The document discusses inspiration the author has gained from various works related to the connection between humans and plants. They discuss poems by Ezra Pound and their own interpretation of merging human and plant. They also discuss literature exploring plant-based characters, photography exploring minimalist compositions and lighting, and sculptures representing humanity through nature. The author intends to portray a similar merging of human and plant in their music video through a woman carrying a small growing tree.

1. I stumbled upon a short poem by Ezra Pound, 1885-1972; he was an American poet who was a major figure in the early modernist movement.
His poetry contribution began with his early development of Imagism, deriving from classical Japanese and Chinese poetry; stressing the clarity and precision of
language.
His best-known work is 'Ripostes' in 1912, 'Hugh Selwyn Mauberley' in 1920 and 'The Cantos’ which remains unfinished.
The poem I've gained inspiration from is,
A Girl:
The tree has entered my hands,
The sap has ascended my arms,
The tree has grown in my breast-
Downward,
The branches grow out of me, like arms.
Tree you are,
Moss you are,
You are violets with wind above them.
A child - so high - you are,
And all this is folly to the world.
I've chosen this as I feel it’s a good poetic explanation of my music video; the concept of human and nature remaining attached. I gained inspiration with the idea
of the plant and human merging into one; like they’re connected into one being. The concept of this attachment between the two is something which I hope to
use in my music video, the idea that when the female is carrying the plant but not acknowledging its existence, while everyone else around her can see the
plant. In itself, the concept runs parallel to the poem with them growing into each other and being one.
My own interpretation of my concept is that the plant can be symbolic to the viewer; representing uniqueness, originality and reflecting how as humans
everyone is different. Yet some are looked at strangely because of their difference.
In my music video, this idea is exaggerated with the obviousness of the plant in her hands. This acting as a visual metaphor; the girl can’t see or acknowledge a
gift she has, while everyone around her can see it; whether they choose to ignore, praise it or be judgemental about it.
Poetry:

2. When doing research about historical references in literature to the connection between plants and human, I stumbled upon the technique of the convention ‘Tropes.’
Tropes are “conventions that a writer can reasonably rely on as being present in the audience members' minds and expectations. On the whole, tropes are not clichés.”
But instead they are recognisable, similar to generic archetype characters in film language. They can be a significant and recurrent motif, used to express, or
metaphorically symbolise and portray certain aspects of life.
Literature:
The Plant Person:
Symbolises a bridge between Plant and Animal Kingdoms, having the ability to talk, and communicate in an empathetic level, to plants.
Characterised with profound wisdom, a similar connotation with Oak Trees, claiming that they’re ‘one with nature’ and are surrounded by
natural life.
In a story, they are usually a Nature Hero, or at least have great value in nature. They may also be an assistant that advises the heroes. In
extremes, they may be an ‘eco terrorist’ where they can call upon plants to and snare you in vines, to protect the surrounding environment.
This concept of communication between human and plant is something that has inspired my own music video; the idea there’s this physical
but also emotional connection to the small growing plant she carries. For me, it is meant to represent her growth as a person, not able to fully
develop until she’s finally surrounded in a place where she’s encouraged and able to this is represented in the female finally re-planting the
seed into the forrest, waiting as it develops and grows, as she does also.
The Green Thumb:
The supernatural power of plant control, people having the power to make plants grow, similar to the ‘plant person’ can communicate to
plants, dance like animals, create vines from the Earth and summoning poison ivy and nettles to attack an enemy. Even though this
character is very powerful, they can often be mocked, writers often disprove these assumptions through displays of great power from
plant-based characters, sometimes considered as a kind of elemental power. Known in some literary works to grow fruits, vegetables or
grains for the hungry and reverse the effects of deforestation. Symbol motif clothing can also be involved, it being a characteristic to wear
some form of plant-shaped item, whatever that may be.
From this concept of there being a supernatural and inhuman connection between person and plant is inspiration for me to have this
portrayed in the music video I create. With my concept being solely around the female and the small growing tree, I think portraying a
character without dialogue relies heavily on movement and associations; of camera shots, lighting, costume and symbolic messages.
