The document provides an analysis of the music video for Bastille's song "Laura Palmer". It summarizes that the video depicts singer Dan Smith being kidnapped from the set of a cheesy pop music video by a group of teenagers wearing masks. Scenes alternate between the masked gang holding Smith captive and the rest of the band performing. At the end, Smith is given a mask to wear and seems to join the renegade gang. The video uses handheld camerawork and locations to give it a gritty, realistic feel and subverts expectations set by the initial pop video setting.
The trailer for Transformers provides key information about the film in a concise manner. We are told the title of the film at the end to reinforce the name and excite audiences. Explosions and military imagery shown give clues to the type of action film. The speed of the clip builds tension as the non-diegetic sound changes. The trailer is more effective than the poster at enticing viewers without revealing the entire plot.
Arctic Monkeys - Arabella Music Video AnalysisSam Bond
The video for Arctic Monkeys' "Arabella" depicts a mysterious woman who seems to represent the song's titular character. It uses a voyeuristic style, with shaky camerawork and shots that zoom in on and linger on the woman. This emphasizes the themes of objectification and the male gaze. Scenes cut between shots of the woman and Alex Turner singing, implying he is singing about her. While other women are shown in sexually suggestive ways, shots of "Arabella" maintain an air of mystery and unattainability, preserving the idea that she represents an ideal woman. The video blends narrative shots with a live performance setting to interpret the song's themes without a concrete story.
The document analyzes trends in 5 music videos from the indie/folk genre. Key trends identified include locations that relate to the narrative (e.g. countryside for folk), simple clothing like jeans and jackets, long shot durations kept engaging through camera movements, and consistent use of slow motion and filters to set mood. Cinematography stands out as a major focus, with emphasis on lip syncing shots and camera tracks. Narratives often explore themes of relationships, travel, and the passage of time.
Genre and goodwin’s theory in arabella by the Artic MonkeysScott Powell
The genre of the song "Arabella" by the Arctic Monkeys is categorized as indie music. This is evident from the black and white cinematography with handheld camera shots, emphasis on live band performance, and close-ups of the band members. The lyrics sometimes match the on-screen actions, like a close-up on the singer's lips during the line "her lips are like the galaxies edge." Intertextual references are made to film noir through the black and white visuals and depictions of smoking that create a mood of mystery.
1) The music video for "Flaws" by Bastille follows the lead artist through a day dealing with his flaws, represented by skeleton-faced girls. It continues the narrative from their previous video "Bad Blood" where he drowned.
2) Various shots and camera techniques are used to build a connection between the artist and audience, including close-ups of the artist and shots following his point of view.
3) Over the course of the day, the narrative shifts from the flaws antagonizing the artist to them enjoying each other's company, representing his acceptance of his flaws. The cyclical narrative leaves the ending open to interpretation.
OCR A2 Media Studies - Unit G324 - Textual Analysis JosephAloud
The document provides a textual analysis of two soap opera trailers - one for EastEnders and one for Hollyoaks. For each trailer, the analysis examines the verbal codes (dialogue, music), non-verbal codes (costumes, facial expressions, settings) and technical codes (camerawork, editing). Key strengths highlighted for the EastEnders trailer include its use of relevant non-diegetic music and the symbolic meaning conveyed through Sharon's wedding dress costume. For the Hollyoaks trailer, strengths called out are its use of a diegetic sound bed that hints at a secret, relevant diegetic dialogue, and ominous text at the beginning. The document discusses elements from each trailer that the author would like to repeat or
OCR A2 Media Studies - Unit G324 - Textual AnalysisJosephAloud
The document provides a textual analysis of two soap opera trailers - one for EastEnders and one for Hollyoaks. For each trailer, the analysis examines the verbal codes (dialogue, music), non-verbal codes (costumes, facial expressions, settings), and technical codes (camerawork, editing). Key strengths highlighted for the EastEnders trailer include its use of relevant non-diegetic music and the symbolic meaning conveyed through Sharon's wedding dress costume. For the Hollyoaks trailer, strengths called out are its use of a diegetic sound bed that hints at a secret from the characters, relevant diegetic dialogue, and ominous text at the beginning. The document discusses elements from each trailer that the author would like
Conventions of genre film trailer credited by Camie reidyluc
The document discusses film trailers and analyzes the trailers for the films Inception and Law Abiding Citizen. It notes that the Inception trailer uses a slow, beating soundtrack that increases tension and suspense. It features first-person narration and fade-in/out shots of film scenes. Symbols like black suits and guns imply suspense and action. The Law Abiding Citizen trailer also starts with a rating before showing the protagonist on a roof with mellow music. It includes shots of violence and escalating action scenes of police and weapons as the music intensifies, implying danger and threat. Both trailers effectively establish the genres through conventions like costumes, music, and visually exciting scenes.
The trailer for Transformers provides key information about the film in a concise manner. We are told the title of the film at the end to reinforce the name and excite audiences. Explosions and military imagery shown give clues to the type of action film. The speed of the clip builds tension as the non-diegetic sound changes. The trailer is more effective than the poster at enticing viewers without revealing the entire plot.
Arctic Monkeys - Arabella Music Video AnalysisSam Bond
The video for Arctic Monkeys' "Arabella" depicts a mysterious woman who seems to represent the song's titular character. It uses a voyeuristic style, with shaky camerawork and shots that zoom in on and linger on the woman. This emphasizes the themes of objectification and the male gaze. Scenes cut between shots of the woman and Alex Turner singing, implying he is singing about her. While other women are shown in sexually suggestive ways, shots of "Arabella" maintain an air of mystery and unattainability, preserving the idea that she represents an ideal woman. The video blends narrative shots with a live performance setting to interpret the song's themes without a concrete story.
The document analyzes trends in 5 music videos from the indie/folk genre. Key trends identified include locations that relate to the narrative (e.g. countryside for folk), simple clothing like jeans and jackets, long shot durations kept engaging through camera movements, and consistent use of slow motion and filters to set mood. Cinematography stands out as a major focus, with emphasis on lip syncing shots and camera tracks. Narratives often explore themes of relationships, travel, and the passage of time.
