The music video tells a story about a girl representing two sides of a person's personality - a selfish side ("I") and selfless side ("U"). In the video, I and U are represented by two girls at a casino, one taking all the chips and the other giving them away. They both have teddy bears that get hurt, showing the pain of inner conflict. Eventually, I and U discover they are two halves of the same person and unite. The video uses symbolic imagery and mirrored shots to represent how overcoming inner conflict allows personal growth and finding balance within oneself and in relationships.
Visual, technical, and audio codes are used in a WaterAid charity advertisement to convey its message. Through close-ups and long shots, the advertisement shows a girl exhausted from walking miles to collect water, while happy children play near a new water fountain. Slow motion emphasizes the girl's long journey, while diegetic sounds of footsteps and crickets add realism. Text then appears asking for donations, as 650 million people still lack clean water despite what the viewers have seen could be provided through donations. The advertisement uses various techniques to first show the impacts of lack of water access and then encourage donations by demonstrating water's ability to improve lives and communities.
This document discusses how modern and contemporary artists have addressed social issues through their work. It provides examples of artists like Daumier, Kollwitz, Lawrence, and Hopper who brought attention to issues like social inequality, poverty, and isolation through realist paintings and drawings. The document also discusses Filipino artists like Ang Kiukok, Pablo Baens Santos, and Cesar Legaspi who addressed issues in Philippine society during the Marcos regime like political oppression, exploitation of peasants, and the dehumanization of labor through works like "Man of Fire" and "Gadgets." Overall, the document examines how modern art has served to shed light on and protest against important social, economic, and political issues of the
This document outlines the twelve principles of animation as introduced by Disney animators Ollie Johnston and Frank Thomas. The principles are: squash and stretch, anticipation, staging, straight ahead and pose to pose animation, follow through and overlapping action, slow-out and slow-in, arcs, secondary action, timing, exaggeration, solid drawing, and appeal. Each principle is described in 1-2 sentences with examples to illustrate how it can be applied. The principles aim to make animated movements and characters more natural, dynamic, and engaging for audiences.
Music in the Philippines encompasses many diverse genres and styles that blend influences from Asian, Spanish, Latin American, and indigenous sources. Traditional forms of music include gong music, which uses different types of gong instruments; rondalla ensembles featuring string instruments; and romantic harana and kundiman songs. Other genres that developed include kulintang, a dance involving bamboo poles; tinikling, the national dance; OPM pop songs; and church choral music. More recently, hip hop and indie genres have grown in popularity among Filipino artists.
Feel free to share to every aspiring ICT SHS teacher that is starting out. Just please do not take the copyright credit. The content is taken from Rex and Abiva Empowerment Technologies books.
This music video demonstrates several key features of music videos:
1) It shows characteristics of the house music genre through a focus on dance.
2) There are some relationships between the lyrics and visuals, like shots of the ocean relating to lyrics about love being deep like the ocean.
3) The upbeat tone of the music is mirrored by upbeat, feel-good visuals of characters dancing and enjoying themselves.
4) It uses a famous model, Gigi Hadid, to appeal to different audiences as demanded by the record label.
5) Laura Mulvey's male gaze theory is supported by sexualized shots of the female protagonist.
Visual, technical, and audio codes are used in a WaterAid charity advertisement to convey its message. Through close-ups and long shots, the advertisement shows a girl exhausted from walking miles to collect water, while happy children play near a new water fountain. Slow motion emphasizes the girl's long journey, while diegetic sounds of footsteps and crickets add realism. Text then appears asking for donations, as 650 million people still lack clean water despite what the viewers have seen could be provided through donations. The advertisement uses various techniques to first show the impacts of lack of water access and then encourage donations by demonstrating water's ability to improve lives and communities.
This document discusses how modern and contemporary artists have addressed social issues through their work. It provides examples of artists like Daumier, Kollwitz, Lawrence, and Hopper who brought attention to issues like social inequality, poverty, and isolation through realist paintings and drawings. The document also discusses Filipino artists like Ang Kiukok, Pablo Baens Santos, and Cesar Legaspi who addressed issues in Philippine society during the Marcos regime like political oppression, exploitation of peasants, and the dehumanization of labor through works like "Man of Fire" and "Gadgets." Overall, the document examines how modern art has served to shed light on and protest against important social, economic, and political issues of the
This document outlines the twelve principles of animation as introduced by Disney animators Ollie Johnston and Frank Thomas. The principles are: squash and stretch, anticipation, staging, straight ahead and pose to pose animation, follow through and overlapping action, slow-out and slow-in, arcs, secondary action, timing, exaggeration, solid drawing, and appeal. Each principle is described in 1-2 sentences with examples to illustrate how it can be applied. The principles aim to make animated movements and characters more natural, dynamic, and engaging for audiences.
