Welcome to my A2 Media Studies Blog. The brief is: to produce a music video, a digipak cover, and magazine advert for the digipak. Throughout the course we will be learning about conventions (general and genre specific) used for each of these products.

Monday, 29 August 2011

RM - The Killers - Bones Deconstruction

Band: The Killers
Song: Bones
Genre: Indie Rock
Director: Tim Burton
Audience: Primary audience: 15-24 
                Secondary audience: Fans of 80s music as the band take inspiration from that decade.
Year Released: 2006

The Killers’ “Bones” is a narrative music video which follows the two protagonists, which are in a relationship. As well as this the music video features the band performing live in locations the protagonists have featured in these locations include an outdoor cinema, a beach and in front of a swimming pool which the female protagonist dives into. The latter sequence follows the lyrics as it is shown to the audience the female protagonist dives into the swimming pool whilst the vocalist sings the lyrics “Don’t you want to swim with me” this anchors that the music video is narrative based music video.

Throughout the music video the performance element is linked to the narrative story. This is created by the lyrics Flowers sings, the lyrics Flowers sing follow the narrative as if the male protagonist is a younger version of himself and the band are in important locations to him during the relationship. As well as this the male protagonist and Flowers are never in the same place at the same time, this anchoring that the male protagonist is in fact Flowers. As well as this during the parts where the two protagonists are watching the film, at the outdoor cinema, the band is playing in front of the same film. This is anchored by the same shots can been seen after a cut away from the band to the two protagonists and vice-versa. However the couple and band are never in the same shot.

During the performance aspect of the video, the majority of the focus is on the lead vocalist, Brandon Flowers, which is a common convention. As well as this the audience focus on the bands skeleton counter parts. For example whilst Brandon Flowers is lip-syncing as says the lyrics “Don’t you want to feel my bones” his right hand is a skeleton hand, this is pictured left. Another way this is anchored is if one of the band members is their skeleton counterpart the audience’s focus is taken off the lead vocalist and now on the band member that is in a skeletal form, this is pictured above.

Despite this the majority of the audience’s focus is on the narrative aspect of the music video. Like the performance aspect during the narrative element the two protagonists keep changing to their skeleton counterparts. Although once they have turned into their skeleton counterparts they don’t turn back into their human form unlike the band. This happens from the scenes where the couple are on the beach till the end of the music video for the scenes which are on the film. This also happens during the scenes where the couple are watching the film footage of themselves from 1:48. This is pictured to the right.
Film footage is also incorporated into the music video.
"Scenes from the films “Lolita”, “Creature from the Black Lagoon”, and “Jason and the Argonauts”, more specifically the scenes with Ray Harryhausen's skeleton-men, are shown behind the band.” and “The beach scenes from “From Here to Eternity” and "10" are recreated with skeleton figures.” Sourced from Wikipedia.

Monday, 22 August 2011

RM - Green Day: Boulevard of Broken Dreams Deconstruction

Band: Green Day
Song: Boulevard of Broken Dreams
Genre: Punk Rock
Director: Samuel Bayer
Audience: 15-25
Year Released: 2005

Green Day’s “Boulevard of Broken Dreams” is a narrative based music video featuring the band walking around with the lead vocalist, Billie Joe Armstrong, singing throughout and at certain parts the band playing the song in a room, the room which they are playing in features bullet holes in the wall behind them, this also features in their single “21 Guns”. The music video follows on from their previous single “Holiday”. This is anchored by the ending to the song being played at the beginning of the music video. Both these videos were filmed with the use of projecting footage onto a screen instead of green screens.

Most of the shots used in the music video are close-ups of the lead vocalist as well as being the main focus in the music video. Thus being a common convention in music videos, and medium shots of the other two members of the band, Mike Dirnt (Bass) and Tre Cool (Drums), and long shots used for when the focus is on the entire band. As well as this the lead vocalist is lip-syncing thus being another common convention in music videos.

During the performance element which features the band playing in a room, pictured left. The tempo of the song quickens during this sequence the length of each shot decreases allowing for more shots to be used. This goes against the majority of the song because slow paced allowing for longer shots of the band for whoever the audience is focusing on.

“As shown in an MTV Making the Video special, director Samuel Bayer used unorthodox techniques to achieve the aged look of the "Boulevard of Broken Dreams" video, including using rear projection (as opposed to green screen) and physical damaging the negative: scratching the film with razor blades, pouring coffee on it, and smudging cigarettes on it.” Sourced from Wikipedia.
 An example of this is pictured below.

