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

Music Video Analysis - 'It Will Rain' by Bruno Mars

The music video commences with an off-kilter mid-shot of a melancholy Bruno Mars standing in front of a window which is being hit hard by the falling rain outside. Immediately, the viewer recognises that the video is illustrating a link between the lyrics and the visuals (hence the song title, 'It Will Rain'.) This strong establishing shot may seem quite simplistic on the surface, however, it is embellished with semiotics and significant meaning (polysemic). For example, the sheer fact that the shot is off-kilter almost welcomes the viewer into the artist's distorted and troubled world. Furthermore, rain possesses the connotations of hardship and despair which reflects Mars' inner emotions (also signified by his heavy head and the lingering duration of the shot); what the star is feels emotionally is portrayed to the audience through the use of visuals. Another example is the star's face is positioned to capture the 'soft' key light which gently illuminates his form, although the daylight that shines through the window seems more prominent, putting Bruno in the shadows, again symbolic of his dark, sombre mood. 

The fragmented nature of this video, ever-alternating from the present narrative to flashbacks from the past and interspersed with performance and cutaways, is reflective of the withered relationship between the couple and the artist's broken emotional state; '...what we used to have, we don't have it anymore.'  After the establishing mid-shot, the video depicts fast jump cuts of the couple's 'happy memories' which occur within the cosy mise-en-scene of their house. The jump cuts are mostly close-ups/extreme close-ups of the couple's reactions (smiling, laughing, kissing etc), which generally go in and out of focus creating a discentred experience, perhaps representing they are distant memories that are too painful for Mars to rekindle and they are but a mere haze on replay in his mind. Moreover, cutaways such as close-ups of the dripping vintage tap and Bruno's tapping feet are edited to mimic the slow, heavy rhythm/metre of the song - linking the music to the visuals. 

A long-shot is then displayed of Bruno sitting in a derelict/run-down hall resting his feet on a bucket whilst he is surrounded by a host of other buckets; an iconic image. The artist is positioned in the centre of the frame, identifying him as the 'star' of the music video and the dramatic change of mise-en-scene (bright and cosy to dark and isolated) illustrates Bruno's desolation; hence the choice of a long-shot which makes the audience seem more distant from the star and in turn, we feel sympathetic towards him. What's more, there is a clear, recurring 'motif' of rainfall throughout the video (establishing shot, dripping tap, buckets etc) which only seems apparent during the present narrative ('sad' times); '...there'll be no clear skies, if I lose you baby, everyday it will rain.' 

This music video subtly challenges similar texts where the camera is conventionally placed at a high-angle to symbolise the lonely solitude of the protagonist. 'It Will Rain' conveys a sense of isolation/low character status through low-angle mid-shots. By subverting this convention, it constantly reminds the audience that Bruno Mars is indeed the star of the music video regardless of his melancholic role in the narrative. Alternatively, this angle could have a more powerful impact considering the audience can physically see more of the artist's remorseful facial expressions whilst also emphasising the commodity on sale.

Analysis of Previous Student Work - (If You Talk Too Much...- People In Planes)

 

My favourite music video produced by A2 Coombe Media students from previous years is for People In Planes' 'If You Talk Too Much (My Head Will Explode)'. A great strength of this work is that it demonstrates the true disjunctive nature of music video perfectly by incorporating abstract concepts such as the 'bleeding' balloon, which may represent the artist's desire to be free from all the surrounding chaos. This ambiguous development of ideas highlight how the group have chosen to relate the visuals to the song through 'amplification' - the mark of the true music video Auteur and defines the director as an artist. From my background research on music video directors, Spike Jonze is one who always amplifies the original song's meaning and effect, typically through surreal humour. I think that this particular group took inspiration from Jonze, as elements of dreamlike humour are evident in their video, for example, the comedic portrayal of the work boss and the 'day-dreamer' character played by the artist. We definitely aim to take inspiration from iconic music video directors and either illustrate, amplify or disjoin our ideas (Goodwin's Dancing in the Distraction Factory).

