Lady Gaga's "Paparazzi" music video tells a narrative story through a series of shots. It begins by establishing Lady Gaga's luxurious lifestyle with a wealthy lover, but then shows her falling from grace after they have a public altercation caught on camera by paparazzi. She is left injured, but gains fame again through headlines reporting on her demise. Lady Gaga later poisons her lover for revenge and is arrested, but the paparazzi continue hounding her, obsessed with getting photos. The video uses many quick cuts between shots and alludes to other films to enhance Lady Gaga's journey from fame to infamy.
The document provides a detailed analysis of the music video for Lady Gaga's "Bad Romance". It describes the concept of Gaga being kidnapped and auctioned off to the Russian mafia. It then analyzes elements of the video like costumes, lighting, camerawork, props and Gaga's facial expressions throughout the video.
The document provides an analysis of Lady Gaga's "Bad Romance" music video. It discusses the video's concept of depicting Gaga being kidnapped and sold to the Russian mafia as a metaphor for the dark side of the music industry. Various camera techniques are examined, such as close-ups showing Gaga's innocence being stripped away. Costuming and lighting are also analyzed to represent Gaga's corruption. The intended audience is described as Lady Gaga fans and creative young adults who can understand the video's hidden messages.
The document summarizes Lady Gaga's music video for "Bad Romance". It describes the concept of Gaga being kidnapped and sold as a sex slave to the Russian mafia. It then analyzes the camera work, sound, costumes, lighting, colors, and props used throughout the video to portray this concept and Gaga's journey.
The document provides a detailed analysis of the music video for Lady Gaga's "Bad Romance". It describes the concept of Gaga being kidnapped and auctioned off to the Russian mafia. It then analyzes elements of the video like costumes, lighting, camerawork, props and Gaga's facial expressions throughout the video.
The document provides details for creating a promotion package for a new gangster film, including a teaser trailer, magazine front cover, and poster. It discusses inspiration from films like Snatch and Lock, Stock and Two Smoking Barrels. Ideas are presented for shots in the trailer involving violence and crime. The intended audience is described as those interested in action and gangster genres, aged mid-teens to early 40s. Production company SKA Films is suggested as they have experience with successful British gangster films.
This document provides details for a pitch presentation for a thriller film titled "Alena". The film follows two detectives investigating the murder of famous actress Alena. Her husband disappears mysteriously after her death and becomes the prime suspect. The document includes a synopsis, character breakdowns, target audience analysis, feedback analysis, location risk assessment, storyboards, a production schedule, and soundtrack options. It provides all the essential information needed to pitch the film, including plot details, character descriptions, target 18-35 demographic, location plans, production timeline, and music choices to build tension.
The trailer provides a summary of the final Harry Potter film in 3 key points:
1) It opens with the recognizable Harry Potter theme music slowed down to set a darker tone, before introducing the returning antagonist, Lord Voldemort.
2) Voiceovers from Harry and Voldemort establish their binary opposition and the climactic confrontation building throughout the film series.
3) Dramatic music, dark imagery, and intertitles like "epic" and "phenomenon" showcase the large scale action and conclusion of the beloved franchise through intense magical battles.
Propps Character Roles And Narrative Functions - Maryasiye KircinMaryasiye Kircin
Vladimir Propp analyzed Russian folk tales and identified recurring narrative elements. He developed a character role theory that identified 7 broad character types, including the villain, donor, princess, false hero, dispatcher, hero, and false hero. Propp also identified 31 narrative functions that commonly occurred in tales, such as struggle and hero's reaction. The document provides examples of how characters in soap opera trailers align with Propp's character roles and narrative functions.
The document provides a detailed analysis of the music video for Lady Gaga's "Bad Romance". It describes the concept of Gaga being kidnapped and auctioned off to the Russian mafia. It then analyzes elements of the video like costumes, lighting, camerawork, props and Gaga's facial expressions throughout the video.
The document provides an analysis of Lady Gaga's "Bad Romance" music video. It discusses the video's concept of depicting Gaga being kidnapped and sold to the Russian mafia as a metaphor for the dark side of the music industry. Various camera techniques are examined, such as close-ups showing Gaga's innocence being stripped away. Costuming and lighting are also analyzed to represent Gaga's corruption. The intended audience is described as Lady Gaga fans and creative young adults who can understand the video's hidden messages.
The document summarizes Lady Gaga's music video for "Bad Romance". It describes the concept of Gaga being kidnapped and sold as a sex slave to the Russian mafia. It then analyzes the camera work, sound, costumes, lighting, colors, and props used throughout the video to portray this concept and Gaga's journey.
The document provides a detailed analysis of the music video for Lady Gaga's "Bad Romance". It describes the concept of Gaga being kidnapped and auctioned off to the Russian mafia. It then analyzes elements of the video like costumes, lighting, camerawork, props and Gaga's facial expressions throughout the video.
The document provides details for creating a promotion package for a new gangster film, including a teaser trailer, magazine front cover, and poster. It discusses inspiration from films like Snatch and Lock, Stock and Two Smoking Barrels. Ideas are presented for shots in the trailer involving violence and crime. The intended audience is described as those interested in action and gangster genres, aged mid-teens to early 40s. Production company SKA Films is suggested as they have experience with successful British gangster films.
This document provides details for a pitch presentation for a thriller film titled "Alena". The film follows two detectives investigating the murder of famous actress Alena. Her husband disappears mysteriously after her death and becomes the prime suspect. The document includes a synopsis, character breakdowns, target audience analysis, feedback analysis, location risk assessment, storyboards, a production schedule, and soundtrack options. It provides all the essential information needed to pitch the film, including plot details, character descriptions, target 18-35 demographic, location plans, production timeline, and music choices to build tension.
The trailer provides a summary of the final Harry Potter film in 3 key points:
1) It opens with the recognizable Harry Potter theme music slowed down to set a darker tone, before introducing the returning antagonist, Lord Voldemort.
2) Voiceovers from Harry and Voldemort establish their binary opposition and the climactic confrontation building throughout the film series.
3) Dramatic music, dark imagery, and intertitles like "epic" and "phenomenon" showcase the large scale action and conclusion of the beloved franchise through intense magical battles.
Propps Character Roles And Narrative Functions - Maryasiye KircinMaryasiye Kircin
Vladimir Propp analyzed Russian folk tales and identified recurring narrative elements. He developed a character role theory that identified 7 broad character types, including the villain, donor, princess, false hero, dispatcher, hero, and false hero. Propp also identified 31 narrative functions that commonly occurred in tales, such as struggle and hero's reaction. The document provides examples of how characters in soap opera trailers align with Propp's character roles and narrative functions.
