The document provides an analysis of three music videos: Sia's "Chandelier", Ed Sheeran's "The A Team", and Hoobastank's "The Reason". For each video, key shots, edits, settings, lighting, costumes, characters, colors, and sounds are identified and broken down. Specific sequences from each video are also analyzed in more detail to understand the effective use of techniques like camera shots, lighting, color, and how they convey narrative and emotion. Overall, the document conducts an in-depth technical analysis of the three music videos to understand their visual storytelling techniques.
The document discusses the conventions used in the opening scenes and posters of different film genres, including crime fiction, adventure, comedy/romance, true crime/gangster, and crime/mystery thriller films. For each genre, it analyzes the music, narrative, color scheme, lighting, characters, and other elements presented in the opening scene and poster. Overall, it examines how specific cinematic and visual techniques are used to set the tone and provide context clues about the genre and story for the audience.
This document provides the script for a music video for the song "Girlfriend in a Coma" by The Smiths. The script describes scenes showing a male character and his girlfriend spending time together at first, including walking in a park, watching a movie, and playing games. Later scenes show the male character revisiting these places alone, reflecting on the relationship in the past tense. Throughout, the video uses techniques like color overlays and camera work to convey the atmosphere and the male character's deteriorating mental state as he comes to terms with the fact that his girlfriend is now in a coma.
Script for recording video analysing Detourlivgascoine
This document provides a script for analyzing various clips from the 1945 film noir "Detour". It summarizes key elements in each clip such as lighting, music, shot types, and how they advance the plot and develop characters. The opening credits set the tone with their font and music. Early scenes establish the protagonist Al as an ambiguous figure and use flashbacks to build mystery around his journey. Subsequent clips showcase techniques like voiceover and femme fatale characters to reveal Al's inner thoughts and complicate the narrative. The film employs many classic noir elements like dark lighting, reflections, and an ultimately tragic ending left ambiguous for the audience.
The document summarizes the openings of five films: Amelie, Frida Kahlo, Romeo & Juliet (Moulin Rouge), and Juno. For each film, it outlines elements that establish settings, characters, genres, and provide context without fully revealing plot details. These elements include music, titles/credits, visuals/shots that set locations and times. The summaries convey just the essential high-level information about how each opening orients the viewer.
The clip analyzes a scene from Eastenders that focuses on bullying. It begins with long pans showing the character Ben being chased by bullies, establishing that he is frequently bullied. When Ben knocks on a friend's door, his loud, fast voice shows his fear and causes sympathy from the audience. Throughout, close-ups of the main bully show his power and intimidation, while point-of-view shots allow the audience to see from both characters' perspectives. Ultimately, the female character's uncle intervenes and intimidates the bullies into leaving, demonstrating the growing issue of bullying in society.
The document is a script for a music video for the song "Girlfriend in a Coma" by The Smiths. It describes scenes showing a couple spending time together at a park, walking together, and watching a movie at home. Later scenes show a rewind of these events with only the male character present, indicating he is reflecting on their past relationship. The final scene shows the distressed male character looking at a photo of them that now only shows himself, representing that his girlfriend is now gone.
The music video treatment proposes a circular narrative that contrasts scenes of the protagonist as an overworked adult with scenes of them reconnecting with their inner child. It begins and ends with the protagonist at their desk job, with scenes in between of them as a carefree child at a park and as a mentally deteriorating adult drinking alone in a pub. The treatment aims to use juxtaposition of light vs dark locations and lively vs dreary imagery to illustrate the protagonist's desire to recapture their youthful spirit and escape adult responsibilities.
This document contains a script for a music video for the song "Girlfriend in a Coma" by The Smiths. The script describes scenes showing a male character and his girlfriend spending time together at a park and his home. It then shows the same scenes rewinding to depict the male character reflecting on the relationship alone after his girlfriend has fallen into a coma. Visual effects like disorientation and grayscale are used. The video concludes with the male character distraught while looking at a photo of the couple where his girlfriend has disappeared, representing his loss and confusion over her condition.
The document discusses the conventions used in the opening scenes and posters of different film genres, including crime fiction, adventure, comedy/romance, true crime/gangster, and crime/mystery thriller films. For each genre, it analyzes the music, narrative, color scheme, lighting, characters, and other elements presented in the opening scene and poster. Overall, it examines how specific cinematic and visual techniques are used to set the tone and provide context clues about the genre and story for the audience.
This document provides the script for a music video for the song "Girlfriend in a Coma" by The Smiths. The script describes scenes showing a male character and his girlfriend spending time together at first, including walking in a park, watching a movie, and playing games. Later scenes show the male character revisiting these places alone, reflecting on the relationship in the past tense. Throughout, the video uses techniques like color overlays and camera work to convey the atmosphere and the male character's deteriorating mental state as he comes to terms with the fact that his girlfriend is now in a coma.
Script for recording video analysing Detourlivgascoine
This document provides a script for analyzing various clips from the 1945 film noir "Detour". It summarizes key elements in each clip such as lighting, music, shot types, and how they advance the plot and develop characters. The opening credits set the tone with their font and music. Early scenes establish the protagonist Al as an ambiguous figure and use flashbacks to build mystery around his journey. Subsequent clips showcase techniques like voiceover and femme fatale characters to reveal Al's inner thoughts and complicate the narrative. The film employs many classic noir elements like dark lighting, reflections, and an ultimately tragic ending left ambiguous for the audience.
The document summarizes the openings of five films: Amelie, Frida Kahlo, Romeo & Juliet (Moulin Rouge), and Juno. For each film, it outlines elements that establish settings, characters, genres, and provide context without fully revealing plot details. These elements include music, titles/credits, visuals/shots that set locations and times. The summaries convey just the essential high-level information about how each opening orients the viewer.
The clip analyzes a scene from Eastenders that focuses on bullying. It begins with long pans showing the character Ben being chased by bullies, establishing that he is frequently bullied. When Ben knocks on a friend's door, his loud, fast voice shows his fear and causes sympathy from the audience. Throughout, close-ups of the main bully show his power and intimidation, while point-of-view shots allow the audience to see from both characters' perspectives. Ultimately, the female character's uncle intervenes and intimidates the bullies into leaving, demonstrating the growing issue of bullying in society.
The document is a script for a music video for the song "Girlfriend in a Coma" by The Smiths. It describes scenes showing a couple spending time together at a park, walking together, and watching a movie at home. Later scenes show a rewind of these events with only the male character present, indicating he is reflecting on their past relationship. The final scene shows the distressed male character looking at a photo of them that now only shows himself, representing that his girlfriend is now gone.
The music video treatment proposes a circular narrative that contrasts scenes of the protagonist as an overworked adult with scenes of them reconnecting with their inner child. It begins and ends with the protagonist at their desk job, with scenes in between of them as a carefree child at a park and as a mentally deteriorating adult drinking alone in a pub. The treatment aims to use juxtaposition of light vs dark locations and lively vs dreary imagery to illustrate the protagonist's desire to recapture their youthful spirit and escape adult responsibilities.
This document contains a script for a music video for the song "Girlfriend in a Coma" by The Smiths. The script describes scenes showing a male character and his girlfriend spending time together at a park and his home. It then shows the same scenes rewinding to depict the male character reflecting on the relationship alone after his girlfriend has fallen into a coma. Visual effects like disorientation and grayscale are used. The video concludes with the male character distraught while looking at a photo of the couple where his girlfriend has disappeared, representing his loss and confusion over her condition.
This document contains a script for a music video for the song "Girlfriend in a Coma" by The Smiths. The script describes scenes showing a male character and his girlfriend spending time together at a park and his home. It then shows the same scenes rewinding to depict the man reflecting alone on the relationship in the past tense. This suggests something has happened to the girlfriend. The video ends with the man distraught while looking at a photo of them together, realizing his girlfriend is no longer in the photo, leaving him alone.
