Music Video Analysis

MUSIC VIDEO
ANALYSIS
Steph Colderick

ANDREW GOODWIN’S 7
FEATURES OF MUSIC VIDEOS
1) Music videos will follow the characteristics typical of the genre-rap will often
include performance and solo female pop artists normally have a narrative feature.
2) The shots filmed will very often have a relationship with the lyrics of the song. This
can be done by illustrative, amplifying or contradicting techniques and sometimes a
mixture of all.
3) Normally there is a key relationship between the music and the shots/visuals by
the tone and atmosphere of the music video. This can also be done by illustrative,
amplifying and contradicting techniques.
4) Each record label may have a distinct style; this style will be re-occurring
throughout the video as will close up shots of the artist.
5) The idea of looking is a key feature within videos and this can be presented by
screens, direct looks, mirrors and more. There can also be a lot of empathise placed
on the female body.
6) The artist may also have their own style consisting of motifs and iconography
which will appear regularly.
7) Many music videos will also feature a lot of intertextual references to other medias
such as television and films.

VANCE JOY
Vance Joy (James Gabriel Keogh) is an indie pop Australian solo singer
song writer. Vance Joy first gained widespread fame and prominence
in mainstream media with his song “Riptide” in 2013; this will also be
the music video I am analysing. “Riptide” won numerous awards
including coming first on the 2013 Triple J Hottest 100 and Vance Joy
himself won the 2015 Best Male Artist at the ARIA Awards.
Vance Joy released his first EP “God Loves You When You’re Dancing”
in 2013 and later went on in 2014 to release his album “Dream Your
Life Away”. Vance Joy has also toured as the support act to Taylor
Swifts 2014 The 1989 World Tour.

CHARACTERISTICS TYPICAL OF GENRE
Lighting: The lighting used throughout the video is mostly bright, clear and a slight
enhancement of natural lighting which helps to clearly portray the storyline to
audiences. This also works to make the storyline more realistic.
The other lighting style used is a key empathise and involvement of shadows; this is
typical of the indie genre as this different style helps to differentiate indie music
videos. This can also add an air of mystery, suspense and multiple meanings to the
video which is typical of the indie genre. Mixing with the bright lighting the music
video is well balanced to be clear but also intriguing.
Coloured lighting is also used within a few shots of the video and this continues to
relate the video back to the indie genre as this technique is commonly used and a
key feature of indie music videos. By only using this lighting in some places the video
is able to still look professional and not overwhelm audiences. This lighting also
works well with the other lighting used to create the mystery almost dystopian air
and feel of the video.

Type of Video: This a narrative and disjunctive music video. The song itself is almost written like a story, with the lyrics flowing to tell a
tale; this would have helped to give the music video an clear direction and plan.
“Riptide” is an mostly narrative based music video following the story of two lovers and their growing relationship. This is clearly
demonstrated by the narrative of the music video showing the shot of the same woman “running down to the Riptide” and using her
alongside the same male actor who is an “cowboy running from himself”. By using the same actors repeatedly in the different situations that
the song follows, the music video is presenting a narrative to audience.
Disjunctive techniques are used to fill in the parts of the song that follow the narrative less such as the chorus; here shots are filmed that
have much less of a clear link to song and do not match the rest of the video. These can sometimes be very witty and subtle links to the
lyrics which will satisfy audiences of the indie genre and is a typical quirk of the genre. This is used rarely and the video is mainly narrative
and both styles are typical of the indie genre. Many indie songs follow a storyline similar to this narrative video, for the story is full of
individual twists and turns; developing the story deeper than narrative would be in different genres such as pop. This more unique and
quirky narrative which is massively enhanced by the disjunctive shots is very typical of the indie genre.
Narrative of
“lady running
down to the
riptide”
Repeated
use of
characters
in the story.

Camera&Editing: The music video sticks to very basic editing of mostly simply cuts to change scenes and
setting and in areas where the setting is remaining the same a fast pan is used. This simple but sophisticated
editing allows for the story line to flow well and does not distract audiences from the narrative.
The fast pan allows the story to move along in time with the song and is also a more interesting technique
that audiences will appreciate and as this is repeated becoming a familiar feature of the video. This fast
panning technique is used within shots to show a continuity of setting and is also used as a way to zoom in
on areas in the shot.
Zoom is another key camera technique that used within the video to place empathise on characters or objects
important to the narrative. Zoom shots work with high angle shots and the occasional tilt shot to create an
interesting music video.
These techniques all working together enhances the quirky, different and engaging air of a typical indie
music video and allow the simple cut editing to not look boring or bland. The use of unusual shots
differentiates this music video from other genres such as rap and follows the characteristics of the indie
genre.
Fast pan High Angle Shot Tilt Shot

Styling: Due to Vance Joy (the artist) not appearing in the video and the music video being largely narrative, so
performers acting as characters, there is less of the styling to analyse. However some of what the actors wear
in the video as their characters do demonstrate clear characteristics of the indie genre such as: statement
shirts, statement sunglasses, fur coats, hairstyles and the colour yellow. These are items that can be easily
related and linked to the indie genre, allowing audiences to recognise the genre quickly.
A clear indie style is evident in this video by having the statement clothing of bright and patterned shirts. This
style is used for both men and women within the video. Different types of fur coats are also repeated for the
main female character and this is another statement piece of clothing that is typical to the indie genre.
The colour yellow is also a key feature of the styling within the video and also typical of the indie genre as a
statement colour used within items of clothing. Sunglasses for the main male character are another statement
fashion piece that is typical of the indie genre. The male hairstyles are often curly and unruly, not perfectly
styled and this more carefree feel is also an characteristic typical of the indie genre.

RELATIONSHIP BETWEEN THE SHOTS AND
LYRICS
As a narrative video based mainly off the storyline of the song the music video for
“Riptide” has clear links and relationships between the shots of the lyrics. The
director uses a lot of illustrative techniques to show this, by showing the audience a
literal meaning of the song; this can be shown from the beginning of the video with
the first line being
“I was scared of dentists and the dark” and the shot being a woman at the dentist
looking scared before the screen turns to black.
This illustrative relationship continues throughout the song:
“Your the magicians assistant in their dreams” is accompanied by a man doing magic
card tricks.
The line “They come unstuck” also uses some amplifying techniques mixed with
visuals as this is a shot of a woman freeing herself from being tied up. While this is
not a direct visual of his friends coming “unstuck” the link is still there, just more
subtle. The same link is made further on in the video for the same line of
two ice lollys being split apart, again amplifying techniques are used for
this relationship.

RELATIONSHIP BETWEEN THE SHOTS
AND LYRICS
“Lady running down to the riptide” is followed by shots of the same woman/her legs
running down to the beach throughout the video and then a often high angled shot
of the sea. The use of showing a mid shot of the woman at the start of the clip, then
her legs for the next three choruses, and the back to mid shot helps to present the
narrative of the video and lyrics.
For the lyric “I wanna be your left hand man” each time a close up
shot is shown with someone holding an object in their left hand
accompanied by the word “left”. Due to this being a less clear link
to the lyrics this is an contradicting technique, that helps to make
the music video an partly disjunctive music video.

