The different locations we will be using in our music video are different train stations. The first train station that we will be using is Hastings. As well as doing a RECCIE of Hasting's station, we will be doing one of the town itself and see if we can find any rundown areas which we could potentially use. These locations will have to be suitable for a homeless person. Our journey back home will start in Hastings and we will end up back home in Tonbridge. As well as looking at the risks for these two different locations, we will look and see what is around the area and see if we can use any more locations. We will also ask permission to film in these two train stations as we do not want to risk being asked to leave the premises. We will be using Christy's house in the final shot of the music video, but we will not actually do any filming inside his house, we will just be filming the outside to show that I have made it back home to my family after being on the run. Christy will be carrying out the location RECCIE at Tonbridge as this is the station which is local to him. I shall be doing the RECCIE at Hastings train station as it will be easier for me to get there. Both RECCIEs will be carried out on Sunday 4th October.
Plot overview: The video follows the story of two child jockeys in a tribal setting and focuses on their training up to a race, where they are portrayed as rivals until they are seen to be friends at the end. Shot by Shot analysis:
Mise
en Scene
Camera
Time
Artistic shot of a silhouetted horse on the beach with a rider on it
at sunset
Long Shot/Rule of thirds
0:00-0:07
A child is walking the horse by its reigns in slowish motion
Long shot
0:10
The Childs face is now seen in a shot that shows both him and the
horse
Close up
0:11
Horse starts to run in water after being let go by the boy in slow
motion
Long shot
0:13
A man is shown in a different desert location with the horse on a
lead training it
Extreme long shot
0:14
A close up of the seasoned trainer
Close up
0:15
The boy is on the horse with an orange background with the trainers
shoulder slightly in shot
Over shoulder shot/mid shot
0:17
Shadowed boy with sun setting in background looking off into the
distance
Close up
0:18
Fire in tent, ritualistic setting with people round the fire
Close up
0:19
2 Rival boys playing in water
Long shot/slight pan
2:52
Boy is sitting on the horse and the horse rears up making a splash
Mid close up/Rule of thirds
2:53
The sunset is largely visible with the boy on his horse
Midshot
2:54
The boys are shown in water with the horses with the sun in-between
them
Long shot
2:56
Two boys silhouettes with sun breaking around them
Mid Close up
2:57
Starts from over the boys shoulder and goes to focus on the other boy
Pan right/over the shoulder
2:58
Everything is completely shadowed, pink sunset showing setting
Extreme Long shot
2:59
Better lighting than previous shot, boys riding horses and laughing
Midshot
3:00
Close up of the boys with their arms interlocked with the sunsetting
on the left
Close up/rule of thirds
3:00 to finish
Analysis:
This video uses a very high cutting rate, as you can see by the shot by shot analysis, several only last one second, this does not leave a lot of time for camera movement, so most of it is very slight, but the video is made interesting by its framing and lighting, the angles are not too diverse, however there are some high/low angles and an example of a canted angle, but mainly at eye level. The range of shots also help to make the video visually pleasing as it cuts between long distance and close up shots continuously.
A lot of the video is in slow motion, such as the more artistic scenes such as the horse splashing water, but the high cutting rate keeps the video fast paced, which then matches the pace of the music.
The artist is not featured in the video at all, his name isn't integrated into the background or anything, meaning he does not get any focus apart from the intro. This is likely because it doesn't match the tribal/countryside theme in the video, and would only break up the flow of it and take away from its artistic, tranquil style.
A similar theme of the sunset is used throughout the video, it is incorporated into most of the shots within the beginning and the end, some frames which really took my interest where utilising the rule of thirds by placing the sun on the left then the focus of the shot on the right, making full use of the screen.
There is no fade or anything to create transition between the sots, it is just cut straight to the other shot, the editing style is quite good, as it is faced paced but relaxed due to the mise-en-scene and the pace of the shots.
It is likely that the colours of the sky were enhanced in after effects as they are very bright and almost too beautiful to be natural.
The mise en scene makes this video so interesting to look at, the lighting in almost all of the shots is dim, as if it is later or sunset. This helps to give the song a chilled out mood. This would be good to replicate within our production
The framing of the horse shot is very intersting, the the camera appears to be half above water and half below it, this would be good to replicate within our video, however with a wall or something similar to help show the protagonist in an urban environment, much like this video shows the beauty of this environment.