Although reference to previous generic character archetypes will help the audience establish character traits, in my own production I hope to bring some originality to it.
While having intertextual references, I want to have my own unique concepts which the audience are able to interpret in their own personal ways.

3. "I speak for the trees! Let 'em grow, let 'em grow!
But nobody listens too much, don't you know?
I speak for the trees, and I'll yell and I'll shout
For the fine things on Earth that are on their way out!
They say I'm old-fashioned, and live in the past,
But sometimes I think progress is progressing too fast!
They say I'm a fool to oppose things like these,
But I'm going to continue to speak for the trees!”
- ‘The Lorax’: Dr. Seuss's The Lorax
Literature:
‘The Lorax' is a children’s story written and illustrated by Dr. Seuss, in 1971. It is an environmentally-oriented story about
a person named Once-ler (shown only as a pair of arms) who caused devastation to the land and was constantly scolded
for it by a creature called the Lorax, whose warnings the Once-ler had ignored until it was too late.
The Lorax was adapted into a TV special in 1972 by De Patie Freleng Enterprises and featured Eddie Albert and Bob
Holt as the voices of the two main characters of the story. A feature-length film from the producers of Despicable Me
was released in 2012, with Danny DeVito as the title character.
The concept of creatures, in the case of my own music video Humans, and nature bing so connected is
somewhat not the same as it was. With the progression of modern day technology, it could be said the
concept of being one with nature. Or even being aware of their responsibility to the planet, however, that’s
not to say it’s completely ignored; as there are so many people protesting and doing their bit to keep the
planet well. The idea of humans having such close contact with nature is something I am metaphorically
symbolising in my music video. The female gently cradling the tree wherever she goes may reflect this
attachment to a original and early-human form; of basic supplies being so needed. Some could interpret my
production to have an environmental political statement about the state of our planet, although this is
something I’m aware of, it isn’t my man focus that I’m presenting. I have other interpretations of what I’m
creating, although it does link nicely to this from of literature.
German artist Gesine Marwedel specialises in creating elegant and beautiful body paintings. The concept to convert them into plants, animals or even abstract works
of art. Some of her work has an illusory nature, converting parts of the human body and obscuring the human body; the body acts as a canvas for her artwork.
Paintings:
Marwedel uses the human skin as a canvas; she also explores the therapeutic potential of the benefits to body-painting.
From Gesine Marwedel, my inspiration has developed from her artistic style of interpretations.
Her creation of the flower upon the females’ body creates this illusion which makes the human phase out of the main
flower image. The bright, vibrant colours of the flower emphasise the aspect of natures’ creation. This concept of the
flower being dominant in the image, the human becoming almost irrelevant and blending into the background of the
image. Nature being the predominant aspect of the image; something which could also come across in my music video,
with the focus on the small, undeveloped, growing tree being a motif which is a reoccurring image in my production.

4. Camila Jurado - 23 year old Mexican photographer based in London:
I’ve chosen Camila’s photo as inspiration behind my music video as one of the multiple locations is forest-based.
Although the location in which I shoot will be different to this image, I really liked a few specific elements to the photo’s
composition. The sunlight shining through the branches is something I want to also use, creating a contrast between light glare
and the dark shapes of the trees. Also, the position in which the audience is placed, is slightly low-angled, making the trees feel
surrounding and intimidating over the audience. The faded, misty background creating a mysterious and enchanting atmosphere.
Elisa Imperi:
Photography:
This is one of my favourite photos that Elisa Imperi has taken. The choice to put a black and white effect on the image create a more sharpened
and defined contrast between the woman and the curtains.
The ambient back-lighting creating her body to be silhouetted in the shot, leaving her with a sense of animosity. The very basic set-up is a
running theme in Imperi’s photography, I think it’s something I can take inspiration from for some of my music video production shots.
In these 2 images, the concept of minimalistic
composition adds to the emphasis on her loneliness.