AND LYRICS
The rest of the video continues to use illustrative techniques to
present the rest of the narrative to audiences:
“There’s this movie that I think you’ll like” is matched with an
old fashion tape recording of a movie.
“This guy decides to quit his job and head to New York City” is
followed by shots of a resignation letter, a plane ticket and then
a plane.
“This cowboys running from himself” is matched with a scene of
the main male character running in the desert dressed as a
cowboy.
Amplifying techniques are then used for the line “She’s been
living on the highest life” where a shot of the main female
character is shown on a balcony looking down. This allows
audiences to understand the metaphor demonstrated by “living
on the highest shelf” that she is an higher class female.

AND LYRICS
Another disjunctive feature of the video is the shots for the line “I got a lump in my throat ‘cause you're
gonna sing the words wrong”. Every time this line is sang the same woman is used singing the line, and
each time her makeup slowly gets more smudged and ruined. There are also screen titles at the bottom
which read “you gone and sank the worlds wolf” while over the top is Vance Joy signing the correct lyrics.
This is a ironic link to the line “you’re gonna sing the words wrong” and the use of the woman, who only
appears in the video for this reason, is disjunctive and contradictive. As the chorus has less of a clear link
to the narrative shown by the verses more disjunctive and contradicting shots are used such as these ones.
A clever use of a metaphorical amplifying techniques
are used for the lines “I just wanna know, if you’re
gonna, if you’re gonna stay” by using shots of fortune
telling cards and a packed suitcase. This has less
clear links to the lyrics however this almost witty
technique works very effectively with the slightly
unusual mood and feel of the rest of the video.

AND LYRICS
A narrative illustrative storyline is continually used for the verses:
“I swear she’s destined for the screen, closest thing to Michelle Pfeiffer that you’ve
ever seen” is matched with shots of the two main characters filming on a beach with
the main female character bearing a striking resemblance to Michelle Pfeiffer.
Overall the video uses mainly illustrative techniques to present the narrative to
audiences, however amplifying techniques are also utilised to follow the indie genre of
the video adding a air of quirkiness and intrigue to the video. Contradicting techniques
are sometimes used for the chorus as this is more separate the to rest of the storyline.

RELATIONSHIP BETWEEN MUSIC AND
SHOTS
The song begins with a very upbeat and cheerful guitar playing that is
matched with a shot a summer blue sky that slowly pans down. This
shot is amplifying as the shot has clear links to the music and is one of
the typical images that audiences would link to the sound of the guitar.
By beginning the video with this shot and link this helps audiences to
understand more links within the video.
The editing of the shots also plays a role in helping the audience to
link the visuals to the music; during the sections of the song where
the music increases tempo and pace the editing also becomes faster.
There is more cut editing which is sharper to create this relationship
and this is an amplifying technique. Camera pans are also used more
regularly in shots and scenes where the music is slightly faster and
this is another amplifying technique that builds up the relationship.
Overall the content of the shots, the editing, the camera movements, the
lighting and the actions of the characters works to create an recognisable
relationship between the music and shots/visuals.

SHOTS
As mentioned this video consists of mainly natural lighting of a softer
ambience and this works well with the music and the upbeat and
happier tone of the song. The use of artificial lighting is only in areas
that match the lyrics and most of the video is clear and gentle
lighting. This allows the lighting to match the feel of the song and the
light, carefree guitar tune that most of the song is based off.
The speed of the actual actions happening in the shot by
characters also help to create an relationship to the music. In the
parts of the song where the tempo and speed increases, the
movements and behaviours of the characters are also faster. This
allows the visuals of the characters on the screen to match the
music playing over; this is an amplifying technique as this helps
to show the audiences in a less obvious way than a illustrative
technique.

RECORD LABEL STYLE
Vance Joy is signed to the Liberation Music record label company which is Australian and ran
company from Melbourne. Liberation Music’s main aim is to stay independent and they sign
many different indie artists, such as indie pop, indie rock, and rarely work with mainstream/pop
music artists.
Liberation Music defied the normal conventions of the music videos for “Riptide” by not having
Vance Joy feature in the video. Liberation Music have occasionally not featured their artists in
the music video such as the music video for “Ordinary” by Sean Heathcliff. The reason behind
telling a narrative was due to the song being such an natural story anyway. The directors Dimitri
Basil and Laura Gorun were happy to have the song be very literal via illustrative techniques as
the lyrics told the story perfectly well.
Liberation Music did follow some normal conventions of the music video however by using
repeat shots and scenes for the chorus. This allows audiences to become familiar with the
music video and be able to link both the video and the song back to the artist. Liberation Music
also used their own knowledge to keep an clear indie feel to the music video via styling and by
having a narrative video with a slight disjunctive component, demonstrated illustratively and by
amplified and contradicted techniques.

THE IDEA OF LOOKING AND EMPATHISE
ON THE FEMALE BODY
The notion of looking is made clear for the music video to “Riptide”
and this begins with the introduction of the main performers in the
story. Near to start of the song they are talking to each other facing
away from the camera, before then turning abruptly to look directly
into the cameras as if they have just realised that the audience is
there. This direct address with the audience that begins to break
the fourth wall, allows audiences to start learning about the
characters and as the first characters the audience meet it is clear
that they are important to the narrative.
The direct address used here at the start of the video allows
audiences to build a relationship with characters and feel involved
in the video, which will help to make the video and song more
successful. The main characters turning to break the fourth wall
and have direct address with the audience is repeated throughout
the video, which continually builds up the relationship and
involvement with the audience.
There is even a section in the video where the main female
character is standing on a balcony with binoculars looking down
and then settles her sights on the audience as the camera slowly
pans up to her. This clear relationship between the audience and
music video is made possible by the notion of looking and the

ON THE FEMALE BODY
During the sections of the chorus where the female singer
ironically sings the “words wrong” it very clear to audience
watching the video that she is not signing to them. By the
camera angle being just off centre this allows the audience to
see that the woman is singing to someone else/another
audience. This gives the audience the notion that they are
looking at the woman and how this is deliberately constructed to
be so.
The idea/notion of looking is also shown in
this music by having the audience watch a
TV in which the characters appear. By
doing this the director is following
Goodwin’s theory of screens appearing in
music videos. By using a TV in the music
video the audience is really able to feel as
if they looking into the characters lives and
following a storyline.

ON THE FEMALE BODY
The notion of looking is also presented by the way objects are shown. Any objects or props
used within the video are always placed down somewhere and shot from a high angle, this
ranges from the plane ticket to a packed suitcase as part of the narrative to the amplifying shots
for the line “they come unstuck”. By using a high angle to fill in the narrative where the
characters don’t appear the audience is still able to feel involved as if they are looking into a
characters life and seeing the events how the character would. The audience feel as if they
following the characters through their lives/story and this can be further demonstrated by how
the audience always see shots of the woman/her legs running towards the “riptide”. Overall this
notion of looking allows the audience to feel involved with the story line and the characters
perspective which builds up the relationship and familiarity of the video to audiences.

ON THE FEMALE BODY
Linking in with the idea of looking is also the empathise on the female body which is
also known as the male gaze. Constructed by Laura Mulvey the male gaze is a theory
that woman are presented in the media more as objects to satisfy heterosexual men.
The idea of looking combines with the male gaze in this video during the section
where in the song a reference to Michelle Pfeiffer is made. The men are all filming the
main female character (the main male character appears to be the director) and the
camera pans from the director to camera men who are all looking at her. This builds
up the notion of looking as the audience are following the actions of a film set and
the perspectives of the characters and also the male gaze, as all attention from both
the audience and the men in the video is drawn towards and focussed on the woman.
The camera even zooms in on the woman to place more focus on her body and the
key similarity to Michelle Pfeiffer “closest thing to Michelle Pfeiffer that you’ve ever
seen” continues to show how in this instance the female is only being used for her
striking looks . This demonstrates an empathise on the female body and is a
common way that women are shown in the media for only their looks and not
themselves.

