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Music Video Analysis
Candidate 5098
THE 1975’S ‘SOMEBODY ELSE’
- Begins with a narrative to set the tone and give context to the
message they are trying to portray.
- Throughout the only bright colour is portrayed is through the
harsh neon lighting, other than this, the lighting is very dark,
portraying a heartbreak.
- The 1975 are known for quite deeply psychological
representations of their songs through the visuals portrayed
in their music videos.
- This image of him looking at himself in the mirror present a
post-modern representation of his grief.
- The neon ‘girls girls girls’ provides both a representation on
why he’s upset and effected.
- In addition, it also provides intertextuality for other songs
that the 1975 have made, the song ‘Girls’.
THE 1975’S ‘GIRLS’
- “We are not like any other band” creating a unique brand identity for
their fans.
- Pop culture onomatopoeia
- Girls presented in with stereotypical femininity, ‘girls’ being spelt
with multi-colored flowers and light pink border.
- ‘Neon lights reflecting song- also intertextuality to previous
mentioned music video – shows band identity, similar mise-en-scène
representation.
- Stereotypical representation of women- bikinis, summer etc
- Voyeuristic representation of women in band with instruments.
TROYE SIVANS ‘BLUE NEIGHBOURHOOD TRILOGY’
- Troye Sivan cleverly released three songs as both individuals and a
trilogy. Within this, there is a continuing storyline and narrative that
runs throughout the trilogy to not only provoke a specific postmodern
issue but also reflect a relatable situation that many face.
- The blue monotone filter on the ‘present’ in the video contrasts from
the slightly happier ‘brighter’ filter presented in telling the story of
the past – this different filter helps to really emphasize the narrative
in the story.
- From this I am going to try and replicate a narrative strand that’s
relatable, rather than using different filters to present different
timelines, it will all be based around similar times and I will
segregate it through the changing in mise-en-scene, address and
costume.
PHARRELL WILLIAM’S ‘HAPPY’
• This music video focuses on the movement of the actors and how the
movement of the characters evokes certain emotions for the audience.
• Simplicity editing makes the movement more effective when displaying
tone and emotion of the song, for example the use of all different types of
people sharing a sense of love.
• This is a more performance style music video narrative.
PANIC! AT THE DISCO’S ‘GIRLS GIRLS BOYS’
• This video ultimately focuses on the movement and body language
of the main actor, in this case Brendon Urie./
• In this he communicates his emotion and tone of the song through
zoom ins of his facial expressions and naturalist backgrounds to
remain focus.
• I do not want to take the subtle backgrounds through this being
more performance based rather than narrative structure style,
which I would like to adopt.

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Music video analysis

  • 2. THE 1975’S ‘SOMEBODY ELSE’ - Begins with a narrative to set the tone and give context to the message they are trying to portray. - Throughout the only bright colour is portrayed is through the harsh neon lighting, other than this, the lighting is very dark, portraying a heartbreak. - The 1975 are known for quite deeply psychological representations of their songs through the visuals portrayed in their music videos. - This image of him looking at himself in the mirror present a post-modern representation of his grief. - The neon ‘girls girls girls’ provides both a representation on why he’s upset and effected. - In addition, it also provides intertextuality for other songs that the 1975 have made, the song ‘Girls’.
  • 3. THE 1975’S ‘GIRLS’ - “We are not like any other band” creating a unique brand identity for their fans. - Pop culture onomatopoeia - Girls presented in with stereotypical femininity, ‘girls’ being spelt with multi-colored flowers and light pink border. - ‘Neon lights reflecting song- also intertextuality to previous mentioned music video – shows band identity, similar mise-en-scène representation. - Stereotypical representation of women- bikinis, summer etc - Voyeuristic representation of women in band with instruments.
  • 4. TROYE SIVANS ‘BLUE NEIGHBOURHOOD TRILOGY’ - Troye Sivan cleverly released three songs as both individuals and a trilogy. Within this, there is a continuing storyline and narrative that runs throughout the trilogy to not only provoke a specific postmodern issue but also reflect a relatable situation that many face. - The blue monotone filter on the ‘present’ in the video contrasts from the slightly happier ‘brighter’ filter presented in telling the story of the past – this different filter helps to really emphasize the narrative in the story. - From this I am going to try and replicate a narrative strand that’s relatable, rather than using different filters to present different timelines, it will all be based around similar times and I will segregate it through the changing in mise-en-scene, address and costume.
  • 5. PHARRELL WILLIAM’S ‘HAPPY’ • This music video focuses on the movement of the actors and how the movement of the characters evokes certain emotions for the audience. • Simplicity editing makes the movement more effective when displaying tone and emotion of the song, for example the use of all different types of people sharing a sense of love. • This is a more performance style music video narrative.
  • 6. PANIC! AT THE DISCO’S ‘GIRLS GIRLS BOYS’ • This video ultimately focuses on the movement and body language of the main actor, in this case Brendon Urie./ • In this he communicates his emotion and tone of the song through zoom ins of his facial expressions and naturalist backgrounds to remain focus. • I do not want to take the subtle backgrounds through this being more performance based rather than narrative structure style, which I would like to adopt.