This thriller involves Jesse, an 18-year-old wealthy woman, and her ex Logan who seeks revenge on her for falling in love with someone else. Over the course of flashbacks, Logan stalks and follows Jesse, calling her from unknown numbers. The plot culminates in Logan and his friend abducting Jesse from a graveyard where she was mourning a lost family member. The thriller will use lighting, sounds, and objects like Jesse's phone and gloves to build suspense and link together scenes of escalating danger for Jesse as Logan's stalking intensifies.
The document discusses conventions of mob gangster films. It explains that gangsters typically flaunt wealth through expensive props like guns and cars, establishing them as antagonists. It also notes that gangsters often succeed through crime but ultimately fall due to a fatal mistake, showing viewers that crime does not pay. The document then analyzes mise-en-scene elements common in these films, such as formal suits that signify power, cities like New York that enable crime, and low lighting that creates a grim atmosphere. It concludes by summarizing the openings of films like The Godfather, Pulp Fiction, Reservoir Dogs, and Goodfellas, highlighting how they do or do not follow gangster film conventions.
Trailer Textual Analysis Task - Unit G324tj_salango
This document analyzes two soap opera television show trailers through textual analysis. For the first trailer from EastEnders, the analysis highlights strengths such as the use of a meaningful song and costumes that represent the characters' class. Techniques that would be good to replicate include shot reverse shot editing to foreshadow conflict and using consistent camera angles at the start and end. Some techniques like special effects would be difficult to replicate. For the second Coronation Street trailer, strengths identified are the realistic outdoor setting, fast-paced editing, and shots that build suspense around the antagonist character. Overall, the analysis evaluates techniques from the trailers that could be effectively used or improved upon in the author's own work.
The assistant provides the following 3 sentence summary of the document:
The document discusses the openings of several films, analyzing shots, music, and themes used to set tone and intrigue audiences. Scenes are described that begin with credits over a black screen or nature sounds, then establish settings and characters through close-ups, dialogue, or tense action sequences. Overall, the document examines how different films use their openings to immerse viewers and hint at central themes through visuals and music.
Kendrick Lamar's 'Alright' video portrays significant social and political messages through its imagery and symbolism. It represents the oppression faced by African Americans through scenes of police brutality and a lack of female representation. Lamar is depicted as a hero and protector of Compton who will ultimately find peace only in death, as his black skin makes him a target for violence. In contrast, Taylor Swift's 'Shake It Off' video has been criticized for appropriating and disrespecting black culture through its choreography and framing of dancers, as well as focusing only on millennial youth without representing other groups.
The document discusses conventions of gangster film subgenres including mob, British gangster, film noir, and detective/crime films. It focuses on analyzing openings of 5 gangster films - Long Stock and Two Smoking Barrels, Bugsy Malone, The Godfather, The Departed, and Pulp Fiction. Each opening uses different techniques for mise-en-scene, editing, camerawork, lighting, costumes, and more. The analysis provides inspiration for creating an original opening that incorporates aspects of British gangster and film noir themes like gender equality, while not directly remaking or copying another film.
This document provides links and information for purchasing assistance with literature homework and exams. It advertises immediate access to complete solutions for literature courses, exams, and assignments without needing to register an account. The solutions are rated highly. The page includes links to purchase assistance for specific literature assignments and exams.
This document provides links and information for purchasing homework help and exam solutions from the website www.finishedexams.com. It advertises immediate access to complete homework and exam solutions for various courses without needing to register an account. It also includes a brief summary of the plot of the story "The Case of the Terrible Tiger" and links to what appear to be full document pages on various topics like literature, gender and sexuality, famous individuals like Grace Hopper, and classic novels.
The document discusses and analyzes the lyrics, music videos, and themes of several popular songs. It notes that the song "It Wasn't Me" by Shaggy discusses a man getting caught cheating from his girlfriend's perspective. For the song "Gas Pedal" by Sage the Gemini, it summarizes that the slower tempo matches seductive lyrics that could symbolize a romantic moment between a man and woman. It also provides brief analyses of the themes and visuals in the music videos for "Mercy" by Kanye West and "Fancy" by Iggy Azalea.
The document discusses conventions and elements commonly found in gangster films. It describes gangster films as focusing on criminals operating outside the law through violent acts like murder and theft. Key elements include organized crime, weapons, drugs, violence, car chases, and tough male characters. Gangs typically aim to gain power and wealth through escalating criminal acts. The costumes are usually suits and long coats, and settings involve crime scenes and police confrontations. Several gangster film openings are then analyzed in terms of their use of mise-en-scène elements like costumes, props, lighting, shots, and sound.
The document analyzes the soundtracks of two movie trailers, The Good Lie and Birdman. For The Good Lie, the soundtrack uses uplifting African music to set the scene and introduces the main characters as refugees from Sudan. For Birdman, the soundtrack shifts between classical and drum music to represent the protagonist's changing mood and life situation as a former celebrity struggling in the present. Both soundtracks effectively summarize the films' stories through music and dialogue without revealing the endings.
This song tells the story of Kendrick Lamar reminiscing about his childhood witnessing excessive alcohol consumption in his community. The music video begins with opening credits and builds tension without sound. It shows Lamar falling in slow motion. The video cuts between scenes of Lamar rapping in run-down locations from his past and montages that visualize the lyrics. It depicts the negative influence of an intoxicated lifestyle but also Lamar's resistance to fully indulge. The video uses symbolic imagery and scene changes to represent the themes of temptation and escaping the cycle seen in his childhood.
The trailer begins with establishing shots of a suburban area to set the scene. It introduces the two main characters, father Phil Broker and his daughter Maddy Broker. The trailer then shows Maddy getting upset on the playground. Tension is built through changes in lighting, music, and quick cuts between important scenes. It's revealed that a drug gang led by Gator is threatening the family. The trailer builds suspense by not revealing too much of the plot and ends with Maddy being kidnapped, causing her father to start searching for her.
This document provides details for a film noir opening sequence and movie. It summarizes that the opening scene will feature detective Rick Reynolds reluctantly taking on a case investigating a murdered husband for his client Lana Lombard. Though suspicious of her motives, he takes the case for money. The rest of the movie reveals that Lana manipulated events and framed someone else so she could run away with her lover and inheritance. The movie will end with Rick killing Lana after she tries to kill him.
The document summarizes and compares three movie trailers:
1) American Gangster about a detective pursuing a drug kingpin in 1970s Manhattan. It begins with an establishing shot and ends with the protagonist confronting the detective.
2) White Chicks about two FBI agents going undercover as women. It begins with the agents in action and ends with them attempting to fit in.
3) Sorority Row about sorority sisters covering up an accident. It begins with a party and ends ominously with a killer pursuing the girls.
The document analyzes two soap opera trailers using Propp's character roles and narrative functions. For EastEnders, Mick is identified as the hero who departs to confront villain Dean. In Coronation Street, an older man saves a distressed woman from a car, acting as the hero. Both trailers depict binaries of good vs. evil through the hero confronting threats posed by the villains.