This document provides a storyboard for a music video for an indie folk song called "Youth". It describes 38 shots that make up the narrative of the video. The shots tell the story of a young woman named Lily dealing with a breakup from her boyfriend Wes. They show her initially upset in the woods [SHOT 1-7], a flashback to happier times with Wes [SHOT 20-24], and her journey of moving on, culminating in her burning a photo of them together [SHOT 36-38]. The shots are designed to reflect the lyrics and mood of the song, use conventions of the indie folk genre, and elicit emotion from the viewer.
This document provides a script for a music video for the song "Girlfriend in a Coma" by The Smiths. The script describes scenes showing a couple spending time together at a park and home. It then shows the events rewinding to depict the man alone, reflecting on the relationship. The video aims to portray the breakdown of the relationship through shots of the man visiting places they went together now by himself, holding flowers that fall to the ground, and finding a photo of them that only shows himself. It ends with the man confused looking at the photo, signaling that the girlfriend is now in a coma.
The document provides an analysis of the visual, audio, narrative, and technical codes used in the openings of three romantic films: The Holiday, Confessions of a Shopaholic, and The Vow. For each film opening, the analysis describes the codes used to establish settings, characters, relationships, and introduce narrative elements or mysteries to engage the audience. The openings set up the genres, seasons, and central themes or relationships that will be explored in each film through their use of shots, music, narration, facial expressions, and story details.
The music video opens with the female protagonist approaching the male protagonist holding power over him as he sits bound. Throughout the video, tense scenes show their love-hate relationship unfolding, with the female alternately portrayed as his "angel" and "devil" through flashbacks and changes in appearance. The narrative builds intrigue and confusion before revelations in the chorus, mirroring the song's lyrics. Red lighting emphasizes the dark, devious atmosphere of their relationship. The video aims to create a suspenseful narrative that aligns with the rock music genre through its dark tone, tense scenes, and limited color palette.
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 analyzes the cinematography techniques used in music videos for several popular songs. It discusses elements like camera shots, lighting, mise-en-scene, and how they help convey the themes and moods of the songs. For each video, it describes the camera shot, lighting, mise-en-scene elements, and provides a brief context about the narrative or message of the song. The document aims to understand how visual elements in music videos complement and enhance the listening experience.
Arctic Monkeys - Arabella Music Video AnalysisSam Bond
The video for Arctic Monkeys' "Arabella" depicts a mysterious woman who seems to represent the song's titular character. It uses a voyeuristic style, with shaky camerawork and shots that zoom in on and linger on the woman. This emphasizes the themes of objectification and the male gaze. Scenes cut between shots of the woman and Alex Turner singing, implying he is singing about her. While other women are shown in sexually suggestive ways, shots of "Arabella" maintain an air of mystery and unattainability, preserving the idea that she represents an ideal woman. The video blends narrative shots with a live performance setting to interpret the song's themes without a concrete story.
The video summary compares the music video for The Script's song to Stereophonics' "Devil" video. It notes that The Script video uses quick editing at the beginning to portray a sense of being lost, while "Devil" has a more ominous tone. Both videos feature the lead singer in a leather jacket and incorporate lyrics into the narrative. However, The Script video conveys hope through its lighting and empty city setting, while "Devil" has a darker tone. Overall, the videos have different meanings but use some similar filmmaking techniques to communicate different messages.
1) The music video for "Flaws" by Bastille follows the lead artist through a day dealing with his flaws, represented by skeleton-faced girls. It continues the narrative from their previous video "Bad Blood" where he drowned.
2) Various shots and camera techniques are used to build a connection between the artist and audience, including close-ups of the artist and shots following his point of view.
3) Over the course of the day, the narrative shifts from the flaws antagonizing the artist to them enjoying each other's company, representing his acceptance of his flaws. The cyclical narrative leaves the ending open to interpretation.
The document provides a detailed shot-by-shot summary of a music video. It introduces the main female character playing piano alone in black clothing, representing her mysterious and solitary nature. Later shots show her interacting and developing a close friendship with a male character, though the narrative takes a twist when he is shown leaving with another woman, leaving the female character alone once more. The shots are intended to visually depict the lyrics and themes of loneliness and broken loyalty within the song.
This document provides a detailed shot-by-shot analysis of the music video for the song "Alone Together" by Fall Out Boy. It analyzes how various shots use lighting, camera angles, settings and characters to convey a dark, isolated and panicked atmosphere. Key conventions of the rock genre and male gaze are employed through stereotypical female characters and implied violence. The analysis suggests the video uses an episodic structure to show each band member experiencing distress in different ways. Music and visuals are closely linked to build tension and intensity throughout the video.
The opening sequence of Law Abiding Citizen establishes a sense of normalcy and family bonding between a father and daughter through their activities and background music. This atmosphere quickly changes when intruders violently attack the man in his home, as signaled by a shift to dramatic music and the woman's screams. Her echoed cries and the low-pitched music build suspense and suggest her impending death. Fades to black transition between scenes of the victims blacking out.
The opening of The Social Network shows Mark running home in an angry state after a breakup, as indicated by the piano music's lowering tones. Establishing shots introduce the old school setting and Mark's talented peers. The long scene of Mark running suggests he
This document discusses the representation of social classes in the opening scenes of three films: Shaun of the Dead, Blood Diamond, and Inglorious Basterds. For Shaun of the Dead, the opening scene depicts working class and teenage social groups. In Blood Diamond, the opening focuses on depicting poor fishing communities along the coast of Africa. The opening of Inglorious Basterds initially seems to represent a higher social class through depicting an isolated farmhouse, but then shows the character engaging in manual labor, indicating he may be middle or lower class.
The document provides a detailed textual analysis of the opening title sequence of the film "The Game". It analyzes 26 shots from the sequence, describing elements like lighting, costumes, camera work, and how they establish themes of mystery, intrigue and hint at a darker underlying plot. The sequence appears to depict a nostalgic look back at a wealthy man's childhood in the 1950s-60s, showing scenes from an upper-class family celebration and garden party through the style of home video footage.
Music video Evaluation - The Lumineers 'Cleopatra' Molly Turner
The music video for "Cleopatra" by The Lumineers tells the narrative story of a lonely taxi driver. She picks up various passengers throughout the video, including a pregnant woman and later her son from a picture in the taxi. The director uses stylistic techniques like square framing and close-up shots of the characters' faces to tell the emotional story and develop the relationship between the driver and her passengers. In the end, the driver is seen regretfully driving away after dropping off her son, suggesting she remains isolated despite experiencing human connections through her work.
This document analyzes and summarizes various shots from music videos to understand how they develop themes, characters, and genres.
Several shots are described that show characters overcoming obstacles or finding confidence, represented metaphorically through imagery of emerging from darkness into light. Other shots depict characters as powerful or dominant through their positioning, costumes, and surroundings. Common music video techniques are also discussed, such as using certain colors, lighting, costumes or scenarios to convey emotions or move plot lines forward. Intercultural references and transformations of familiar characters are also analyzed for their symbolic meanings.
The document analyzes the cinematography, mise-en-scene, sound, and codes and conventions used in the movie trailer for Mean Girls. It discusses how different camera shots, colors, music, and other elements are used to convey information to the audience and set expectations. For example, it notes that medium shots are used to introduce characters, swirling camera moves show different cliques in the school, and pink is prominently featured to suggest the target audience is teenage girls. The analysis provides insight into how the trailer communicates its key messages through visual and audio techniques.
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.