The bare, sparse, empty landscape behind her draws
attention to the singular objects in the frame. The
simplicity of surroundings is something I may use in my
own music video production. The audience’s attention
focusing on the centred subject, in the image to the
right, the woman almost hidden in the tree trunk, the
photo having more to it as you look closer. The sky
filled with clouds also acting as framing for the image;
weather being essential for my production.
The use of surrounding nature is also very prominent in
Elisa Imperi’s photography. Her composition of basic,
natural surroundings is something which can help
inspire some of my shots. The surrounding plants
framing the shot; with my forest location, the use of
framing the shot can be replicated with trees, adding to
the composition of my production. The faded tones of
the images is something that I may also choose to
create, possibly with effects in post-production. I may
possibly use the faded tone and framing as inspiration.
The blurred background due to the foggy weather
creates a mysterious atmosphere, the path creates a
vanishing point which is lost into the fog, allowing the
figure of the woman to be more prominent in the image.
I really love the basic settings which creates such
beautifully composed images. My inspiration from these
images is to be aware of surroundings when I shoot my
own music video production; the use of the subject
being centred and not heavily distracted by a
background, making the audience focus of the
foreground of the shot.

5. Lawrence Thomas:
Photography:
The use of capturing and being aware of light is
something transferable to my music video production.
To help light shots but have lens flare is something I
want to be aware of and use when shooting. The
possibility of light through trees and using shadows and
silhouettes, a classic convention of the music genre.
This image is slightly different from the others; the shapes
created from light and dark, as well as the shadow
created by the subject. The subject’s placement, nearly
out of frame, draws the attention to the right, the ambient
sunlight creating geometric and sharp definition against
the wall. Placement and lighting design skills are what I’d
like to develop in my own production.
Both of these shots are in forest locations;
similarities to my production. I’ve taken
inspiration from the sun through the trees, but
also the use of using the trees to frame the shot,
being aware of composition aspects and using
the surrounding environment to my advantage.
The visual aspect of movement in this
image creates a centred vanishing point,
drawing the viewers eyes to a
particular location. This complex skill is
something I want to explore when
looking at my own composition.
Alice Lemari - A running theme through Alice Lemari’s photography is the anonymity of the featured female, in four of the shown images the female is unidentifiable by
her face, although I intend to show the female in my own music video, I don’t wish to give or suggest an identity for her. Allowing the viewer to somewhat feel that she is
representative and can relate to her, or relate her to someone they know, or even a characteristic of themselves.
Both the black and white images are involved with the natural
surrounding environment. Left Image; is one I particularly like
due to the blossoming flowers keeping her anonymous, I’d like
to use the image as inspiration for one of the cutaways in my
music video. Right Image; this is inspiration for a possible
tracing shot, walking through a field location in the production.
This black and white image is unique
with the feather shadow casting
over her face; shadows a common
convention in indie-folk acoustic
music videos. This brings originality
and difference to that idea.
The beautifully captured
composition of the woman
staring out at the sea; her
dress flowing in the wind and
her central positioning of her
body in the frame.
The use of thirds and different
layers to this image are a possible
inspiration; the third-screen choice
my be something I also use. The
back-lighting causing a silhouette of
the female figure.

6. Becky Grismer, 37 years old was born and raised in eastern South Dakota. She has exhibited her work in both solo and group shows.
Her work has been included in public collections and can be found in private collections throughout the United States. She is currently working as a painter and sculptor.
I’m talking about her work: ‘Roots’ and ‘Weep’.
Roots:
Roots is part of the series of ‘tree bark figures’ that are
meant to represent some of the individual characteristics
shared by trees and humans.
This piece reflects the common characteristic of both trees
and humans having roots.
Pine tree roots were used to create the figure's base, head
piece and are found in the body detail.
Weep:
Weep is part of the series of tree bark figures that are meant to represent some of the
individual characteristics shared by trees and humans. Weep represents the common
characteristic of both trees and humans weeping. Willow branches from a weeping willow tree
are used in the head piece and in the body detail.