Propp's Character Roles and Narrative Functions - Unit G324tj_salango
The document discusses Propp's character roles and narrative functions as they relate to two soap opera trailers.
In the first trailer, the mother appears as the "false hero" and "villain" holding a knife with threatening expression. The boy with flowers could be a "donor".
In the second trailer, the man chasing others is the "villain" while the three fleeing are the "heroes". Their pursuit ends with the villian gaining advantage as they reach a dead end.
In the opening scene of the gangster film, traditional costumes of black suits and props of guns and knives are used. Dark lighting creates a tense atmosphere as something ominous is about to happen. Various shot types like close-ups, mid shots and long shots are employed to follow the characters and focus on objects of significance. The scene starts with titles accompanied by non-diegetic sound to set the tone before cutting to diegetic dialogue and action that advances the plot.
1. The majority of the trailer will be filmed in Ashtead Village's high street due to its proximity to the school and ease of filming. Various shots of the shops and buildings from the street will be used to set the scene.
2. The body of filming will take place on the right side of the high street, which offers a variety of scenery needed for different themes. Tracking and panning shots will follow the main character.
3. Potential hazards of filming in a public location include recording people without consent and traffic. The filmmakers will be cautious of traffic and obtained permission from the local council to film, as indicated by the letter.
Lady Gaga uses her stage name to separate her personal and public lives and control her image. She intentionally created an outrageous persona to divert attention from her private self. The music video for "Paparazzi" imitates styles from old Hollywood films and Hitchcock's Vertigo to homage other artists, tell the story through camera angles and imagery, and portray Lady Gaga at a larger-than-life scale.
The document provides an analysis of Lady Gaga's "Bad Romance" music video. It discusses the video's concept of depicting Gaga being kidnapped and sold to the Russian mafia as a metaphor for the dark side of the music industry. Various camera techniques are examined, such as close-ups showing Gaga's innocence being stripped away. Costuming and lighting are also analyzed to represent Gaga's corruption. The intended audience is described as Lady Gaga fans and creative young adults who can understand the video's hidden messages.
The music video portrays themes of fame and celebrity death over 8 minutes. It follows a narrative of Lady Gaga's character as a pop star pursued by paparazzi. Her boyfriend betrays her by setting up the paparazzi to photograph them, and later pushes her off a balcony. She is then shown at events in extravagant outfits until poisoning and killing her boyfriend. The video ends with her mugshot, concluding the "movie-like" narrative.
This thriller involves Jesse, an 18-year-old wealthy woman, and her ex Logan who seeks revenge on her for falling in love with someone else. Over the course of flashbacks, Logan stalks and follows Jesse, calling her from unknown numbers. The plot culminates in Logan and his friend abducting Jesse from a graveyard where she was mourning a lost family member. The thriller will use lighting, sounds, and objects like Jesse's phone and gloves to build suspense and link together scenes of escalating danger for Jesse as Logan's stalking intensifies.
The document discusses conventions of mob gangster films. It explains that gangsters typically flaunt wealth through expensive props like guns and cars, establishing them as antagonists. It also notes that gangsters often succeed through crime but ultimately fall due to a fatal mistake, showing viewers that crime does not pay. The document then analyzes mise-en-scene elements common in these films, such as formal suits that signify power, cities like New York that enable crime, and low lighting that creates a grim atmosphere. It concludes by summarizing the openings of films like The Godfather, Pulp Fiction, Reservoir Dogs, and Goodfellas, highlighting how they do or do not follow gangster film conventions.
Trailer Textual Analysis Task - Unit G324tj_salango
This document analyzes two soap opera television show trailers through textual analysis. For the first trailer from EastEnders, the analysis highlights strengths such as the use of a meaningful song and costumes that represent the characters' class. Techniques that would be good to replicate include shot reverse shot editing to foreshadow conflict and using consistent camera angles at the start and end. Some techniques like special effects would be difficult to replicate. For the second Coronation Street trailer, strengths identified are the realistic outdoor setting, fast-paced editing, and shots that build suspense around the antagonist character. Overall, the analysis evaluates techniques from the trailers that could be effectively used or improved upon in the author's own work.
The assistant provides the following 3 sentence summary of the document:
The document discusses the openings of several films, analyzing shots, music, and themes used to set tone and intrigue audiences. Scenes are described that begin with credits over a black screen or nature sounds, then establish settings and characters through close-ups, dialogue, or tense action sequences. Overall, the document examines how different films use their openings to immerse viewers and hint at central themes through visuals and music.
Kendrick Lamar's 'Alright' video portrays significant social and political messages through its imagery and symbolism. It represents the oppression faced by African Americans through scenes of police brutality and a lack of female representation. Lamar is depicted as a hero and protector of Compton who will ultimately find peace only in death, as his black skin makes him a target for violence. In contrast, Taylor Swift's 'Shake It Off' video has been criticized for appropriating and disrespecting black culture through its choreography and framing of dancers, as well as focusing only on millennial youth without representing other groups.
The document discusses conventions of gangster film subgenres including mob, British gangster, film noir, and detective/crime films. It focuses on analyzing openings of 5 gangster films - Long Stock and Two Smoking Barrels, Bugsy Malone, The Godfather, The Departed, and Pulp Fiction. Each opening uses different techniques for mise-en-scene, editing, camerawork, lighting, costumes, and more. The analysis provides inspiration for creating an original opening that incorporates aspects of British gangster and film noir themes like gender equality, while not directly remaking or copying another film.
This document provides links and information for purchasing assistance with literature homework and exams. It advertises immediate access to complete solutions for literature courses, exams, and assignments without needing to register an account. The solutions are rated highly. The page includes links to purchase assistance for specific literature assignments and exams.
This document provides links and information for purchasing homework help and exam solutions from the website www.finishedexams.com. It advertises immediate access to complete homework and exam solutions for various courses without needing to register an account. It also includes a brief summary of the plot of the story "The Case of the Terrible Tiger" and links to what appear to be full document pages on various topics like literature, gender and sexuality, famous individuals like Grace Hopper, and classic novels.
The document discusses and analyzes the lyrics, music videos, and themes of several popular songs. It notes that the song "It Wasn't Me" by Shaggy discusses a man getting caught cheating from his girlfriend's perspective. For the song "Gas Pedal" by Sage the Gemini, it summarizes that the slower tempo matches seductive lyrics that could symbolize a romantic moment between a man and woman. It also provides brief analyses of the themes and visuals in the music videos for "Mercy" by Kanye West and "Fancy" by Iggy Azalea.
The document discusses conventions and elements commonly found in gangster films. It describes gangster films as focusing on criminals operating outside the law through violent acts like murder and theft. Key elements include organized crime, weapons, drugs, violence, car chases, and tough male characters. Gangs typically aim to gain power and wealth through escalating criminal acts. The costumes are usually suits and long coats, and settings involve crime scenes and police confrontations. Several gangster film openings are then analyzed in terms of their use of mise-en-scène elements like costumes, props, lighting, shots, and sound.