Music in the Philippines encompasses many diverse genres and styles that blend influences from Asian, Spanish, Latin American, and indigenous sources. Traditional forms of music include gong music, which uses different types of gong instruments; rondalla ensembles featuring string instruments; and romantic harana and kundiman songs. Other genres that developed include kulintang, a dance involving bamboo poles; tinikling, the national dance; OPM pop songs; and church choral music. More recently, hip hop and indie genres have grown in popularity among Filipino artists.
Feel free to share to every aspiring ICT SHS teacher that is starting out. Just please do not take the copyright credit. The content is taken from Rex and Abiva Empowerment Technologies books.
This music video demonstrates several key features of music videos:
1) It shows characteristics of the house music genre through a focus on dance.
2) There are some relationships between the lyrics and visuals, like shots of the ocean relating to lyrics about love being deep like the ocean.
3) The upbeat tone of the music is mirrored by upbeat, feel-good visuals of characters dancing and enjoying themselves.
4) It uses a famous model, Gigi Hadid, to appeal to different audiences as demanded by the record label.
5) Laura Mulvey's male gaze theory is supported by sexualized shots of the female protagonist.
Textual analysis of 2 Soap Opera TrailersJonny Sheehan
This document provides an analysis of two soap opera trailers: EastEnders and Hollyoaks. For EastEnders, the trailer uses a non-diegetic soundtrack and sound effects to create suspense around the murder of a character named Lucy. Each character is presented as a potential suspect. For Hollyoaks, the trailer utilizes dramatic diegetic dialogue and a fast-paced soundtrack to showcase the multi-storyline drama, including arguments, secrets, and a gunshot at the end. Both trailers employ techniques like close-ups, lighting, clothing, and facial expressions to convey emotion and draw viewers into the soap opera's unfolding mysteries and interconnecting stories.
The trailer for The Shining uses nonlinear editing techniques to summarize the plot. Short clips are shown out of chronological order and accompanied by a voiceover narration to explain the story. This includes flashes of the main character committing violent acts intercut with other scenes. The trailer builds suspense through ominous music and zoomed-in shots of unhinged characters. It reveals that the film involves a family staying in an isolated hotel where the father has a mental breakdown and intends to kill his wife and son, leaving the wife as the final girl who must confront the killer.
Textual analysis of 2 soap opera trailersJonny Sheehan
This document provides an analysis of two soap opera trailers from EastEnders and Hollyoaks. For the EastEnders trailer, the analysis notes the effective use of non-diegetic sound to create suspense and uncertainty. Technical elements like close-ups, point-of-view shots, and abrupt editing are also discussed. Analysis of the Hollyoaks trailer examines the fast-paced dramatic soundtrack, inclusion of arguing dialogue, and changing lighting and costumes to reflect character emotions. Elements from both trailers that the author would replicate include tracking shots, broken frames, soundtracks, and lack of dialogue to introduce unknown characters without bias. Fading edits and a mix of lighting styles are also identified as strengths.
The document analyzes the film Identity through its camera shots/angles/movements, editing, lighting, sound, and mise-en-scene. It discusses how close-ups are used to depict emotions and build trust in characters. Parallel editing links the motel scenes to Malcolm Rivers' case. Shifting perspectives and jump cuts reveal Ed's dissociative identity disorder. Lighting and sound convey mystery, tension, and insanity. The motel setting and sexually objectified female characters comply with horror conventions.
The trailer introduces the psychological thriller film Shutter Island, set in 1954. It shows U.S. Marshal Teddy Daniels investigating the disappearance of a patient from the Ashecliffe Hospital on Shutter Island. Teddy begins to doubt his own memory and sanity as he discovers more puzzling clues and secrets about the hospital's radical treatments. Visual codes establish the period setting through costumes. Technical codes use shots that build tension, like close-ups of patients' fearful faces. As a hurricane isolates the island, Teddy questions everything around him on the mysterious island asylum.
