1) The music video for "Hold On We're Going Home" by Drake establishes the setting of Miami in 1985 through title cards and 80s-inspired fonts and costumes. 2) The video introduces Drake celebrating at a business meeting before cutting to a mysterious woman alone in a dimly lit room, signaling her role as the "victim." 3) Drake receives a call informing him something has happened to the woman, prompting him to lead a group of men on a mission to rescue her, fulfilling the narrative stages of disruption and attempt to repair. 4) The video concludes with Drake and the woman reunited in a romantic moment, representing the achievement of rescuing her and their relationship as a classic

1. Music Video
Analysis
“Hold On We’re Going Home”
~Drake

2. The shot used here is an establishing shot to emphasise
where this video is set. This allows the viewer to
acknowledge that there is significance in this location,
also foreshadowing that something is going to happen
in this city.
The text ‘Miami 1985’ is written in white with an 80’s
themed font to express a further sense of importance for
the location and the period it is set in. Using this editing
technique is very common for narrative music videos as
it establishes the beginning of a story, stereotypically a
crime related story.

3. This mid shot is of Drake, the main ‘hero’, in what seems
like a celebratory business meeting. This is connoted
through the use of specific mise-en-scene used as they
are all holding champagne glasses in the position ready
to propose a toast for an achievement; creating a
positive and celebratory atmosphere. Regarding
costume, they are all dressed quite fancy, in suits and
wearing jewellery, which symbolises their wealth and
financial status perhaps. Drake, however, is dressed in a
white blazer making himself stand out from the others,
suggesting he is significant and plays an important role
in the story.

4. This is a long shot of the second scene of a new
character the audience are introduced to, whom appears
as the ‘victim’ when referring to Propp’s theory of
narrative. The audience can deduce this from the tone
that the shot gives as there is a sense of mystery and
voyeurism as there is pleasure in watching her. The shot
also consists of very low lighting, however, where the
woman is sitting is very light. This connotes that she is of
importance in this scene but also that she is alone if the
other rooms are dark. The audience are then able to
understand this may be the disruption of equilibrium,
not just from the mise-en-scene or lighting, but also
from the sudden transition from the previous scene to
this one, emphasising the woman’s importance as this
scene is about her as she is the victim.

5. This is a close up shot of the woman’s sexual attire, and
of her what seems like gentle hand gestures to suggest
that she is fragile. The on mise-en-scene in this shot, is
the all white lingerie she is wearing; white connoting that
she is innocent; conforming to Propp’s theory of
narrative as she is the victim in this story. Also, this shot
conforms to Mulvey’s theory of the ‘Male Gaze’ as she is
seen as a sexualised object, wearing lace lingerie to
initially ‘impress’ the hero.

6. This is a close up shot of the waiter bringing over the
telephone for Drake, the main character in the video.
The telephone holds high levels significance as it
consequently will change the entire atmosphere and will
create the disruption of the equilibrium as the hero is
about to be told something has happened to the victim,
which supports Todorov’s theory of narrative in music
videos. The 80’s telephone also represents the period of
time in which this video was set, conforming as it is very
old fashioned with a wire. This is effective as the
audience is able to familiarise themselves with the
conventions of the 80’s mise-en-scene, creating a sense
of recognition and pleasure for them.

7. This two-shot of the villain and the victim is significant
as the audience are able to understand both roles and
this emphasises the difference in power, these roles play.
This shot emphasises Propp’s theory as the first shot is
of the villain, who is actually the same significant
character in the classic international big movie ‘Scarface’,
which the audience then realise that Drake the artist has
created this short film mimicking. This creates
recognition for the viewers and may provide pleasure
through familiarity.

8. This is a shot taken from behind the shoulder, which is
usually used to show the viewer where the character(s) is
going or in some cases to allow the viewer to see from
the character’s perspective. This shot is significant as the
viewer can see a group of 5 walking in through white
doors with Drake in the middle. Drake leading the men
suggest that he is the ringleader of this ‘squad’ and that
he is directing. The posture of these men suggest that
they are on a mission as everyone is facing the front and
being led rather than walking in a social group talking to
one another. This shot also creates a change in
atmosphere as the previous shot connotes fear whereas
this shot contradicts and is based on retaliation. This
scene supports Stage 4 of Todorov’s narrative theory
being an attempt to repair the damage of the disruption
as the men set out to save the victim.

9. Lastly, this mid-shot of the hero and victim being
reunited is most significant as this expresses the
achievement of rescuing her. Using a mid-shot in this
scene is effective as the viewer is able to see both
characters, positioned in the middle to connote the
importance of this reunion. In terms of narrative, the
female role has now changed and the curly haired victim
is the princess, a reward for the hero as he finally
receives what he wants. The atmosphere changes to
quite romantic as the hero has his hand ‘gripping’ the
woman’s head as he kisses her passionately, suggesting
he is in love and never wants to lose her. This is a classic
love story narrative which is often used in music videos
for softer and love based songs.