Here is the making of video Part 1:

Here is the making of video Part 2:

Here is the make of video Part 3:

Here is the music video for Boulevard of Broken Dreams:

RM - Chris Cornell - You Know My Name Deconstruction

Artist: Chris Cornell
Song: You Know My Name
Genre: Rock
Director: Michael Haussman
Audience: Fans of the movie (Casino Royal) especially 15-24
Year Released: 2006

Film Footage from James Bond: Casino Royal
Chris Cornell’s “You Know My Name” is a concept video which features elements of a performance music video. The concept part of the music video is broken down into two elements. One element is the film footage from “James Bond: Casino Royal” the other two elements are Cornell acting as spy throughout the music video and towards the end of the music video where he reaches the stage which he is performing on. The main focus on this video is the film footage this is because the single was written for the James Bond film “Casino Royal”. This also goes against the common convention that says the lead vocalist receives the majority of the focus from the audience.

Chris Cornell performing "You Know My Name"
During the performance elements the shots used are mainly close-ups, which anchor that the focus is on Cornell however in the entire video he isn’t the centre of attention. As well as this there are medium shots of Cornell playing the guitar. During these scene Cornell is lip-syncing this is another type of convention however this one applies to the video.

Throughout the scenes where Cornell is acting like a spy the majority of shots used are close-ups, this also applies to the majority of film footage used for the music video. As well as this how the music video has been edited together allows the shots to follow on from each other. For example when Cornell is on a plane he looks out of the window, the shot cuts to film footage which features a high angled extreme long shot featuring Bond chasing down an enemy (Pictured to the right).

At the end of the music video there are three ends, one featuring Bond, the protagonist, trying to rescue the prize (thus according to Propp’s theory) the other two featuring Cornell and a woman in a hotel room and a microphone on stage. These signify all three needs or wants throughout the music video, or in case of the film footage what the protagonist wants during the film.

Saturday, 13 August 2011

RM - The Human League - Don't You Want Me Deconstruction

Artist: The Human League
Song: Don’t You Want Me
Genre: Pop
Director: Steven Barron
Audience: 30-55
Year Released: 1981

Establishing shot of the film being produced and music video
The Human League’s “Don’t You Want Me” is a performance and concept music video. The concept element of the music video features the band as part of the characters and production staff for a murder mystery film, with the music video being a behind the scenes looking at the film the band this is anchored by production crew, cast, and camera equipment and lighting rigs being included in some shots.

Film being edited during the music video
During the performance elements of the video the majority of shots used are close-ups and medium shots however this is overshadowed due to the concept idea which uses a wide variation of shots that an audience would expect to feature, this includes establishing shots, long and medium shots as well as close-sups. During the editing element of the music video close-ups are again use to allow anchorage to what each member of the production team is doing, for example there are close-ups are a male editing the film together. As well as this how the video has been edited reflects the procedure of how a film is created, this is done in the video by the first half showing the audience the filming locations as well as behind the scenes footage of filming the film whereas the second half of the film is the editing of the film. These are anchored by the changes in location as well as the duties of each member of the film crew and production crew.

Medium shot during the performance sequence
with production crew in the background
As a whole the focus is on each member of the group equally however at times the majority of the focus will be on Philip Oakey, Susan Ann Sulley or Joanne Catherall. This was unusual for the group as Ann Sulley and Catherall were normally used as backing singers. However the concept idea is more focused on then each member of the band therefore it doesn’t follow the common convention of the majority of the focus is on the lead singer.

RM - Radiohead - Just Deconstruction

Band: Just
Song: Radiohead
Genre: Rock
Director: Jamie Thraves
Audience: 15-24
Year Released: 1995

Radiohead’s “Just” is a concept which also features the band performing live in what appears to be a hotel room.

Protagonist who has the majority of the focus
The custom side to this music video focuses on a middle-aged man whom decides to lie on the floor throughout the video with the exception to the two sequences he features in at the start of the video which feature him getting into a bath and walking down a high street. The protagonist doesn’t give an exploration to why he is lying of the floor until the very end of the video, by this time he is surrounded by members of the public. Throughout the video there have been subtitles to anchor what the cast has been saying however at this point they stop therefore not allowing the audience to know why the protagonist is lying on the floor. Radiohead haven’t announced what dialogue the protagonist says during the sequence whilst there are no subtitles.

Thom Yorke

During this video the middle-aged man is the audience’s main focus. This goes against the common convention that the lead vocalist of the band, in this case Thom Yorke, has the majority of the focus. However the common convention which is that lip-syncing is featured in music video does apply to this video.

The majority of shots featured in the music video feature close-ups and medium shots of the band or cast members. This allows the audience to see the emotion of people’s faces as well as speaking the dialogue which appears as subtitles. In this video there is also the use of zooming in and out as well as panning, an example of this is the last few shots which zooms out from the protagonist and pans to the right (pictured left). As well as this each element of the video is show in sequences, normally of three to five shots, therefore allowing the audience to follow the concept idea as well as view the band playing band performing live easily.

There has recently been a cover of this song by Mark Ronson which features Alex Greenwald, from Phantom Planet, singing. The video used for this song has been directed to look the same however there are small changes for example instead of Radiohead performing the song it is Mark Ronson. As well as this it is also meant to be a sequel to Radiohead’s version. Click here to watch Mark Ronson's version of the song.