This document provides a detailed analysis of the visual, audio, technical, action, and narrative codes used in the trailer for the thriller film Eden Lake. It examines how the trailer uses bright colors and calm music at the beginning to establish the main characters' happiness before shifting to darker tones and ominous sounds as their situation takes a turn for the worse with the introduction of a gang of violent teenagers. The analysis explores how camera angles, quick editing, and flashes of red are employed to build tension and suggest impending danger.
The document discusses common narrative structures and techniques used in psychological and slasher horror movie trailers. It analyzes the trailers for Texas Chainsaw Massacre, Nightmare on Elm Street, and Woman in Black. The trailers typically show establishing shots, introduce victims and problems, and end with cliffhangers. They aim to build tension through distorted shots, lighting, and a lack of full context to encourage audiences to watch the full movie.
The document analyzes and compares the trailers for the psychological horror films "Orphan" and "Hide and Seek". It finds that the trailers use similar conventions, including establishing shots of families, hints about dark secrets through ambiguous text straps, young female leads who disrupt family dynamics, similar lighting, camera work and editing techniques. Both trailers also end with quick cuts and panicked characters to generate tension and intrigue audiences to see the full films. While similar in many techniques, "Hide and Seek" differs in showing well-known actors and providing less obvious narrative hints through straps.
This document contains an analysis of two soap opera trailers by a media studies student. For trailer one, from EastEnders, the student notes the use of dialogue to indicate disagreement, and music to build tension. Settings like the Queen Vic pub are analyzed. For trailer two, from Hollyoaks, there is no dialogue but upbeat music and messy settings to depict rebellious teens. Technical elements like close-ups, eyeline matches, and camera movements are examined. The student concludes they would incorporate music, shots establishing relationships, and colors/actions implying conflict if creating their own soap opera trailer.
The document provides an overview of screenplay formatting including defining scenes, scene headings, scene directions, character cues, actor directions, dialogue, exposition, and backstory. It discusses how to effectively incorporate exposition and backstory into a screenplay while continuing to move the story forward through visual storytelling. Key elements like dialogue, character actions, and location are emphasized.
This trailer for a horror film establishes the relationship between two outsider characters, Oskar and Eli, in a small town in Sweden. Oskar is frequently bullied at school and finds acceptance in his friendship with Eli, but signs indicate that Eli may not be human. Through the use of low-key lighting and unsettling sounds, the trailer builds a dark and disturbing atmosphere. Shots of violent acts, a dead body, and a woman shaking in a hospital bed suggest supernatural threats. While Oskar seems to find hope in his friendship with Eli, clues about her white skin and inability to feel cold foreshadow that she may be a vampire, endangering Oskar and the town.
The short film "The Most Beautiful Man in the World" explores themes of child neglect, poverty, isolation, and lack of stimulation through the story of a young girl. Various textual and technical elements are used to portray the girl's boredom and loneliness in her dull home life, and her curiosity when encountering a stranger in the wilderness. While this interaction initially seems to fulfill her need for connection, it then takes a disturbing turn that raises issues of paedophilia. In the end, the girl finds herself back in her lifeless domestic routine, demonstrating the cyclical nature of her neglected situation and lack of opportunities for development or escape.
A young girl named Baby Doll is locked away in a mental asylum by her abusive stepfather, where she will undergo a lobotomy in five days. In her imagination, Baby Doll retreats to a fantastical world where she and four other inmates plot their escape from the asylum. The lines between reality and fantasy become blurred as Baby Doll and her companions fight to retrieve five items they need to break free before it's too late.
The document summarizes scenes from a horror film involving a sinister doll. It describes diegetic dialogue describing fearful events in a house. Images then show the doll, which has wounds on its face, implying it is dangerous. Subsequent scenes show three uncomfortable characters, a white-dressed doll contrasting innocence with implied danger, and flashbacks revealing notes and scribbling linked to the doll and written with red crayons associated with children and danger. Shots of dark spaces heighten mystery and fear.
Textual Analysis of 2 Soap Opera Trailers - Maryasiye KircinMaryasiye Kircin
The document analyzes and compares two soap opera trailers: an EastEnders trailer focusing on Peggy Mitchell's departure and a Coronation Street trailer highlighting an upcoming dramatic week. The EastEnders trailer uses a non-diegetic song and Peggy Mitchell's facial expressions to hint at future events, while providing little dialogue. The Coronation Street trailer incorporates significant diegetic dialogue to give more insight into unfolding events, including a potential murder, though it risks revealing too much. Overall, the Coronation Street trailer is deemed more effective at attracting new viewers through its use of sound and portrayal of multiple storylines.