ON THE FEMALE BODY
Empathise on the female body is also shown
in this video by one of the shots being a
woman undressing out of her swimming
costume. While the camera cuts before the
woman has completely undressed the clear
empathise and male gaze is there. The
swimming costume is also more a revealing
outfit for the woman to be wearing and this
will help attract male audiences to video. As
the music could stereotypically be classed
as more “girly” music and by a male solo
artist which would be more interesting to
females, by featuring an attractive female
the director will be hoping to also attract
male audiences to the video. The next shot
is continues this theme of being a book on
the “Techniques Of Photographing Girls”
which supplies clear hints about empathise
on the female body.

ON THE FEMALE BODY
There is also an possible allusion to female gaze as it can be seen
that the main male character is attractive and also used for his looks.
However, there are far less close up shots of this male character and
during the scenes he is in more empathise is placed on his actions
rather than his looks. This is contrast to the main female character
who in most shots has focus placed on her by camera movements on
her body than her. This demonstrates how the male gaze is more
prominent in this video.
The male gaze is also shown by the repeat shot of the woman “running down to the
riptide” which are mostly of her legs. As this shots are of her lower legs this less erotic
however the repetition of these shots is still placing a clear empathise on the female
body. This would have been done by the director to continue attracting men to the
video.

ON THE FEMALE BODY
The singer used for the chorus fits to the male gaze as a typically very
attractive woman, who when she first appears in the video has perfect
makeup and hair. She is dressed in a sparkly dress and this is a very
stereotypical representation of women. As the video continues her
makeup slowly becomes more ruined which moves away from the male
gaze and this deterioration adds the air of mystery typical to the indie
genre.Another aspect of the male gaze within this video is the photo of
a Playboy Bunny Girl in the background of the shot for the
resignation letter. Unlike the rest of video this shot and the
beginning shot of the women in the swimming costume, is the
only time that women are presented to be very scantily clad and
sexual. While this background image is there for the purpose to
satisfy male audiences the image is in the background and could
be missed as it does not remain on the screen for long. Overall
there are some definite links to the male gaze and by the camera
movements that linger on the female body there is an placed
empathise. However most of the time the women are modestly
dressed and do play an important role within the story as
characters as well as for their physical attributes.

ARTIST’S OWN STYLE
Throughout Vance Joy’s videos he often appears adding an
performance element to videos for his songs such as “Lay It
On Me”, “Mess Is Mine” and “Fire And The Flood” in which he
is dressed in very casual simple clothing. While Vance Joy
himself does not appear in the music video for “Riptide” the
main male character alludes to him strongly in looks. Both
have very curly dark hair as is this the style he follows in his
other videos. Linked into this is the yellow colour is a strong
characteristic, similar to how the characters in “Riptide” wear
yellow as does Vance Joy in “Lay It On Me”. This can show
how part of Vance Joy’s style is to have himself or someone
very similar in the music video in relaxed clothing and
sometimes with something yellow.
Similar to “Riptide” the music video for “Mess Is Mine” is
also very abstract featuring shots that do not typically
match the song. For “Mess Is Mine” a polar bear is the main
character which is similar to the woman singing in “Riptide”;
both have no relevance to their song or narrative. Vance
Joy’s videos tend to be more outlandish which is very
typical of the indie genre.

Another feature common of Vance Joy’s videos is the
appearance of women and this often works well within
telling the narrative which is a common style of Vance Joy.
Like “Riptide” most of his music videos work well with the
lyrics of the song to tell a story such as the music video to
“Fire And The Flood”, “Lay It On Me”, “From Afar” and “First
Time”. Likewise to “Riptide” these music videos are based on
a love story matching the songs well and are mainly
narrative videos; the involvement of females is key to these
storylines and often the male gaze is employed as shown
across all the videos.
Cut editing is another common feature across Vance Joy’s videos. This
simple editing techniques allows for the narrative of the videos to flow
smoothly without taking attention away from the story. Artificial and
colourful lighting is another reoccurring feature in Vance Joy’s videos
as shown by the music video for “First Time”. Here colourful lighting is
used in the same way as “Riptide” and provides the audience with
some unique differentiation that follows the conventions of indie
music videos.

INTERTEXTUAL REFERENCES
“Riptide” and the music video for “Riptide” is littered with
intertextual references many of which are recognisable by
audiences. The song begins with “I was scared of dentists and the
dark” followed by a shot of a scared looking woman at the dentist
before the screen turns black. These are both very common fears
and relatable in today's society, by having the shot match the lyrics
here the music video is able to appeal and offer familiarity to most
audiences.
For the lyric “You’re the magicians assistant in their dreams” a
shot is used of what is an instantly recognisable magician, a man
doing card tricks. Later on typical impressions of people in
today's society are also used for the lyric “This cowboys running
from himself” as the main character is shown in what is
stereotypically cowboy clothing. Followed on when the story
changes to the characters living a life luxury they are shown to be
at the motor-racing, another typical representation of the upper
class and their way of life. Within the different roles the
characters adopt in this story a lot of subtle intertextual
references are used to enforce these roles to audiences. By
recognising these roles audiences will be able to relate the video
more and this will help the song and video.

The feature of the Playboy Bunny Girl in the background is another
clear intertextual reference that is also part of the male gaze. This
will have been mainly done to satisfy male audiences however is a
clear allusion to today's popular culture and will provide an form
of similarity to audiences.
The lyric “I wanna be your lefthand man” followed by the images
accompanied by the flashing sub text of “left” is witty intertextual
reference. This is play on the saying “righthand man” and audiences
will recognise this. The clever twist will intrigue audiences and also
by repeating the significance of “left” within the visuals of the video
and the uniqueness of this links the music video to the indie genre.

The use of fortune cards to cleverly amplify the lyric “I just wanna, I just
wanna know” is another intextual reference as audiences will instantly
recognise the cards and what they are used for. The shots of these
cards also continue the mysterious and quirky indie theme of the video,
which audiences will also recognise.
The most obvious intertextual reference is the clear link to Michelle
Pfeiffer an actress and singer from the 80s to early 2000’s. The
main female character is portrayed to have an striking resemblance
to here as sang in the song “closest thing to Michelle Pfeiffer that
you’ve ever seen”. By having in the video her at a film set and also
employing the male gaze audiences, in particular older audiences,
will instantly recognise this reference. Like the other references
this will provide the music video with an air of familiarity and be
relatable. The editing also works well to provide this music video
with the feel of a old fashioned films and videos which audiences
will also recognise and match to the indie genre.

GEORGE EZRA
George Ezra is a British indie and folk solo singer, song writer and musician. At the
age of 24 Ezra has had a top 10 single of “Budapest” (which is the music video I will
analysing) and a Number One selling album in the UK “Wanted On Voyage”.
Ezra has been the support act for many different artists including Sam Smith, Tom
Odell and Bastille and was also nominated for four Brit Awards in 2015.
Ezra’s first album “Wanted On Voyage” was released in 2014 and as well as being a
Number One selling album this album was the third best selling album in the UK in
2014; with only Ed Sheeran’s album “X” and Sam Smith’s album “In The Lonely Hour”
selling more copies.
Exra has a very powerful, souful voice that is unique and different to anything else in
the music industry allowing his very individual style and songs to be hit successes.