However, if I was producing the music video there are some flaws that I would correct. I noticed that most of the edits did not cut to the beat or key rhythm which would really benefit the video since the song possesses a strong pop/rock pulse and the fact this was ignored threw the whole experience slightly off-kilter. Additionally, there is a lack of camera movement such as stock tracking and panning shots which usually embellish music video and create a sense of dynamism. I would definitely add shots of the camera slowly tracking towards the artist sitting at the desk to 'invite' the viewers into his bizarre/insane state of mind and then pan closely around his head so the audience feel as if they are placed in his position; all of which would create an intimate connection between the artist and the audience. What's more, there is no sign of any instrumental performance and although the group may have wanted to intentionally focus on the artist himself, I would include simple instrumentation 'triggers' of the artist frustratingly tapping a pencil on the desk to emphasise the drum beat or tapping his fingers on the typewriter to imitate the melody of the guitar.

Despite the above-mentioned weak points, I adore the authentic mise-en-scene; a white box-room signifying entrapment whilst resembling a blank canvas (metaphorical for life) and all the manic occurrences that happen within this 'box' symbolise the chaotic nature of everyday life. This amplified representation of normality is surely an aspect which anyone can identify with and creates a sense of realism within the music video. Moreover, the lighting and tone of each shot is kept consistent throughout the video which meshes the entire sequence together and helps to achieve a seamless flow. This was most likely achieved using the 'colour corrector' function available in Final Cut Express, a tool which helps to fine-tune the colourisation of each shot and something we will make great use of when editing our music video. 

Overall, I believe this to be an exceptionally strong music video which has inspired me to think of plenty of 'abstract' ideas to include in our own music video to increase audience intrigue. Furthermore, the group have included a variety of camera shots, mainly focusing on the predominant close-up shot to emphasise the commodity on sale - the artist, the song and the husky, rock n' roll grain of voice.

Music Video Analysis - 'The One That Got Away' by Katy Perry

 'The One That Got Away'  by Katy Perry

(Directed by Floria Sigismondi, 2011)

The music video to Katy Perry's 'The One That Got Away'  has directly influenced our own work, as it focuses on the relationship between a couple and uses flashbacks to alternate between the present day and the past to highlight the passing of time and the disjunctive narrative, reflecting the couple's fragmented, broken relationship.

The mid-shot of Katy Perry as an elderly woman stirring her coffee cuts to a close-up to show her physical reaction and the audience understands that she is reminiscing about her past, immediately connecting the lyrics with the visuals; 'summer after high-school when we first met.' Subsequently, an extreme close-up is shown of what initially appears to look like coffee being stirred, however, the camera tilts upwards to reveal that in fact a paint brush is being immersed into watercolour paint. This technique promotes an effective, smooth transition to represent a change of time and the viewer instantly recognises that the narrative has shifted from the present day to the past. We aim to emulate this in our music video as we will essentially be creating our own type of transition shot to signify a flashback and shift in narrative but in a more creative way, rather than using a generic fade or dissolve transition.

Furthermore, a long shot is displayed of a young Katy Perry positioned in the centre of the frame, identifying her as the 'star' and even though the person closest to the camera is her partner in the video, he is positioned to just about appear in the last third of the frame, emphasising Perry's dominant status and star image. Other key features that distinguish the present from the past is the noticeable difference in mise-en-scene and lighting. At the beginning of the video, the camera is placed at a high-angle and slowly pans to show a vast, modern house (representative of isolation and loneliness) which juxtaposes with the small, cosy apartment that is portrayed in the first flashback and the lighting presented in the close-up of the elderly Katy Perry has a slight blue tint representing a futuristic quality, compared to the dull, dusky light in the long-shot of the couple, which seems quite faded, perhaps like Perry's memories of her past life.

There is a clear connection between the lyrics of the song and the visuals, for example: a close-up is shown of the couple kissing whilst Perry sings: 'never planned that one day, I'd be losing you.' This connection is ironic since the visuals depict a happy couple that only seem concerned with indulging in the present moment, whereas the artist is singing about loss and the future. In addition, when Perry commences with the chorus line: 'in another life...', the narrative shifts from the past back to the present, highlighting the star's 'other life' and the visuals show a long-shot of an elderly Katy Perry sitting on a bed amidst a dark lit bedroom, almost engulfed by the the amount of empty space in the frame and the blank white surroundings, representative of how her solitude and loneliness is her burden and this bleak imagery contrasts dramatically with the previous, tightly-packed close-up shot of the couple kissing and intimately embracing each other.
 

