1. “All I.Can.”
By JP Auclair
A Freytag-ian Interpretation
2. Exposition:
Editing and Camera Work
It could be argued that Freytag would classify
this part of the video as the “exposition”.
Auclair’s music video starts with a series of
establishing shots. These help to set the
location in an urban area. This is obviously
unusual for a snowboarding video and
immediately challenges the audience’s
expectations, perhaps in an attempt to
intrigue.
The cuts at the beginning are quote slow and
are combined with slow panning camera
movements. According to Goodwin’s Theory
there should be links between the visuals and
music, and this matching of cuts and
movement to the speed of the song, which has
a slow, steady rhythmic beat, leaves room for
the director, to hasten the sense of action and
pace, when the music and bass drop
(technically known as an “rinforzando”).
3. Rising Action: Editing and Camera Work
When the music drops at 2:08 the focus of
the subject moves from the general
environment to the snowboarder. Lots of
“shaky cam” crab shots are used to track
the snowboarder’s movement, giving the
effect that he is travelling at great speed.
There are still many stationary close up
shots of the scenery, but even here the
intention is to highlight the subject passing
across the frame very quickly, again
creating an impression of his fast and
dramatic movement, instilling a sense of
awe in the viewer.
This is further coupled with long low
angle shots, particularly on tricks and
stunts, adding to the dramatic effect
by emphasising the height of a jump
and skill involved in the action taking
place.
4. Rising Action: Influence and
Intertextuality
There are many points of interest in the direction of this video
that may influence my own. Although tricks occur throughout the
video, they tend to become more impressive as the it
progresses, perhaps so that the viewer’s interest will not only be
maintained, but is steadily more engaged, much in
the same way that Gustav Freytag
theorises that stories and films build
through rising action towards a climax.
Although “All I.Can.” is not a narrative
video, the same principles of Freytag’s
dramatic arc still seems to apply to the
action, and in the same way I intend to
apply a similar sense of rising action.
5. Climax and Denouement:
Influence and
Intertextuality
At 3:44 to 3:47, Auclair cuts between 7 different
rapid shots of close up scenery as the climax, after
which the pace slows (to what Freytag would describe
as the “denouement” – the resolution) when he
snowboarder finishes and waits for a bus to take him
back to the top of the mounatin.
As an example of intertextual homage, I intend to
employ a “climax” with a similar rapid montage
sequence of environment close-up shots. I would like
also like to have some kind of resolution to the video
in a similar vein, especially as the music track I am
using (”Sail” by AWOLNATION) also has a similar
quiet “Diminuendo” section at the end.