The document analyzes the soundtracks of two movie trailers, The Good Lie and Birdman. For The Good Lie, the soundtrack uses uplifting African music to set the scene and introduces the main characters as refugees from Sudan. For Birdman, the soundtrack shifts between classical and drum music to represent the protagonist's changing mood and life situation as a former celebrity struggling in the present. Both soundtracks effectively summarize the films' stories through music and dialogue without revealing the endings.
This song tells the story of Kendrick Lamar reminiscing about his childhood witnessing excessive alcohol consumption in his community. The music video begins with opening credits and builds tension without sound. It shows Lamar falling in slow motion. The video cuts between scenes of Lamar rapping in run-down locations from his past and montages that visualize the lyrics. It depicts the negative influence of an intoxicated lifestyle but also Lamar's resistance to fully indulge. The video uses symbolic imagery and scene changes to represent the themes of temptation and escaping the cycle seen in his childhood.
The trailer begins with establishing shots of a suburban area to set the scene. It introduces the two main characters, father Phil Broker and his daughter Maddy Broker. The trailer then shows Maddy getting upset on the playground. Tension is built through changes in lighting, music, and quick cuts between important scenes. It's revealed that a drug gang led by Gator is threatening the family. The trailer builds suspense by not revealing too much of the plot and ends with Maddy being kidnapped, causing her father to start searching for her.
This document provides details for a film noir opening sequence and movie. It summarizes that the opening scene will feature detective Rick Reynolds reluctantly taking on a case investigating a murdered husband for his client Lana Lombard. Though suspicious of her motives, he takes the case for money. The rest of the movie reveals that Lana manipulated events and framed someone else so she could run away with her lover and inheritance. The movie will end with Rick killing Lana after she tries to kill him.
The document summarizes and compares three movie trailers:
1) American Gangster about a detective pursuing a drug kingpin in 1970s Manhattan. It begins with an establishing shot and ends with the protagonist confronting the detective.
2) White Chicks about two FBI agents going undercover as women. It begins with the agents in action and ends with them attempting to fit in.
3) Sorority Row about sorority sisters covering up an accident. It begins with a party and ends ominously with a killer pursuing the girls.
The document analyzes two soap opera trailers using Propp's character roles and narrative functions. For EastEnders, Mick is identified as the hero who departs to confront villain Dean. In Coronation Street, an older man saves a distressed woman from a car, acting as the hero. Both trailers depict binaries of good vs. evil through the hero confronting threats posed by the villains.
Propp's Character Roles and Narrative Functions - Unit G324tj_salango
The document discusses Propp's character roles and narrative functions as they relate to two soap opera trailers.
In the first trailer, the mother appears as the "false hero" and "villain" holding a knife with threatening expression. The boy with flowers could be a "donor".
In the second trailer, the man chasing others is the "villain" while the three fleeing are the "heroes". Their pursuit ends with the villian gaining advantage as they reach a dead end.
In the opening scene of the gangster film, traditional costumes of black suits and props of guns and knives are used. Dark lighting creates a tense atmosphere as something ominous is about to happen. Various shot types like close-ups, mid shots and long shots are employed to follow the characters and focus on objects of significance. The scene starts with titles accompanied by non-diegetic sound to set the tone before cutting to diegetic dialogue and action that advances the plot.
1. The majority of the trailer will be filmed in Ashtead Village's high street due to its proximity to the school and ease of filming. Various shots of the shops and buildings from the street will be used to set the scene.
2. The body of filming will take place on the right side of the high street, which offers a variety of scenery needed for different themes. Tracking and panning shots will follow the main character.
3. Potential hazards of filming in a public location include recording people without consent and traffic. The filmmakers will be cautious of traffic and obtained permission from the local council to film, as indicated by the letter.
Lady Gaga uses her stage name to separate her personal and public lives and control her image. She intentionally created an outrageous persona to divert attention from her private self. The music video for "Paparazzi" imitates styles from old Hollywood films and Hitchcock's Vertigo to homage other artists, tell the story through camera angles and imagery, and portray Lady Gaga at a larger-than-life scale.
The document provides an analysis of Lady Gaga's "Bad Romance" music video. It discusses the video's concept of depicting Gaga being kidnapped and sold to the Russian mafia as a metaphor for the dark side of the music industry. Various camera techniques are examined, such as close-ups showing Gaga's innocence being stripped away. Costuming and lighting are also analyzed to represent Gaga's corruption. The intended audience is described as Lady Gaga fans and creative young adults who can understand the video's hidden messages.
The music video portrays themes of fame and celebrity death over 8 minutes. It follows a narrative of Lady Gaga's character as a pop star pursued by paparazzi. Her boyfriend betrays her by setting up the paparazzi to photograph them, and later pushes her off a balcony. She is then shown at events in extravagant outfits until poisoning and killing her boyfriend. The video ends with her mugshot, concluding the "movie-like" narrative.
The music video portrays themes of fame and celebrity death over 8 minutes. It follows a narrative of Lady Gaga's character as a pop star pursued by paparazzi. Her boyfriend betrays her by setting up the paparazzi to photograph them, and later pushes her off a balcony. She is then shown at events in extravagant outfits until poisoning and killing her boyfriend. The video ends with her mugshot, concluding the "movie-like" narrative.
Lady Gaga's "Bad Romance" music video depicts her being kidnapped by supermodels and sold to the Russian mafia as a sex slave. The video uses various camera techniques, lighting effects, costumes, and sound to portray this storyline and show Gaga's journey from victim to empowered. It takes place in a white bathhouse setting and features Gaga in many elaborate and revealing outfits as she is auctioned off and eventually gains control over her situation.
The document provides a detailed analysis of the music video for Lady Gaga's "Bad Romance". It summarizes the concept of the video, which involves Gaga being kidnapped by supermodels and sold to the Russian mafia as a sex slave. It then analyzes various elements of the video such as camera work, editing, sound, mise-en-scene, costumes, lighting, and colors.
Lady Gaga creates distinct stage personas to separate her personal and public lives. As Lady Gaga, she controls her image through outrageous fashion and personas. This allows her to draw attention away from her private life. The music video for "Telephone" references many films through its styling, scenes, and dialogue. It alludes to works by Tarantino, Madonna, Michael Jackson, and others to create a pastiche that challenges gender stereotypes.
The music video for Lady Gaga's song "Paparazzi" tells the story of her character struggling with fame and a relationship. It features her boyfriend throwing her from a balcony, with the paparazzi photographing her bloody body. Later, she gets revenge by poisoning his coffee. The video was critically acclaimed and won several awards. It has themes of media manipulation and criticism of celebrity culture. Lady Gaga's fashion and artistic style in the video also helped spread her iconic image.