This film is a romance genre that follows the reunion of two old lovers. The costumes, props, and locations help establish the time periods between the present and flashbacks to the woman's childhood. Her dark clothing and makeup in the present stereotype her as emo or rock, while the children's old-fashioned clothes in the flashbacks indicate it is in the past. The lighting and sounds aim to set a nostalgic, dreamy atmosphere for the flashbacks and a romantic one in the restaurant setting. Various camera techniques like close-ups, tracking shots, and focus pulls are used to direct the audience's attention to important details between the past and present.
This film is a romance genre that follows the reunion of two old lovers. The costumes, props, and locations help establish the time periods between the present and flashbacks to the woman's childhood. Her dark clothing and makeup in the present stereotype her as emo or rock, while the children's old-fashioned clothes in the flashbacks indicate it is in the past. The lighting and sounds aim to set a nostalgic, dreamy atmosphere for the flashbacks and a romantic one in the restaurant setting. Various camera techniques like close-ups, tracking shots, and focus pulls are used to direct the audience's attention to important details between the past and present.
The document provides a treatment outline for a music video for Camila Cabello's song "Havana". The video will tell the story of a girl named Bella recounting a romance she had over summer vacation. It will feature interpretative narrative scenes and dance performances. Flashback sequences will show Bella's encounter with a boy at a party in an abandoned building. The ending will feature a plot twist revealing the boy with another girl. Key influences, techniques, theories, characters, locations, target audience, visual style choices, equipment needs and contingency plans are outlined.
This document contains a script for a music video for the song "Girlfriend in a Coma" by The Smiths. The script describes scenes showing a male character and his girlfriend spending time together at a park and his home. It then shows the same scenes rewinding to depict the man reflecting alone on the relationship in the past tense. This suggests something has happened to the girlfriend. The video ends with the man distraught while looking at a photo of them together, realizing his girlfriend is no longer in the photo, leaving him alone.
This document provides a storyboard for a music video for an indie folk song called "Youth". It describes 38 shots that make up the narrative of the video. The shots tell the story of a young woman named Lily dealing with a breakup from her boyfriend Wes. They show her initially upset in the woods [SHOT 1-7], a flashback to happier times with Wes [SHOT 20-24], and her journey of moving on, culminating in her burning a photo of them together [SHOT 36-38]. The shots are designed to reflect the lyrics and mood of the song, use conventions of the indie folk genre, and elicit emotion from the viewer.
This document provides a script for a music video for the song "Girlfriend in a Coma" by The Smiths. The script describes scenes showing a couple spending time together at a park and home. It then shows the events rewinding to depict the man alone, reflecting on the relationship. The video aims to portray the breakdown of the relationship through shots of the man visiting places they went together now by himself, holding flowers that fall to the ground, and finding a photo of them that only shows himself. It ends with the man confused looking at the photo, signaling that the girlfriend is now in a coma.
The document provides an analysis of the visual, audio, narrative, and technical codes used in the openings of three romantic films: The Holiday, Confessions of a Shopaholic, and The Vow. For each film opening, the analysis describes the codes used to establish settings, characters, relationships, and introduce narrative elements or mysteries to engage the audience. The openings set up the genres, seasons, and central themes or relationships that will be explored in each film through their use of shots, music, narration, facial expressions, and story details.
The music video opens with the female protagonist approaching the male protagonist holding power over him as he sits bound. Throughout the video, tense scenes show their love-hate relationship unfolding, with the female alternately portrayed as his "angel" and "devil" through flashbacks and changes in appearance. The narrative builds intrigue and confusion before revelations in the chorus, mirroring the song's lyrics. Red lighting emphasizes the dark, devious atmosphere of their relationship. The video aims to create a suspenseful narrative that aligns with the rock music genre through its dark tone, tense scenes, and limited color palette.
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 analyzes the cinematography techniques used in music videos for several popular songs. It discusses elements like camera shots, lighting, mise-en-scene, and how they help convey the themes and moods of the songs. For each video, it describes the camera shot, lighting, mise-en-scene elements, and provides a brief context about the narrative or message of the song. The document aims to understand how visual elements in music videos complement and enhance the listening experience.
Arctic Monkeys - Arabella Music Video AnalysisSam Bond
The video for Arctic Monkeys' "Arabella" depicts a mysterious woman who seems to represent the song's titular character. It uses a voyeuristic style, with shaky camerawork and shots that zoom in on and linger on the woman. This emphasizes the themes of objectification and the male gaze. Scenes cut between shots of the woman and Alex Turner singing, implying he is singing about her. While other women are shown in sexually suggestive ways, shots of "Arabella" maintain an air of mystery and unattainability, preserving the idea that she represents an ideal woman. The video blends narrative shots with a live performance setting to interpret the song's themes without a concrete story.
The video summary compares the music video for The Script's song to Stereophonics' "Devil" video. It notes that The Script video uses quick editing at the beginning to portray a sense of being lost, while "Devil" has a more ominous tone. Both videos feature the lead singer in a leather jacket and incorporate lyrics into the narrative. However, The Script video conveys hope through its lighting and empty city setting, while "Devil" has a darker tone. Overall, the videos have different meanings but use some similar filmmaking techniques to communicate different messages.
1) The music video for "Flaws" by Bastille follows the lead artist through a day dealing with his flaws, represented by skeleton-faced girls. It continues the narrative from their previous video "Bad Blood" where he drowned.
2) Various shots and camera techniques are used to build a connection between the artist and audience, including close-ups of the artist and shots following his point of view.
3) Over the course of the day, the narrative shifts from the flaws antagonizing the artist to them enjoying each other's company, representing his acceptance of his flaws. The cyclical narrative leaves the ending open to interpretation.
The document provides a detailed shot-by-shot summary of a music video. It introduces the main female character playing piano alone in black clothing, representing her mysterious and solitary nature. Later shots show her interacting and developing a close friendship with a male character, though the narrative takes a twist when he is shown leaving with another woman, leaving the female character alone once more. The shots are intended to visually depict the lyrics and themes of loneliness and broken loyalty within the song.
This document provides a detailed shot-by-shot analysis of the music video for the song "Alone Together" by Fall Out Boy. It analyzes how various shots use lighting, camera angles, settings and characters to convey a dark, isolated and panicked atmosphere. Key conventions of the rock genre and male gaze are employed through stereotypical female characters and implied violence. The analysis suggests the video uses an episodic structure to show each band member experiencing distress in different ways. Music and visuals are closely linked to build tension and intensity throughout the video.
The opening sequence of Law Abiding Citizen establishes a sense of normalcy and family bonding between a father and daughter through their activities and background music. This atmosphere quickly changes when intruders violently attack the man in his home, as signaled by a shift to dramatic music and the woman's screams. Her echoed cries and the low-pitched music build suspense and suggest her impending death. Fades to black transition between scenes of the victims blacking out.
The opening of The Social Network shows Mark running home in an angry state after a breakup, as indicated by the piano music's lowering tones. Establishing shots introduce the old school setting and Mark's talented peers. The long scene of Mark running suggests he
This document discusses the representation of social classes in the opening scenes of three films: Shaun of the Dead, Blood Diamond, and Inglorious Basterds. For Shaun of the Dead, the opening scene depicts working class and teenage social groups. In Blood Diamond, the opening focuses on depicting poor fishing communities along the coast of Africa. The opening of Inglorious Basterds initially seems to represent a higher social class through depicting an isolated farmhouse, but then shows the character engaging in manual labor, indicating he may be middle or lower class.
The document provides a detailed textual analysis of the opening title sequence of the film "The Game". It analyzes 26 shots from the sequence, describing elements like lighting, costumes, camera work, and how they establish themes of mystery, intrigue and hint at a darker underlying plot. The sequence appears to depict a nostalgic look back at a wealthy man's childhood in the 1950s-60s, showing scenes from an upper-class family celebration and garden party through the style of home video footage.