CHARACTERISTICS TYPICAL OF THE
GENRE
Lighting: The lighting for “Budapest” is made up of three key types all of which are constructed and artificial.
The main lighting technique used is constructed lighting to create shadows on the faces and bodies of those
in the video. This is bright and clear lighting that helps to make the image of the video sharp and
professional, giving the effect of studio lighting. The shadows created by this add depth and perspective to
the video. Having shadows created and used is typical of the indie genre as this can add an air of mystery and
intrigue to the video which is typical of the indie genre.
The next type of lighting is the use of red artificial lighting in replacement of the shadows. Similar to the
shadow lighting a red shade is used to create the shadows instead of the clear normal lighting. The third type
of lighting is the same effect however in blue and not red. By using red and blue lighting the director was able
to create differentiation in the video; this is key for this video as all the shots take place in the same room of
the same people. By using different colours and shades of lighting the audience will not become bored of
video and provides the video with eye-catching features.
Colourful artificial lighting is an key characteristic of the indie genre as this creates the different, edgy moods
that make indie music videos different to other genres such as Hip Hop. As this lighting dose not remain on
screen in the video for long before returning to the standard lighting the effect of the lighting continues to
add to the mysterious and quirky air typical of a an indie music video.

GENRE
Type of Video: This video is mainly an performance video; a majority of the shots
feature the artist, George Ezra, performing directly to the camera. There is also an
disjunctive element to the video as Ezra is standing in a crowd of people who begin
to move around as the song goes on. The whole video is based off the crowd starting
off as motionless and dull to becoming active and more interesting; while this can be
see to have to some slight links to the song this in as interesting way to portray the
song which is more disjunctive achieved by amplifying techniques.
Having a partly disjunctive video is a common characteristic of indie music videos as
are performance videos. Performance videos allow for the artist to become known
and familiar to audiences building up their profile; this is particularly important for
indie artists as they may be less well known than mainstream music artists such as
rap and pop. The disjunctive element of the video allows for the quirkiness and
individuality of the genre to come through helping the artist to be able to showcase/
express themselves how they want.
Disjunctive
element.
Performance
element.

GENRE
Camera&Editing: There are four main different camera shots and one main editing type used within this video:
high angled shots, close up shots, mid shots, right&left angled shots and cut editing.
The high angled shots allow for the audiences to have an unique perspective and view of the music video
which is common of the indie genre. This different angle continues to separate the music video from that of a
typical more mainstream pop video. Zoom is also used within these shots adding to the unique feel that this
shot offers. The close up shots and the mid shots both allow for the audience to have a deeper look and
understanding into video. This gives them glimpses into the video which continues the quirky and mysterious
air of a indie music video-a typical characteristic. Within all three of these shots slight pans are used to
expand the shot and shot time on screen; this continues to reveal more of the content of the music video to
audiences and pans are a common characteristics used to keep audiences interested and engaged in the
video.
The right&left angled shot also allows the audiences an different view into the video. These shots help to
continue the different and slightly off perspective feel which is typical of an indie music video. Out of focus
shots are also briefly used to blur out the background and draw the audiences attention to George Ezra; this
is typical of a indie music video as this will help to build up the artists profile and familiarity to audiences. The
simple cut editing is used to not distract audiences from the video, however in the sections of the music video
where the cuts are faster and more frequent this can add interest into the video. Faster cut editing is also
used to move from high angled shots to mid shots adding to the interest of the different perspectives that
different shots offer. Cut editing is a common characteristic of indie music videos for these reasons.

GENRE
Styling: George Ezra’s dress and hair is typical of the indie genre within this music video;
his hair is styled to be almost perfectly scruffy. This relaxed and casual style is very
common of the indie genre. He is dressed in a clean and sharp blue shirt with white
buttons and jeans. While the shirt is very simple the white buttons help to add that
quirkiness which is typical of the indie genre.
The rest of the people within the music video are portraying different styles and cultures
such as the girl dressed up for the hen party and men who are football supporters.
Amongst the different styles and dress sense of the characters within the video there are
some that are typically indie such as the woman in the black bowler hat and the other
woman in the bowler hat and striped shirt. However the idea that people from all different
walks of life are dressed in way that also individually expressed their selves can also be
seen indie, as this the meaning of the genre-to be individual. This allows the video and
the performers within the video to be styled in a way characteristically typical of the indie
genre.

AND LYRICS
Due to this being an disjunctive and performance video there are some links between the visuals
and the lyrics however which are displayed by amplifying techniques. The majority of the video
has contradicting techniques to create an relationship between the shots and lyrics. Amplifying
techniques are used for:
The lyric of the second line of the song “My hidden treasure chest” can
be seen as amplified in the music video as the shot shows George Ezra
standing in a large crowd singing this. It is possible to believe that the
director is representing Ezra himself as the “hidden treasure chest” due
to him standing in crowd where it is possible to miss him within the
shot. This amplifying technique also works well with presenting love and
romantic element of the song, with Ezra being seen as someone in love.
Slightly further on in the song is the line “I’d leave it all” is then
followed by shots of the different people in the crowd. The range of
people in the crowd which include a doctor, could possibly seen as an
amplifying technique to show how Ezra is prepared to leave
everyone/society behind to be with the one he loves. This
representation of the line is also repeated in the song when the lryci
occurs again.

AND LYRICS
The lyric “give me one good reason why I should never make a change” is followed by a man
sneezing in the crowd and everyone turning to look at him. This a amplifying that in a way
uses humour to take the micky out of Ezra’s lyrics; the director is showing that even sneezing
which can be seen as possibly “making a change”, gets accusing looks and is frowned upon
which could be a “good reason” to not “make a change”. However as Ezra is singing about
continuing to “make the change” despite the reactions of the crowd this continues show the
romantic element of the song. This is further shown by how Ezra is the only one in the crowd
who dose not turn to look at the man.
The lyric “Then all of this will go away” is followed by shots of
people in the crowd in synch putting on 3D glasses and eating
popcorn as if they are at the cinema, then all looking up in time.
This again can represent how Ezra is willing to escape the preying
eyes for others for his love. This could also be a reference to the
newfound fame he is experiencing.

AND LYRICS
In a rare occasion within the music an illustrative technique is used to create an
relationship between the shots and the lyrics. For the lyric “My many artefacts” a
medium shot of a man treasuring an intricate vase is then quickly cut edited to a
close up shot of a vase. Here the shots are visually representing the lyrics in an clear
and distinct way.
For another repeat of the lyric “give me one good reason why I
should never make a change” amplifying techniques are used
to represent this. The lighting rises to increase the brightness
before flashing to be bright; at this point all the people in the
crowd in sync put on sunglasses other than one woman who
uses a reflective panel to reflect the sunlight onto her. Here it
is another person in the crowd making the change and this
time there is no judgement from the crowd.