This mid long shot shows the boy as isolated, which can be used within our music video, t would also be good as a digipack pane, as it would help to build a cohersive band image to display the metanarrative of the band, as he is distant and alone creating an emotive impression, as if he is going on a journey, raising questions about the band for the audience to solve by consuming their products.
The video that I have chosen is to do is Rudimental - Feel The Love. The reason that I have chosen this video is because I want to get a greater understand of the artist's metanarrative as we have chosen a rudimental track for our final piece.
Analysis
This video, like many other Rudimental music videos has a very high cutting rate. There is not much editing involved in this video, the only evident editing I could see was the use of shallow focus, the background is out of focus in a lot of the shots.
There a lots of tracking shots in this video, but they are all shaky suggesting that they are handicam shots tracking backwards. Between the different shots there is no fading, it just jumps to the next shot and each shot is only around 3 seconds long which makes the video rather jumpy. There is not a wide range of camera angles, the only angles which come up a lot in this video are slight low angles, which sometimes can not be noticed.
Time
Camera (shot, angle, movement)
Mise-En-Scene
Editing
0.00 - 0.02 seconds
There is a tracking shot backwards.
There is a young boy walking towards the camera holding what appears to be a boom box. External location. In the third there is a car and the kurb.
No significant editing involved in this clip.
0.02 - 0.05 seconds
Medium Close Up
Medium close up of the boys face, we now establish what the boy looks like. External location. Coat with a fur hood which could connote that it is cold outside. Blank facial expression, just looking around.
Fast paced, jump cut to this shot from the previous.
0.05 - 0.07 seconds
Medium Long Shot
Handicam shot tracking backwards. Snow in the background, we can now see that it is probably Winter outside. It appears to be a different person walking towards the camera now. Wearing Winter clothes. Sun in the background creating shadows making it hard to see the characters face.
Not significant editing involved in this clip
0.07 - 0.09 seconds
Pan shot, slowly panning to the right.
In this shot there is no people, there is just a horse. First we can see the front of the horse's face then he turns around, as does the camera.
Focus on the horse. The background is now fuzzy.
0.09 - 0.11 seconds
Handicam with a slight Pan Up
External location. There is a man looking around.
At first it is out of focus, then there is a pull focus on the man,
0.11 - 0.12 seconds
Medium Close up, slight low angle.
There is another young boy, wearing Winter clothes. He has a warm hat on. His eyes appear to be watering, this could either be due to the cold weather, or the fact he is upset. Blank facial expression.
Shallow focus, only the boy is in focus.
0.12 - 0.14 seconds
Medium Close up, panning shot going around the young boy.
Another young boy in the shot. He appears to be chewing something. He nods his head as if he is acknowledging someone. Costume is also Winter clothes. External location.
Shallow focus, only the boy is in focus.
0.14 - 0.15 seconds
Medium Close up, slight low angle.
A man is now sat in the car. Costume is Winter Clothes with a hat on. His facial expression is quite happy. He is sat in a car, this can be seen by the steering wheel and the body panels between the doors. External location.
No significant editing involved in this clip.
0.15 - 0.17 seconds
Tracking shot, Handicam shot.
Rule of thids, the young boy is in the far left third of the screen with the man in the centre. The mans facial expression has not changed, but he is now shaking the boys hand. Both have similar costumes. External location.
No significant editing involved in this clip.
0.17 - 0.20 seconds
Pan shot by hand.
External location. In the background behind the horse, we can see what appears to be a rundown area as the buildings look ruined. The shot follows the horses head whilst it looks around, looking into the camera, breaking the fourth wall.
Shallow focus.
0.20 -0.22 seconds
Tracking shot following a young boy.
A young boy is crossing the road. The only prop in this shot looks like a horses reigns. External location.
No significant editing involved in this clip.
0.22 - 0.24 seconds
Tracking shot again but from a different position.
Tracking shot following the boy but now we can see the upper half of his body. Costume is
Shallow focus.
