This document analyzes several music videos and discusses strategies for developing a narrative music video. It summarizes The 1975's "Somebody Else" video as portraying heartbreak through dark lighting and neon signs. It also discusses Troye Sivan's "Blue Neighborhood Trilogy" as using different filters to emphasize its narrative of past and present. The document concludes by stating the author's intent to create a relatable narrative music video that segregates timelines through changing mise-en-scene, address, and costume rather than using filters.

1. Music Video Analysis
Candidate 5098

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.