The film begins with a black screen and white text providing background information about the film's subject matter. It then cuts to a series of close-up shots showing significant objects related to disturbing events that have occurred. Interspersed with these shots is an audio recording from the scene that adds to the growing sense of tension and mystery. The titles then appear in the same style as the introductory text, concluding the opening sequence and leaving the audience with questions about what has transpired.
The intro to The Shining consists of helicopter shots showing a snowy mountain landscape. A small car is tracked driving along isolated roads as tense, eerie music plays. The narrative establishes that the car has come a long way and is traveling to an isolated area, building tension and suspense through the isolation and music. Only helicopter shots are used to track the car's journey and make the audience feel like they are part of the trip.
The document provides an analysis of the opening sequences of the films "Seven" and "The Ring". It examines various film techniques used such as camera work, editing, sound, and visual elements. In "Seven", the opening scene focuses on a character cutting off their fingerprints, setting up the crime element. Shaky fonts mirror the psychotic mindset. In "The Ring", tension is built as the main character hesitantly approaches a door, with zooms and close-ups capturing her fear over what lies beyond. Unusual drawings by a child also reference the film's title and plot.
The document provides a script for 6 scenes depicting the story of a homeless child. In the first scene, the child arrives at a train station and finds shelter in a cardboard box in a park. In scene 2, another child named Child 1 discovers the homeless child and tries to befriend her. In scene 3, there is a flashback showing the homeless child was previously ill and her family was struggling with medical costs. Scene 4 shows Child 1 continuing to help the homeless child by bringing her food. Scene 5 depicts the homeless child having flashbacks by the riverside about her family issues and past illness. The final scene reveals through a flashback that the homeless child had cancer and left home to not be a burden on her family
This sequence from the film Vampire's Assistant uses visual elements like animation, darkness, and gothic backgrounds to set the tone of a comedy horror genre targeted at a younger audience. Shots progress like a storybook, with strands of DNA and connections between coffins implying an impending change and unity amongst characters. Characters revealed have stylized scary features like red eyes to create a dark feeling. The puppetry and split frames with contrasting colors imply all characters have an evil side and lack control over unfolding events, driven by a domineering main antagonist.
More Related Content
Similar to Music video analysis egomama by deco*27
Textual analysis of 2 Soap Opera TrailersJonny Sheehan
This document provides an analysis of two soap opera trailers: EastEnders and Hollyoaks. For EastEnders, the trailer uses a non-diegetic soundtrack and sound effects to create suspense around the murder of a character named Lucy. Each character is presented as a potential suspect. For Hollyoaks, the trailer utilizes dramatic diegetic dialogue and a fast-paced soundtrack to showcase the multi-storyline drama, including arguments, secrets, and a gunshot at the end. Both trailers employ techniques like close-ups, lighting, clothing, and facial expressions to convey emotion and draw viewers into the soap opera's unfolding mysteries and interconnecting stories.
The trailer for The Shining uses nonlinear editing techniques to summarize the plot. Short clips are shown out of chronological order and accompanied by a voiceover narration to explain the story. This includes flashes of the main character committing violent acts intercut with other scenes. The trailer builds suspense through ominous music and zoomed-in shots of unhinged characters. It reveals that the film involves a family staying in an isolated hotel where the father has a mental breakdown and intends to kill his wife and son, leaving the wife as the final girl who must confront the killer.
Textual analysis of 2 soap opera trailersJonny Sheehan
This document provides an analysis of two soap opera trailers from EastEnders and Hollyoaks. For the EastEnders trailer, the analysis notes the effective use of non-diegetic sound to create suspense and uncertainty. Technical elements like close-ups, point-of-view shots, and abrupt editing are also discussed. Analysis of the Hollyoaks trailer examines the fast-paced dramatic soundtrack, inclusion of arguing dialogue, and changing lighting and costumes to reflect character emotions. Elements from both trailers that the author would replicate include tracking shots, broken frames, soundtracks, and lack of dialogue to introduce unknown characters without bias. Fading edits and a mix of lighting styles are also identified as strengths.