AND LYRICS
Within the sixth and seventh chorus, the lyrics “I’d lose it all”, the
last line of the chorus is also presented to audiences by amplifying
techniques. For the first “lose it all” two people are shown within
the crowd to be dancing widely. In metaphorical terms this can be
seen as representation of lyrics being “lose it all” as they lose their
senses and perhaps their fears of judgements and reservations to
be able to dance with carefree ease in the crowd.
For the second “lose it all” everyone within the crowd begins to
pass on items to other each, items that appear to be personal
such as drawings and suitcases/briefcases. By passing these items
on to someone else the crowd can be seen to “lose it all” and this
is done by an amplifying technique.
For the lyric “They don’t understand” there is a women from a hen
party on the phone, looking like she might be upset or in a
argument. This can be viewed as her not understanding the person
on the other side of the phone and is an amplifying technique.

AND LYRICS
For the next two lines of “make a change” shots are shown
of a woman taking off her glasses and then her wig. This is
an another amplification technique to show the lyric and
again this time the woman receives no judgement from the
crowd. This portrays the idea that as the song goes on the
people are agreeing with Ezra-there is no “good reason” to
not “make a change”. The look of shock realisation on the
woman's face also demonstrates this.
For one of the last lines of the song “I’d leave it all
behind” a shot is shown of Ezra walking on top of the
crowd who are continuing to pass on items, taking off
his guitar. This continues to empathise the possible
message that he would lose his fame and his normal life
for the person he loves.

SHOTS
At the start of the music video with the guitar tune Ezra can be
seen stood in the crowd nodding along to the mix. Not only
dose this immediately identify Ezra as the main artist and
attraction of the video which is important as an indie video
this small dance move creates a link to the music. The simple
dance move helps to create the relaxed and casual mood of
the video.
During the song where a loud, harsher more echoic guitar strum is used the shot is
changed by cut editing. Every time the guitar strum is used the shot is changed and as this
sound is used when the tempo of the song speeds up this allows the editing to mimic and
copy this. This helps to present the slightly faster and energetic mood of the song and view
more aspects of the crowd in more detail.

SHOTS
Where a guitar is used to create a deeper toned sound within sequence repeated
three times this is also used to introduce a cut edit. After each round of this sound
the shot will change via cut editing to a different shot; by having the editing fit to the
music and changes within the music the mood of the song can be effectively shown.
This slower use of cut editing and have shots on the screen longer allows for a
relaxed and carefree mood to be shown.
Cut edits are also introduced at the finishing of a round a lighter and softer sounding
guitar sequence. This gentle guitar sound works well with the harsher to help the
sequence of editing; at times when the softer sound is more prominent the editing
follows this and is faster and then swaps to follow the deeper sound when this is
more clear. This effect is continued throughout the video and allows the video to
match the mood of the song being conveyed by the music. This key in a video to
interest audiences and is done by amplifying techniques. This can be shown by how
near the end of the song the tempo increases as does the speed of the editing and
the as the song slows the cut editing is much less frequent and shots stay on screen
longer to represent the mood change of the song.

RECORD LABEL STYLE
The music video for “Budapest” was distributed and created by Sony Music
Entertainment UK Limited (SME). SME are an American music business and is a
subsidiary of Sony Corporation of America. SME is known as one of the “Big Three”
record companies within the world and has international prominence and prestige.
SME have signed a variety of artists over the years as a company which ranges in
genres and styles. This allows them to have very good knowledge in a wide area of
music type range.
For “Budapest” SME followed a key convention of having the artist feature in the
music video by having the music video mostly performance; this is particularly
important for indie artists as this allows the artists to build up their profile and gain
more recognition. Linking into this SME do employ close up shots of George Ezra
within the video. At times Ezra is looking directly at the camera and at other times
away; this helps him to build up a relationship with the audiences which is what SME
would have wanted. By the video being partly disjunctive SME have also been able to
keep a clear indie element and feel throughout the video which will relate and
interest audiences and viewers.

ON THE FEMALE BODY
Throughout the video a fair amount of high angled and overhead shots are used to
present the scene to audiences. By having the audiences feel as if they looking down
onto the scene unfolding below highlights the notion of looking within the video; the
audience are aware they are being constructed to look at the people. Sometimes
within theses shots a pan is used adding to the audiences depth of understanding.
Further linking into the notion of looking and the overhead shots the people in the
crowd never make eye contact or look directly into the camera. They are filmed to be
shown as if they oblivious to the cameras and unaware they are being filmed. This
increases the idea of looking within the video as the audience now feel as if they are
looking into the characters and their lives. This is can key element of music videos
and continues to add to the quirky tone of a indie music video.

ON THE FEMALE BODY
Throughout the video Ezra makes a lot of eye contact and direct address towards the
camera. This direct address allows the audience to feel as is he is singing directly to
them and helps to build up a relationship between him and the audiences watching.
This will also help Ezra and his iconography become more familiar to audiences. At
times in the video Ezra turns to look directly at the camera and this helps to create
the effect of breaking the fourth wall as Ezra acknowledging the presence of an
audience, which continues to build up the relationship. This also helps to add to the
quirky and unique feel of an indie music video.
Another notion of looking within the video is the way audiences are shown
Ezra looking at the crowd around. Here the idea of looking is key as Ezra is
shown to be acknowledging his surroundings and audiences feel as if they
watching him and involved with him as he watches them. This different and
unique feel is typical of a indie music video and is a clear idea of looking.

ON THE FEMALE BODY
Another example of the notion of looking is the left and right
angles used to film Ezra while he is performing. These angles again
present the idea that audiences are following and watching Ezra
through the music video. This helps the audience to relate to Ezra
as they see him in the crowd, and the use of angles continues the
different feel of an indie music video.
Within this music there is very little empathise on the female body and
very little of the male gaze is employed. The crowd is completely made
up of different women, all with very different looks and body types and is
not just focussed on the mainstream idea of a perfect woman. This is
typically indie as people are shown to be different and happy with this;
there is no shaming or disapproval of any body type/outfit within the
video. One of the main women to appear in the video is someone
dressed for a hen night wearing a cropped top and skirt; this is the most
revealing outfit that a women is wearing within the video. While this can
be viewed as slightly the male gaze, within the shots no-more empathise
is placed on her than anyone else in the crowd and other women are also
filmed. Overall this video has very little empathise on the female body
and instead is more focused on the artist.

Throughout a range of videos George Ezra’s own style is clear and obvious helping him to
build up his profile. One aspect of his style is that a large majority of his videos are all
performance videos which include direct address. This technique can be shown in Listen To
The Man, Blame It On Me, Cassy O’ and Barcelona; all these videos have Ezra performing
often with guitar and looking directly into the camera. By having performance videos Ezra is
able to become recognisable and build up relationships with audiences while breaking the
fourth wall which is a quirky indie feature.
Cut editing is a key base for Ezra’s videos and this editing technique is also seen in
Blame It On Me and Cassy O’ as well as in Budapest. This simple editing technique
allows audiences to be focussed on Ezra performing and other parts of the video
instead of being distracted in the editing. Cut editing also allows the video to flow well
and be enjoyable/easy for audiences to watch and follow.

Another feature of Ezra’s own style is that he dresses very casually in simple and neat
clothing. Within Listen To The Man, Blame It On Me and Cassy O’ he is wearing a
button up shirt which appears to be his signature style as this also appears in
Budapest. These shirts are also in shades of blue and sometimes with details in the
colour white. By using the same colours and same items of clothing this is iconography
as audiences will now associate this look with Ezra.
The majority of Ezra’s videos begin with a title screen that says “George Ezra” then a
white line after which is the title of the song. This logo is always written white and in
the same big blocky font. This is iconography as Ezra is building a name for himself
and a symbol audiences will instantly recognise as him. This also helps to introduce
Ezra to new audiences and build up his status.