This 3 paragraph summary provides the key details from the multi-page magazine article about Lady Gaga:
Lady Gaga has become one of the biggest pop stars in the world with over 8 million album sales. The article profiles her unconventional style and provocative performances that push boundaries and comment on issues like sexuality. This has led to both immense popularity and controversy, with some criticizing her as an "attention whore." The profile describes her journey from singing in clubs as a teenager to breaking through with hits like "Poker Face" and "Bad Romance." It analyzes how she draws influence from diverse figures like David Bowie and uses shock value to spark important discussions.
The music video for Lady Gaga's song "Telephone" criticizes modern technology and consumerism. It portrays female incarceration and lesbianism. Lady Gaga wears revealing outfits and the video references other films without directly parodying them. The video lacks an overall narrative and celebrates consumer culture through ironic detachment and product placement.
1. Jonas Åkerlund is a Swedish film and music video director known for his stylish music videos that are often in the form of mock movie trailers.
2. He directed the controversial music video for "Pussy" by Rammstein and Lady Gaga's "Telephone" video featuring Beyoncé.
3. The over 9 minute "Telephone" video continues the story from Gaga's "Paparazzi" video and features her time in prison with scenes like kissing another inmate before answering a call from Beyoncé to perform the song.
This document discusses aspects of postmodernism in music videos and its application to Lady Gaga. It outlines characteristics of postmodern videos like parody and fragmentation. It explains how Lady Gaga uses her elaborate costumes and stage persona "Lady Gaga" to control her public image and keep attention away from her personal life, creating a hyperreal version of herself. The document also analyzes Lady Gaga's music video for "Paparazzi", noting its references to films like Sunset Boulevard and Metropolis, use of pastiche and intertextuality, and homages to popular culture icons like Minnie Mouse and Alfred Hitchcock films.
This document provides an analysis of Lady Gaga and her song and music video for "Paparazzi" through a postmodern lens. It discusses how Gaga fashioned her persona through a mix of high and low culture influences. The analysis then examines the music video for "Paparazzi" in detail, noting how it portrays themes of fame, death of celebrity, pornography, and murder through a narrative-driven, cinematic style. Scenes showing Gaga and models in exaggerated makeup and fashion are described as focusing on outward appearance and a sexual image for the artist. Overall, the document presents Gaga as a postmodern artist who relies heavily on image and uses her music videos to present different alter egos and narratives
This document provides a textual analysis of Lady Gaga's 2009 music video "Paparazzi". It analyzes various micro and macro elements of the video including camera work, editing, mise-en-scene, sound, titles, representation, audience, and themes. The video tells two narratives: a woman who kills her boyfriend after being betrayed by him, and a critique of the manipulative media who influence public perception of celebrities like Lady Gaga for profit and fame. Through its artistic elements, the video portrays the chaos created by an intrusive paparazzi and the changing identity of its principal character Lady Gaga.
The music video for "The Kill (Bury Me)" by Thirty Seconds to Mars references elements from The Shining. It follows a similar narrative to the film, with each band member experiencing strange events after staying alone in a hotel. The video utilizes costumes, settings, and scenes that parallel or adapt elements from the film. It also incorporates symbolic iconography and a 1920s aesthetic to represent confronting inner demons. Through its homages and pastiche of The Shining, the video explores the song's themes of facing fears and one's true self.
This document provides a detailed analysis of the music video for "The Kill (Bury Me)" by Thirty Seconds to Mars according to Nick Lacey's theory of genre elements. It summarizes the characters, narrative, iconography, settings, and technical/audio codes present in the video. The video draws heavily from the film "The Shining" by Stanley Kubrick, portraying the band members acting out scenes from the film while they stay alone in a haunted hotel. Imagery and settings from the film are replicated to tell a narrative of the band members confronting their doppelgangers and darker sides of themselves.
The video for "My Life" by The Game featuring Lil Wayne depicts scenes from a rough neighborhood including a shooting at a corner shop. It shows The Game rapping outside his home and Lil Wayne at a cemetery, paying respects. It suggests the hard lives they've lived, being surrounded by violence from a young age. The video for "Pursuit of Happiness" by Kid Cudi featuring MGMT shows a party scene where people are drinking and having fun but seem unhappy. Kid Cudi realizes alcohol only provides temporary happiness. The video for "Dynamite" by Taio Cruz features scantily clad women working on cars at an outdoor garage as Cruz arrives on an expensive motorcycle, depicting a wealthy, player
The proposed music video treatment is for the song "All Time Low" by the band The Wanted. It will tell the story of a man who discovers his girlfriend cheating on him. Key scenes include the band performing, the man finding his girlfriend with another man, and him running away in anguish to a field. The video aims to portray his feelings of emptiness, anger, and sadness through symbolic imagery, locations, and colors. It will be filmed at various outdoor locations around Waltham St. Lawrence.
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The music video for Lady Gaga's "Telephone" utilizes several postmodernist techniques. It continues the narrative from her previous "Paparazzi" video, showing her imprisoned at the start. Intertextuality is shown through references to the film "Kill Bill". Lady Gaga breaks the fourth wall by looking directly at the camera. The exaggerated and unrealistic prison setting depicts hyperconsciousness. Hyperreality is portrayed through Lady Gaga living as her simulated persona rather than her real self. Narcissism is conveyed through Lady Gaga flaunting her body throughout the video.
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Introduction
The notion of Dwayne Johnson kidnapping seems straight out of a Hollywood thriller. Dwayne "The Rock" Johnson, known for his larger-than-life persona, immense popularity. and action-packed filmography, is the last person anyone would envision being a victim of kidnapping. Yet, the bizarre and riveting tale of such an incident, filled with twists and turns. has captured the imagination of many. In this article, we delve into the intricate details of this astonishing event. exploring every aspect, from the dramatic rescue operation to the aftermath and the lessons learned.
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The Origins of the Dwayne Johnson Kidnapping Saga
Dwayne Johnson: A Brief Background
Before discussing the specifics of the kidnapping. it is crucial to understand who Dwayne Johnson is and why his kidnapping would be so significant. Born May 2, 1972, Dwayne Douglas Johnson is an American actor, producer, businessman. and former professional wrestler. Known by his ring name, "The Rock," he gained fame in the World Wrestling Federation (WWF, now WWE) before transitioning to a successful career in Hollywood.
Johnson's filmography includes blockbuster hits such as "The Fast and the Furious" series, "Jumanji," "Moana," and "San Andreas." His charismatic personality, impressive physique. and action-star status have made him a beloved figure worldwide. Thus, the news of his kidnapping would send shockwaves across the globe.
Setting the Scene: The Day of the Kidnapping
The incident of Dwayne Johnson's kidnapping began on an ordinary day. Johnson was filming his latest high-octane action film set to break box office records. The location was a remote yet scenic area. chosen for its rugged terrain and breathtaking vistas. perfect for the film's climactic scenes.