The document analyzes the film Identity through its camera shots/angles/movements, editing, lighting, sound, and mise-en-scene. It discusses how close-ups are used to depict emotions and build trust in characters. Parallel editing links the motel scenes to Malcolm Rivers' case. Shifting perspectives and jump cuts reveal Ed's dissociative identity disorder. Lighting and sound convey mystery, tension, and insanity. The motel setting and sexually objectified female characters comply with horror conventions.
The trailer introduces the psychological thriller film Shutter Island, set in 1954. It shows U.S. Marshal Teddy Daniels investigating the disappearance of a patient from the Ashecliffe Hospital on Shutter Island. Teddy begins to doubt his own memory and sanity as he discovers more puzzling clues and secrets about the hospital's radical treatments. Visual codes establish the period setting through costumes. Technical codes use shots that build tension, like close-ups of patients' fearful faces. As a hurricane isolates the island, Teddy questions everything around him on the mysterious island asylum.
This document provides a detailed analysis of the visual, audio, technical, action, and narrative codes used in the trailer for the thriller film Eden Lake. It examines how the trailer uses bright colors and calm music at the beginning to establish the main characters' happiness before shifting to darker tones and ominous sounds as their situation takes a turn for the worse with the introduction of a gang of violent teenagers. The analysis explores how camera angles, quick editing, and flashes of red are employed to build tension and suggest impending danger.
The document discusses common narrative structures and techniques used in psychological and slasher horror movie trailers. It analyzes the trailers for Texas Chainsaw Massacre, Nightmare on Elm Street, and Woman in Black. The trailers typically show establishing shots, introduce victims and problems, and end with cliffhangers. They aim to build tension through distorted shots, lighting, and a lack of full context to encourage audiences to watch the full movie.
The document analyzes and compares the trailers for the psychological horror films "Orphan" and "Hide and Seek". It finds that the trailers use similar conventions, including establishing shots of families, hints about dark secrets through ambiguous text straps, young female leads who disrupt family dynamics, similar lighting, camera work and editing techniques. Both trailers also end with quick cuts and panicked characters to generate tension and intrigue audiences to see the full films. While similar in many techniques, "Hide and Seek" differs in showing well-known actors and providing less obvious narrative hints through straps.
This document contains an analysis of two soap opera trailers by a media studies student. For trailer one, from EastEnders, the student notes the use of dialogue to indicate disagreement, and music to build tension. Settings like the Queen Vic pub are analyzed. For trailer two, from Hollyoaks, there is no dialogue but upbeat music and messy settings to depict rebellious teens. Technical elements like close-ups, eyeline matches, and camera movements are examined. The student concludes they would incorporate music, shots establishing relationships, and colors/actions implying conflict if creating their own soap opera trailer.
The document provides an overview of screenplay formatting including defining scenes, scene headings, scene directions, character cues, actor directions, dialogue, exposition, and backstory. It discusses how to effectively incorporate exposition and backstory into a screenplay while continuing to move the story forward through visual storytelling. Key elements like dialogue, character actions, and location are emphasized.
This trailer for a horror film establishes the relationship between two outsider characters, Oskar and Eli, in a small town in Sweden. Oskar is frequently bullied at school and finds acceptance in his friendship with Eli, but signs indicate that Eli may not be human. Through the use of low-key lighting and unsettling sounds, the trailer builds a dark and disturbing atmosphere. Shots of violent acts, a dead body, and a woman shaking in a hospital bed suggest supernatural threats. While Oskar seems to find hope in his friendship with Eli, clues about her white skin and inability to feel cold foreshadow that she may be a vampire, endangering Oskar and the town.
The short film "The Most Beautiful Man in the World" explores themes of child neglect, poverty, isolation, and lack of stimulation through the story of a young girl. Various textual and technical elements are used to portray the girl's boredom and loneliness in her dull home life, and her curiosity when encountering a stranger in the wilderness. While this interaction initially seems to fulfill her need for connection, it then takes a disturbing turn that raises issues of paedophilia. In the end, the girl finds herself back in her lifeless domestic routine, demonstrating the cyclical nature of her neglected situation and lack of opportunities for development or escape.
A young girl named Baby Doll is locked away in a mental asylum by her abusive stepfather, where she will undergo a lobotomy in five days. In her imagination, Baby Doll retreats to a fantastical world where she and four other inmates plot their escape from the asylum. The lines between reality and fantasy become blurred as Baby Doll and her companions fight to retrieve five items they need to break free before it's too late.