0.24 - 0.26 seconds
Tracking shot, Medium Long Shot.
A young boy is blowing into this hands trying to warm them up. We can see it is cold from this as well as from his costume which is a big orange puffer jacket.
Shallow focus.
0.26 - 0.30 seconds
Shakey tracking shot which is tracking backwards. Medium Long Shot.
External location. The only character in this shot is a teenage boy who is looking at a horse. The horse is looking away from him into the camera, again, breaking the fourth wall. Grey sky in the background which makes it appear to be dull.
Shallow focus.
0.30 - 0.31 seconds
Establishing Shot. Long Shot.
External location. Establishing shot of a large building which at first looked isolated, but on the far right third, there appear to be more buildings.
No significant editing involved in this clip.
0.31 - 0.33 seconds
Medium Long Shot.
This shot is now closer than the previous one. There is now a blue car in the shot with a window open. The camera appears to be looking over the car in a voyeuristic way.
No significant editing involved in this clip.
0.33 - 0.36 seconds
Tracking Shot to the left. Establishing Shot.
External location. In the distance you can see houses with snow on their roofs.
No signifcant editing involved in this clip.
0.36 - 0.38 seconds
Panning shot to the right. Medium Long Shot.
A young boy a horse. In the right third is another horse with a man sat on it, you can only see the lower half of his body. He shakes the young boys hand.
Shallow focus.
0.38 - 0.40 seconds
Medium Long Shot. Slight Low Angle. Shakey Tracking Shot
On the right third you can see a man brushing the horses fur.
Shallow focus.
I like this shot because it is a tracking shot which is following the boy. It is also a medium long shot and we can see the building in the background. Infront of the building is wasteland which is a location which we need as it can be used to show I am homeless when doing the music video.
I have chosen this shot as we can see that the man is lonely and there is no one around him. This is something we want to go for in our final piece when I am making my way back home after having an argument with the people I was sleeping rough with.
I like this shot as it is a panning shot which spins around the man in the shot. We will try and do a shot similar to this. Like the previous shot, this shot helps to show the man as lonely.
What I like about this shot is that it is a medium close up of the side of the boys face and we can see that his eyes are watering. This is a shot I want to use to show that I am upset but glad to be going home.
I want to use a shot like this when I am trying to find my way home as we can see a man sat in a car hanging out whilst someone is talking to him. We want to hitchhike home in the video. But we will not actually be hitchhiking.
I like this title screen at the end as it is quite simple but is conventional of Rudimentals metanarrative.
Time Management
Our time management on this trip was good considering we used 3 different locations that were a considerable walk between them. We got enough footage to use a high-ish cutting rate, with each shot being relatively diverse. We only planned our work on the bus, so obviously for our final production we will have a lot more time to plan extensively all our shots, as with the Brighton trip we sort of had to make it up as we went along. There is definitely room for improvement in this aspect but it was no way a disaster.
Filming/Camera Work
Our Filming was ok on this occasion but we want our camera work to be much more professional in our final piece, we can do this by using a more diverse range of angles, framing and pans. The high cutting rate sort of hides the poorer shots, so it does not look as bad, for example if there was a shaky pan, we just made it shorter so it looked smooth. We can correct this in our final piece by taking shots several times so we can use the best one and try not to rush shots. We managed to use all the shots requested of us, including some others such as a time lapse establishing shot. I think the 360 degree pan might be a possible shot to use in our final piece
Conclusion
Overall I believe that the Brighton trip was very useful to us to highlight the necessities of diverse camera work which will help our final production look as professional as possible, and the importance of filming shots more than once and to experiment with different angles and pans when we are doing it, this will make the editing stage easier as we can just pick the best shot
What I learnt from Brighton is that when it comes to doing our music video, we will have to thoroughly story board our ideas so we know exactly what we are going to do for our final piece.
I have also learnt that for a music video, you need more shots than what we did last year at AS level. Also as well as more shots, you also need a wider range of angles, distances and different shots so you have more footage to work with when it comes to putting it together.
As a group, we only filmed what was on the sheet meaning that when it came to putting it together back at school, we did not have enough footage for a full length song.
Also some of the shots needed to be redone as we did not view them after filming because we did not want to drain the battery on the camera.