Sculptures:
I gained inspiration from this piece with the idea of the body representing humanity through a form of nature. Becky Grimser’s choice to use pine tree roots when
creating this piece adds to the realism, this human figure made from a tree; like their moulding into one life form. This is something I’m reflecting in my own music video,
the woman carrying the plant acting as one with it. In the video, she’s unaware of its presence, like the small tree is jus another part of her.
My inspiration from this piece is that, similarly to the previous sculpture, the merging of
human and plant together into one body. I’d like to create a similar feeling with my own music
video; the concept of the tree being a physical extension of the female, not completely
separate from her until she releases it back into the world, planting it again.

7. Fashion:
Earlier this year, I went to the Victoria and Albert Museum in London to see Alexander McQueen’s ‘Savage Beauty’ collection.
The section of the museum was completely dedicated to the work of McQueen, and is the largest collection of his work to be presented; the exhibition spanned his work from his 1992 MA
Graduate collection, to his unfinished Autumn/Winter 2010 collection. I spent hours in the exhibition; taken aback by the unbelievable detail and thought that went into each one of his visionary
pieces of work. For me, one of the stand-out aspects of the exhibition was in a solitary dark room, where you’d watch as though you were at McQueens’ 2006 ‘Windows of Culloden’ show;
the room falls into complete darkness and a ghostly hologram of Kate Moss wearing this beautiful, paper-like flowing dress. It was both a dramatic and emotional end to the Paris show as she
floated in a giant glass pyramid, the hologram working using the ‘Pepper’s Ghost’ Victorian trick, to the poignant soundtrack from Schindler’s list. McQueen, once again, producing a theatrical
show, exploring new technology. (The video of Kate Moss is beneath this presentation on my blog post.)
Looking at his work, I had my own interpretations, but then reading the descriptions with each piece made me have other thoughts, seeing aspects I hadn’t noticed before and seeing it in the way
he did. One of my favourite quotes from the man himself: “Give me time and I'll give you a revolution.”
Lee Alexander McQueen is regarded in the fashion industry as one of the most extraordinarily creatively talented and most innovative designers of his time, is work ethic and originality is a
massive inspiration to me. McQueen’s 2012 Autumn/Winter 16 piece collection was so nearly completed when presented at Paris Fashion Week, his fashion house describing “each piece is
unique, as was he.” The show reflected how obsessed McQueen was with the afterlife; he always carried this sense of death in his work, which was present to me around the exhibition. Just days
before London Fashion Week, 11th February 2012, McQueen committed suicide, only 9 days after his mother passed from cancer. He’d been diagnosed with depressive disorder and had suffered
with anxiety prior.
The exhibition is divided into multiple sections, referencing collections and times in McQueens career. Here I have discussed a few of my inspirational collections:
A Gothic Mind:
“I find beauty in the grotesque, like most artists.” - Alexander McQueen.
This is one of my favourite McQueen styles, the theme being most present in his 2009-10 Autumn/Winter ‘The Horn of Plenty’ this
was one of his final collections, he left a lasting legacy. This collection expressed McQueens dark side; the dramatic show was
exhilarating and one of my favourite pieces from it is ‘Look 45’ the Duck Feather dress being so beautifully crafted, yet expresses a
dark-side of McQueen.
McQueen himself, described this collection: “People find my things sometimes aggressive. But I don’t see it as aggressive. I see it as
romantic, dealing with a dark side of personality.”
Expressing himself with the Victorian Gothic historicism, inspired by the nineteenth century, explaining that behind his work there is
some deep kind of melancholic expression. He combined elements of horror and romance, he often reflected paradoxical relationships;
life and death, lightness and darkness, melancholy and beauty.
My inspiration from this collection is the contrast in interpretations; the juxtaposition of ideas and concepts being oxymoronic.
Something I want to explore in my music video is the concept of lighting contrast, through different lighting designs; rim lighting from
ambient sunlight, back-lighting to create a silhouetted figure and even adequate key lighting to create a naturalistic look. I want to
challenge myself with the lighting design, and even the colour grading in post-production to create a suitable aesthetic for my production.