Music video Evaluation - The Lumineers 'Cleopatra' Molly Turner
The music video for "Cleopatra" by The Lumineers tells the narrative story of a lonely taxi driver. She picks up various passengers throughout the video, including a pregnant woman and later her son from a picture in the taxi. The director uses stylistic techniques like square framing and close-up shots of the characters' faces to tell the emotional story and develop the relationship between the driver and her passengers. In the end, the driver is seen regretfully driving away after dropping off her son, suggesting she remains isolated despite experiencing human connections through her work.
This document analyzes and summarizes various shots from music videos to understand how they develop themes, characters, and genres.
Several shots are described that show characters overcoming obstacles or finding confidence, represented metaphorically through imagery of emerging from darkness into light. Other shots depict characters as powerful or dominant through their positioning, costumes, and surroundings. Common music video techniques are also discussed, such as using certain colors, lighting, costumes or scenarios to convey emotions or move plot lines forward. Intercultural references and transformations of familiar characters are also analyzed for their symbolic meanings.
The document analyzes the cinematography, mise-en-scene, sound, and codes and conventions used in the movie trailer for Mean Girls. It discusses how different camera shots, colors, music, and other elements are used to convey information to the audience and set expectations. For example, it notes that medium shots are used to introduce characters, swirling camera moves show different cliques in the school, and pink is prominently featured to suggest the target audience is teenage girls. The analysis provides insight into how the trailer communicates its key messages through visual and audio techniques.
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.
This film is a romance genre that follows the reunion of two old lovers. The costumes, props, and locations help establish the time periods between the present and flashbacks to the woman's childhood. Her dark clothing and makeup in the present stereotype her as emo or rock, while the children's old-fashioned clothes in the flashbacks indicate it is in the past. The lighting and sounds aim to set a nostalgic, dreamy atmosphere for the flashbacks and a romantic one in the restaurant setting. Various camera techniques like close-ups, tracking shots, and focus pulls are used to direct the audience's attention to important details between the past and present.
This film is a romance genre that follows the reunion of two old lovers. The costumes, props, and locations help establish the time periods between the present and flashbacks to the woman's childhood. Her dark clothing and makeup in the present stereotype her as emo or rock, while the children's old-fashioned clothes in the flashbacks indicate it is in the past. The lighting and sounds aim to set a nostalgic, dreamy atmosphere for the flashbacks and a romantic one in the restaurant setting. Various camera techniques like close-ups, tracking shots, and focus pulls are used to direct the audience's attention to important details between the past and present.
The document provides a treatment outline for a music video for Camila Cabello's song "Havana". The video will tell the story of a girl named Bella recounting a romance she had over summer vacation. It will feature interpretative narrative scenes and dance performances. Flashback sequences will show Bella's encounter with a boy at a party in an abandoned building. The ending will feature a plot twist revealing the boy with another girl. Key influences, techniques, theories, characters, locations, target audience, visual style choices, equipment needs and contingency plans are outlined.
The music video for Ed Sheeran's song "The A Team" tells the story of a young homeless woman struggling to survive. Filmed in black and white, the video follows the protagonist as she sleeps on a park bench, busks for money, and eventually resorts to prostitution. Throughout the video, close-up shots are used to show the protagonist's facial expressions and vulnerability. Symbolic props like ecstasy pills foreshadow the protagonist's tragic ending. The video aims to represent the real struggles faced by less fortunate individuals and appeals to audiences aged 16-25 by exploring sensitive social issues.
textual analysis of 2 soap opera trailers Asuka Young
The document provides a textual analysis of two soap opera trailers from Coronation Street and EastEnders. For the first trailer, the analysis notes the contrasting use of diegetic sirens and a non-diegetic upbeat soundtrack to create intrigue. It also examines the use of lighting, costumes, and camera techniques. For the second trailer, the analysis discusses the mysterious soundtrack, setting, costumes that establish a power dynamic between characters, and lack of voiceover. The analysis concludes by discussing conventions from the trailers that could be repeated or exploited in a new trailer, such as contrasting sound and image or minimal locations and voiceover.
The document provides analysis of the video techniques used in 5 music videos:
1. Metallica - One uses blacked out band members, western stock footage, and an abandoned warehouse setting to reflect the dark tone of the song. Close-ups and angles emphasize the importance of the music and drumming. Stock footage is cut with the music.
2. Michael Jackson - Thriller uses horror film-inspired settings, costumes, and camera techniques to portray a movie-like feel. Close-ups show transformation and screaming details. Shots establish settings and conversation-like tracking.
3. Bring Me The Horizon - Sleepwalking uses locations and subtle, handheld shots to portray the fragile nature of sleepwalking. Cross
Music video analysis – all cried out nholliemorriss
The music video takes a narrative genre, telling the story of a woman leaving her partner. She packs up his belongings and embarks on a trip with friends to recreate an explosion seen on TV, blowing up his things on a yacht. Various shots and imagery are used to illustrate the song's meaning and show the woman gaining power and freedom. Stylistic elements like costumes, locations, and camerawork emphasize themes of empowerment, criminality, and the characters' control over their lives.
The group has chosen Taylor Swift's song "Wonderland" for their music video pitch. They feel this indie pop song is unique and allows for creative conceptual ideas for the video. They envision combining elements of performance, narrative, and conceptual videos. Potential filming locations include parks, ponds, fields, and parts of London that would fit the desired indie aesthetic and allow for jump cuts between locations. Issues that could arise include unpredictable weather, traffic delays changing the lighting, and potential camera or footage problems during filming.
This document provides a textual analysis of the Ed Sheeran music video "Give Me Love" in three parts: Cinematography, Mise-en-scene, and Sound. For cinematography, it analyzes the camera shots, angles, framing, and lens effects used to portray the lonely protagonist and establish the narrative. For mise-en-scene, it examines the setting, props, lighting, costumes and casting used to convey the protagonist's poverty and loneliness. For sound, it discusses the use of diegetic and non-diegetic sound to create verisimilitude and connect the audio and visual elements of the story.
The document discusses conventions, titles/timings, mise-en-scene, sound, and camera techniques used in horror and thriller movies. It provides examples of how these elements set the tone and build suspense, such as using string instruments and dark colors in the score, having the male character wear dark clothing, showing clocks at night to suggest mystery, and employing jump cuts and zooms between characters and locations. The document analyzes how these techniques are employed in the openings of movies to immerse viewers and establish the psychological nature of the films.
The opening sequence of Legally Blonde establishes the main character Elle through shots of her blonde hair and shows her getting ready. In parallel, it shows a card being passed around and signed by her friends as they enjoy activities like a water fight. The costumes, props, and pink color scheme portray the characters as stereotypical "girly girls". Non-diegetic happy music sets the tone as fun and unrealistic. The sequence introduces Elle and her social group in a chronological way through editing that cuts between her and the card.
The video summarizes and analyzes 4 music videos of different genres:
1) "Dreamers" by Savoir Adore is an electropop video with mystical, dreamlike elements like masks and slow camerawork. It portrays the female singer as powerful rather than sexualized.
2) "Elastic Heart" by Sia features Maddie Ziegler and Shia LaBeouf in nude-colored costumes, with close-ups showing emotion and power dynamics between them.
3) "Pieces" by Robin Stjernberg uses a narrative format and slow motion to enhance the emotional intensity as the singer crashes through glass after an argument.
4) "Ride" by Twenty
The music video for Bastille's "Oblivion" follows the narrative of their previous video "Flaws" and does not feature the band members. It focuses on a female actress lip syncing the song in the middle of a demolition derby arena. Technical elements like camera work, lighting, and editing create a sense of realism and intensity that builds throughout the video. Intercut scenes provide context about the dangers of demolition derbies and the community they create. By the end, the actress appears nervous but determined to take part in the competition herself, continuing the story and themes of risk, destruction, and "oblivion" from the previous video.