Genre and goodwin’s theory in arabella by the Artic MonkeysScott Powell
The genre of the song "Arabella" by the Arctic Monkeys is categorized as indie music. This is evident from the black and white cinematography with handheld camera shots, emphasis on live band performance, and close-ups of the band members. The lyrics sometimes match the on-screen actions, like a close-up on the singer's lips during the line "her lips are like the galaxies edge." Intertextual references are made to film noir through the black and white visuals and depictions of smoking that create a mood of mystery.
1) The music video for "Flaws" by Bastille follows the lead artist through a day dealing with his flaws, represented by skeleton-faced girls. It continues the narrative from their previous video "Bad Blood" where he drowned.
2) Various shots and camera techniques are used to build a connection between the artist and audience, including close-ups of the artist and shots following his point of view.
3) Over the course of the day, the narrative shifts from the flaws antagonizing the artist to them enjoying each other's company, representing his acceptance of his flaws. The cyclical narrative leaves the ending open to interpretation.
OCR A2 Media Studies - Unit G324 - Textual Analysis JosephAloud
The document provides a textual analysis of two soap opera trailers - one for EastEnders and one for Hollyoaks. For each trailer, the analysis examines the verbal codes (dialogue, music), non-verbal codes (costumes, facial expressions, settings) and technical codes (camerawork, editing). Key strengths highlighted for the EastEnders trailer include its use of relevant non-diegetic music and the symbolic meaning conveyed through Sharon's wedding dress costume. For the Hollyoaks trailer, strengths called out are its use of a diegetic sound bed that hints at a secret, relevant diegetic dialogue, and ominous text at the beginning. The document discusses elements from each trailer that the author would like to repeat or
OCR A2 Media Studies - Unit G324 - Textual AnalysisJosephAloud
The document provides a textual analysis of two soap opera trailers - one for EastEnders and one for Hollyoaks. For each trailer, the analysis examines the verbal codes (dialogue, music), non-verbal codes (costumes, facial expressions, settings), and technical codes (camerawork, editing). Key strengths highlighted for the EastEnders trailer include its use of relevant non-diegetic music and the symbolic meaning conveyed through Sharon's wedding dress costume. For the Hollyoaks trailer, strengths called out are its use of a diegetic sound bed that hints at a secret from the characters, relevant diegetic dialogue, and ominous text at the beginning. The document discusses elements from each trailer that the author would like
Conventions of genre film trailer credited by Camie reidyluc
The document discusses film trailers and analyzes the trailers for the films Inception and Law Abiding Citizen. It notes that the Inception trailer uses a slow, beating soundtrack that increases tension and suspense. It features first-person narration and fade-in/out shots of film scenes. Symbols like black suits and guns imply suspense and action. The Law Abiding Citizen trailer also starts with a rating before showing the protagonist on a roof with mellow music. It includes shots of violence and escalating action scenes of police and weapons as the music intensifies, implying danger and threat. Both trailers effectively establish the genres through conventions like costumes, music, and visually exciting scenes.
The trailer summarizes the plot of the crime thriller film "Nine Dead" in three sentences:
The trailer begins with a slow build up of tension through unsettling sounds and a news report explaining that nine people have been kidnapped. As the pace picks up, the main villain is introduced wearing a dark mask and the kidnapped victims are shown in distress. Throughout the trailer, the pace and tension escalate alongside the soundtrack until the final title card is revealed with the film's name displayed over an image linking it to the nine kidnapped victims.
The music video for Bastille's "Send Them Off" features intertextual references to their album marketing campaign. It continues the narrative established in previous videos and keeps fans engaged. The lyrics about demons are represented visually through a shadow following the main character and strange hallucinatory events. While Bastille are not the main focus, close-ups maintain the connection with audiences. Technical aspects like camera angles, effects, and fast cutting establish an unsettling tone and the character's vulnerable mental state.
Vanity uses conventions of real media in its narrative, camera work, and sound design. It follows Claude Levi-Strauss's theory of binary opposites through the main characters. It also draws on Todorov's narrative theory by starting in equilibrium, disrupting it, and failing to resolve it. The film employs techniques like the 180 degree rule, extreme closeups, framing, and medium shots influenced by films like The Hunger Games, The Third Man, and Titanic. Non-diegetic music is used extensively to set moods like in Clueless, with some diegetic sounds included for realism.
The document provides analysis of frames from a movie trailer. Key details analyzed include shots, camera work, editing, lighting, sound and how they build narrative and convey genre. The summary effectively highlights the main purpose and techniques used in the trailer sequence through concise sentences:
The trailer uses a montage sequence and fast pacing to set up the narrative and portray the thriller/horror genre. Various shots and camera techniques are analyzed frame-by-frame to understand how they characterize the plot and characters. The trailer leaves the audience questioning what will happen to the two main characters through an ending that contrasts their situations.
The document summarizes and analyzes the opening sequences of several films through their use of visual and audio techniques:
- Watchmen establishes the dark, gloomy tone through low key lighting and blue/grey color palette. Shots show a TV broadcast and the turning of a doomsday clock to convey importance of media and sense of impending danger.
- Jaws uses an underwater point of view and ominous music to build tension and portray the shark as a lurking threat. Shots show an isolated swimming girl to make her seem vulnerable against the vast sea.
- Napoleon Dynamite establishes the comedy genre through its titles presented on food and objects implying silliness. Shot types and locations within a house create familiar
The document analyzes the opening sequences of four films - Watchmen, Jaws, Napoleon Dynamite, and Scream. It discusses elements like cinematography, lighting, shots, sound, and how they establish genre and set the tone for each film. Specific techniques highlighted include the use of zooms and silhouettes in Watchmen to create a dark atmosphere, point-of-view shots from the shark's perspective in Jaws to build tension, the comedic presentation of titles in Napoleon Dynamite, and the use of screams and phone calls to signal horror in Scream.
The opening scene of Casino Royale is in black and white with wind sounds to set a mysterious tone. We see a prim upper class man at night, then James Bond who is calm and focused. There is then a tense fight scene with fast editing and music.
In Quantum of Solace, an aerial shot over water with tense music sets an exotic location. There is a dramatic car chase with quick editing, music, and diegetic sounds of screeching and gunfire. James Bond is introduced as he tries to escape.