8. Arguably, nature was the greatest influence on McQueen, inspired by the Romantic Movement artists presenting nature in works of art,
McQueen shared this view in his collection, especially enduring in ‘Sarabande’ (Spring/Summer 2007 collection) in which a dress made
from silk and real flowers, when walking the catwalk, the flowers withered and fell to the floor. McQueen produced some of the most
metaphorically and symbolically profound stagings of fashion, these dramatic shows created a sense of synonymous spectacle on his
runways, leaving a speechless audience. McQueen always created an outstanding visionary show, each collection having a meaning to him.
You can connect specific aspects to his life. A great example is ‘The Girl Who Lived in the Tree’ (Autumn/Winter 2008 collection) as it is
said he collection is inspired by an elm tree in his East Sussex home garden. His personal and emotional thoughts expressed in his creations.
McQueen ensured that his creative output was always special to him, allowing everyone to have interpretations, but ultimately he knew the reason behind it. I feel this is
the same in the music video production I will do, my concept being interpreted in different ways, some possibly matching my own view. But I feel inspired by McQueens
concept of one single tree being so precious that he made an entire collection from it. Similarly, his additions of nature being added is something my video has in common.
As well as more symbolic, metaphoric inclusions of the small, undeveloped tree my female character carries has so much meaning and preciousness behind it, that the
video is centred around that development and growth.
Romantic Primitivism:
McQueen often referred back to the theme of primitivism, drawing upon the concept of fantasy; the noble savages living amongst the natural
world harmoniously and peacefully. The concept of humans and the natural world at peace links to inspiration of my on music video. McQueen
referencing the dynamics of power between predator and prey, his reflection on primitivism is represented in paradoxical combinations; modern
and primitive or civilised and uncivilised. Typically, his narrative glorified and promoted nature and a natural state, siding in favour of the ‘natural
man’ unchanged by the artificial constructs of society. McQueen presenting natural imagery through pieces, specifically his ‘It’s a Jungle Out
There’ Autumn/Winter 1997–98 collection.The surreal animalistic shapes and inclusions in the collection allows interpretations with the animals
associated with each of the pieces.
McQueen took inspiration from the surrounding environment, the intricate detail of ‘Mother Nature’ with design and construction, which he
transferred into his work. I’m also working hard to ensure my own designs, if that be lighting, set or costume, are as detailed and thought
through as possible. Being aware of the surrounding environment and what effects can be created from that, or what metaphoric interpretations
can be taken by certain landscapes or symbolic references included.
Fashion:
Romantic Naturalism:
‘I have always loved the mechanics of nature and to a greater or lesser extent my work is always informed by that.’ - Alexander McQueen.

9. ‘Voss’ was the 2001 Spring/Summer collection, also known as the ‘Asylum Show’ due to it being stage inside a two-way mirrored box. You can see how this worked in
the museum; at one time, either the audience can look in, but the models can’t see out. Or the models can see out, but the audience can see in. This unique encapsulating
way to separate the two groups, McQueen creating a commentary on the social constructions of appearance, making a political statement abut the ideal conventions of
beauty, and referring to its voyeuristic nature (Goodwin). McQueen viewed the body as a contravention, transgressing society’s definitions, questioning normalcy, and
presenting a segregated spectacle, inviting viewers to embrace and celebrate originality and uniqueness.
Fashion:
One of my favourite aspects to the ‘Voss’ collection is the razor clam shell dress, constructed to form this brittle
exterior. McQueen gained inspiration from this when himself and a friend were walking on a Norfolk beach,
surrounded by thousands of these shells; "They were so beautiful, I thought I had to do something with them. So,
we decided to make [a dress] out of them... The shells had outlived their usefulness on the beach, so we put them
Voss:
‘It was about trying to trap something that wasn’t conventionally beautiful to show that beauty comes from within.’
- Alexander McQueen.
