2. NARRATIVE TEXTUALANALYSIS
MISE-EN-SCENE
The mise-en-scene within this narrative music video is instantly established via the bright primary colour schemes. This reflects the upbeat music that begins to play. The
costumes establish narrative throughout the video due to Taylor ‘transforming’ from a ‘Geek’ with glasses on, into someone prestigious (wearing the glittering, jewelled dress at
the end.)
This furthermore reflects the narrative due to the intertextual reference of ‘Cinderella’. The idea of transforming and becoming someone else to suite another proves to be a
traditional storyline. Therefore, the audience can associate these factors, such as costume change and bright (traditional) primary colours with the conventions of a traditional
piece. The signification of Taylor changing clothing in front of a mirror, supports the idea that she is trying to change to fit in – therefore going through a process of self-finding (to
impress the boy she likes- which in the end, she finds herself and goes to the prom to be with him.)
The interesting thing about the mise-en-scene, is that the boy she likes has a girlfriend, who is also placed by her (but with a wig on). This is done intentionally and maybe could
show that the only thing holding her back from being with him, is herself. Therefore, the process of self-finding is pushing her negativity and insecurities away so that she can be
happy with him.
CINEMATOGRAPHY
There is a continuous use of two-shot framework which also reflects the narrative-base of this music video. It symbolises the fact that the protagonist (Taylor Swift – the artist)
and the antagonist (the ‘boy-next-door’) have some sort of connection. Throughout the video, Taylor is fantasising about being a couple with the boy, however is in dispute with
her own self-image due to his girlfriend having the connotations of being popular (a long shot shown with her in the centre and a group of friends in the background).
Therefore, the use of single close-up shots show her isolation she feels within herself when faced with her love for this boy – believing that she should be the one that’s with him,
not her, but doesn’t think she is good enough.
EDITING
The use of cut-shots move the narrative forward. It goes quite sporadically from being in her room, to at a baseball game, to the prom – the three main scenes. As it is a
narrative, there is not any ‘real’ abstract qualities that can be found similar to Taylor Swift’s new music video ‘Style’ and therefore follows the conventions of a narrative-based
music video.
SOUND
The lyrics for this soundtrack are also narrative-based, for example, ‘You’re on the phone with your girlfriend, she’s upset’ which has direct where we see the ‘boy-next-door’ on
the phone, looking as if he is having an argument. Also, again when she sings ‘She wears short skirts, I wear t-shirts’ which also has direct correlation with the narrative as you
see her dressing up in the mirror (in short skirts and t-shirts). There is no narrative dialogue and is primarily non-diegetic sound throughout, which most music videos have.
The sound cohesively links with the music video as it is a very literal narrative and therefore is easily understood in one way by a large percentage of the audience. Again, it is
not very abstract and tells quite a clear and cohesive story.
TAYLOR SWIFT – YOU BELONG WITH ME
3. BRIGHT PRIMARY COLOUR SCHEME
EXAMPLE OF TWO-SHOT
Shot reverse shot also portrays a
narrative storyline.
4. ABSTRACT TEXTUALANALYSIS
MISE-EN-SCENE
The mise-en-scene is instantly established in the first scene and we can see that it is regal. The colours on screen are very bright which shows reflection off the snow that is
falling. The snow demonstrating purity. The contrast between the white of the snow and the back of the background and her hair creates a mysterious atmosphere. Her skin is
very pale and the time period (costumes) is in the past – therefore can suggest that the song is about a past relationship – a prestigious, regal, successful relationship. This also
reinforces the amount of gold that is used throughout the video: to show the wealth (the richness of the relationship). This can also be seen in Taylor Swift’s ‘Love Story’ music
video. The cross-cutting between different scenes shows that this is an abstract music video and the consistent use of costume change shows there is no narrative: it is mainly
about the visuals (so colour, costume and lighting.)
CINEMATOGRAPHY
The artist is centralised in the screen throughout the video to show that maybe she’s looking in the past and it’s with direct correlation to her. Here are a lot of long-shots to show
her outfit and thus reinforces that the video is abstract as she switched between different coloured costumes. There are also a couple of pans around the artist as she is singing
to the sky, these different use of cinematography show the different scenes (from in the water, an aerial view of her lying on the car full of flowers… etc.)
EDITING
There is a lot of use of CGI (Computer Generated Image) to create the effects like the smashing car behind Katy Perry, her setting fire and the animated flowers that fall down
around her. There is also a lot of use of slow-motion within this video; this has links with the vocals in the song as some are drawn out and longer than others. The use of cut-
shots from one scene to another go to the rhythm of the song and therefore keeps conventions of music videos in that way.
SOUND
The sound is primarily non-digetic, which follows the conventions of a music video.
KATY PERRY - UNCONDITIONALLY
REGAL
EXAMPLE OF CGI
5. PERFORMANCE TEXTUALANALYSIS
MISE-EN-SCENE
You instantly see instruments as the first scene of the music video opens. This is conventional of performance-type music videos as you see the band playing the song featured
in the video. The bright primary colour blue is used as a background to the instruments to show the up-beat liveliness of the song. You see the singer of the band with a
microphone, singing the song which demonstrates further that this is a performance-orientated music video. There are continuous shots from the drummer, to the guitarist and
back to the singer.
CINEMATOGRAPHY
This video is made-up of a collocation of close-up shots and there are in fact no long-shots or establishing shots. It can therefore be said that as it doesn't follow the three-shot
convention, it could be seen as a cross between a performance music video and an abstract music video. The shots also go in and out of focus to give a distorted effect and
make it look more exciting as it is a very up-beat song.
EDITING
The pace of editing become quicker paced as the song progresses and the rhythm becomes faster. This then flicks between each band member. There is also examples of a
four-screen split where you get to see all of the band members at once which is good for performance music videos because you get to see them all together as a collaboration.
SOUND
Again, this is primarily non-digetic music, however there is constant lip-sync to ensure that the audience understand it is a sole performance music video and nothing else.
Sometimes, however performance music videos are crossed with a narrative and the band are the story-tellers and then they have different actors/actresses as the characters
telling the story. There are a lot of different combinations.
THE STROKES – REPTICALA