The document summarizes scenes from a horror film involving a sinister doll. It describes diegetic dialogue describing fearful events in a house. Images then show the doll, which has wounds on its face, implying it is dangerous. Subsequent scenes show three uncomfortable characters, a white-dressed doll contrasting innocence with implied danger, and flashbacks revealing notes and scribbling linked to the doll and written with red crayons associated with children and danger. Shots of dark spaces heighten mystery and fear.
Textual Analysis of 2 Soap Opera Trailers - Maryasiye KircinMaryasiye Kircin
The document analyzes and compares two soap opera trailers: an EastEnders trailer focusing on Peggy Mitchell's departure and a Coronation Street trailer highlighting an upcoming dramatic week. The EastEnders trailer uses a non-diegetic song and Peggy Mitchell's facial expressions to hint at future events, while providing little dialogue. The Coronation Street trailer incorporates significant diegetic dialogue to give more insight into unfolding events, including a potential murder, though it risks revealing too much. Overall, the Coronation Street trailer is deemed more effective at attracting new viewers through its use of sound and portrayal of multiple storylines.
The film begins with a black screen and white text providing background information about the film's subject matter. It then cuts to a series of close-up shots showing significant objects related to disturbing events that have occurred. Interspersed with these shots is an audio recording from the scene that adds to the growing sense of tension and mystery. The titles then appear in the same style as the introductory text, concluding the opening sequence and leaving the audience with questions about what has transpired.
The intro to The Shining consists of helicopter shots showing a snowy mountain landscape. A small car is tracked driving along isolated roads as tense, eerie music plays. The narrative establishes that the car has come a long way and is traveling to an isolated area, building tension and suspense through the isolation and music. Only helicopter shots are used to track the car's journey and make the audience feel like they are part of the trip.
The document provides an analysis of the opening sequences of the films "Seven" and "The Ring". It examines various film techniques used such as camera work, editing, sound, and visual elements. In "Seven", the opening scene focuses on a character cutting off their fingerprints, setting up the crime element. Shaky fonts mirror the psychotic mindset. In "The Ring", tension is built as the main character hesitantly approaches a door, with zooms and close-ups capturing her fear over what lies beyond. Unusual drawings by a child also reference the film's title and plot.
The document provides a script for 6 scenes depicting the story of a homeless child. In the first scene, the child arrives at a train station and finds shelter in a cardboard box in a park. In scene 2, another child named Child 1 discovers the homeless child and tries to befriend her. In scene 3, there is a flashback showing the homeless child was previously ill and her family was struggling with medical costs. Scene 4 shows Child 1 continuing to help the homeless child by bringing her food. Scene 5 depicts the homeless child having flashbacks by the riverside about her family issues and past illness. The final scene reveals through a flashback that the homeless child had cancer and left home to not be a burden on her family
This sequence from the film Vampire's Assistant uses visual elements like animation, darkness, and gothic backgrounds to set the tone of a comedy horror genre targeted at a younger audience. Shots progress like a storybook, with strands of DNA and connections between coffins implying an impending change and unity amongst characters. Characters revealed have stylized scary features like red eyes to create a dark feeling. The puppetry and split frames with contrasting colors imply all characters have an evil side and lack control over unfolding events, driven by a domineering main antagonist.
Similar to Music video analysis egomama by deco*27 (20)
2. About the song
Egomama is a song written by Japanese musicians DECO*27 in 2011 and
sung by singer Marina with a completely animated music video. The original
song is in Japanese but has official English translated lyrics which many
people have used to make covers.
The song lyrics describe the idea of love being a “give or take” situation in
which you have to choose to help your lover or yourself, and the other will
suffer. The narrative later in the song is reflected by a change in the lyrics
for the positive, stating that rather than choosing, the two can work together.
Original Japanese:
http://www.youtube.com/watch?v=n0l0iLUgyPQ
Best English Cover (horizon):
http://www.youtube.com/watch?v=qqTHGFNN4EY
3. Setting
The video takes place in a setting that resembles some sort of
casino with an “Alice In Wonderland” atmosphere due to the
wide space and thousands of cards falling from nowhere. The
setting is meant to represent limbo, the place between places
and in this case the place between decisions, and how love is a
risky gamble or a game of wits.