I find inspiration in McQueens words: “Fashion should be a form of escapism, and not a form of imprisonment.” The idea of to being held
back by social constructions, which I think remains to be dominant in the commercialised industry of music video production. Female
performers often being shaped by ideology of the female body and the ‘male gaze’ misogynistic and voyeuristic viewer. One of my main
goals isn’t to give a patriarchal view of my female character, although film by its very nature is voyeuristic, I would like to focus more on a
narrative and meaning to what occurs.
to another use on a dress.” So instead, McQueen created a dress in which Erin O’Connor wore, and completely trashed on the catwalk,
McQueen planned the destruction of the brittle dress, the piece being completely ruined in the end. McQueen explained: “their usefulness was
over once again. Kind of like fashion, really.” I think this says a lot about McQueens attention to symbolism and metaphorical interpretations
of what he’s portraying. The shows are a narrative, taking the viewer on a story.
That aspect of story-telling through show, is a big inspiration to me to create a narrative which has top-layer meanings and can be very
literal, but at the same time have multiple interpretations from a more complex and elaborate narrative when you read into it. The darker
undertones of his collections, the idea of an ‘asylum’ show and the razor clam shell dress is completely destroyed after one use. The possibly
reflective, deeper nature of these interpretations are transferable to my own production; with the idea of the plant representing her belief in her
own self-worth, beauty and achievement. Feeling lost and trying to discover a place where she’s able to grow and develop. McQueen is a big
inspiration for me critically, he didn’t want to be like the rest, creating art in the form of his collections, but also in the shows that were
spectacles to the eye. He was a master of his craft, and left an immortal legacy, his work ethic and sheer determination is an inspiration.

10. Stray Dog - Bertie Gilbert:
Films:
‘Stray Dog’ was one of Bertie Gilbert’s first short films he created. Now, at the age of 18, Bertie has written, directed and produced 10 short films. As well as currently
working on a funded feature film. The short film centres on the concept of Milo, a young boy who’s just broken up with his
girlfriend, at a party. But no one is surrounding them; the party seemingly non-existent. Milo is left on the sofa; begins living
his life in a state of depression and anxiety. He only talks to a physical representation of his subconscious, which is the
same actor, the duplication adding to the idea that they’re two sides of the same person. I liked this idea of having a part
of one person being represented externally; this is what I’ve chosen to do in my music video. The small, growing tree
cupped her hands could represent her self-confidence, ambitions, self-worth, or even her potential. Which develops and
grows when the undeveloped plant is placed back in the ground; giving it the ability to develop into something greater.
Cold - Emily Diana Ruth:
The short film ‘Cold’ written and directed by Emily Diana Ruth gave me further inspiration about having a motif, a
significant object which is recurring throughout the production to emphasise its importance. The object being a polaroid
photo of the main female character and her parents. Often shown through an over-the-shoulder shot, high angled
looking down onto the image. The lovely framing of the shot, the girls hands gripping to the photo, and later, her
desperation to find out more about her parents reflects the absolute integrity to this photo. The one specific item that is
My Pale Skin - Em Ford:
The short film ‘My Pale Skin’ aims to tackle the issue of online bullying and negativity towards appearances.
The only person present is the woman with acne; during the short film horrible comments she’s received online
dominate the screen. She then covers up her scarring with make-up; with nicer comments, before they turn
nasty again. The end of the piece her wiping her face from make-up. The short film very conscious of the issues
of self-esteem to do with society’s interpretation of beauty, concerned with the interactions with people on
social media, which is a very prominent platform for today’s youth. In my own music video; I believe some may
interpret the growing tree to represent her self-worth and accepting her self and beauty;, so I need to be
concerned with the aspect that the undeveloped plant represents the young woman’s development.
constantly repairing throughout. In my own music video production, my recurring motif
is the young lady holding the growing tree. This external object to the woman being essential and a big part of her, in this short film its
the polaroid photograph, but in my production it is the tree. The tree is a metaphor for her self-worth and internal beauty, which develops
when she’s surrounded by the best environment. In comparison to the short film where the object of significance is so precious to her.
All links to short films are below this presentation, on my blog post.