Another thing I learnt is that using a wider range of locations is more effective as filming in just one can be boring and music videos are meant to be repeatable, and if there is only one location, people will just switch off because they are bored.
Finally, I learnt that Brighton could possibly be one of the locations we use for our final piece as there are many different areas in which we can film in which all look different.
What can I take from this task and use for my final piece? What direction is it going in?
From this task I have learnt that when we do our piece, I want to use a wide range of locations both external and internal unlike last year where we had only one location, a back garden.
It is also important to know which track you are going to be using when filming as we were not sure so it was hard trying to think of what we should film.
What we have learnt from this task as well as last year is that time management is important and we also need a wider range of locations.
As well as this, we need a lot more footage to ensure that we have enough when doing the editing.
Establishing shot of the sea with natural lighting.
This shot is good as we could recreate it by making hills of
mud with a lava lamp inside. Then with close ups we can try and make it look
similar to this.
This shot could be recreated using a smoke machine. This
shot is good as you are unable to see anything else other than the person who
is in the shot.
This medium shot with the light from the background is
effective as it creates shadows meaning you are unable to see who the person
is.
This low angle shot is effective as it shows the facial
expressions on his face. We could use this shot to show how our character is
feeling in the music video.
This close up is good as it shows he is isolated from the rest
of the people in the shot. This shot can be used in our music video as our
character will be on his own too.
Rule of thirds with a close up, background out of focus but
with bright lights, this as an interesting shot yet is very simple.
Rule of thirds in the background with the foreground in
focus with the light reflecting off it, he is slightly shadowed. The comparison between the background and foreground is interesting.
High
angle slowly drifting up with the earth slightly curved. This shot although the singer is still centre of attention, he should really drift into the background as high angles normally belittle people, however he is still quite prominent, and is the focus of the shot as there is not a lot else going on
Dark shadowed room, with a slight rule of thirds from a low
angle, this is a midshot, and really shows the depression and emotion she is feeling, while still looking quite artistic due to the framing and the lighting.
They
blend into a busy background within a long shot, interesting lighting. The lighting is quite musky which gives an edge to the scene like it is a memory, the actors are barely noticeable as the shot is so full of signs, which draw your attention due to their colours and lighting.
Mid shot of the couple in a darkened room with the light
breaking through the middle of them, this is quite a powerful shot as it shows the light between them when the rest of the room is consumed in darkness, his hand extended gives the impression he is empowered when he is with her
[Verse:]
Mama always said I’ll find my way back
Back home
So tell me why am I still lost in limbo
With nowhere to go
[Pre-Chorus:]
God knows I’m trying, I’m fighting to get out of here
Oh but sometimes it’s hard not to give into fear
I build myself up ‘cause I want it so much
I need to break free [Chorus:]
I’m headed for somewhere else
‘Cause it’s a long way home
Courage to carry on
I’ve got to be oh so strong
‘Cause it’s a long way home [Verse:]
Mama always said I’ll find my way back
Back home
So tell me why am I still lost in limbo
With nowhere to go [Pre-Chorus:]
God knows I’m trying, I’m fighting to get out of here
Oh but sometimes it’s hard not to give into fear
I build myself up ‘cause I want it so much
I need to break free [Chorus:]
I’m headed for somewhere else
‘Cause it’s a long way home
Courage to carry on
I’ve got to be oh so strong
‘Cause it’s a long way home (Chorus 2)
I’m headed for somewhere else
I’m guessing the time will tell
‘Cause it’s a long way home
Courage to carry on
And now I got to be oh so strong
‘Cause it’s a long way home
I’m headed for somewhere else
But it’s a long way home
Courage to carry on
‘Cause it’s a long way home
The significant lyrics in this track would be the pre chorus as from this part, you can feel tension build up and when it gets to the end and they say, "I need to break for free." the music comes to a crescendo and it goes into the chorus. They are quite inspirational when sung in the voice of the singer, they are also quite repetitive which may lead us away from being completely illustrative.
