Music Video Analysis - 'The Masterplan' by Oasis

'The Masterplan' by Oasis

(Directed by Ben & Greg, 2006)

An L.S. Lowry inspired animate promo video

Every time I watch the music video for 'The Masterplan', I am reminded of just how much I love Oasis. The animated video pays tribute to L.S Lowry and amplifies the journey or the masterplan the Gallagher brothers took from working-class Mancunians to being, in my opinion, one of the greatest rock n' roll bands of all time.

Quite unconventionally, the music video opens with a slow high-angled tracking shot (ties in with Lowry and the concept of 'perspective') which provides an overview of an industrial-esque Manchester and the viewer is invited into the run-down streets of Burnage (where the Gallaghers were raised). A cross-dissolve transition is cued by the heavy, melancholy bass-line and is unusually used to cut in closer towards the town as opposed to signal a passing of time. Furthermore, wipe transitions are used in the video to showcase a change of location. For example, long-shots of a man buying a newspaper, a man being dragged out of his house by police and of the band members emerging out of their doors in unison are all scenes intercepted with wipe transitions, perhaps to amplify the mundane, repetitiveness and sheer normality of such days. The band members wait for Liam to emerge and his legendary swagger is displayed - a famous trait taken from his star-image and incorporated into this animation so the audience still recognise him as the focal point. Subsequently, on their way to meet Noel, the four members recreate the Beatles' classic Abbey Road front cover by walking single file across a zebra crossing (intertexual reference), with Liam leading the way likening himself to John Lennon; his musical icon. 

 A close-up of a stone that Noel has thrown into the river slowly tilts upwards to reveal the band on a ship sailing the seas. Essentially, the close-up of the stone (metaphorical for Noel's lyrics; 'cast your words away upon the waves') acts as a visual cue to signify a shift in narrative and is an effective technique to merge scenes from contrasting time periods together seamlessly, creating an element of nostalgia. Also, a direct relationship between the lyrics and the visuals is evident: '...on a ship of hope today.' What's more, unusual visual cue that triggers a shift in narrative is when the camera zooms rapidly past the band aiming for the clouds and almost as if it has entered a parallel dimension, zooms out from the clouds back onto the ship with the band. (see 1:19-1.24). Another example of intertexuality in this video is the reference to the film 'Titanic'. A point of view shot which tracks speedily along the ship, sees a butler open a door where we enter into young Noel Gallagher's imagination (much like with Rose in Titanic). Oasis are now performing for a lively crowd although in a constricted venue (still on the ship) hinting that this is all a fantasy. Despite being animated, the performance still follows the key conventions that one would expect to see in an Oasis video, for instance: close-ups of Noel's face, close-up of Liam playing the tambourine and long-shots to capture the band as a cohesive unit. Again, another abstract camera movement occurs to bring us out of this fantasy back to reality (see 2:02-2:07).

Although one probably wouldn't expect, camera movements prove to be such a vital part of this music video, in terms of connecting the present with the future and reality to fantasy. Once again, another point of view shot helps the viewer experience Noel's 'daydreamer' mind state as a child and similar to the above-mentioned Titanic-like shot, the camera rapidly tracks down 'life's endless corridor' building tension as the music reaches a climatic point (strong, defining link between the lyrics and the visuals) to reveal Oasis performing in a larger venue, representing how the band started off playing the smallest venues and progressed to selling out mammoth rock venues such as Knebworth, Wembley Stadium, Slane Castle etc. In this second performance scene, the camera (audience p.o.v) pans around the band in admiration and awe of their accomplishments. 

In reverse to the beginning of the video, the camera tracks backwards to reveal a high-angled perspective and Oasis appear triumphant after playing their 'large' show (in a fairground tent). This is demonstrated through the vibrant tone and colour of the shot which vividly juxtaposes with the dull and depressing atmosphere that Burnage emitted. Furthermore, as the electric guitar/ orchestral fused solo reaches a climax, fantasy begins to fade and the band return back to the worn-out streets of their hometown. They walk past Johnny Roadhouse Music - a music shop from with the Gallagher brothers frequently bought equipment from at the beginning of their career. This reinforces the notion that the earlier performances were but a mere fantasy and the constant narrative shift throughout is reflective of the very start of Oasis' career when they were big daydreamers stuck in a repetitive, cyclical lifestyle represented through the circular structure of this video. Also, at 4:50, Noel can be heard distortedly singing the chorus from 'Octopus's Garden' by The Beatles. Yet another intertexual link referring to The Beatles highlight just how much of an influence they were on Oasis; hence this music video pays homage to them. 

To conclude, the band members all return to their terraced apartments and nightfall covers the town of Burnage, with the camera tracking outwards at a high-angle, reminiscent of the beginning of the music video. 

July 11th 2009