I, Robot's opening has eerie music and bubbles, revealing an underwater setting in blue light. A man is shown panicking in his apartment, leaving it unclear if earlier events were
The trailer for The Shining uses nonlinear editing techniques to summarize the plot. Short clips are shown out of chronological order and accompanied by a voiceover narration to explain the story. This includes flashes of the main character committing violent acts intercut with other scenes. The trailer builds suspense through ominous music and zoomed-in shots of unhinged characters. It reveals that the film involves a family staying in an isolated hotel where the father has a mental breakdown and intends to kill his wife and son, leaving the wife as the final girl who must confront the killer.
This document provides a summary and analysis of the music video for Foo Fighters' song "My Hero". The video tells a narrative of a man rescuing people from a house fire, including babies. It contrasts shots of the band casually performing with the dramatic rescue scenes. The video is shot in a single take to heighten the sense of urgency and match the song. It effectively uses the fire as a backdrop for the band's performance without making them the central focus.
This document provides a detailed shot-by-shot analysis of the music video for the song "Alone Together" by Fall Out Boy. It analyzes how various shots use lighting, camera angles, settings and characters to convey a dark, isolated and panicked atmosphere. Key conventions of the rock genre and male gaze are employed through stereotypical female characters and implied violence. The analysis suggests the video uses an episodic structure to show each band member experiencing distress in different ways. Music and visuals are closely linked to build tension and intensity throughout the video.
The Bride seeks revenge against her ex-lover Bill and his assassination squad after they attempt to murder her on her wedding day. She devises a hit list and sets off to kill everyone responsible for the loss of her unborn child and four years of her life. Through enduring injury and enemies, she works to get even with Bill and the members of the Deadly Viper Assassination Squad that contributed to her downfall.
The opening sequence of Dirty Harry establishes the film's setting of San Francisco and theme of honoring police officers who died in the line of duty. It shows a stone plaque with the names of fallen officers carved into it. The camera zooms in and uses a wiping technique to gradually reveal the full list of names and dates. This establishes the context of danger and sacrifice within the police force before the film's story begins.
The document provides an overview of the crime fiction/action thriller film "Kill Bill" directed by Quentin Tarantino. It summarizes the narrative structure, characters types including the protagonist Beatrix Kiddo and antagonists, and Tarantino's distinctive directorial style with attention to mise-en-scene, camera techniques, editing, sound, and how these elements are used to portray the characters and build tension throughout the film.
This document provides information about film trailers, including what they are, when they are shown, conventions used in trailers, and examples of genres. A film trailer is a marketing tool that shows audiences what to expect from a film and builds anticipation. Trailers aim to attract attention and sell the film. They can be shown before other movies, on TV, or online. Conventions like matching music to the film's pace, cutting scenes together, using dialogue, and adding text are commonly used. Genres like action, drama, and horror are discussed, with the Man of Steel, A Clockwork Orange, and Haunting in Connecticut trailers analyzed as examples.
The document analyzes three music videos:
1) "Bed of Roses" by Bon Jovi is a performance video that shows the band playing while telling a generic breakup story through gestures and expressions. Shots of the band performing fade into shots of the singer acting out the lyrics.
2) "Smokin' in the Boys Room" by Motley Crue is a concept video that reflects the band's 1980s anarchic image through slapstick humor and destruction. Jump cuts create an incoherent narrative.
3) "Leader of the Pack" by Twisted Sister covers a 1960s song through a narrative video with an actress enacting the lyrics, though humor and slapstick undermine the pathos
The document analyzes three music videos:
1) "Bed of Roses" by Bon Jovi is a performance video that shows the band playing while telling a generic breakup story through gestures and expressions. Shots of the band performing fade into shots of the singer acting out the lyrics.
2) "Smokin' in the Boys Room" by Motley Crue is a concept video that reflects the band's 1980s anarchic image through slapstick humor and a fast, incoherent narrative.
3) "Leader of the Pack" by Twisted Sister covers a 1960s song through a narrative video using an actress. It contrasts pathos from the lyrics with humor through slapstick scenes of a car
The video for Alt-J's "Breezeblocks" has an unconventional narrative style with shots edited in reverse order. This creates a disorienting effect and conceptual twist by portraying the desire to turn back time. Various camera techniques like alternating depths of field and close-ups create an artistic feel while reflecting the song's pace and mood. Symbolic props like a breezeblock used as a weapon represent the love and fatality between characters. Though confusing, the plot involves a woman's attempted murder of a man in their home that goes wrong, with the video seemingly showing the man's wish to change events.
The teaser trailer for the film "Nice Guys" uses sound, camerawork, editing and mise-en-scene to establish the time period of the 1970s and give a sense of the comedic yet violent tone. Gunshots and screams are juxtaposed with funk music to show the dark humor. Rapid editing, jump cuts and freeze frames evoke styles of 1970s filmmaking. Costumes and facial hair also place the characters in the era. The trailer builds tension through sound and editing before cutting to the film title and stars.
The music video features 56 shots in the first minute to match the fast pace of the song. The first shot shows a character skating down the road and the second is a close-up of the radio host speaking into a microphone. A key shot shows the lead singer getting dressed in costume. As the intro dialogue speeds up, the shots get faster. Later shots include a record spinning, the band members with a silhouette, and the lead singer being yelled at by a villain.
Music video analysis when the sun goes downreecemechan
The document provides an analysis of the music video for Arctic Monkeys' "When the Sun Goes Down". It summarizes that the target audience is likely late teens to mid-20s who enjoy loud, rock music and watching short films. It notes that the lyrics imply things can seem okay during the day but turn bad at night, matching the video's portrayal of the man becoming violent after dark. The analysis also briefly outlines the tempo, genre, camera techniques, editing style, and digital effects used in the video.
The document analyzes the music video for Kendrick Lamar's "Alright". It discusses the use of black and white lighting to represent the relationship between police and black citizens. Mise-en-scene includes objects like guns and money to represent violence and wealth. Shot distances are manipulated to portray meanings, such as long shots of Kendrick as a godlike figure over Los Angeles. The conventions of rap music videos are followed, including scenes of dancing and police cars.
The trailer summarizes the plot of the crime thriller film "Nine Dead" in three sentences:
The trailer begins with a slow build up of tension through unsettling sounds and a news report explaining that nine people have been kidnapped. As the pace picks up, the main villain is introduced wearing a dark mask and the kidnapped victims are shown in distress. Throughout the trailer, the pace and tension escalate alongside the soundtrack until the final title card is revealed with the film's name displayed over an image linking it to the nine kidnapped victims.