There are lots of interesting visuals we can try for this video, for example different focuses when cars or trains go past and having fun when the argument is taking place, like smashing bottles for example. In many of Rudimental other videos there are extreme/close ups of everyday items, such as ceiling lights and cigarette lighters. Our theme for our production is quite similar to the inspirational videos from their album, such as 'Not giving in'. This is an example of a Rudimental close up, the lighting is quite interesting and its framed very well, it would be easy for us to recreate similar shots in our production.
Our chosen track is Rudimental-Home, this is a medium paced song about someone's home, we thought a good idea for the video would be to follow a boy on his journey home, and trying to find any means such as bunking the train, hitchhiking and walking.
A young boy, which will be Anthony in the music video, left his home and has been sleeping rough with a group of people in Hastings. After an argument with the people he is with and a fight breaks out, Anthony decides to pick up all of his stuff and leave the people he is staying with and wants to head home.
He goes somewhere to charge up his phone and when his phone turns on, he tries to phone his Dad but it comes up with user busy. From here Anthony heads to the train station to bunk a train towards Tunbridge Wells. He has no money but he is going to see how far he can get before getting chucked off.
After getting chucked off of the train, he walks along a motorway/dual carriage way trying to hitchhike home. After trying for ages, a car eventually drops him closer to home, this will be shown by a road sign with the miles left till Tonbridge.
The rest of the journey will be carried out on foot, and potentially bunking another train from Tunbridge Wells tro Tonbridge. After walking through Tonbridge, Anthony arrives outside his home, this will be shown by an over the shoulder shot. He knocks on the door, and then tracking shot backwards will show Anthony's Mum and Dad hugging him.
Throughout this narrative, there will also be intercutting of a girl singing the song in a studio. This will be done with a black and white filter over the top to help add to the gloomy feel we are going for in the narrative.
Genre and Narrative
Using Goodwin's theory to deconstruct this music video, the text is disjunctive as it follows the lives of elderly people throughout a day, carrying out activities associated with young people, such as drug taking and riding BMX's and as nothing to do with the lyrics of the song, but there actions are widely associated with dance music. This leads to more consumption from the audience, and the tounge in check nature helps to make it a feel good song.
The video is very fetishistic, featuring several scenes involving strippers and young pretty women which add to the party atmosphere of the video and help to make it more interesting and more 'out there' as this is not behaviour that you would expect from the elderly, giving the video repeatability.
The video can be considered artistic as it challenges stereo types of 'boring' old people with its unrealistic nature. Media Language
There is no purpose to this video, as it does not follow a story line, but a day in their lives, however it does help to make their group image fun and as it was their break through hit, it lets the audience know what they are all about, which is fun and partying, ignoring the social restraints of society, as their video is ideologically destabilizing.
They use a high cutting rate in their editing to create a fast paced all action series of events, and colour flashes on the screen to make it more lively, as well as a filter which brings out darker colours at night as if it was filmed on a phone at a party. The camera work is deliberately done as if it was hand held, to make it seem as if it was fly on the wall and make it seem more realistic. The Mise-en-scene involved includes loads of drugs and youthful items to make them seem as if they are hard-core party animals.
This video reminds me of the classic film 'Ferris Beulers day off' as it shows what would be the day of their life, doing whatever they wanted and just outright enjoying themselves, however as old people not young.
The lead singer of Modestep is shown at the show at the end of the video performing at their party, and their logo is shown on the balloon of laughing gas, which helps to build their star image and lets the audience know they are present even though the video is not about them. This is a feature of Dyers theorey
Sebastian Ingrosso - Reload
Institution and audience
This video requires focused viewing as it is a set story line with many unanswered questions, such what is making the people teleport, and weather it is futuristic or historic, due to the apparently stone age people, compared with the futuristic teleporter and modern landscapes. This requires the audience to sit and watch it instead of having it on in the background. It follows Todorov's Equilibrium theory as the world starts in balance, a disequilibrium arises, the girl disappearing and he eventually finds her and returns home, creating the new equilibrium.
The video is futuristic and feature technological aspects such as the light cube, this is common within the electric dance music scene, which is considered futuristic. Representation
This video is progressive concerning racial ideology, as it shows an inter-racial couple living together and gives them complete prevalence as they are the only people in the video. They are on their own in the cave and do not have any clear civilised settlement, which suggests that it is a time before any racial barriers and shows them to not care about any of this, and they only care about each other, as he is shown completely disregarding his life running into the dinosaurs mouth into the unknown to follow his partner.