But, beneath the veneer of normalcy, a sinister plot was unfolding. Unbeknownst to Johnson and his team, a group of criminals had planned his abduction. hoping to leverage his celebrity status for a hefty ransom. The stage was set for an event that would soon dominate worldwide headlines and social media feeds.
The Abduction: Unfolding the Dwayne Johnson Kidnapping
The Moment of Capture
On the day of the kidnapping, everything seemed to be proceeding as usual on set. Johnson and his co-stars and crew were engrossed in shooting a particularly demanding scene. As the day wore on, the production team took a short break. providing the kidnappers with the perfect opportunity to strike.
The abduction was executed with military precision. A group of masked men, armed and organized, infiltrated the set. They created chaos, taking advantage of the confusion to isolate Johnson. Johnson was outnumbered and caught off guard despite his formidable strength and fighting skills. The kidnappers overpowered him, bundled him into a waiting vehicle. and sped away, leaving everyone on set in a state of shock and disbelief.
The Immediate Aftermath
The immediate aftermath of the Dwayne Johnson kidnappin
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In the realm of entertainment, few names resonate as Orpah Winfrey Dwayne Johnson. Both figures have carved unique paths in the industry. achieving unparalleled success and becoming iconic symbols of perseverance, resilience, and inspiration. This article delves into the lives, careers. and enduring legacies of Orpah Winfrey Dwayne Johnson. exploring how their journeys intersect and what we can learn from their remarkable stories.
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Early Life and Backgrounds
Orpah Winfrey: From Humble Beginnings to Media Mogul
Orpah Winfrey, often known as Oprah due to a misspelling on her birth certificate. was born on January 29, 1954, in Kosciusko, Mississippi. Raised in poverty by her grandmother, Winfrey's early life was marked by hardship and adversity. Despite these challenges. she demonstrated a keen intellect and an early talent for public speaking.
Winfrey's journey to success began with a scholarship to Tennessee State University. where she studied communication. Her first job in media was as a co-anchor for the local evening news in Nashville. This role paved the way for her eventual transition to talk show hosting. where she found her true calling.
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Dwayne Johnson, also known by his ring name "The Rock," was born on May 2, 1972, in Hayward, California. He comes from a family of professional wrestlers, with both his father, Rocky Johnson. and his grandfather, Peter Maivia, being notable figures in the wrestling world. Johnson's early life was spent moving between New Zealand and the United States. experiencing a variety of cultural influences.
Before entering the world of professional wrestling. Johnson had aspirations of becoming a professional football player. He played college football at the University of Miami. where he was part of a national championship team. But, injuries curtailed his football career, leading him to follow in his family's footsteps and enter the wrestling ring.
Career Milestones
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Winfrey's career breakthrough came in 1986 when she launched "The Oprah Winfrey Show." The show became a cultural phenomenon. drawing millions of viewers daily and earning many awards. Winfrey's empathetic and candid interviewing style resonated with audiences. helping her tackle diverse and often challenging topics.
Beyond her talk show, Winfrey expanded her empire to include the creation of Harpo Productions. a multimedia production company. She also launched "O, The Oprah Magazine" and OWN: Oprah Winfrey Network, further solidifying her status as a media mogul.
Dwayne Johnson: From The Ring to The Big Screen
Dwayne Johnson's wrestling career took off in the late 1990s. when he became one of the most charismatic and popular figures in WWE. His larger-than-life persona and catchphrases endeared him to fans. making him a household name. But, Johnson had ambitions beyond the wrestling ring.
In the early 20
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Leonardo DiCaprio, a name synonymous with Hollywood stardom and acting excellence. has captivated audiences for decades with his talent and charisma. But, the Leonardo DiCaprio haircut is one aspect of his public persona that has garnered attention. From his early days as a teenage heartthrob to his current status as a seasoned actor and environmental activist. DiCaprio's hairstyles have evolved. reflecting both his personal growth and the changing trends in fashion. This article delves into the many phases of the Leonardo DiCaprio haircut. exploring its significance and impact on pop culture.
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Today's fast-paced environment worries companies of all sizes about efficiency and security. Businesses are constantly looking for new and better solutions to solve their problems, whether it's data security or facility access. RFID for access control technologies have revolutionized this.
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Due to their ability to produce engaging content more quickly, over-the-top (OTT) app builders have made the process of creating video applications more accessible. The invitation to explore these platforms emphasizes how over-the-top (OTT) applications hold the potential to transform digital entertainment.
2. Context Lady Gaga’s video for Paparazzi was released on in July 2009. It was written by Gaga and Rob Fusari, an American music producer and songwriter and is about Gaga’s struggled journey to find fame. The Paparazzi video was directed by Jonas Akerlund, a Swedish director has worked on music videos for Madonna and U2. “Paparazzi” is an eight minute music video which Lady Gaga called a mini-movie and stars the Swedish actor Alexander Skarsgård as Gaga’s on-screen lover.
3. Lady Gaga’s Paparazzi begins wiping in slowly from a circle from the centre. This establishing shot reveals a number of palm trees shaded in front of the sun. The next scene is an extreme long shot of a white mansion with a circle balcony on the top floor in the centre. There is a gate around the mansion with plants and flowers surrounding it. These two scenes reveal the location of the music video to be expensive and luxurious. The first thing that the audience hears in these opening shots are the sound of waves, which lets the audience know that this video is located near by the sea. The audience then hears soft piano music which sets the scene of a peaceful, happy home.
4. The shot which follows this is a close up of an exotic pink flower with “Starring Lady Gaga” written in bold white font next to it. I believe that this is significant because most women see flowers as sources of power and they can also be compared to the female genitalia and sexuality. Also, during the time when this video was filmed, there was uproar in the media about Lady Gaga’s gender caused by rumours that she was a hermaphrodite. The use of the pink flower next to Lady Gaga’s name makes her appear feminine. The next shot is a long shot of a pile of American dollars on a wooden floor next to a bed. There are also stacks of dollars on the bed. Next to the money on the floor are two gold bars/ingots and what appears to be a bowl of jewellery. The scene cuts to an extreme long shot of a bedroom with money scattered across the floor. Across the top in a white/grey colour, “Lady Gaga in Paparazzi” is written in large font, informing the audience of the song and the artist.There are two large arched windows at the back of the room, each with doors leading to the outside. Through these doors, the audience can see the sea.
5. The camera cuts to a long shot of a couple lying on the bed in a passionate embrace. As they start to speak Swedish, the video not only plays homage to subtitled foreign films, but also lets the audience know that the couple are saying to each other. As the couple kiss and caress each other, there are cuts to objects around the room. The first is what looks like a dollar bill, but instead of the American figurehead, there is a picture of Lady Gaga. Written on the top right hand side of this bank note is “The United States of Lady Gaga”. The next cut is to a fictional newspaper called Evening Star with the headline “Lady Gaga Reaches the Top Yet Again, with a picture of her and three men. These two cut offs from the main scene on the bed show the audience that Lady Gaga is portraying herself in the video, but to a much bigger scale in the way that by putting her face on a dollar bill makes her look like the figurehead of America. It also lets the audience know that the woman on the bed is Lady Gaga, if they hadn’t already worked it out for themselves.