Similar to how a running theme of Ezra’s music videos is to be the mostly
performances the rest of the video is made up using disjunctive techniques. Similar
to Budapest within the videos for Blame It On Me and Cassy O’ the other events that
happen in the music video have less of a clear link to the lyrics and song. Like
Budapest there are some links in places whereas in other parts of the video there is
little to no link. This allows Ezra's videos to be distinctly indie and recognisable as
his style.

Within the music video for Budapest there are some intertextual references that
audiences will recognised relating to their lives within the 21st century.
One of the first references is the person standing in the crowd who is clearly dressed
to be like a doctor, wearing scrubs, a white coat and a stethoscope. Audiences will be
able to identify this immediately as an recognisable figure in today's society and this
will help audiences relate and understand the video. Another figure/persona that is
recognisable within today’s climate is the woman dressed up to be at an hen party.
Again audiences will recognise her and this helps them to understand the depth of
the crowd in the video; this helps audiences to fit in as they feel they would be able
to suit in with the crowd.

Later on there is shot during the music video where the crowd
all wear 3D glasses and some have popcorn; this is clearly an
intertextual reference to the cinema and helps the audience to
relate to crowd more. By using intertextual references
audiences are able to understand the video more and help
audiences remember the video better, as they can now link
people and activities in society to the video.
Another type of recognisable person with in the video would
be the “football lads”. As shown wearing a Liverpool scarf
adorned with “The Pride Of The Merseyside” this not only
making a link to Liverpool FC but also their famous and fierce
derby rivalry with Everton. This intertextual reference will be
more obvious to football fans and may help to attract
stereotypically more males to the video as they will be able to
relate to this. The man wearing the scarf is also accompanied
by two friends and by daring each other to eat a hot chilli this
can be seen as typical “lad behaviour” which audiences will
identify.

BASTILLE
Bastille are British indie band which was formed in 2010 by the
lead vocalist Dan Smith. Originally planning on a solo career Dan
then joined up with Kyle Simmons (keyboard player), Will
Farquarson (bass and guitar) and Chris Wood (drummer). Smith’s
birthday is the 14th of July, which is also Bastille day and where
the band name came from.
To begin with Bastille released their own music independently
which included a debut single and EP before signing to Virgin
Records. Bastille shot into mainstream media and general
knowledge in February 2013 with release of the song “Pompeii”
which hit number two in the UK charts and number five in the US
charts. Shortly after in March 2013 their debut album “Bad Blood”
was released and became number one in the UK Albums Chart.
From there Bastilles success continued to increase with more
singles and another album “Wild World” released in 2016,
becoming one of Britain's most well known bands. I will be
analysing a music video from “Wild World” for the song “Glory”.

GENRE
Lighting: Scenes of this video take place in both the day time and at night; for this
natural lighting/ the effect of natural lighting is used. The daytime scenes are lighter
creating a softer, gentle feel while the night scenes are darker and less clear adding
an air of mystery to the music video. The natural lighting allows the music video to
feel non constructed, drawing audiences into the narrative and music video, which is
a typical feature of indie music videos. The intriguing air of the natural darker
lighting for the night scenes continues the feel of interest and mystery, another
feature typical of the indie genre.
Shadows are slightly used within the video, during the shots that take place at night
to add to feel of the video by showing the audience a slightly different view of the
video. This different perspective adds depth and intrigue to the video. Coloured
artificial lighting is also used within the scenes that take place within a club adding a
quirkiness and uniqueness to the video. Both these lighting techniques are used
uniquely to add interest to the music video in a way which is typical of the indie
genre.

GENRE
Type Of Video: This video is a narrative video, with the lead singer of the band, Dan
Smith, appearing as the main male “character” alongside another female “character”.
A narrative video if typical of the indie genre as this allows the band/artist to express
the meaning of their song. A narrative video is also very interesting for audiences to
watch which will help to grow the popularity of the band.
This narrative is the story of two lovers remembering their various adventures and
trips; they are lying on a car reminiscing these stories while the video features
flashbacks of these memories which are different every time. This quirky way of
telling a story is typical of the indie genre and by using a narrative style video the
band are able to very closely follow the meaning and lyrics of this song. Illustrative
techniques are used throughout the entire video to convey the story to audiences as
are use of subtitles different to the lyrics to tell the story. This more complicated
narrative, which is helped achieved by flashbacks, is typical of the indie genre
providing a deeper and more interesting narrative than other genres such as pop.

GENRE
Camera&Editing: Throughout this video a wide variety of camera shots are used and all edited
together by mainly cut editing with the occasional use of shot reverse shot. The cut editing is simple
but effective allowing audiences to follow the narrative easily without being distracted by the technical
construction of the video. This seamless effect is typical of the indie genre as this allows audiences to
be fully drawn into the video and understanding the message of the song. The cut editing sometimes
changes in speed to allow the narrative to flow with the pace of the song. Shot reverse shot editing is
used to show the interactions of the two main characters, clearly showing the narrative of the video
which is typical of the indie genre.
At the start and end of the video a mix of low angled shots that pan up and high angled shots that pan
down are used to show the shots of the plane. This flowing camera shots allows the narrative to flow
while still being interesting for audiences to watch; as this technique is repeated at the end of the
video this also provides a circular narrative. These quirky camera shots paired with the effect they
have on the narrative is typical of the indie genre. Side shots are used which a create a point of view
perspective paired with shot reverse shot editing, as if the audience are seeing the video through the
characters. Point of view shots are also used to show the audiences the scenery and this effect of
involving audiences into the video is a common characteristic of the genre.

GENRE
Camera&Editing: Most of the video is shot by simple mid shots, this allows the
audiences to see parts of the backgrounds and settings while still focussing on the
characters. As this is the most used camera shot used this also allows the video and
the narrative to smoothly unfold which is a characteristic of the indie genre.
Close up shots are used to add in detail to the narrative and draw the audiences
attention to certain aspects of the video. This also works explore the depth and
meaning of the story/song. Finally, wide long shots are used to show the variety of
settings and locations that the video takes place in again; this helps for the
audiences to add understanding of the video. Using a wide variety of camera shots to
illustratively add depth to the video is a common feature of indie videos and this has
been successfully used for Glory to create a interesting and typically indie music
video.

GENRE
Styling: Throughout this video a clear indie style is shown the range of different outfits that both the main
female and male characters wear. The female is shown to be more typically indie in her range of outfits;
within the recurring scene of the video of the couple laying on the car she is wearing a glittery statement top
that is typically indie, paired with red shorts. The male is also shown to be wearing clothes that are
characteristics of the indie genre by wearing a bright orange top and a vintage old school style jacket paired
with baggier rolled up jeans. This style is instantly recognisable as indie.
Throughout the video the female is often dressed in tight, sleeveless crop tops in a range of colours from red
and orange to muted yellow. These colours and this style of top is very typical of indie genre and a style that
audiences would recognise. The female also wears a variety of statement clothing and accessories such as
quirky sunglasses, big intricate ear-rings and an oversized denim jacket; these statement pieces is typically of
the indie genre.
Tattoos and hairstyles are also styled onto the female to show the genre, as her hair colour changes twice from
her natural dark colour to white and then pink. The audience are also show that she has two tattoos one on
her wrist and the other at that base of her neck; these unusual designs and places for the tattoos and the
bright brilliance of the hair colour also demonstrate characteristics typical of the indie genre.