Using Barthes theory, an action code is used, in terms of the man having to save the woman, this is quite regressive and shows the typical damsel in distress and hints that she cant care for herself.
Tiesto - Secrets
Media Language
I would consider this video very artistic as it compares the sturdy boring warehouse, packed with colourless cardboard boxes with the vibrant behaviour of young adults, who appear to be in the life of a video game and are running around shooting lasers at each other. It shines a fun light into a commercial building and suggests to me breaking free from normal life, especially boring jobs such as factory workers. They appear to have broken in showing youthfulness and excitement. I believe it is a reference to having more fun in life and having fun, disagreeing with boring modern life.
Visual techniques within this video help to create ideologies, such as the editing makes the people seem more lively, such as the high cutting rate gives the effect of fast moving action and energy, the camera work features loads of close ups of mechanical/electrical looking components which look futuristic and help to make them seem modern and technologically aware like the youth of today. The Mise-en-Scene used includes their guns, which look like they are from an arcade as they are plastic and colourful, this gives the impression of fun and joy as this is synomanus with arcades. Institution and Audience
Although this video does not have a real story line, in terms of Todorov's, it does require focused viewing as you wonder what they are doing breaking into the warehouse, and why they have the chips on their neck, this leads to questions arising and leads to the video having repeatability.
Much like the Reload video, this genre of music, EDM, has futuristic connotations to do with it, which spring from the electrical sounds and the equipment/computers used to make it, which explain the chips in the back of their neck and the simulator at the end.
Analysis of Digipack-Netsky 2
This front pane of Netskys digipack consists of his face, which is quite conventional of dance music, as the artist is not really featured prominently in music videos, so they have to get their face known to their audience so they are able to consume them. The simplicity of this cover really shows the artist as just a normal guy, making him relatable to the audience, with the standard typed text in the middle. He is also looking directly at you, making it a first person mode of address.
The colour scheme of the digipack is very simple and honest in black and white, this adds to his simplistic metanarrative he is attempting to create, he is attempting to be pure and innocent. This is not very conventional of this music genre, which is widely associated as party music, and raves. However this may be his attempt at differencing himself from other similar artists such as Sigma. I like the framing of this pane, although simplistic with half his face on one side and the text on the other, it is really effective with the simple metanarrative he is trying to create with this digipack.
This music video by alt J would be consumed view various media platforms. This music video is available on web2.0 platforms such as YouTube as well as MTV's website. As well as these online platforms, the music video may possibly be consumed via platforms such as music channels on the television, an example would MTV's music channel. There is no performance in this music video and there is only one line of narrative which is confusing meaning that it is focused viewing as you are watching carefully to see what is happening.
Institution
The music video for this song was released on YouTube July 16th 2014 which was three days prior to the release of the single. This music video has high production values which can be seen view the mulitple aerial shots involved in the music video which were filmed by Pegasus Aerial Imaging. The underlying meaning of the song itself, suggest the idea that missing someone – pining – can be a physical pain much like hunger. The record label for this song, 'infectious records' is a record label who have worked with other bands such as Ash, Symposium, My Vitriol and Seafood. All of whom have a similar genre, indie-rock.
Wilkinson - Afterglow
Narrative
The relationship between lyrics and visuals is amplified. The visuals on the screen somewhat amplify the lyrics throughout the duration of the video. There is similarity throughout the video in both the lyrics and visuals telling the story of a 5 year relationship that is documented in the visuals with a montage of shots of the couple partying, arguing etc. These visuals are amplified by lyrics such as “lights and action, strong attraction” and “someone hold the sunlight back, ‘cause we want this night to last” – these imply that the sunlight metaphorically provides an end or an awakening from this journey, that it is the end of the relationship. The strong attraction is mirrored in the visuals with scenes of a sexual nature that show the intimate connection between the two actors. The video conveys a message to its viewers about valuing life itself and all the experiences we share in it with people, and the importance of enjoying every moment with people, in this particular case of the video with a loved one. The relationship between the visuals and the music is a both illustrative and explicitly obvious one. There are two main parts to the song, the chorus and the bridge, and the verses. During the verses the music has a slower tempo, is quieter and has a much more down beat tone and feel, whereas in the chorus and bridge the tempo, volume and tone all rapidly crescendo, in doing so creating a far more upbeat, happy sound. The visuals on the screen directly emulate this, exemplified at the beginning of the video for example when the verse starts there is a shot containing the two characters stood still with a slow zoom and long shot duration to make it seemingly slow paced and accompany the slow tempo of the music perfectly.