The music video for Bastille's "Send Them Off" features intertextual references to their album marketing campaign. It continues the narrative established in previous videos and keeps fans engaged. The lyrics about demons are represented visually through a shadow following the main character and strange hallucinatory events. While Bastille are not the main focus, close-ups maintain the connection with audiences. Technical aspects like camera angles, effects, and fast cutting establish an unsettling tone and the character's vulnerable mental state.
Vanity uses conventions of real media in its narrative, camera work, and sound design. It follows Claude Levi-Strauss's theory of binary opposites through the main characters. It also draws on Todorov's narrative theory by starting in equilibrium, disrupting it, and failing to resolve it. The film employs techniques like the 180 degree rule, extreme closeups, framing, and medium shots influenced by films like The Hunger Games, The Third Man, and Titanic. Non-diegetic music is used extensively to set moods like in Clueless, with some diegetic sounds included for realism.
The document provides analysis of frames from a movie trailer. Key details analyzed include shots, camera work, editing, lighting, sound and how they build narrative and convey genre. The summary effectively highlights the main purpose and techniques used in the trailer sequence through concise sentences:
The trailer uses a montage sequence and fast pacing to set up the narrative and portray the thriller/horror genre. Various shots and camera techniques are analyzed frame-by-frame to understand how they characterize the plot and characters. The trailer leaves the audience questioning what will happen to the two main characters through an ending that contrasts their situations.
The document summarizes and analyzes the opening sequences of several films through their use of visual and audio techniques:
- Watchmen establishes the dark, gloomy tone through low key lighting and blue/grey color palette. Shots show a TV broadcast and the turning of a doomsday clock to convey importance of media and sense of impending danger.
- Jaws uses an underwater point of view and ominous music to build tension and portray the shark as a lurking threat. Shots show an isolated swimming girl to make her seem vulnerable against the vast sea.
- Napoleon Dynamite establishes the comedy genre through its titles presented on food and objects implying silliness. Shot types and locations within a house create familiar
The document analyzes the opening sequences of four films - Watchmen, Jaws, Napoleon Dynamite, and Scream. It discusses elements like cinematography, lighting, shots, sound, and how they establish genre and set the tone for each film. Specific techniques highlighted include the use of zooms and silhouettes in Watchmen to create a dark atmosphere, point-of-view shots from the shark's perspective in Jaws to build tension, the comedic presentation of titles in Napoleon Dynamite, and the use of screams and phone calls to signal horror in Scream.
The opening scene of Casino Royale is in black and white with wind sounds to set a mysterious tone. We see a prim upper class man at night, then James Bond who is calm and focused. There is then a tense fight scene with fast editing and music.
In Quantum of Solace, an aerial shot over water with tense music sets an exotic location. There is a dramatic car chase with quick editing, music, and diegetic sounds of screeching and gunfire. James Bond is introduced as he tries to escape.
I, Robot's opening has eerie music and bubbles, revealing an underwater setting in blue light. A man is shown panicking in his apartment, leaving it unclear if earlier events were
The trailer for The Shining uses nonlinear editing techniques to summarize the plot. Short clips are shown out of chronological order and accompanied by a voiceover narration to explain the story. This includes flashes of the main character committing violent acts intercut with other scenes. The trailer builds suspense through ominous music and zoomed-in shots of unhinged characters. It reveals that the film involves a family staying in an isolated hotel where the father has a mental breakdown and intends to kill his wife and son, leaving the wife as the final girl who must confront the killer.
This document provides a summary and analysis of the music video for Foo Fighters' song "My Hero". The video tells a narrative of a man rescuing people from a house fire, including babies. It contrasts shots of the band casually performing with the dramatic rescue scenes. The video is shot in a single take to heighten the sense of urgency and match the song. It effectively uses the fire as a backdrop for the band's performance without making them the central focus.
This document provides a detailed shot-by-shot analysis of the music video for the song "Alone Together" by Fall Out Boy. It analyzes how various shots use lighting, camera angles, settings and characters to convey a dark, isolated and panicked atmosphere. Key conventions of the rock genre and male gaze are employed through stereotypical female characters and implied violence. The analysis suggests the video uses an episodic structure to show each band member experiencing distress in different ways. Music and visuals are closely linked to build tension and intensity throughout the video.
The Bride seeks revenge against her ex-lover Bill and his assassination squad after they attempt to murder her on her wedding day. She devises a hit list and sets off to kill everyone responsible for the loss of her unborn child and four years of her life. Through enduring injury and enemies, she works to get even with Bill and the members of the Deadly Viper Assassination Squad that contributed to her downfall.
The opening sequence of Dirty Harry establishes the film's setting of San Francisco and theme of honoring police officers who died in the line of duty. It shows a stone plaque with the names of fallen officers carved into it. The camera zooms in and uses a wiping technique to gradually reveal the full list of names and dates. This establishes the context of danger and sacrifice within the police force before the film's story begins.
The document provides an overview of the crime fiction/action thriller film "Kill Bill" directed by Quentin Tarantino. It summarizes the narrative structure, characters types including the protagonist Beatrix Kiddo and antagonists, and Tarantino's distinctive directorial style with attention to mise-en-scene, camera techniques, editing, sound, and how these elements are used to portray the characters and build tension throughout the film.
This document provides information about film trailers, including what they are, when they are shown, conventions used in trailers, and examples of genres. A film trailer is a marketing tool that shows audiences what to expect from a film and builds anticipation. Trailers aim to attract attention and sell the film. They can be shown before other movies, on TV, or online. Conventions like matching music to the film's pace, cutting scenes together, using dialogue, and adding text are commonly used. Genres like action, drama, and horror are discussed, with the Man of Steel, A Clockwork Orange, and Haunting in Connecticut trailers analyzed as examples.
The document analyzes three music videos:
1) "Bed of Roses" by Bon Jovi is a performance video that shows the band playing while telling a generic breakup story through gestures and expressions. Shots of the band performing fade into shots of the singer acting out the lyrics.
2) "Smokin' in the Boys Room" by Motley Crue is a concept video that reflects the band's 1980s anarchic image through slapstick humor and destruction. Jump cuts create an incoherent narrative.
