1. Track title: Halka halka suroor
Artist: Farhan Saeed
Genre: Classical rock/ pop
Year of release: 2013
Music video director: Humza yousaf
Record company: Sidereal studios
Produced by: Saad Sultan
Music videotype: Narrativebased music video
Concept/ narrative: The thematic concern in this music video is the lover singing
the praises of his beloved and blaming her voluptuous ways for his intoxication.
He croons abouther hypnotic effect on him and how she draws himinto a state
of addiction. The protagonistclaims that he is so taken with her that he has lost
track of himself and can’tseem to recover fromher overwhelming presence.
Mediamessage: Although the music video romanticizes the relation between two
lovers. But it could be a metaphoric reference to the love for God. The ‘Mild
intoxication’ it talks about could be related to the ‘Whirling Dervishes’ who lose
themselves in their platonic love of God.
Representation: Themusic video represents a culture typical to that of Pakistani
culture. The male protagonistseems to have all the power and he keeps on
denying the woman and her love, stating her to be delectable and voluptuous.
Moreover, the song is also fromthe point of view of the male, showing the
woman in objective light and fromhis point of view and whathe thinks of her.
There are only her weak, mewl responses to his accusations; which is not
surprising considering themale-chauvinistic society of Pakistan. However thereis
2. one moment of aggression shown by the woman when she rises passionately and
there is fire behind her in the background denoting the catharsis of her pent up
emotions.
The costumes of the actors are quite traditional; especially the one wherethe
artist wears Shalwar Kameez and a waistcoat and the woman is in a rajisthani
attire representing a common customof Sufiand classicalgenres. The male artists
also wears a long Shawl in more than one occasions which is a common piece of
cloth worn usually landlords or powerfulmen of ruralareas who have a
chauvinistic mindset.
3. Ideologies: Themain ideology in this music video is that of spiritual love, which is
considered pure and unconditionaland usually is in the name of God. It denies all
that is worldly and materialistic and so is seen in the music video. Fromthe
historic bungalow and natural locations (desert, sea) to the mention and use of
alcohol, all this contributes to the spirituality. The Whirling dervishes who are
crazed in the love of God are usually drunk and had lost all their connectivity from
the world. A similar situation is represented in the music video wherethe male
artist is drunk and completely unawareof his surroundings.
Audiences: Thetargeted primary audiences for this music video would be both
male and female fromearly teenagers to the old folks who would be drawn in by
the poetic lyrics and the romancecreated in the video. Since the song is a new
version of a Qawaliby NusratFateh Ali Khan, it is likely to attract more audiences
since the people would most probably wantto see the song visualized.
Moreover, the song and the content is of high concept and easy to sell, no
complexities for the audiences to figureout in a 4 min video, this can definitely
increase the viewership.
The audience reception (reception theory by StuartHall) of the music video is
most likely to be passive, considering itis very common and stereotypical
concept, nothing that questions the Grand Narrative.
Theories:
Andrew Goodwin:
The music video follows the conditions spelled out by Andrew Goodwin in terms
that it demonstrates genre characteristics as certain features are expected out of
a video depending on the genre for example, for Classical Pop/ Rock audience
4. expects the artist singing in throes of passion, softmusic, a few slow motion
moments between the lovers and so on.
There is also a distinct relationship between the lyrics and the visuals wherethe
lyrics illustrate what is shown and helps to portray the messageof the song.
-For instance; when throughoutthe music video the lyrics talk about Intoxication,
Alcohol is a recurring prop in the music video.
5. -Also when the artist says “ Mujhe kis tarha se mitao gay” (how will you erase me
out of your life), the visual at that particular line clearly representit.
The music video tends to give us the gist of text and we make up our own
interpretations about whatis being told.
SvenE Carlson:
Italso includes Binary opposition, whereit breaks the music video into black and
white boxes, where
6. Male and female are shown in completely different lights, the man holding all the
power and the woman being portrayed as meek. The man being in focus and the
woman out of focus.
7. Laura Malvi:
Malvi was a feminist who suggested the visualpleasure theory and female
objectification as a common element in media. This is true in this case as the man
is active and the woman is shown passiveand fromthe point of view of men.
There is female objectification in terms that the woman is not focused as a whole
instead there are shots of her body parts. Itcan also be referred to as Voyeurism.
Although the woman makes direct contact with the audiences and does break the
Fourth wall, there is no denying that sheis viewed with sexual interest.
9. Codes and Conventions:
Since the genre is classical pop/ rock there are certain recurring factors the could
be found in these type of music videos;
-Softlighting, usually accompanied with a glow, to go along with poetic lyrics and
define the love relationship
13. -Mostscenes are shot in the light of dawn or Dusk to show Binary Opposition
(two different times coming together)
14. Technical codes:
Camerawork/shots:
The frame used in the starting shotshows both the artists on two opposite ends,
with a bamboo pillar which is out of focus, the background in focus. Itcreates a
senseof differences between two lovers
The very first visualof the music video, the camera tracks in to the scene using
the craneshot
15. Rule of thirds is used to portray the charcter in a heroistic view, with him in focus
and the background outof focus.
The mid-closeup, with half face covered and dark light personifies the woman in a
sexually attractive way.
16. This close-up shotcontributes towards Voyeurism, with theartist looking into the
camera with hooded eyes.
The wide shot shows a natural background with the man holding the woman in
his arms, probably denouncing the world, standing over the edge and celebrating
their love.
17. There is another wide shotused showing the woman in Rajisthanidress along
with the historicalRajisthani background, making a contrastof the two.
19. Here 180 degree rule is used, following the continuity shotrule.In one scene the
Guy bends the woman on her arm and the very next scene lifts her up in a
different location with a differentsetting.
Where suddenly the beat shifts from slow to fast pace the editing takes
a sudden shift towards fast movement.
20. Once again there is a use of continuity shot wherethere is an illusion of the same
action being carried forward in the next scene.
Light:
The use of Tungsten is singnificantas Tungsten is a type of incandescent
lighting. It creates a romantic aura and signifies that there is love story
involved.
21. Mostly, there has been a use of natural setting with natural lighting
which gives of a romantic feel
22. Props:
Since intoxication is a recurring phenomenon in the music video,
Alcohol is also used as a prop through out