6. Costume Lady Gaga is wearing a white lingerie piece and a white gown with feathered features which makes her look seductive, yet innocent as white is the colour of pureness. She also has on black leather fingerless gloves, which makes her look less pure. She has four diamante rings on each of her fingers, spelling out the word Dior. Dior is a French company which sells high-fashion clothing. I believe that this lets the audience know that this particular scene is set in France.
7. The boyfriend picks up Lady Gaga and carries her out onto the balcony, resting her on the ledge next to an opened bottle of champagne. The boyfriend is wearing black suit trousers, a white vest top and black trousers, which is the typical dress for a gangster when they’re not on duty. Long shots are used in this scene to show the setting of the whereabouts of the characters and close-ups are used to show the passion between the characters as they kiss.As he lifts her into his arms, the soft piano music that was playing in the background gets louder and more dramatic which could symbolise danger
8. The couple then begin another passionate embrace. The scene cuts to the greyscale view from a camera, tilting upwards at the couple on the balcony and the sound of camera shutters is heard. This shows the typical life of celebrities because they are always getting followed by the press. The use of the camera look is symbolic to this particular music video because another name for the press is “Paparazzi”. As the couple continue to kiss, they start to notice the cameras. Lady Gaga tells him to stop and tries to push him off of her, but when he continues to kiss her, she smacks him in the face. A mid shot is used to show her hitting him and a close up is used to show his reaction to her outburst of violence. As he continues to try and kiss her, she grabs the champagne bottle which is lying next to her and hits him around the head with it. Furious at her actions, the boyfriend pushes Lady Gaga off of the balcony which is caught on camera by the paparazzi. After he pushes her, the camera looks up at him from below, showing the power he has after trying to murder his girlfriend.
9. Mimicking the way the music video begins with the wiped in circle, the next scene shows Lady Gaga against a black and white swirled background. The way that the colours swirl against one another and the way that Lady Gaga moves slowly gives the illusion that she is falling. The hypnotic background is a homage to Alfred Hitchcock’s psychological thriller, Vertigo. The background draws the audience’s focus towards Lady Gaga because she is in the middle, showcasing what she looks like so they know that she is the singer.This scene could also be a symbol for Lady Gaga falling from Heaven into Hell. I came to this conclusion because at the start of the video, it looks as if she has the perfect life; the fame, the fortune and the perfect man, but now she’s lost it all.As she falls, the audience can hear her ragged breathing and the sound of a heartbeat. These sounds would have been added in at post production, making them non-diegetic sounds.
10. The next scene is a long shot of Lady Gaga lying in a pool of her own blood with men in black standing around her taking photographs. I think this really shows the atrociousness of the press as they continue to take pictures of her instead of helping her. There is a quick cut to a mid-shot of Lady Gaga, but then a newspaper appears, spinning from the centre of the screen. This would have been super-imposed onto the video in the editing process. There is another cut to six men crowding around the camera looking downwards and taking photographs. This shot is told from the point of view of Lady Gaga, looking up at the paparazzi. There are then two more newspapers which appear one after the other. The first saying “Lady Gaga is Over” and the second saying “Lady No More Gaga”. These headlines, along with the fist newspaper which appeared, which said “Lady Gaga Hits Rock Bottom” could interpret that she has lost her fame. It is in this shot where the music begins.
11. The scene which follows is an extreme long shot of a black limo with a purple carpet trailing across the floor. There are four men in black suits standing outside, two opening the door to the limo, one holding a wheel chair and the other standing and looking at the limo. There is a close up of the limo door opening, revealing Lady Gaga in a black jacket with diamond studded shoulder pads, a red neck brace, dark sunglasses and a section her hair wrapped around a giant button. One of the men lifts her out of the car and sits her down on the wheelchair. As he does this, there is a high angle shot revealing Lady Gaga to be wearing leopard print tights and high heeled shoes. The way the camera is looking down on Lady Gaga makes her appear vulnerable; due to the fact she is being carried and put into a wheelchair. The colour purple is constant in this particular scene. It is the colour associated with royalty due to the fact that it was expensive to make in the middle ages. This could interpret that as Lady Gaga was almost killed by her boyfriend in front of the paparazzi, she has been given a lot of money. The colour purple also associates with power and wisdom.
12. As the singing begins on the song, there is a cut to Lady Gaga dressed in a revealing black leather outfit who is sitting on a large golden couch. She also has on long black leather gloves. Up until now, the music video has been narrative, but this section is purely performance as she is lip syncing to the song. The first two shots that the audience see’s of Lady Gaga are her making the shape of a gun with her hand and the other, covering her eyes. I think that these two shots refer back to earlier on in the video when the character she plays is almost killed by her boyfriend.
13. There is a cut back to a long shot of the previous scene with Lady Gaga being pushed into a grand room with golden features. One of the men pushes her in the wheelchair down whilst the other three start to dance around her. Two of the men even begin to do the Queen’s wave as they walk beside her as they enter the building which shows that they believe that Lady Gaga is royalty. As the wheelchair reaches the end of the purple carpet, the men start to remove Lady Gaga’s neck brace and assist her to remove her clothes. This shot is done via a mixture of close ups and long shots to show the movements of the characters.
14. During a close up shot of Lady Gaga, two of the men stand in front of her so just her face is visible to the audience. There is a quick cut to a long shot as the two men move, revealing Lady Gaga to be wearing a gold metal costume and a gold headpiece. Four female dancers appear, wearing dark blue and white dresses. Lady Gaga stands and starts to shakily walk forward along the purple carpet, using crutches. The metallic costume is based upon a silent film created in 1927 called Metropolis, which a tale set in the future is about a girl named Maria, who is transformed into a robot. The way Gaga moves from her wheelchair in the video to the way Maria moves in the film is very similar.
15. There is a quick cut and the image of three identical triplets sitting on the golden couch which was shown previously appears. These triplets, who are a Swedish rock band, had previously been on the MTV reality dating show, Daisy of Love. In the next shot, which is a long shot, Lady Gaga appears sitting between the triplets and begins to kiss and caress them. This scene is very sexually suggestive. During this, there is a line in the song which says “Loving you is cherry pie” and I think that this refers to the female genitalia and her sexuality.
16. The next scene is a long shot of Lady Gaga and four dancers, all wearing white full body suits with navy blue ruffles. This scene is purely performance and there are no cuts to the narrative of the video. The outfits that Lady Gaga and the dancers wear could be modern interpretations of wedding dresses which could show that her purity from the beginning of the video is slowly wearing away as only half of her dress it white.