3) "Leader of the Pack" by Twisted Sister covers a 1960s song through a narrative video with an actress enacting the lyrics, though humor and slapstick undermine the pathos
The document analyzes three music videos:
1) "Bed of Roses" by Bon Jovi is a performance video that shows the band playing while telling a generic breakup story through gestures and expressions. Shots of the band performing fade into shots of the singer acting out the lyrics.
2) "Smokin' in the Boys Room" by Motley Crue is a concept video that reflects the band's 1980s anarchic image through slapstick humor and a fast, incoherent narrative.
3) "Leader of the Pack" by Twisted Sister covers a 1960s song through a narrative video using an actress. It contrasts pathos from the lyrics with humor through slapstick scenes of a car
The video for Alt-J's "Breezeblocks" has an unconventional narrative style with shots edited in reverse order. This creates a disorienting effect and conceptual twist by portraying the desire to turn back time. Various camera techniques like alternating depths of field and close-ups create an artistic feel while reflecting the song's pace and mood. Symbolic props like a breezeblock used as a weapon represent the love and fatality between characters. Though confusing, the plot involves a woman's attempted murder of a man in their home that goes wrong, with the video seemingly showing the man's wish to change events.
The teaser trailer for the film "Nice Guys" uses sound, camerawork, editing and mise-en-scene to establish the time period of the 1970s and give a sense of the comedic yet violent tone. Gunshots and screams are juxtaposed with funk music to show the dark humor. Rapid editing, jump cuts and freeze frames evoke styles of 1970s filmmaking. Costumes and facial hair also place the characters in the era. The trailer builds tension through sound and editing before cutting to the film title and stars.
The music video features 56 shots in the first minute to match the fast pace of the song. The first shot shows a character skating down the road and the second is a close-up of the radio host speaking into a microphone. A key shot shows the lead singer getting dressed in costume. As the intro dialogue speeds up, the shots get faster. Later shots include a record spinning, the band members with a silhouette, and the lead singer being yelled at by a villain.
Music video analysis when the sun goes downreecemechan
The document provides an analysis of the music video for Arctic Monkeys' "When the Sun Goes Down". It summarizes that the target audience is likely late teens to mid-20s who enjoy loud, rock music and watching short films. It notes that the lyrics imply things can seem okay during the day but turn bad at night, matching the video's portrayal of the man becoming violent after dark. The analysis also briefly outlines the tempo, genre, camera techniques, editing style, and digital effects used in the video.
The document analyzes the music video for Kendrick Lamar's "Alright". It discusses the use of black and white lighting to represent the relationship between police and black citizens. Mise-en-scene includes objects like guns and money to represent violence and wealth. Shot distances are manipulated to portray meanings, such as long shots of Kendrick as a godlike figure over Los Angeles. The conventions of rap music videos are followed, including scenes of dancing and police cars.
1) The music video for Coldplay's "Charlie Brown" was directed by Matt Whitecross and filmed in London, depicting a night of partying and youthful escapism.
2) Various shots show the band performing at a rave, a couple stealing a car and dancing together at the event, and fireworks going off at a climactic moment in the song.
3) The video utilizes fast cuts between the band and the story to illustrate the lyrics and pulse of the song, coming to an end as the sun rises and signaling the conclusion of the night's adventures.
The music video for "30 Seconds to Mars" depicts three band members experiencing surreal and disjointed stories in New York City at night. Jared is chased by a masked man and jumps from a window. Scenes cut rapidly between the band members and mysterious women. The video uses slow motion, cuts between scenes and songs, and has no clear narrative. It references French burlesque and Tarantino-esque structure. While provocative, it aims to depict hidden passions and insights into people's fantasies and lives through dream-like and surreal visuals.
Saint Raymond, whose real name is Callum Burrows, is a singer-songwriter from Nottingham, England who began his career playing small local gigs. He gained popularity in 2013 with the release of his debut EP "Escapade" on Gabrielle Aplin's record label, which featured the single "Fall At Your Feet" that was promoted as iTunes Single of the Week. The music video for "Fall At Your Feet" shows Saint Raymond singing and playing guitar while intercut with scenes of him and a girl enacting the narrative of the song's lyrics in a field. The camera work and editing match elements of the song and increase in pace during faster parts, while focusing primarily on Saint Raymond
Music video analysis finalized 3 videosEeman Masood
1. The video for "Castle of Glass" by Linkin Park depicts a young boy learning of his father's death in combat and shows his journey to follow in his father's footsteps as a Navy SEAL. Scenes of the band playing in a storm alternate with the boy's story.
2. The "Fix You" music video by Coldplay features lead singer Chris Martin wandering alone through the streets of London at night before running to join his band performing at a stadium.
3. The video for Nirvana's "Smells Like Teen Spirit" shows the band playing at a rowdy high school pep rally that devolves into anarchy and destruction at the end.
Q1 in what ways does your media product useEd Dean
This document provides examples of different types of shots from music videos and asks the reader to select one shot for each category:
1. A shot that shows a link between lyrics and visuals. An example is given from the Bastille song "Laura Palmer" where the singer is alone in the dark being lit by large lights.
2. A shot that represents how a record company would want their artist portrayed. An example is given from the Arctic Monkeys' "Why'd You Only Call Me When You're High?" where the singer is having a schizophrenic moment in the mirror to depict the effects of drugs without explicitly showing drugs.
3. A shot that illustrates the music genre. An example from
The video for "Mr. Brightside" by The Killers depicts a burlesque show setting with voyeuristic overtones. The lead singer feels jealousy as his love interest pays attention to another wealthy man. Various shots are used including close-ups of the singer and love interest. Jump cuts between the performance and narrative depict the story of the love triangle through the song's lyrics.
This document provides examples of different types of shots that could be included in a music video to develop conventions of the genre and medium. It includes shots that show: a link between lyrics and visuals, how an artist may be represented for commercial purposes, illustrations of music genre through settings and costumes, intertextual references to other works, creative uses of camera angles and lighting, and ways to effectively use mise-en-scene to tell a story or set a mood. The document then provides examples from the creator's own music video, analyzing several shots based on these conventions.
This document provides examples of different types of shots that could be included in a music video to develop conventions of the genre and medium. It includes shots that: 1) link lyrics to visuals, 2) represent how a record company may want their artist portrayed, 3) illustrate the music genre, 4) include intertextual references, 5) demonstrate camera use, 6) showcase lighting techniques, and 7) employ mise-en-scene elements. The document also provides examples from real music videos to exemplify each type of shot.