This document outlines a treatment for a music video for the song "Run for It" by artist Kaos. It will tell the story of two characters, both played by the same actress (Amber Salomone), who represent confidence and lack of confidence. The video will feature intercutting scenes between the characters, with one character portrayed as more put together and the other as more ordinary. It provides details on the characters, visual elements, research, locations, equipment, and proposed filming schedule.
The document provides analyses of music videos by Adele, Ellie Goulding, and Girls Aloud. For Adele's "Make You Feel My Love", it describes representations of heartbreak through a dark hotel room setting and body language. For Ellie Goulding's "Your Song", it finds representations of happiness through smiling, nature scenes, and animals. For Girls Aloud's "The Promise", it describes representations of 1960s-1970s stereotypes through fashion, flirtatious behavior, and gender roles.
The document provides analyses of music videos by Adele, Ellie Goulding, and Girls Aloud. For Adele's "Make You Feel My Love", it describes representations of heartbreak through a dark hotel room setting and body language. For Ellie Goulding's "Your Song", it finds representations of happiness through smiling, nature scenes, and animals. For Girls Aloud's "The Promise", it describes representations of 1960s-1970s stereotypes through fashion, flirtatious behavior, and gender roles.
The document provides a detailed analysis of the camera shots, sound, mise-en-scene, and editing techniques used in a music video. It notes that close-ups are used to show the isolation of the main character and the judgmental expressions of others. Shots also establish the normal office setting and convey the strong bond between the main character and his dog. The mise-en-scene depicts normal work attire and settings to show the main character can live a normal life despite his deformed face, while dark lighting sets a sad mood. Editing includes jump cuts during a fight scene and filters during park scenes to portray different atmospheres.
Pop music is a genre that originated in western culture, characterized by short-medium length songs with repeated choruses and hooks. It borrows from many styles but must have catchy melodies and lyrics about topics like love. Popular pop artists today include Justin Bieber, Ariana Grande, and Ed Sheeran. Music videos for pop songs typically feature colorful, upbeat performances and narratives about romantic interests of teenage girls. Cinematography employs techniques like jump cuts and lighting adjustments to highlight characters. Pop videos often portray women in stereotypical gender roles and focus on their relationships with men.
This document provides a summary of Adele's song "Someone Like You" including details about the artist, length, release date, producers, writers, genres, and a breakdown of the music video conventions and mise-en-scene. The music video tells a narrative story through Adele's facial expressions and lonely walking shots of her in Paris shown through various camera shots including close-ups, wide shots, and panning shots. It creates a dull mood through its black and grey color scheme and casual portrayal of Adele to match the song's theme of a broken relationship.
This document provides a summary of the music video for Adele's song "Someone Like You". Key details include:
- The video features Adele walking alone on the streets of Paris, conveying loneliness through her casual appearance and the city's monotone color scheme.
- Scenes show her facial expressions and the Eiffel Tower in the background to establish the location.
- Towards the end, a male is seen walking away from Adele, representing the relationship ending discussed in the song's lyrics.
Everyone knows the power of stories, but when asked to come up with them, we struggle. Either we second guess ourselves as to the story's relevance, or we just come up blank and can't think of any. Unlocking Everyday Narratives: The Power of Storytelling in Marketing will teach you how to recognize stories in the moment and to recall forgotten moments that your audience needs to hear.
Key Takeaways:
Understand Why Personal Stories Connect Better
How To Remember Forgotten Stories
How To Use Customer Experiences As Stories For Your Brand
In the face of the news of Google beginning to remove cookies from Chrome (30m users at the time of writing), there’s no longer time for marketers to throw their hands up and say “I didn’t know” or “They won’t go through with it”. Reality check - it has already begun - the time to take action is now. The good news is that there are solutions available and ready for adoption… but for many the race to catch up to the modern internet risks being a messy, confusing scramble to get back to "normal"
Efficient Website Management for Digital Marketing ProsLauren Polinsky
Learn how to optimize website projects, leverage SEO tactics effectively, and implement product-led marketing approaches for enhanced digital presence and ROI.
This session is your key to unlocking the secrets of successful digital marketing campaigns and maximizing your business's online potential.
Actionable tactics you can apply after this session:
- Streamlined Website Management: Discover techniques to streamline website development, manage day-to-day operations efficiently, and ensure smooth project execution.
- Effective SEO Practices: Gain valuable insights into optimizing your website for search engines, improving visibility, and driving organic traffic to your digital assets.
- Leverage Product-Led Marketing: Explore strategies for incorporating product-led marketing principles into your digital marketing efforts, enhancing user engagement and driving conversions.
Don't miss out on this opportunity to elevate your digital marketing game and achieve tangible results!
Capstone Project: Luxury Handloom Saree Brand
As part of my college project, I applied my learning in brand strategy to create a comprehensive project for a luxury handloom saree brand. Key aspects of this project included:
- *Competitor Analysis:* Conducted in-depth competitor analysis to identify market position and differentiation opportunities.
- *Target Audience:* Defined and segmented the target audience to tailor brand messages effectively.
- *Brand Strategy:* Developed a detailed brand strategy to enhance market presence and appeal.
- *Brand Perception:* Analyzed and shaped the brand perception to align with luxury and heritage values.
- *Brand Ladder:* Created a brand ladder to outline the brand's core values, benefits, and attributes.
- *Brand Architecture:* Established a cohesive brand architecture to ensure consistency across all brand touchpoints.
This project helped me gain practical experience in brand strategy, from research and analysis to strategic planning and implementation.
Customer Experience is not only for B2C and big box brands. Embark on a transformative journey into the realm of B2B customer experience with our masterclass. In this dynamic session, we'll delve into the intricacies of designing and implementing seamless customer journeys that leave a lasting impression. Explore proven strategies and best practices tailored specifically for the B2B landscape, learning how to navigate complex decision-making processes and cultivate meaningful relationships with clients. From initial engagement to post-sale support, discover how to optimize every touchpoint to deliver exceptional experiences that drive loyalty and revenue growth. Join us and unlock the keys to unparalleled success in the B2B arena.
Key Takeaways:
1. Identify your customer journey and growth areas
2. Build a three-step customer experience strategy
3. Put your CX data to use and drive action in your organization
Breaking Silos To Break Bank: Shattering The Divide Between Search And SocialNavah Hopkins
At Mozcon 2024 I shared this deck on bridging the divide between search and social. We began by acknowledging that search-first marketers are used to different rules of engagement than social marketers. We also looked at how both channels treat creative, audiences, bidding/budgeting, and AI. We finished by going through how they can win together including UTM audits, harvesting comments from both to inform creative, and allowing for non-login forums to be part of your marketing strategy.
I themed this deck using Baldur's Gate 3 characters: Gale as Search and Astarion as Social
How to Use AI to Write a High-Quality Article that Ranksminatamang0021
In the world of content creation, many AI bloggers have drifted away from their original vision, resulting in low-quality articles that search engines overlook. Don't let that happen to you! Join us to discover how to leverage AI tools effectively to craft high-quality content that not only captures your audience's attention but also ranks well on search engines.
Disclaimer: Some of the prompts mentioned here are the examples of Matt Diggity. Please use it as reference and make your own custom prompts.
In this humorous and data-heavy Master Class, join us in a joyous celebration of life honoring the long list of SEO tactics and concepts we lost this year. Remember fondly the beautiful time you shared with defunct ideas like link building, keyword cannibalization, search volume as a value indicator, and even our most cherished of friends: the funnel. Make peace with their loss as you embrace a new paradigm for organic content: Pillar-Based Marketing. Along the way, discover that the results that old SEO and all its trappings brought you weren’t really very good at all, actually.