17. At five minutes into the video, there is usage of strobe lighting, revealing Lady Gaga to be in a black outfit, with a ribbon feature piece by her left shoulder. The use of the strobe lighting could symbolise camera flashes from the paparazzi. This scene has been edited together so that with every few strobe-light flashes, Lady Gaga appears in a different position. Two harlequin Great Dane’s also appear in this segment of the video, which I think backs up my idea of heaven and hell because dogs are suggestive of the Hounds of Hell. These two dogs have also previously appeared in another of Lady Gaga’s videos and were scheduled to appear in the next, but sadly passed away.
18. The following scene is a long shot of Lady Gaga and her boyfriend sitting on a white sofa. He reads the paper whilst Lady Gaga, with a magazine on her lap, watches the house maid leave a tray of drinks and ice on the table at the far end of the room. The boyfriend is wearing a crisp white dress shirt with an undone bow tie around his neck and he has an eye patch over his left eye, which I think is there due to the fact that he was hit in the side of the face with a champagne bottle and some of the glass might have gotten into his eye.
19. Lady Gaga gets up from the sofa and in the process, drops the magazine she was holding on the sofa. The headline from the magazine, “The New It Girl”, appears on the screen in bright yellow font. I think that this means that since the accident, Lady Gaga has changed into a new woman. There is a long shot of the room as Lady Gaga walks from the sofa over to the drinks table. As she pours the liquid into the cup, there is a close up of her face, which is expressionless. The scene cuts to an extreme close up of a ring that Lady Gaga has on her left hand, which she opens, revealing a white powder. In the bottom right hand of the screen is a small picture of a black skull with the word poison underneath. This makes the audience realise that she is going to murder her boyfriend. The ring that conceals the poison that Lady Gaga wears is based on Lucrezia Borgia, the daughter of a powerful Renaissance Valencian. It was rumoured that she had a hollowed out ring which she used to conceal poison, with which she would often taint drinks with.
20. Costume Lady Gaga is wearing a yellow outfit with the image of what appears to be Mickey Mouse on it. She also has black sunglasses on, which has attachments that flip up, to give her the look of having Mickey Mouse ears. I think that this outfit contrasts with the nature of her actions because Mickey Mouse and Disney give the appearance of childish, innocent and naïve and she is about to kill her boyfriend. She also has black lipstick on, which I think is symbolic because black is the colour of power, evil, anger and death.
21. As the boyfriend finishes his drink, there is a close up of his face to show the audience his reaction to knowing that he is about to die. There is then a quick cut to a long shot of the room, showing his head falling on his chest, followed by a close up of him dropping his newspaper and his cup. The music stops completely, and then the sound of a phone ringing is heard. A female voice then states that she is the emergency services, which is then followed by Lady Gaga telling her that she killed her boyfriend. As this happens, Lady Gaga takes of her glasses and puts them on her boyfriend before leaving the room. This shot was done with the camera looking up at Lady Gaga, which shows the power she has after murdering her boyfriend. There is a cross dissolve/cross fade from an almost empty room with the dead boyfriend in it, to the same room being inspected by crime scene investigators. This editing technique/effect shows that some amount of time has passed and nothing has changed in that scene. One of the crime scene investigators takes a photograph of the dead body, and as he pulls the camera away, there is what appears to be a green skeleton reflected in the close up of his glasses. I think that this shows the audience that the boyfriend is really dead and that Lady Gaga has killed her boyfriend.
22. The next scene is of Lady Gaga being taken by the police and being hounded by the paparazzi. Mimicking the scene from earlier on in the video, super imposed newspapers appear with the headlines “She’s Back”, “We Love Her Again” and “She’s innocent.” This makes me believe that the press didn’t care for her after she had her accident, but now they know that she killed her boyfriend, they want to have her. The scene is shot mostly in black and white, with gives the appearance that the audience is seeing the scene through the lense of the camera.This scene includes camera flashes and the paparazzi shouting “Gaga”, showing that they are trying to get her attention so that they can get a photo of her being arrested.
23. The final scene of the video is of Lady Gaga standing in front of a police height identification chart preparing for a mug-shot. The scene looks as if it has been shot in black and white, but she has purple tattoos of tear drops on her cheeks which stand out. A long shot is used to show her walking in front of the height identification chart which is to show the audience where she is, and close ups are used to show her face. I think the purple tear tattoos are final significant part of the film because one of the lyrics in the song is “My lashes are dry, purple tear drops I cry”
24. Throughout the Paparazzi video, there are a number extremely quick cut away’s from the narrative which show dead women in various positions. The way that some of these women are positioned reminded me of some of the words by conceptual photographer Cindy Sherman. When I first watched the video through, I made a quick assumption that these women’s deaths had been caused by Lady Gaga’s boyfriend because of the way that he almost killed her at the start of the video. However, as I continued to analyse the video, I noticed that one of the dead women was the housemaid that was shown at the end of the video, leaving the drinks tray in the room. This made me realise that Lady Gaga must have killed her boyfriend and then go on to kill these women afterwards.
25. Editing Lady Gaga’s Paparazzi uses very fast shots because it is a music video and the shots need to be cut to the beat to make it flow. The editing of the shots looks seamless as they cut to one shot of Lady Gaga to another one whilst she is singing the same line of the song. At the start of the video, there is a close up of water droplets from a fountain. The director must have been using a high frame rate, in order to show the speed of the shot, giving the effect of the separate droplets of water, rather than one big stream of water.
26. Final Analysis Overall, I believe that this video is all about Lady Gaga’s transformation from Heaven to Hell due to the media. At the start of the video, she has the perfect life, with the fame, the fortune and the perfect man. However, when her boyfriend tries to kill her because he didn’t want to be photographed in a passionate embrace, she hits rock bottom. The moment her boyfriend pushes her off of the balcony, the boyfriend says the words “Damn you to hell” in Swedish, The next scene shows her falling – which I have interpreted as her falling from heaven. Throughout the rest of the video, Lady Gaga is shown out of the limelight and away from the press, which I think would be her idea of hell because she would have lost some of her fame. At the end of the video, Lady Gaga kills her boyfriend and I also think that she killed the women that are shown dead during the course of the video. This shows that Lady Gaga has committed the most evil crime there is.
27. Final Analysis I think that this video does follow Todorov’s narrative theory in the way that it starts of in equilibrium as Lady Gaga and her boyfriend are in a happy relationship and she has all the fame. The video then moves into disequibruim when Lady Gaga is pushed off of a building by her boyfriend. By the end of the video, a new equilibrium is formed when Lady Gaga gets her revenge by killing her boyfriend. Paparazzi also unconventionally follows Propp’s character theory, because Lady Gaga plays both the victim and the villain, by the way she is almost murdered by somebody she loves and then becomes the murderer at the end of the video.