This document summarizes different styles of music videos including narrative, cinematic, performance based, animation, pastiche, as live, parody, intertextuality, and concept. Narrative videos tell a story through actors and scenes. Cinematic videos have high production value and a film style. Performance based focus on live performances. Animation uses digital or stop motion. Pastiche are influenced by other genres/time periods. As live contain concert footage. Parody mock other artists. Intertextuality refer to other existing works. Concept are based on a unique idea or technique.
The song "Pompeii" by British band Bastille tells the story of the eruption of Mount Vesuvius and the destruction of Pompeii in 79 AD. The music video depicts a man running through the streets of Los Angeles while being pursued by the ashes and destruction from the eruption. Throughout the video, the man sees others who have been overtaken by the ashes, their eyes turned black. By the end, his eyes have also turned black, suggesting he too has been overcome. The music and cinematography create a dark, tense atmosphere that mirrors the ominous events unfolding in Pompeii.
The song "Pompeii" by British band Bastille tells the story of the eruption of Mount Vesuvius in Pompeii through lyrics and music video. The music video depicts a man, played by lead singer Dan Smith, running through various locations in Los Angeles while being chased by the ash and destruction from the volcano. Throughout the video, the man sees other people with black eyes, indicating they have been overtaken by the ash, until he too is overtaken at the end. The music and cinematography aim to build tension and mystery to match the dark subject matter of the volcanic destruction of Pompeii. The video gained Bastille significant exposure through popular festival performances and television appearances.
This document contains examples of different types of shots from real music videos along with explanations of what conventions they demonstrate. These include shots that show links between lyrics and visuals, how an artist would be represented to appeal to record companies, illustrations of music genres, intertextual references, and demonstrations of camerawork, lighting, mise-en-scene. The document also provides examples from the student's own music video that aim to emulate these conventions.
The document discusses different genres and techniques used in music videos. It provides examples of different types of music videos including animated, narrative, live performance, homage, parody, and surreal. It also outlines several music video conventions like lyrical interpretation and techniques such as cutting to the beat, special effects, lip syncing, and camera shots/angles. Overall, the document serves as a guide to understanding various approaches to creating music videos.
The document summarizes and compares three house music videos:
1) ZHU - Faded features black and white shots of a person walking up stairs and scenes of a nightclub with DJs and silhouettes.
2) Calvin Harris & Disciples – How Deep Is Your Love follows a girl as she enters unfamiliar locations like a club, boat, and car park looking confused.
3) Duke Dumont – The Giver shows a man leaving the sea and giving people what they want, like making an ATM dispense money and causing chaos, before ending by pushing the camera away.
The video for "Misery Business" by Paramore tells a narrative story of a girl who steals other people's boyfriends getting her comeuppance. Scenes include the band performing, the "stereotypical bitch" girl in a low-cut dress, and Williams singing angrily about revenge. The video garnered Paramore significant publicity and boosted their career in the music industry.
The video for "Misery Business" by Paramore tells a narrative story of a girl who steals other people's boyfriends getting her comeuppance. Scenes include the band performing, the "stereotypical bitch" girl in a low-cut dress, and Williams singing angrily about revenge. The video garnered Paramore significant publicity and boosted their career in the music industry.
This document analyzes 9 shots from a music video. Shot 1 introduces the band exiting their comfort zone of the stage. Shot 2 introduces a CGI alien as a metaphor for the singer's love. Shot 3 establishes the autumnal setting of the special location. Shot 4 shows a waterfall suggesting a romantic location the couple visits. Shot 5 shows the full band, gratifying audiences. Shots 6-7 depict the band getting further from their normal environment and the creatures representing the couple's doubts. Shots 8-9 close by showing the singer and resolving that visiting this location works out any relationship doubts.
The Evolution and Impact of Tom Cruise Long Hairgreendigital
Tom Cruise is one of Hollywood's most iconic figures, known for his versatility, charisma, and dedication to his craft. Over the decades, his appearance has been almost as dynamic as his filmography, with one aspect often drawing significant attention: his hair. In particular, Tom Cruise long hair has become a defining feature in various phases of his career. symbolizing different roles and adding layers to his on-screen characters. This article delves into the evolution of Tom Cruise long hair, its impact on his roles. and its influence on popular culture.
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Introduction
Tom Cruise long hair has often been more than a style choice. it has been a significant element of his persona both on and off the screen. From the tousled locks of the rebellious Maverick in "Top Gun" to the sleek, sophisticated mane in "Mission: Impossible II." Cruise's hair has played a pivotal role in shaping his image and the characters he portrays. This article explores the various stages of Tom Cruise long hair. Examining how this iconic look has evolved and influenced his career and broader fashion trends.
Early Days: The Emergence of a Style Icon
The 1980s: The Birth of a Star
In the early stages of his career during the 1980s, Tom Cruise sported a range of hairstyles. but in "Top Gun" (1986), his hair began to gain significant attention. Though not long by later standards, his hair in this film was longer than the military crew cuts associated with fighter pilots. adding a rebellious edge to his character, Pete "Maverick" Mitchell.
Risky Business: The Transition Begins
In "Risky Business" (1983). Tom Cruise's hair was short but longer than the clean-cut styles dominant at the time. This look complemented his role as a high school student stepping into adulthood. embodying a sense of youthful freedom and experimentation. It was a precursor to the more dramatic hair transformations in his career.
The 1990s: Experimentation and Iconic Roles
Far and Away: Embracing Length
One of the first films in which Tom Cruise embraced long hair was "Far and Away" (1992). Playing the role of Joseph. an Irish immigrant in 1890s America, Cruise's long, hair added authenticity to his character's rugged and determined persona. This look was a stark departure from his earlier. more polished styles and marked the beginning of a more adventurous phase in his hairstyle choices.
Interview with the Vampire: Gothic Elegance
In "Interview with the Vampire" (1994). Tom Cruise long hair reached new lengths of sophistication and elegance. Portraying the vampire Lestat. Cruise's flowing blonde locks were integral to the character's ethereal and timeless allure. This hairstyle not only suited the gothic aesthetic of the film but also showcased Cruise's ability to transform his appearance for a role.