In this respectful and life-affirming service—erm, session—join Ryan Brock (Chief Solution Officer at DemandJump and author of Pillar-Based Marketing: A Data-Driven Methodology for SEO and Content that Actually Works) and leave with:
• Clear and compelling evidence that most legacy SEO metrics and tactics have slim to no impact on SEO outcomes
• A major mindset shift that eliminates most of the metrics and tactics associated with SEO in favor of a single metric that defines and drives organic ranking success
• Practical, step-by-step methodology for choosing SEO pillar topics and publishing content quickly that ranks fast
The Secret to Engaging Modern Consumers: Journey Mapping and Personalization
In today's digital landscape, understanding the customer's journey and delivering personalized experiences are paramount. This masterclass delves into the art of consumer journey mapping, a powerful technique that visualizes the entire customer experience across touchpoints. Attendees will learn how to create detailed journey maps, identify pain points, and uncover opportunities for optimization. The presentation also explores personalization strategies that leverage data and technology to tailor content, products, and experiences to individual customers. From real-time personalization to predictive analytics, attendees will gain insights into cutting-edge approaches that drive engagement and loyalty.
Key Takeaways:
Current consumer landscape; Steps to mapping an effective consumer journey; Understanding the value of personalization; Integrating mapping and personalization for success; Brands that are getting It right!; Best Practices; Future Trends
Build marketing products across the customer journey to grow your business and build a relationship with your customer. For example you can build graders, calculators, quizzes, recommendations, chatbots or AR apps. Things like Hubspot's free marketing grader, Moz's site analyzer, VenturePact's mobile app cost calculator, new york times's dialect quiz, Ikea's AR app, L'Oreal's AR app and Nike's fitness apps. All of these examples are free tools that help drive engagement with your brand, build an audience and generate leads for your core business by adding value to a customer during a micro-moment.
Key Takeaways:
Learn how to use specific GPTs to help you Learn how to build your own marketing tools
Generate marketing ideas for your business How to think through and use AI in marketing
How AI changes the marketing game
The Strategic Impact of Storytelling in the Age of AI
In the grand tapestry of marketing, where algorithms analyze data and artificial intelligence predicts trends, one essential thread remains constant — the timeless art of storytelling. As we stand on the precipice of a new era driven by AI, join me in unraveling the narrative alchemy that transforms brands from mere entities into captivating tales that resonate across the digital landscape. In this exploration, we will discover how, in the face of advancing technology, the human touch of a well-crafted story becomes not just a marketing tool but the very essence that breathes life into brands and forges lasting connections with our audience.
As 2023 proved, the next few years may be shaped by market volatility and artificial intelligence services such as OpenAI's ChatGPT and Perplexity.ai. Your brand will increasingly compete for attention with Google, Apple, OpenAI, and Amazon, and customers will expect a hyper-relevant and individualized experience from every business at any moment. New state-legislated data privacy laws and several FTC rules may challenge marketers to deliver contextually relevant customer experiences, much less reach unknown prospective buyers. Are you ready?Let's discuss the critical need for data governance and applied AI for your business rather than relying on public AI models. As AI permeates society and all industries, learn how to be future-ready, compliant, and confidentlyscaling growth.
Key Takeaways:
Primary Learning Objective
1: Grasp when artificial general intelligence (""AGI"") will arrive, and how your brand can navigate the consequences. Primary Learning Objective
2: Gain an accurate analysis of the continuously developing customer journey and business intelligence. Primary Learning Objective
3: Grow revenue at lower costs with more efficient marketing and business operations.
The advent of AI offers marketers unprecedented opportunities to craft personalized and engaging customer experiences, evolving customer engagements from one-sided conversations to interactive dialogues. By leveraging AI, companies can now engage in meaningful dialogues with customers, gaining deep insights into their preferences and delivering customized solutions.
Susan will present case studies illustrating AI's application in enhancing customer interactions across diverse sectors. She'll cover a range of AI tools, including chatbots, voice assistants, predictive analytics, and conversational marketing, demonstrating how these technologies can be woven into marketing strategies to foster personalized customer connections.
Participants will learn about the advantages and hurdles of integrating AI in marketing initiatives, along with actionable advice on starting this transformation. They will understand how AI can automate mundane tasks, refine customer data analysis, and offer personalized experiences on a large scale.
Attendees will come away with an understanding of AI's potential to redefine marketing, equipped with the knowledge and tactics to leverage AI in staying competitive. The talk aims to motivate professionals to adopt AI in enhancing their CX, driving greater customer engagement, loyalty, and business success.
In this dynamic session titled "Future-Proof Like Beyoncé: Syncing Email and Social Media for Iconic Brand Longevity," Carlos Gil, U.S. Brand Evangelist for GetResponse, unveils how to safeguard and elevate your digital marketing strategy. Explore how integrating email marketing with social media can not only increase your brand's reach but also secure its future in the ever-changing digital landscape. Carlos will share invaluable insights on developing a robust email list, leveraging data integration for targeted campaigns, and implementing AI tools to enhance cross-platform engagement. Attendees will learn how to maintain a consistent brand voice across all channels and adapt to platform changes proactively. This session is essential for marketers aiming to diversify their online presence and minimize dependence on any single platform. Join Carlos to discover how to turn social media followers into loyal email subscribers and ultimately, drive sustainable growth and revenue for your brand. By harnessing the best practices and innovative strategies discussed, you will be equipped to navigate the challenges of the digital age, ensuring your brand remains relevant and resonant with your audience, no matter the platform. Don’t miss this opportunity to transform your approach and achieve iconic brand longevity akin to Beyoncé's enduring influence in the entertainment industry.
Key Takeaways:
Integration of Email and Social Media: Understanding how to seamlessly integrate email marketing with social media efforts to expand reach and reinforce brand presence. Building a Robust Email List: Strategies for developing a strong email list that provides a direct line of communication to your audience, independent of social media algorithms. Data Integration for Targeted Campaigns: Leveraging combined data from email and social media to create personalized, targeted marketing campaigns that resonate with the audience. Utilization of AI Tools: Implementing AI and automation tools to enhance efficiency and effectiveness across marketing channels. Consistent Brand Voice Across Platforms: Maintaining a unified brand voice and message across all digital platforms to strengthen brand identity and user trust. Proactive Adaptation to Platform Changes: Staying ahead of social media platform changes and algorithm updates to keep engagement high and interactions meaningful. Conversion of Social Followers to Email Subscribers: Techniques to encourage social media followers to subscribe to email, ensuring a direct and consistent connection. Sustainable Growth and Minimized Platform Dependence: Strategies to diversify digital presence and reduce reliance on any single social media platform, thereby mitigating risks associated with platform volatility.
Yes, It's Your Fault Book Launch WebinarDemandbase
From Blame to Gain: Achieving Sales and Marketing Alignment to Drive B2B Growth.
Tired of the perpetual tug-of-war between your sales and marketing teams? Come hear Demandbase Chief Marketing Officer, Kelly Hopping and Chief Sales Officer, John Eitel discuss key insights from their new book, “Yes, It’s Your Fault! From Blame to Gain: Achieving Sales and Marketing Alignment to Drive B2B Growth.”
They’ll share their no-nonsense approach to bridging the sales and marketing divide to drive true collaboration — once and for all.
In this webinar, you’ll discover:
The underlying dynamics fueling sales and marketing misalignment
How to implement practical solutions without disrupting day-to-day operations
How to cultivate a culture of collaboration and unity for long-term success
How to align on metrics that matter
Why it’s essential to break down technology and data silos
How ABM can be a powerful unifier
2. Videos and Notes
Sia - Chandelier Ed Sheeran – The A Team Hoobastank – The Reason
- Black and white
- Shaky cam
- Follows a narrative
- Vocalist makes an appearance
- Links lyrics to video
- Clear message
- Gets repetitive
- Sensitive story
- Medium close ups of protagonist
- Props, big issue, to link character
with situation
- Comes into focus slowly
- Scene of traffic at night sped up to
show length of her duration outside
- ^ same with her sitting outside a
shop
- Close-up shows tears
- Costume, changes from many layers
to provocative clothes
- Shot from behind of a long, grand
hallway
- Plains of focus – focuses on drugs
- Close up
- Different protagonists, all join to
same narrative
- Shot, reverse shot between
characters across the street
- Links lyrics to video
- Eye line match
- Repetition of same sequence to
see it from different characters’
point of view
- Plains of focus (shallow)
- Tracking shot, to show further
information on props etc.