GENRE
Styling: The woman also wears a variety of jeans, shorts and skirts which are all
typical of the indie genre, these include: green shorts, purple shorts, flared jeans and
a silver skirt. All are either bright colours or very different to mainstream fashion and
these items of clothing are typical characteristics of the indie genre
The main male within the music video is also dressed in typically indie clothing and
styling ranging from a patterned shirt, baggier rolled up jeans and a oversized
printed jumper to messy hair and statement sunglasses. The patterned shirt is a very
distinctive statement clothing piece that is easily relatable to the indie genre as are
the jeans. The messy hair is a very typical look for males within the indie genre
helping to convey the relaxed and causal mood of indie music.

AND LYRICS
As this is a narrative video following the story and meaning of the song there are
times when the lyrics are demonstrated in a relationship literally and
illustratively with the shotsand other times where the whole video is showing the
theme and the message of the lyrics. The literal lyrics are:
The song begins as “Deep in the corner of the night” is sang as
the shot on screen illustratively shows the two lovers laying on a
car in the middle of the night.
Further on within the first verse the lyric “inconceivable
imaginings” is shown as they lay their imagining/remembering
different adventures which is aided by the subtitles. It is
unclear to audiences at this point if the scenarios are made up
or real flashbacks and this adds real interest and depth into the
music video for audiences.
The lyric “you make me laugh until I die” is followed by a shot
on screen of the main female laughing. This is an illustrative
technique showing the narrative for audiences.

AND LYRICS
For the lyric “Stories told to me and stories told to you and did you ever feel like they
were ringing true” the video changes from the couple laying on the car telling
“stories” to each other as shown by the subtitles in the video, to what appears to be a
flashback of the story representing the “they were ringing true”. This is a mix of
illustrative and amplifying techniques as the audiences delve into the twists and
turns of the lyrics and how the relationship between the shots show this uncertainty
of if the “stories” really happened or if they are just dreaming. These types of shot
patterns from the car to the scenario occurs twice in the video matching as the lyric
is repeated, carrying on the narrative for audiences. This lyric is also one of the main
themes of the video and a good lyric to show what the entire video is based off as the
video shows all their different “stories” that are “ringing true”. This whole theme
creates an very intriguing and intricate video that is very enjoyable and effective for
audiences to watch.

AND LYRICS
Amplifying techniques are used for the lyrics “not everything
had gone to plan but we made the best of what we had” as
the first section is sang while two stereotypically rougher and
more violent looking men are shown with the male subtitles
say how they “wanted a fight” which is a amplification of “not
everything had gone to plan”. However the female goes on to
correct him saying “Oh, there were fine they just wanted to
dance” which represents the “we made the best of what we
had”. This amplification of that lyric allows the audience to
follow the story more and begin to suspect that the story
tellers are not completely reliable.
The lyric “All their words for glory ” is represented
illustratively by a man holding up a sign that says “Glory” as
the characters drive past. This has the effect of the
characters driving past and noticing the glory of their
stories, again hinting and highlighting how their stories
might be unrealistic.

AND LYRICS
The sign motif and symbolism is repeated for the lyric “looking up for heaven” in the
same way with a man standing on the side of the road to show this. As this lyric is
repeated throughout the song there is a continued relationship between this lyric and
the shots; at one time the camera pans up to a plane flying overhead and at another
the characters are sat to be admiring the sky. This technique is amplifying the lyric as
both show the sky and height representing “looking up”; the panning camera
movement in particular really involves the audience in this lyric and builds a
relationship between the lyrics and the shots.
Also linked to this lyric the relationship of the shots build up a image of “heaven” in
the video. At some points in the video when “heaven” is sang the shots shown on
screen are often of nature and naturally beauty. This natural and raw beauty shown
by wide and long shots may be a representation of what the band believe “Heaven” to
be/be like. This continues to add depth and meaning into the video.

AND LYRICS
Also for “all their words for glory” the
“glory” part in particular has a amplifying
relationship between the camera shot and
lyrics. At two points in the video as the
word “glory” is sang accompanied by a
shot of the characters looking happy to
demonstrate the “glory”. As the song is
titled “Glory” this is a key part of the song
and video and demonstrates some of the
meaning of the song.
There are also general meanings from the lyrics that flow throughout the song. At many points
in the song the shots shown on screen are related to lyric that have been sang previously and
explain the whole story. These lyrics are “laying in the middle of the road counting the planes
as they flew by”, “we watched the planes leave us behind” and “laying in the dark” as at times
the couple are seen to be laying on the car, at night, near a airport watching the planes. These
lyrics provide the background for the story of the song and the relationship with the shots while
are not directly linked they are a major theme of the video.

AND LYRICS
Also linking into the theme of the couple watching the planes pass them by as they
remember is the lyric “passing the drink from hand to hand” which they do as they
lay on the car. Similar to the other lyrics this is sometimes sang while completely
different shots of different events are used, however the relationship between the
lyrics and the shots have already been established by showing this action earlier on
in the video.

SHOTS
Throughout the song there is a distinct “eh/oh” sound, which is unique to Bastille, and at many
points in the song at this sound there is a shot change. This shot change is completed by
simple cut editing and will often change the setting and scene or the angle of the camera within
the scene. By having the music signal and partly control the editing allows for a relationship to
build up between the music, which audiences may recognise and allows for a bond between the
music and the music video.
During the almost mini chorus, where the song adopts a slightly different tune and speed there
are also a shot and setting using cut editing. The scene will then change once again at the end
of the mini chorus using cut editing. This allows the shots on the screen to link up and create a
relationship with the music, flowing well with the different paces and types of music within the
song.
To the left is screenshots of the first
mini chorus, where the same
scene/mini story within the video is
kept the same. This shows a clear
relationship between the shots and the
music, as the shots only change story
when the music changes.

SHOTS
During the main chorus, where the music is much faster
paced the actions and events that are filmed are also faster
as is the editing of the shots. Events that are filmed during
the faster tempo of the song are also more active faster,
such as jumping into a pool and shots of them driving. This
relationship between the shots and the music help the
audience to understand the mood and feel of the song. Fast
paced editing is used throughout the chorus section of the
song where the music is more upbeat to create the
relationship between the music and the shots. The audience
will be able to recognise this and this will enhance the song
for them, the faster editing will also help to keep the
audiences attention and convey the mood of the song at
that point. The editing of the shots themselves include more
setting changes with more jumps from place to place, with
the story appearing to jump around more in link with the
more “jumpy” writing.

SHOTS
Similar to how the shots used and the editing change for the faster
sections of the song, the editing and shots are also different for the
slower sections of the song. Here the same shot and setting will
remain on the screen for longer with the camera panning to create a
continuous shot rather than fast cut editing; this also means the
setting of each shot remains the same helping to slow down the video.
This relationship between the shots and music helps the audience to
understand and appreciate the different moods and tones of the
video.
Another way that a relationship is built up between the music and the
shots is as towards the end of the song the distinct sound of the drums
(possible a symbol) is followed by a cut edit of a shot change. The drum
symbol, while sometimes more in the background, still has a clear link
with the shot changes which audiences may recognise. This simple
technique allows for the song to work and flow with the music video,
which though audiences may not consciously recognise will still provide
enjoyment and familiarity while watching the video.