Mission: Impossible II: The Pinnacle of Long Hair
One of the most memorable instances of Tom Cruise long hair came in "Mission: Impossible II" (2000). His character, Ethan
The cats, Sunny and Rishi, are brothers who live with their sister, Jessica, and their grandmother, Susie. They work as cleaners but wish to seek other kinds of employment that are better than their current jobs. New career adventures await Sunny and Rishi!
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Jason Kozup is a versatile figure whose impact spans numerous sectors. From the realms of entertainment and security, he has thrived as a producer, actor, stuntman, model, and aerospace defense contractor, showcasing excellence across the board.
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Tom Cruise Daughter: An Insight into the Life of Suri Cruisegreendigital
Tom Cruise is a name that resonates with global audiences for his iconic roles in blockbuster films and his dynamic presence in Hollywood. But, beyond his illustrious career, Tom Cruise's personal life. especially his relationship with his daughter has been a subject of public fascination and media scrutiny. This article delves deep into the life of Tom Cruise daughter, Suri Cruise. Exploring her upbringing, the influence of her parents, and her current life.
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Introduction: The Fame Surrounding Tom Cruise Daughter
Suri Cruise, the daughter of Tom Cruise and Katie Holmes, has been in the public eye since her birth on April 18, 2006. Thanks to the media's relentless coverage, the world watched her grow up. As the daughter of one of Hollywood's most renowned actors. Suri has had a unique upbringing marked by privilege and scrutiny. This article aims to provide a comprehensive overview of Suri Cruise's life. Her relationship with her parents, and her journey so far.
Early Life of Tom Cruise Daughter
Birth and Immediate Fame
Suri Cruise was born in Santa Monica, California. and from the moment she came into the world, she was thrust into the limelight. Her parents, Tom Cruise and Katie Holmes. Were one of Hollywood's most talked-about couples at the time. The birth of their daughter was a anticipated event. and Suri's first public appearance in Vanity Fair magazine set the tone for her life in the public eye.
The Impact of Celebrity Parents
Having celebrity parents like Tom Cruise and Katie Holmes comes with its own set of challenges and privileges. Suri Cruise's early life marked by a whirlwind of media attention. paparazzi, and public interest. Despite the constant spotlight. Her parents tried to provide her with an upbringing that was as normal as possible.
The Influence of Tom Cruise and Katie Holmes
Tom Cruise's Parenting Style
Tom Cruise known for his dedication and passion in both his professional and personal life. As a father, Cruise has described as loving and protective. His involvement in the Church of Scientology, but, has been a point of contention and has influenced his relationship with Suri. Cruise's commitment to Scientology has reported to be a significant factor in his and Holmes' divorce and his limited public interactions with Suri.
Katie Holmes' Role in Suri's Life
Katie Holmes has been Suri's primary caregiver since her separation from Tom Cruise in 2012. Holmes has provided a stable and grounded environment for her daughter. She moved to New York City with Suri to start a new chapter in their lives away from the intense scrutiny of Hollywood.
Suri Cruise: Growing Up in the Spotlight
Media Attention and Public Interest
From stylish outfits to everyday activities. Suri Cruise has been a favorite subject for tabloids and entertainment news. The constant media attention has shaped her childhood. Despite this, Suri has managed to maintain a level of normalcy, thanks to her mother's efforts.
The Midnight Sculptor.pdf writer by Ali alsiadali345alghlay
The city of Ravens burg was known for its gothic architecture, fog-covered streets, and an eerie silence that seemed to hang over the town like a shroud.
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3. Artist: Bastille
Song: Laura Palmer
Single Released: April 4th 2013
Video Released: April 11th 2013
Genre: Alternative Rock
Record Label: EMI Records/Virgin
Production company:
Production of song: Dan Smith and Mark Crew
Director of music video: Austin Peters
4. BASTILLE are an alternative rock band from London. First formed in
2010, Bastille began as a solo project by singer-songwriter Dan Smith, who
later decided to form a band.
The name of the band derives from Bastille Day – a French event celebrated
on 14 July, which is also the same date lead vocalist, Dan Smith, was born.
In February 2013, ahead of the release of their debut album, the band's
fourth single, Pompeii was released to huge demand, this is the song that
brought Bastille further into the public eye charting at number 2 in the UK.
Their first studio album ‘Bad Blood’ was released in March 2013 and
debuted atop of the UK Albums Chart.
5. MUSIC VIDEO PLOT
The song ‘Laura Palmer’ is based on the David Lynch series ‘Twin Peaks’ Dan Smith
wanted to refer to the TV show and speak about the slightly weird and eerie
atmosphere of the show.
The video depicts a vague and bizarre story where lead singer Dan Smith is
kidnapped and released within less than two minutes. A group of renegade kids
takes him from the ‘set’ of a big pop music video. These four people wear rubber
masks. Bastille used this setting because they found it to be quite cheesy and wanted
to juxtapose it with the following sequences. Toward the end after being released,
Dan is given a rubber mask to wear which looks like killer BOB, the actual killer of
Laura Palmer in the Twin Peaks series. Smith wears the mask then removes it after
a few seconds.
6. CAMERA SHOTS
The camera shots in this music video range from static to tracking and also a lot of hand held shots which are
used by the gang throughout ‘Laura Palmer’
The video begins with a low angle shot of the sky. The quality of the shot is bad and we can see that this was
taken on a hand held VCR camera. This gives the scene a jerky, ragged effect and involves the viewer very closely
into the scene. The music has not started at this point and as the camcorder zooms out from a gang members
chest, they lift their arms and the music begins. Several shots of the gang are shown using mid shots and pans to
show the surroundings that they live in and what type of people they are.
Throughout these scenes of the gang cross cutting is then used to show Dan singing and the gang preparing
something that we yet do not know. Throughout these scenes, shots such as a 75 degree mid shot and tilts have
been used. A canted angle is on most of these shots to suggest instability, this could also show that they are point
of view shots from the hand held VCR camera.
Close ups and extreme close ups have been used to show the gang putting on rubber masks to hide their identity
from Dan and his music video camera crew. The gang then set out on quad bikes to their destination, numerous
tracking shots are used here to show the movement of the gang. These range from close ups to mid shots.
7. CAMERA SHOTS
Once again the camera returns to the music set where Dan begins the chorus of the song, as the music picks up
tempo the lasers are shown and the ‘cheesy pop video’ that Bastille wanted to portray is brought to life. A clapper
board is then put in front of the static camera to symbolise the end of the take. We are then shown around
backstage of the music video, a two shot of the director and a 75 degree side shot of Dan and the make up woman
is used. Also here the rest of Bastille has been shown on an eye level angle – as if a human is observing the scene.