The performance element of the music video involves the young Katy Perry singing whilst roaming around the elder woman's house, similar to a ghostly figure, which represents how the regret and remorse of her past constantly haunts her mind. However, there is a role-reversal when the elder woman begins to sing the bridge line: 'all this money can't buy me a time machine'; she alludes to the worthless value of her present lifestyle in comparison to what she once had in the past. A close-up shot depicts both past and present versions of the star, emphasising the fact that although they may appear physically different, they are emotionally identical since they both perform the lyrics and express how they both 'pay the price' and this line is sang by the two characters in perfect synchronicity to heighten this.

The series of arguments create tension between the couple and help build up to the dramatic climax of the narrative where Perry's partner dies in a car accident. As an extreme long-shot captures the Mustang plummeting off a cliff in slow-motion, the video cross-cuts to a mid-shot of Katy Perry collapsing to her knees in slow-motion, which emulates how they both endured the effects of this tragedy. Furthermore, the fact that 'The One That Got Away' is still playing whilst the car falls, introduces the concept of contrapuntal sound and this only adds to the intense, emotional impact of the music video since the slow-paced, moving love song juxtaposes dramatically with the horrific and tragic event.

Intertextual Reference 

At the end of the music video', Johnny Cash's rendition of 'You Are My Sunshine' is heard as the elder Katy Perry reminisces of her lost partner. This links back to the lyric in 'The One That Got Away': 'I was June and you were my Johnny Cash.' Perry compares the love that Cash and his second-wife June Carter shared to be similar to what she previously had with her partner in the music video.

Goodwin applied to music video: 'Shadowplay' - The Killers

 

The Killer's cover of Joy Divison's 'Shadowplay'

(Directed by Spencer Kaplan and Jonathon V.  Sela, 2007)

 

In 2007, The Killers covered ‘Shadowplay’ by Joy Division. The music video that accompanies the cover pays tribute to the late Ian Curtis of Joy Division as it features clips from the film ‘Control’, (a biopic of Ian Curtis’ life) and is also intercepted with band performance from The Killers. This video is extremely intertextual as it makes heavy reference to the early days of the iconic Joy Division and Ian Curtis. The fact that The Killers have made a music video comprising of clips from the film ‘Control’ really echoes their love for Joy Division and suggests that they have been musically influenced by the band. This cover version was included in the soundtrack for ‘Control’. 

The music video commences with the cast from ‘Control’ watching The Killers on television, which reinforces Goodwin’s theory as the notion of looking (screen within a screen) is apparent. A mid-shot of each band member flashes onto the T.V and this fast jump cut editing is synchronised to the beat of the drums in the song, creating a relationship between the music and the visuals. The images of lead singer/star Brandon Flowers from The Killers depict him with his head in his hands which is reminiscent of Curtis going through his life struggles. In addition, the video is captured in raw black and white which makes reference to the film which was also shot in black and white. This effect creates a sense of entrapment within daily routine and evokes a haunting mise-en-scene, linking with the montage of film clips shown in the music video which mainly reflect the darkness and loneliness Curtis experienced in his life. This visual imagery connects with the music as the signature chugging bass guitar line that The Killers have included in their cover, signifies the eerie mood and slow pace of the song. Therefore, the relationship between the music and visuals seems to be illustrative as they both combine to create a narrative.

At the beginning there is a mid-shot of Sam Riley (who plays Ian Curtis) with his eyes closed and the camera slowly pans around him, inviting the viewer to try and delve into the complex mind of the character. Although Riley is positioned in the centre of the frame which makes him a dominant figure, the camera is positioned at an eye-line match so the audience feel he is in fact quite ordinary. Soon after, there is a close-up of Riley opening his eyes which then cuts to a similar shot of Brandon opening his eyes and the direct link presented between the two draws them closer together, identifying them both as stars in the video. 