Genre
Afterglow falls into the Dance genre, as does the music video that accompanies the song, with generic conventions evident, such as multiple scenes of dancing along to the track that is playing. The music video is of a very unique style, subsequently containing fewer generic conventions and scenes that would typically be associated with the dance genre of music videos. The uniqueness differs from a typical dance video that would feature the artist usually playing a gig or festival as the artist does not at all appear in the video. However it still contains youthful actors, locations such as parties and festivals and also slow motions on intimate acts – all generic conventions. These also help to portray the artist Wilkinson in a fun, youthful manner.
Sigma - Nobody to Love
Media Language/Representation
The purpose of this music video is to promote 'Sigma' as an upbeat band whose music fits into the dance genre, typically associated with summer/festival music which can be seen in the video itself. When the beat of the song is slow, the footage is also slow but when the beat drops, the action taking place in the footage also does. The music video has no performance parts involved which is conventional of this artist's metanarrative. There are references to popular modern culture as the genre and style of music is widely listened but many different audiences. This video is repeatable as it is fun making people want to watch it again and again. The different social groups in this music video are young males and young females. The young females are shown to be having a good time and they are dancing when the music drops, this is also the same with the males. Youth is shown to be having fun, however, the girls are shown in a voyeuristic way as shots focus on them in their bikinis. However, the fact that they are always shown dancing can suggest that they are immature and probably under the influence of alcohol.
Wilkinson (Lazers not included - digipak)
The genre of the track is evident in this digipak as we can see people in a rave on the front pane of the album cover. You can see people with their hands in the air which is conventional of this genre of music. Wilkinson's music is of this style and genre. This adds to their metanarrative as the artist is not in the album cover and nor is he in the music videos which he releases. However, the album cover is disjunctive as the album cover is quite dull in black and white, yet wilkinson's music is the opposite.
I believe that this music video is building upon the bands star persona of being different, as shown in the visuals of the men riding horses in this urban environment, adopting an ideologically destabilizing denotation. This disrupting ideology is created through the act of rebellion and youth culture which is demonstrated throughout the video. I also believe that this music video visualizes the way in which a community can be brought together through an action, in this case horse riding. In addition it illustrates the happiness that the music should bring to the audience, shown through the facial expressions of the characters and the non-verbal language (dancing). This has been created to allow Rudimental to continue their star persona of creating upbeat happy music. Rudimental do not appear in any of their music videos meaning there is no performance involved, how ever this means there is a lot of narrative based parts. Postmodernism is a feature of this music video yet not a huge feature in comparison to some conceptual music videos, due to the fact it borrows certain conventions used in the music video due to its narrative structure. This narrative structure to music videos is shown throughout Rudimental songs, creating some sort of meta-narrative.
The different locations we will be using in our music video are different train stations. The first train station that we will be using is Hastings. As well as doing a RECCIE of Hasting's station, we will be doing one of the town itself and see if we can find any rundown areas which we could potentially use. These locations will have to be suitable for a homeless person. Our journey back home will start in Hastings and we will end up back home in Tonbridge. As well as looking at the risks for these two different locations, we will look and see what is around the area and see if we can use any more locations. We will also ask permission to film in these two train stations as we do not want to risk being asked to leave the premises. We will be using Christy's house in the final shot of the music video, but we will not actually do any filming inside his house, we will just be filming the outside to show that I have made it back home to my family after being on the run. Christy will be carrying out the location RECCIE at Tonbridge as this is the station which is local to him. I shall be doing the RECCIE at Hastings train station as it will be easier for me to get there. Both RECCIEs will be carried out on Sunday 4th October.