- Reaction shot to car accident
- Use of band members and
instruments throughout video
- Different settings
- Many extras to distort the
meaning of the video
- Tracking shot, follows characters
through the journey taken in the
video.
- Tracking shots
- Location not setting
- Costume, simplistic yet
recognisable
- Long Shot
- Match-on-Action, to sync with
movement
- Dark, light in background so
silhouetted
- Medium and medium long
shots, rarely close-ups
- Props, furniture
- Transition to different rooms
as section changes from
chorus to bridge
- All takes place at same time
- Close up, does not show
emotion, as it is staged/fake
- Repetition as camera moves
away
17/10
3. Breakdown – Song 1 (Chandelier)
Shots?
Edits?
Setting?
Lighting?
Narrative?
Costume?
Colours?
Characters?
Establishing shot, shows location/
set.
Long shot – most frequently used.
Close-up of feet.
Medium-long shot, subject takes
up the frame.
Medium close-up, shows features.
Tracking shot, the subject is
followed.
Extreme-long shot, of corridor.
Transition to show
locations.
Eye-line match, girl’s
height is at the
viewer’s eye line.
Lack of edits –
simplicity,
interesting and
unique, artistic,
challenging to keep
focus (ref. OK Go –
Here it Goes Again).
Natural, low-key
lighting.
More fill than key,
coming from behind.
Placement of windows.
Dark corridor.
Light assists in
portraying the multiple
emotions.
Significantly darker at
end than beginning.
Iconic blonde wig.
Nude leotard.
Pale blues and cool tones.
Cream furniture, neutral
but clean.
The bluey-green tones
reflect onto her skin, give
an ill/upset effect – as
opposed to full of colour.
Browns show ageing and
maturity.
Gives impression of natural ‘location’ as
opposed to artificial ‘set’.
Old, empty flat/apartment.
Little décor, plain, peeling and discoloured
wallpaper.
2 paintings, fridge has many photographs.
Writing on canvases, lamp.
Graffiti in first room.
Cluttered kitchen counter.
Windows in kitchen are darkened with
black marks, but not in the other rooms.
Singular character, but
personality seems to
vary, which is very
effective.
Young, slim blonde
female dancer, around
11 years old.
Frequently changes
between innocent child
and graceful and
independent woman.
Iconic blonde wig.
Nude leotard.
Bandages/support on feet.
Interacts with windows quite a bit –
using curtains to ‘strangle’.
Furniture, uncovered mattress to sit on,
sofa to land on.
Door frame and doorway repeatedly
used for beginning and end sequence.
Emotions appear to change.
Difficult to interpret.
Abstract dancing video – no real defined
beginning and end.
Stillness at beginning, curtsy to symbolise
ending.
The expressions hold most of the story.
Childish excitement, with severity within
dance that could represent anger/hurt.
The entire video seems directed at
someone though no other character is
seen.
Sound?
Deep hum at beginning.
No singer on screen, so most
sound is non-diegetic.
However, the video intentionally
matches the dance moves to the
beat.
E.g. slapping belly, jumping,
running etc.
In high pitch/long notes (in
chorus) girl opens up more,
elegant movements.
Sometimes matches lyrics to
expression and moves.
3/11
4. Breakdown – Song 2 (The A Team)
Shots? Edits? Colours?
Narrative?
Lighting?
Setting?
Costume?
Characters?
Sound?
Close-up of face and emotion.
Zooms out to show whole picture and location.
Long shot of her on bench so able to see clothing
and sleeping bag.
Shaky cam, in which shots are taken from many
different angles of the subject.
Multiple people appear in the frame.
Two-shot shows the relationship between the
protagonist and vocalist.
Aerial shot as she gets ready, taken from stairwell but
perhaps to convey looking down on her.
Shot, reverse shot of the car and the girl in the
prostitution scene.
Tracking shot, follows hand as It goes up her leg.
Close-up of drugs toward end, shows the outcome.
Black and white added in post.
Zooming and panning used a lot.
Abrupt cuts between girl and
crowds, shows her isolation.
Shallow focus with road behind
her.
Speeding up the hustle and
bustle of the city.
Cuts to show her tears, quick
shift to extreme emotion.
Jump cut from rough street to
client’s posh house.
Fast paced.
Cleverly edited so that the
beginning becomes the end of
the video.
Grayscale, which is quite cliché when
presenting serious topics.
The only time that colour is
introduced is at the very end, where
it shows the sunshine on rooftops
with a moving image of the girl
masked over.
Natural lighting as the majority of the
video is set outside in real locations
such as streets, fields etc. It is also
mainly be shot in the evening, just as
the sun is going down to achieve a
subtle glow. Therefore it is difficult to
distinguish certain aspects.
All locations. Natural places; parks
and streets. Transitions between
open areas in the daytime to
crowded city at night. Streets are
portrayed as dangerous and
unforgiving. The busyness of the
town is to show that nobody stops.
The apartment is a surprising
appearance for somebody that is
homeless, but gives the impression
that the character is a squatter. There
is a huge contrast between that and
the ‘client’s house, which is very
middle class and luxurious.
Central protagonist is a young lady, in
her early 20s? There are many other
people (extras) with which she never
interacts. The vocalist makes a short
appearance as a ‘good Samaritan’ –
the only person that stops to give her
money. The client is not given a
personality, in fact you never even see
his face. The fact it is a young woman
emphasises the desperation and
isolation. It appeals more to the
audience as they feel sympathetic
towards the vulnerability and
weakness.
Bird tweeting, repeated at start,
combined with the wind. Guitar
strumming, can hear the fingers on
strings which gives a raw sound.
There is a background/melodic
‘oooh’ throughout, which gives the
impression of more than one artist,
and people being together, which
the protagonist is not with
anybody. You never see the vocalist
singing, therefore the entire song is
non-diegetic. The bird sounds are
then heard again at the end.
Dark makeup – emphasises tears. Sleeping
bag, shows she’s sleeping rough. Layers;
hoodie, coat etc. means the audience feels
sympathy. The ripped fishnets have a
negative stigma towards promiscuous
women. Magazine and collection cup give
context. Stops to look at flowers – possibly
wondering what it would be like to be given
them? Hair gets tied back, mascara added
over current makeup. Lipstick; question why
she is making effort? Chewing gum gives an
ironic nonchalant feel. Car – a pricey model,
picks her up. Money, taken from ‘client’s’
pocket. Drugs taken through old glass tube.
Beginning becomes the end, laying there, presumably dead, with
woman crying over her. Then back in time – waking up in park,
embracing the day. Night falls, desperately tries to sell magazines.
Vocalist buys one and stays with her for a short amount of time.
Watches the world go by, traffic and people. She cries into her
sleeve. Goes to an apartment and does her makeup. Waits in a
car park, gets picked up by a man in a BMW, her expression
before this happens clearly shows she is not happy with what is
about to happen. Prostitution – she takes approximately £60 out
of the man’s pocket, after she is done, her face is filled with
regret. She trades the money for drugs, goes ‘home’ to take the
drugs. And the beginning becomes the end as she flops on the
bed. There is an extremely clear narrative, perhaps too spelt out,
no interpretation by the audience.
7/11
5. Breakdown – Song 3 (The Reason)
Shots? Edits?