 
The Killers are shown singing into walkie-talkies on T.V and the effect of hazy black and white lines across the frame to emphasise that they are being watched. Furthermore, the use of the walkie-talkies is perhaps symbolic of the fact that they are trying to reach out to the troubled Curtis through music. The long-shot of the entire band then cuts to a close-up of Brandon, making him the focal point of the band and identifies him as the ‘star’. Goodwin suggested that the close-up predominates in music videos and this is evident in ‘Shadowplay’ since close-up shots of Brandon are very common and this prevalence aids his star image.  

Brandon is positioned in the centre of a mid-shot with an empty white background surrounding him. He sings the lyrics: ‘I was moving through the silence without motion, waiting for you. In a room with a window in the corner I found truth.’  These lyrics are filled with imagery of desolation, emptiness and alienation and expresses how Curtis used to feel isolated from the world ‘moving through the silence’ and would constantly search for ‘truth’. Goodwin’s theory about an illustrative relationship between the lyrics and the visuals can definitely be applied to this music video as the emptiness that almost engulfs Brandon in the mid-shot is representative of the sombre tone and meaning of the lyrics and the Ian Curtis’ life.

What is so fascinating about this music video is that is consists of clips from a film and the narrative structure of a film is usually logical, yet the footage has been edited as a montage of images to echo the style of a music video whilst still keeping elements of the narrative and also adding a second narrative involving performance from The Killers. The clips selected for the video are perfect, for example, the camera slowly tracks along a live audience featured in ‘Control’ capturing their shocked expressions which links in intertextually as audiences were often shocked to witness Curtis’ eccentric dances on stage, not realising that it was a result of his epilepsy.

A long shot is shown of Curtis (Riley) watching The Killers performing ‘Shadowplay’ on the T.V in a desolated living room which seems quite surreal since Curtis wrote the song. This emphasises once again how Curtis often felt that he was living in a different dimension to everyone else and his music acted as an escape from reality. The lyrics of ‘Shadowplay’ could be interpreted as a summary of Curtis’ emotions and by The Killers performing the song, it’s almost as if they are experiencing what Curtis once felt and their music video captures truly captures this. For example, a close-up of Riley writing the words ‘She’s Lost Control’, (a reference to the Joy Division song), then cuts to a similar shot of Brandon writing and then gazing into a mirror, perhaps representative of internal self-reflection. This use of cross-cutting is similar to the one at the beginning and again draws a parallel link between Ian Curtis and Brandon Flowers.

Building up to the bridge of the song, the camera slowly pans around Riley whilst he acts out Curtis’ extreme dancing which is edited to the rhythm of the progressive guitar strumming. The slow pan juxtaposes dramatically with the energetic dancing which represents how the outside world knew very little about what was happening in Curtis’ life, since the dancing often led to severe epileptic fits on stage. Moreover, another intertextual link is that the philosopher Plato wrote about ‘shadowplay’ and it was in relation to men chained up in a cave watching shadows on a wall, not knowing anything of the outside world, believing that the shadows were all there was to life. This idea fits perfectly with the lyrics: ‘In the shadowplay acting out your own death knowing no more’ and is another example of how lyrics can reflect the visuals in music video. Also, whilst Brandon sings: ‘To the centre of the city of the night waiting for you’, an extreme close-up is shown of the camera tracking rapidly along a road and this soon fades into a close-up of Riley driving into the distance to escape from reality; the transition shot highlighting the passing of time.

The climax of the bridge presents mid-shots of each individual band member alternate through fast jump cut editing to imitate the beat of the drums which again creates a relationship between the music and the video. Then an instrumental solo is performed and the imagery reflects upon Curtis’ eventual break-down. For example, a mid-shot shows Brandon in the dark watching Curtis on T.V who is presented in the light and then the power cuts off and Brandon places his hands on the T.V screen which suggests Curtis is a shining idol to him. Approaching the end of the music video, there is fast jump cut editing which alternates between Riley dancing and Brandon clapping to the beat of the music and since they are both placed in centre of the frame, they seem to blend together whilst alternating, presenting a musical connection between the two artists. 

In conclusion, Goodwin’s theories can be applied to this music video as not only is the relationship between the music, lyrics and visuals very illustrative and strong, but the close-up predominates between Brandon Flowers of The Killers and Sam Riley who plays Ian Curtis in ‘Control’ which treats them both as the ‘stars’ because this video and cover version of ‘Shadowplay’ is seen as a tribute to Ian Curtis and Joy Division. Lastly, despite the fact there is little evidence of voyeurism in this video, the sheer mass of intertexuality that can be drawn from it is extraordinary and adds so much interest and appeal to the music video.

