girl asserting direct mode of address and
hence showing no interest in the man.
5. ANDREW GOODWIN – DEMANDS OF
THE RECORD LABELThe record label of this band is Paper Garden Records who have stated that their core
mission involves bringing a love of music, art and different experiences to their audience.
Hence, in relation to their remit this video certainly conforms to the demands of its record
label, particularly in the sections of performance towards the end of the video. The only
moment where this character seems to hold any sense of belonging is when he is
performing as he is joined with others who similarly have a passion of music. This is
demonstrated by the inclusion of instruments such as the saxophone and guitar which are
implied as giving this character comfort and confidence in his true persona. In the sections
of performance, such as in the shot above, we receive a feeling of camaraderie for all the
people who don’t quite fit in which is indicated to us by their differing costumes. In these
scenes, the appreciation of music is presented as conquering the need to fit in with
dominant culture as it has the ability to unite people and provide a sense of identity for
everyone no matter how ‘excluded’ they may be.
This music video however, heavily lacks close ups of the artist alone,
because although he does feature in a number of shots making him a
recognisable individual, there are considerably more camera shots of
other individuals in the same setting. This may be implying that these
are the individuals he aspires to be like or be with in the narrative - his
sole goal is conveyed as being to integrate himself with this social
group, therefore the camera focuses on these individuals just as the
focus of the ‘main character’ is also fixed upon them.
6. ANDREW GOODWIN – NOTION OF
LOOKING
• The concept of voyeurism is evident in this music video on multiple
instances, and you could argue that Laura Mulvey’s theory on the male
gaze may be relevant here.
• Firstly, in the first medium close up that is presented here, this woman is
wearing a rather low cut top that reveals more of her body and
sexualises this individual as it is indicated that she is simply there as an
object of male desire. This is also reinforced by the fact that her hair is
being blown back which again reveals more of her skin and as Mulvey
would argue it leads the audience to view this individual through male
eyes. You could argue that the gesture codes and facial expression of
this woman are appearing in a seductive manner, perhaps suggesting
that women have been conditioned to accept and simply go along with
this voyeuristic treatment.
• Additionally, a similar situation is formed from this second medium
close up in which the high key lighting seems to be positioned on her
chest rather than her face, which hence prioritises the importance of
looks and appearance of a woman over her identity and personality.
Furthermore, the fact that this woman is wearing a full face of makeup
also reinforces this idea and conforms to the expectations of a woman.
7. ANDREW GOODWIN –
INTERTEXUAL REFERENCES
• There is no explicit intertextual reference in this music video, although it
seems that there is an implicit relation to classic American teenage-
targeted films. The video as a whole has a cinematic feel to it and to me,
seems reminiscent of these old stereotypical American films with the
presence of social cliques etc.
• This is conveyed due to the opening sequence of the music video which is
displayed to the left, in which we are introduced to a party atmosphere in
which the colours red, white and blue are very prominent amongst the
attire of the crowd – these act as key iconography of this genre of film.
Other aspects of key iconography can be identified in the featuring of
alcohol throughout the video, which seems to be a must in this setting.
• However, this music video seems to adapt this stereotypical version of a
romanticised American adolescence, in which the ‘victim’ of the various
social cliques tends to become accepted by the end of the film leading to a
happy ending. Whereas, in this music video it presents a more realistic,
non-idealised version in which the ‘outsiders’ never manage to become
accepted or attain a romantic interest. This is demonstrated in the final
shot displayed here, where the character seems to have given up on any
further attempt to gain any status or recognition.
8. ANDREW GOODWIN –
PERFORMANCE, NARRATIVE OR
CONCEPT This video could be described as being both performance-based and
narrative-based. During the elements of narrative, it is made very clear to the
audience that the artist’s character is in an environment in which he does not
feel comfortable and does not belong, regardless of how determined he is to
fit in. For example, every time the character approaches someone it seems that
he is made a mockery of and the other individuals show very little interest in
him. In this two shot, the facial expression of the woman allows the audience
to understand how unwelcome he is made to feel.
Whereas, during the aspects of performance this represents the artist’s
sanctuary away from the obligation that he feels forced to conform to dominant
culture. It is suggested that music provides a sense of protection from the harsh
realities of society and its hierarchal manner.
For example, from this shot the artist is able to assert direct mode of address
with the audience and suddenly possesses an air of confidence to his
mannerisms with his more open gesture codes compared to the image above – it
is implied that this is due to the guitar that he grasps which provides him with
comfort and confidence to stray from normality.
9. NARRATIVE THEORY – TODOROV
Equilibrium:
A medium long shot displays a group of
people arriving at a supposed party.
Disruption:
The disruption appears when it is made
clear that these individuals are considered
as ‘outsiders’ by the other individuals. This
is achieved when the man is pushed out of
the way and ignored as he enters the party
indicating that people are taking little notice
of him or simply have little respect for him.
Realisation:
This character first realises that he may
differ from the other individuals there when
he is rejected by this woman – it is implied
that he is being treated in a different
manner and as an inferior due to his social
status.
Attempt to repair:
This character attempts to revive his perceived
status throughout the video by attempting to
impress other individuals.
New equilibrium:
He embraces his love of music and decides to
stop attempting to become someone he is not
– he embraces his difference in this shot
presented above.
10. NARRATIVE THEORY – PROPP AND
STRAUSS
Propp:
• The hero in this instance is clearly encoded as being the music
as it has provided a sense of belonging and identity for everyone
that featured in the video, whether it be those that conformed to
dominant culture or challenged it – such as the girl displayed in
this medium shot, who clearly is passionate about music.
• You could argue that the victim in this case are minority cultures
who are subject to the desire to possess the characteristics of
those belonging to the dominant culture, and who are
unnecessarily degraded by other social groups.
Strauss:
• Some of the binary opposites that may be present in this video
are conformance compared to challenging – this can be viewed
in this final shot in which the girl naturally conforms to
dominant culture where as the male strays from this path.
• This therefore creates the opposites of dominant culture versus
minority culture which correlates to superiority versus inferiority.