Two establishing shots are used next, one on the static camera and another on the gangs hand held VCR, this
tells the audience that they are watching and getting closer to their culprit and are about to kidnap Dan. The
director issues the take to begin again and we see the lasers on Dan from both the static and hand held camera.
We see a wide shot of the gang arriving on set on the quad bikes, and two close ups of Dan on the hand held and
immediately a masked man jumps onto screen to hide what is going on. A cut to a dog, Dan’s shirt on the floor
and an empty video set is then shown to juxtapose against the hectic scene that has just happened.
The music cuts back into the chorus of ‘Laura Palmer’ and Dan is shown in a two shot, tied up on the back of a
quad bike. Close ups of the film crew then are shown, this is a reaction shot of shock and confusion, portraying to
the audience that this was not supposed to happen.
8. CAMERA SHOTS
The following scenes are 90% filmed on the hand held VCR camera, close ups of Dan tied up with a bag over his
head is shown as well as a gang member playing the few keyboard notes that are prominent in this part of the
song. A cross cut of the band follows, showing how their life has carried on without Dan and more close ups of
how Dan is being tortured are viewed, which includes a tarantula and hitting him over the head with the
baseball bat that was shown in the second frame of the video.
More tracking shots of the quad bikes are shown with the gang having knowing expression. This then cuts
sharply to an over the shoulder shot of Dan being shown his mask that mildly resembles Laura Palmer’s original
killer, Killer Bob. P.O.V shots are then used from around a corner, showing Dan looking into a mirror donning
his mask. There is then constant cross cutting between Dan in the house, the gang messing about and the rest of
the Bastille band.
As the music comes to an end a tracking mid shot is used of Dan on the front of a quad bike wearing his mask.
This then shows to the audience that he has grown to love the renegade kids and has joined their gang. A short
frame of the gang coming toward us the audience and we are shot back to Dan who is now stood on top of the
quad, holding his mask in the air. The gang walks further to the camera and puts a mask over the lens, this
could now mean that we have also been captured and are a part of this renegade gang.
9. EDITING
The editing of the ‘Laura Palmer’ music video is fast paced as we are never at one frame for longer than a couple
of seconds. This could be because there are many people involved including the gang members, film crew and the
four members of Bastille. This allows the point of view of each of these people to be recognised by the audience.
The first frame of the video is shown to be a plain blue screen. We then realise that this is an old hand held VCR
camera starting up to show the clips. The screen then becomes pixelated and the video begins. This involves the
viewer much more closely into the screen and creates a gritty realism. The scenes between 0.44 and 0.49 are
linked by a match cut. They have been visually linked by the donning of each of their masks. This makes the
video flow smoothly into each of the frames.
Cross cuts are used throughout the whole video, they are first used to show an establishing shot of Dan Smith
stood alone on the video shoot. Cross cuts are then continuously used throughout the video to show how the gang
are preparing to kidnap Dan whilst he is singing on the music video set.
(1.04-1.07) With the notes of the piano changing tempo, the frames cross cut to the different situations happening
at that point which reflects and keeps in time with the music.
The version of the song in the video is unique to it because all of a sudden there is an unexpected interruption in
the music. During the scene where Dan is kidnapped, which is shown as a hand held shot, there is a jump cut – to
a badly edited VCR tape – to a completely unrelated shot of a dog howling, also shot with a camcorder. The song
stops here in the middle of the second chorus to hear this dog howling, who had already made an appearance in
the video with no accompanying audio. After five seconds, the video cuts back to a more neutral point of view shot
and the song resumes.
10. MISE EN SCENE
Lighting – This video is shot both in the day and night. The kidnapping scene has been shot in the darkness
underneath trees in a forest. This creates a more sinister and threatening atmosphere. There are pools of light
created by the lasers and staging lights which makes you think that the set is a safe place due to the amount of
people we can see there. This idea is juxtaposed when we see on the hand held camera, that the gang are hiding
in the trees and you can just see the glimmers of light from the set.
Location/Set Composition – This helps develop the narrative of the ‘Laura Palmer’ music video. The two main
locations used are the video set and the town in which the gang lives. They filmed this in Palmdale, California.
This location shows that the gang do not have much money and they do not have jobs as they spend all day doing
nothing.
Costumes/Props - The clothes that are used throughout the video are normal day to day clothes. However from the
gang all of their attire looks quite worn, conveying that they do not have a lot of money. Also in one frame two men
are shown fighting over a shirt which could mean they do not have many clothes between them. Many of the gang
are wearing dark clothes which can be associated with evil characters
The only unusual prop used here are the masks. Masks are worn by the renegade kids to hide their identity when
kidnapping Dan. They also wear these to and from the kidnapping, ensuring nobody sees them. These masks are
of human characters as well as animals. It has been considered that the mask given to Dan at the end of the music
video could look like Killer Bob. Killer Bob was in the David Lynch series ‘Twin Peaks’ and murdered Laura
Palmer – whom the song is mildly based upon. As the gang are wearing masks a lot of the time, their characters
become more mysterious and inaccessible to us and the sense of intimacy is lost. Whereas with Dan, we
sympathise with him as his face is shown 90% of the time and we can see that he is worried and scared.
Staging/Proxemics – The characters only look into the camera when it is the hand held that has been used, this
gives it an unprofessional ‘home movie’ feel. This also happens a few seconds before the end of the video, where the
gang walks toward the camera and puts a mask over the lens, this could now mean that we have also been
captured and are a part of this renegade gang. The audience is involved within this video and this creates a gritty
realism, this is portrayed through P.O.V shots and frames filmed on the hand held cameras.
11. WHY THE VIDEO IS EFFECTIVE
This video is effective because it is not the normal type of video where the band either
sings or plays their song in front of the camera or an audience at a gig or festival. The
band have put thought into matching the video to the song and having a story line
throughout.
They have also created a big ‘cheesy pop music set’ in which they destroy. This is here
because Dan Smith the main character in the video and lead singer of Bastille does
not like to be the centred attention of music videos. Therefore they liked the idea of
making a parody of a video they would never want to create, and then they get to
subvert it.
LAURA PALMER – BEHIND THE SCENES