4. Narrative
The story starts with a boy and a girl, the
girl opens a door into the “casino” and the
scene switches to two polar opposite
girls, one dressed like an elegant lady and
the other like a flashy princess. Both have
young men playing as dealers. The princess
takes all of her table’s chips selfishly and
has a card with the letter “I” on it, while
the lady gives all of her chips to her dealer
and has a card with “U” on it. These girls
represent two sides of a person’s decisions
and personality, “I” being the selfish side
and “U” being the selfless side. At one point
the camera jumps between a close up of
each’s clasped hands before briefly showing
the girl from the start in the same
position, hinting again that they’re both
connected to her.
5. Narrative
Each girl also has a teddy bear, which may be a symbol of their innocence
as well as an effigy of themselves, since later in the video they are
attacked (showing the pain caused on both sides by conflict) and the
injuries they sustain are also shown on both girls.
6. Narrative
After the bears are injured, the two
girls reach for them and are hit by a
sudden pain or sadness (shown by the
shaking outlines that seem very gritty
and out of control). Meant to represent
the pain caused by inner conflict and
when relationships hit a rough patch.
After an instrumental they’re both
shown sitting with their bears and
looking defeated. Each girl seems to be
alone and notices a card on the floor
which they pick up and reveal to be
the other girl’s card. “I” is shown
comparing the two cards when the
heart symbol from each combines to
make one large heart and the words “I
Love U” flash onscreen. The two girls
are suddenly aware of each other’s
existence and shown to be standing just
metres apart, showing that they’re
actually two halves of the same person.
7. Narrative
Upon discovering each other the two girls smile and
come together with their bears. They press the two
bears together face to face in a representation of them
uniting at last and as the bears disappear, a large
heart-shaped door appears behind them indicating they
can leave now that they work together. Instead the first
girl is seen leaving the room and comes face to face
with the first boy, who now seems to be the person she
is in love with. It’s also shown that he was going
through the same thing when a shot shows the two
dealers standing behind his own door. After smiling at
each other there is a focus pull at the end showing the
girl still has a card in her pocket, indicating the
experience was possibly real and she learned from it.
The card “jumps” from her pocket as the scene
disappears in an aesthetically pleasing ending shot
showing the importance of the card while making it all
seem magical or innocent.
8. Mise en scéne
The setting already touched upon is very interesting and quite
pleasing to the artistic eye, but something not already
mentioned is how the lighting is set to have most of the casino
room appear slightly shadowed. This is both to give an air of
mystery and tension as well as contrasting with the slightly
brighter lighting on whatever is in the foreground, namely the
main characters which because of that always look like they’re
in a spotlight and “put on trial”, if you will. The props range
from the teddy bears mentioned earlier to the gambling chips
shown in a few shots (again hinting that love is a gamble)
and the playing cards used in various ways throughout the
video. While talking about the mise en scéne in an animated
video is a little strange, the evident simplicity with props has
more of an impact on the narrative than if there were random
objects everywhere that (as a result) would split our attention
and make the narrative hard to follow. In regards to costume
the two girls I and U are shown to be polar opposites, U
wearing dark colours with short black hair in an elegant
fashion, and I having long golden hair and wearing a white
(if slightly more flashy looking) princess outfit to look more
confident and powerful.
9. Interesting shots
An interesting trick used to support the video’s narrative is how
each shot of I or U is either perfectly mirrored, has identical
composition or is set out to be in some way the opposite of the
equivalent shot. This is meant to signify how both characters are
very similar in their situation and only differ in
appearance, personality and perhaps one or two actions (such as
when U picks up her bear and stares at it, while I knocks her
bear away violently). Many of the establishing shots either pan
very smoothly across certain parts of the setting or glide around it
quite quickly, while later during an instrumental the shots are
even more dramatic, showing the casino chips flying
everywhere, countless doors falling “down the rabbit hole”
style, and many racing shots down corridors of them where the
shots transition into each other using a flickering effect. At one
point the corridor is even turned upside down for a split second.
All of this is meant to represent drama and mild chaos.
My personal favourite shot however is the close-up of I’s
expression when she realises U is behind her. It’s very brief, but
the shock on her face usually creates the same emotive response
in the viewers, especially when followed by the camera’s very fast
spinning around both girls for dramatic effect.