Initial Music Video Analysis - 'The Pretender' by Foo Fighters

'The Pretender' by Foo Fighters

(Directed by Sam Brown, 2007)

Opening

- Light comes on gradually imitating the same tempo as the slow guitar intro.

- The bands genre is demonstrated by the mise-en-scene of the large expansive hall and the big set up.

- High-angle long-shot looks down, focusing on the artist, (like a CCTV image) representing there is a higher power which is ambiguous at this point.

-  Close up of the artist wrapping a bandage around his hand as protection, which signifies he’s preparing for a (metaphorical) fight.

- Low-angle of the back of the star clenching his fist, representing he’s powerful as he is also positioned in the centre of the frame. He’s against the darkness, shown by the black he is facing, ‘keep you in the dark, you know they all pretend’ – speaking directly to whoever is hiding in the dark.

- Black line across the floor represents a divide.

- ‘...and so it all began.’ – Lyrics are a narrative.

- Aggression built up during the introduction is then transferred into the song through Dave Grohl’s vocals and lyrics as the rest of the band join in. Also the energy and aggression is presented through the fast jump cut editing and the fast pan and tilt movements of the camera, moving around the band showing how they are aggressively playing their instruments.

- Extreme close-up of Grohl’s face, camera is positioned at eye-level creating intimacy with the viewer, puts us in the place of the opposition. Red background behind band signifies anger, passion.

- Jump cuts and alternates between high and low angle shots – manic atmosphere. Creates a dynamic feel, reflecting the energy of the rock band.

- Panning around the back of Grohl, shows he’s opposing something.

Middle

- The back of one riot policeman emerging from the darkness – opposing force, represents the divide.

- Cross-cutting juxtaposition between extreme close-up of Grohl and the riot policeman

- Grohl = anarchy, aggression, rebellion.

- Riot policeman = order, law, control signified by his uniform

- This develops into a narrative as the lyrics seem to almost mock the officer “What if I say I will never surrender” “you’re the pretender”.

- Policeman pulls down shield over his face for protection, ready to fight. Similar to Dave Grohl wrapping bandage around his hand at the start.

- Camera tilts from high-angle to low angle from behind policeman = status and hierarchy shifts.

- Over the shoulder shot from Dave Grohl to the policeman, targeting him directly, singing lyrics to him.

- A line of riot police emerge from the darkness

- Dave Grohl (the star) positioned in the centre of the shot. Field of depth – closest to the camera and in focus.

- Camera tracks along the line of police to highlight chronological number order of the police, represents order - antagonists to the band which represent rebellion, expression, out of control.

- Long-shot shows two opposing forces. Foo Fighters – live, energetic stage performance contrasts with the stagnant police.

- Extreme close-up of Grohl’s mouth shouting lyrics into the microphone – ‘What if I say I will never surrender?’ challenging police, followed by a high angle shot showing there are a line of police and only four band members.

Climax

- Constant cross-cutting between Grohl and police creates tension.

- Contrapuntal sound – quiet, slow guitar bridge juxtaposes with the charging of the riot police.

- Tempo and dynamics suddenly rise as the red wall explodes.

- Long shot showing a side angle of the band as they lean forward imitating the immense force of the intense red explosion. Releasing their power, anger and fury.

- Slight low-angle shot portraying the police getting ‘defeated’. Camera is positioned amongst the falling police, representing the chaos and how their status has dropped dramatically. Contrasts with the band who are standing strong.

- Role reversal – riot police are meant to force people back, however they are getting forced back by the band’s fury and the red explosion.

- Foo Fighters are drenched in red, showing their immense power, fury, passion and anger.

- Jump cuts at the end are synchronised on beat with the drums. Chaotic – alternates between the police and the band which shows the contrast between the differing statuses.

- Grohl smashes guitar to release anger/energy – generic convention of a rock performance.

- Colour of the shot fades from red into white showing balance is restored and that the band have won, ending with a close up of the star’s face.