RECORD LABEL STYLE
Bastille have been signed to Virgin Records Ltd since 2011, and have had their music videos
under the control and distribution of Virgin Records since then. Originally a British-American
record label company founded in 1972, Virgin Records was brought by Universal Music Group in
2012. Universal Music Group is one of the “Big Three” record label companies that also consist
of Sony Music and Warner Music Group.
From 2012 under the running of Universal Music Group, Virgin Records have signed many indie
artists such as Circa Waves, Jamie T, The Kooks and more. Due to signing a range of indie
artists Virgin Records will have very good knowledge in this genre and audience, meaning they
are fully able to aid Bastille in making an effective video.
As typical with conditions of the record label the music video for “Glory” features the lead singer
in the band, Bastille. Dan Smith is often seen as the front man of the band and this is clearly
shown by the music video as only he, out of the four band members, features in the video. By
having him in the video Virgin Records are able to make the band more recognisable to
audiences and build up the bands profile.

ON THE FEMALE BODY
Women are presented as equal characters within this narrative video and although there is some
more empathise on the female body than any of the males in the video, this video represents
the genders more equally.
In most scenes the woman is presented to be more scantily dressed than the male; often in
shorter shorts and skirts and sometimes showing midriff with lower necklines and no sleeves.
This is a stark contrast to the male who is never not dressed in jeans and is mostly covered,
even his arm in long sleeves. However, the camera dose not linger on the woman's body
anymore than the males and the dress may have been more to represent the females unique
fashion and style. Throughout the video there are more shots of the female used, which can
sexualise her slightly, however this may also be to tie in with the notion of looking of audiences
seeing the video from the males point of view. Overall there is a little more empathise on the
female and she dressed more to match the mainstream stereotype of females within music
videos, however this video only uses this slightly and works well to present women as equal and
less sexualised.

ON THE FEMALE BODY
The idea of looking is built up right from the start of the start of
the video with the shots of the plane. The audience feel as if they
are following the plan, by the way the camera pans up and tilts
back, as if the audience are tilting their heads. This effect happens
again throughout the video and again at the end; by doing this the
audience are able to feel as if they are involved in the video and
this helps the video to become more familiar and enjoyable to
watch.
The notion of looking is continued on in the video with the use of
mirrors. Some of the shots film the interior mirror in the car with the
male’s reflection shown in this. This creates the feeling for audiences
that they are watching this story unfold and the characters are
unaware of the presence of the audience. This sense is heightened
by the fact that the characters rarely look directly into the camera;
these effects of the mirror and no direct address are used to present
to audiences that they are looking in on the couples story as a by-
standers, allowing feelings towards the couple and video to develop.

ON THE FEMALE BODY
At some points in the video the idea of looking is used to make audiences feel as if they are watching
the events unfold from the male’s point of view. The audience are shown shots of him looking at the
woman before cut editing changes the shot to a shot of the woman, which allows the audience to see
what he is seeing. Side shots, especially used while filming in the car, are another way the male’s
viewpoint is presented. There are more side shots/point of view shots filmed of the female than the
male making the audience feel as if they are viewing the video from his perspective. The only times
where either main character looks directly at the camera, is towards the end and this is only the
female. The female makes direct address towards the camera and both these shots and other shots in
the same setting the male is not shown anywhere, leading audiences to believe they are viewing this
section of the video from his point of view. There are also shots filmed of the view out of the windows
of the car adding to the point of view effect, however this could be seen from either characters
perspective and not just the male.
By including audiences like this, making them feel involved in the video, the audience are interested
and begin to build a bond/meaning with the video. By mixing this in with impressions that audiences
are also just watching this story unfold allows the video and story to have a connection with
audiences, which will help to make the music video memorable and increase the status of the band.

Bastille have also released other music videos for some of their other
songs and there is an distinct style across the music videos:
In a large majority of their videos there is black border at the top and
bottom of the screen; his distinct allows Bastilles videos to be instantly
recognisable which will build up Bastilles reputation and familiarity to
audiences. This effect is used in the music videos for Send Them Off!
Blame, Good Grief and The Things We Lost In The Fire among others.
Another key feature of Bastille’s music videos is the feature
of the lead singer Dan Smith. Smith appears in many of the
groups music videos such as Send Them Off! Good Grief
and The Things We Lost In The Fire. Smith is sometimes
accompanied by the rest of the band however even then
more shots are used of him than any other member. By
using the front man in the video Bastille are able to build up
their image making them recognisable in other types of
media such as magazines.

Many of Bastille videos are also a narrative video, similar to Glory. Both Send Them
Off! and Blame are narratives videos following a story of the character throughout the
song. This type of video will appeal to audiences as they are interesting and
engaging to watch. This familiarity of music videos will also excite audiences when
Bastille release a new music video as they will forward to another story told by the
song and the video.
Similar to how many of Bastilles videos are narrative videos, both Send Them Off! and
Good Grief feature a scene/shots of people running. This quirk is unique to Bastilles
videos and is a distinct styling of theirs. By having this scene in the narrative Bastille
are able to link most of their narrative videos together providing familiarity for
audiences.

Throughout the video there are some intertextual references
helping the video relate and engage with audiences. One of the
references is the start and end of the video with the couple laying
on the car, watching the planes; this setting is very typically
romantic and links in with the common theme of aeroplanes being
seen as shooting stars that people wish on. This romantic setting
will immediately tell audiences that the music video is partly a love
story and from the beginning and end scenes audiences will
recognise this.Another intertextual references is the appearance of a typical
American cowboy. Twice in the video a man is shown to be
riding a horse, in plaid shirt and wearing a cowboy hat; this
image is typically American and audiences will recognise. This
intertextual reference along with the setting of typical American
towns and highways allows the audience to understand the
setting of the story. This will be particularly familiar to American
audiences, allowing Bastille a British band to become familiar
with a wider audience.

Another striking American intertextual reference is the way the
“glory” is in very typical American colours of red, white and blue.
This allows audiences to instantly recognise this as American and
ties in with the ideas of the American dream and America being the
land of glory, a place of success. This idea can be recognised
worldwide and is familiar to international audiences which will help
to expand Bastilles profile.
Bastille also reference their own band by having the symbol for
their album “Wild World” where Glory is listed, feature like a road
sign. This subtle reference allows the band to continue to drive
their image to audiences, making them become more
recognisable and increasing their success. This is also another
quirk of Bastille and having a unique logo that features is a
typical feature of indie music videos.

Bastille also use other types of people as intertextual
references within this video; the first to appear are what
audiences would recognise as and label as “Goths”. The couple
appear to be giving another couple and their dog a lift
somewhere. Instantly the second couple can be identified as
Goths from their clothes, makeup and attitudes. This modern
day subculture will allow audiences to create links with the
video and make the video recognisable.
The second type of subculture is that of bikers; these two men
appear to be rougher looking and be stereotypically labelled as
more violent. While the video goes on to prove this stereotype
wrong, after identifying it within the subtext, the characters are
still instantly recognisable and this allows the audience to
relate their modern day lives and the people/stereotypes they
know to the video.

Music Video Analysis

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