Lighting?
Setting?
Costume?
Narrative?
Characters?
Colours?
Sound?
Over the shoulder shot, shot-reverse shot.
Eye line match across the road. Close ups, to
show expression. Reaction shot. Tracking shot
on feet, and following guy into the antique
store. Panning/zooming is repeated as there
are many aspects to focus on. Shaky cam,
from the perspective of the girl that gets ‘hit’.
Match on action, lip syncing from singer in
house and in scenes.
Screen goes black as girl gets ‘hit’ at
beginning. Slow motion reactions. Multiple
cutaways to the band, playing the song in a
house, away from the scene. Using pace, as
police arrive everything moves much quicker
– which shows everyone’s confusion.
Repeating scenes from different aspects and
with new information. ‘Looking through the
ruby’, a red colour-screen on camera.
Clear story, but interesting as it is not as it first appears. You learn
more about the characters and events. Girl sees boy, crosses road to
him, gets ‘hit’. Driver goes to body, boy goes into antique store to rob
it with his partner. The owner of the shop is meanwhile distracted by
the girl passed out on the road. The driver then leaves, moments
before the police arrive. The two guys break in and take the ruby. A
man on a bike comes to pick up the girl, who instantly regains
consciousness. They go to the house to celebrate as a group.
First boy – is guitarist, in love with girl. Girl,
crosses street and gets ‘hit’ by a car. Driver –
is vocalist, you could assume that he was the
drive behind the robbery, and it was his idea.
The shop owner, simply feels sympathy for
the girl and is oblivious of anything else.
10/11
Natural lighting, high-key. No scenes are visibly shot at
night (band in house could be), significantly different
atmosphere in house, darker, mood-lighting? Majority
must be light to capture all expressions/acting. Gets
dimmer throughout, daylight goes on, but reality kicks in.
Significance of red scarf on
girl? Vocalist/driver wearing
black t-shirt – symbolises
death/darkness. In fact, all
of the band are wearing
dark t-shirts. Contrasted
with light colour of shop
keepers shirt, to show
innocence. Very casual, but
there is clearly a scheme.
Mysterious beige jacket and
helmet of biker, gives an
official/uniformed
appearance.
Realistic sounds of the street,
followed by screeching of
tyres before the song starts.
As car ‘hits’ – non-diegetic
sound as the screen goes
black. This c=gives the
impression that something
has happened, without
actually seeing it. The video
is split to approximately half
and half of the musicians
playing/singing and the
narrative. So there is a
successful balance of
synchronous and
asynchronous sound.
Daylight, blues and neutrals. Black van used to hide the
incident, and shot of black birds. The colour of the
costumes also poses some significance. The entirety of
the video has a blue/grey wash. Continuity of red as the
robbery is happening – exterior and interior. Looking
through red screen/ruby at the end conveys
passion/emotion.
Beginning – scene of road, repeated multiple
times. Minimal significant locations are used. The
happiness/calming atmosphere of the house,
contrasted with the fast-paced danger of the
street. The vault is an obvious focus, and
therefore does not need much camera time. Car,
the vocalist’s isolation, whereas he is much
happier in the house with his band/friends.
6. Analysis – Song 1
Silence whilst the camera zooms in to establish the location from a long
shot. This allows several locations to be introduced at the same time.
First appearance of solo protagonist, shows costume, the iconic blonde
wig and nude leotard (to stay neutral). It is also an extreme long shot
when compared to the height of the girl.
Zooming in to various features to emphasise them, for example, this
match on action of the girl jumping down, zooms to bare feet with
bandages, which conveys injuries or deprivation.
The use of artificial expressions of the protagonist give a feeling of
fantasy as opposed to reality. Though featured very rarely, this shows a
different side to the girl, and breaks up the severity of the narrative.
This sequence is very recognisable. It gives more depth to
the character with the closest shots. There is also a change of
scenery which splits the video effectively.
The transition to this scene is her smiling and walking away, which then
jumps to her kicking a door, so a fast paced change of emotion
represented through body language. The positioning of the camera is
clever here, as it isolates the character even more, and makes the space
around her seem so much darker.
Although the video is clearly low-key lighting, with the addition of
dull/cold colours – this small sequence is lightest due to the close-up
featuring the window in the back.
14/11
7. Analysis – Song 2
Repeated shot at beginning and end of video.
Establishing shot, shows location and conditions that the young girl has slept in.
Very effective use of space of protagonist in frame, creates a
warm feeling of embracing the day.
Appearance of vocalist in narrative, gives a personal touch to the video.
Speed up of the hustle and bustle, despite being at a low angle,
it is an eye line match with the protagonist through the many
people walking past her.
Close-up of girls face to show extreme emotion, aided by mise-en-scene;
her appearance includes dark makeup which emphasises the tears, and she
is crying into the sleeve of her heavy coat.
The ‘client’ is never revealed, his face is never shown, which gives him a
sense of insignificance. The money is an important prop which is used
later by the protagonist to buy drugs, which could create a separation in
opinion of the audience, sympathy or pity.
15/11
8. Analysis – Song 3
The opening scene is repeated multiple times throughout the video, either
giving a different perspective, introducing a new character, or adding in
newly-revealed information.
Effective placement of reaction shot, which leads the audience to
believe the false narrative being set up.
The use of an alternative location does not give context to the narrative, but
allows the audience to see the musicians play, and also breaks up the
segregated scenes of the story.
There is a close-up drawing of the main thing they are intending on
‘robbing’, this is useful as it gives context to the video. It is also a contrast
of dark and light scenes.
17/11
This is a short but effective sequence where the girl has left the scene. It
combines match-on-action (as the vocalist is also travelling, as well as a
motivated cut to show us as the audience where they are escaping to,
The use of colour in this shot is effective and represents emotion, as
well as the obvious initial impression that it shows they have the ruby.
The camera pans in random directions, to convey it is from the
perspective of a character.
The end shot is again full of emotion, as shown on the expression of the
visible characters’ faces, and definitely creates a conclusive atmosphere
to the narrative.
9. Collecting Ideas
From the music videos that I have researched, I will take some inspiration to apply to my own production.
However, I have also learnt some things that are not as effective, which is important to recognise when
evaluating these three videos.
Firstly, from the ‘Chandelier’ video, I
found the use of space and camera
shots to be very effective, however the
raw content of the video turned out to
be fairly dull. I will therefore use a
variety of shots such as; extreme close-
ups, over the shoulder shots, and high
and low angles. But I will improve the
abstract base to the video’s narrative
by including a structure (beginning,
middle and end), and more than one
character so that it maintains the
viewers interest. They do well to
establish a relationship between
protagonist and audience, which is
something I had not previously
considered, but could somehow work
into my piece.
The video for ‘The A-Team’, whilst cliché
and with questionable realism, used subtle
production and filming techniques to
create their desired atmosphere. It also
managed to connect well with the
message of the song, without the lyrics
spelling out what was included in the
motion picture. What I will takeaway from
researching this video, is the clever
distinction of ‘character’. There are certain
people that, despite being significant,
their face was not shown – such as the
prostitution ‘client’. This is significant as it
not only places all emphasis on the
protagonist, but also represents her
isolation through people coming and
going throughout her life and not needing
a persona.
Lastly, the video I researched for ‘The
Reason’ had a slightly different approach
when structuring the music video. It
instead has a very clear narrative, with
multiple protagonists, and a definitive link
between the artist and storyline. The best
element of this video is by far their use of
time to manipulate the viewer’s perception
of what is going on. By repeating the same
scenes through different perspectives, it
allows the story – whilst technically staying
the same – to change and have increasing
significance in relation to the lyrics of the
song. However, this video seems to all
take place in one day, I would like to use
edits and lighting to portray a longer
amount of time taking place.
21/11