Friday, 12 August 2011

RM - Will Smith - Black Suits Comin' (Nod Ya Head) Deconstruction

Artist: Will Smith
Song: Black Suits Comin' (Nod Ya Head)
Genre: Rap
Director: Francis Lawrence
Audience: Fans of the movie Men In Black II
Year Released: 2002

Will Smith’s “Black Suits Comin' (Nod Ya Head)” is a performance based music video, which features references to the film franchise “Men In Black”. The references that are included in this song are names of characters, characters themselves and footage for the film. One of these is Will Smith who is playing is character Agent J throughout the video. The reason for this is because this song is actually the theme for “Men In Black II”.

Smith flying on a platform above a crowd of fans
As this is a music video advertising a sci-fi comedy film there are a lot of special effects used throughout the duration of this video. This is shown to the audience with aliens and characters from the film as well as some of the settings used which include the set Smith uses to perform and locations that the aliens and characters from the film are located. An example of this is where Smith is flying on a platform above the crowd. All of this footage will be done with the use of blue screens. This also ties in to the movie as most of footage needs the use of blue screens. In this video there is a short moment, which lasts 23 seconds, were the song stops this is due to the use of special effects were a human transforms into an alien.

Alien stopping the music video half way through
Throughout the video the location changes between space, where Smith is performing as well as behind the scenes and a space shuttle, to locations on earth and where aliens live. This is done to tie into the theory that there is extraterrestrial life surrounds us and to emphases the popularity of the first film.

Use of special effects
As the audience expects the focus is on Smith as he is the sole person singing this song. As well as this the focus does change to show the characters that feature in the film (as well as this video) and the reactions of people listening to Smith perform this song live to a worldwide audience. This is anchored with shots classes switching on televisions and shots on cities at night watching screens connected to skyscrapers.

Smith has released music for the majority of television shows and films he has featured in. Some examples are “Fresh Prince of Bel-Aire”, “Wild Wild West” and “Men In Black”. During these performances Smith is playing the characters that he plays during the television shows or films.

RM - Paramore - Ignorance Deconstruction

Band: Paramore
Song: Ignorance
Genre: Pop Punk
Director: Honey (According to wikipedia)
Audience: 15 - 24
Year Released: 2009

Paramore’s “Ignorance” music video is a performance based but has elements that are concept based.

Opening shot with the entire band playing in a closet
During the performance element of the music video the majority of shots used are close-ups and medium shots that either features one member of the band or a couple (normally two or three) but hardly the entire band. However the entire band is in several shots but which are only long shots. As well as this is timing of the each shot quickens or slows down depending of the tempo as well as the time in the music video. For example during the chorus the shots change much quicker compared to the rest of the song. As well as this there are effects used during the chorus’ including fade ins and fade outs which have been shortened. This makes allows several shots to be on screen at one time. The shots used during this period of the music video form a shot-to-shot as there are only two shots used which are repeated. This signifies that this song is part of the rock genre.
A common convention used in this music video is that the lead vocalist, Hayley Williams, is in main focus. Throughout the music video Hayley Williams is using a light bulb as a microphone and pointing it at members of the band. When this happens the band member is lightened up this is trying to take the focus of the vocalist and onto the lightened band member. A possible reason for this is that people thought Paramore where just about Hayley Williams and not the entire band, this is one reason the Farro brothers (who played guitar and drums) left the band, and by doing this video it shows each band member has an equal part in the band. Another way this is anchored is at the end of the video, with the other band members tying up Williams and leaving her signifying that she is the main focus of the band. This is also repeated in another of Paramore’s “Playing God” however it is Williams that has tied up the other band members.

Throughout the video the setting changes between a cramped closet and the band being on stage. Whilst the band are playing on stage to the audience there doesn’t seem to be a problem however during the shots in the closet the performance doesn’t seem to be like it was on stage. There are also shots of Williams in a full white outfit surrounded by mirrors.

Thursday, 11 August 2011

RM - The Smiths - This Charming Man Deconstruction

Artist: The Smiths
Song: This Charming Man
Genre: Indie Pop
Audience: 30-55
Year Released: 1983

Morrissey being the centre of attention
whilst swinging flowers around
The Smiths’ “This Charming Man” is a performance based music video, featuring the band making an appearance on the Riverside television programme surrounded by flowers on the floor and lead singer, Morrissey, swinging a bunch of flowers around.

Opening shot
The majority of shots that feature in the video consist of close-ups which tend to focus on Morrissey who is lip-syncing. As well as this close-ups of other members in the band are used throughout the video but not as much as Morrissey. These are two common conventions in music videos. As well as this there are periods in the music video where the shots pan. An example of this is at the beginning of the music video where the shot pans along the ground (at the time the audience is focussing on flowers scattered along the ground) until Morrissey comes into shot, the shot pans up to change the focus onto the lead vocalist. Panning in this music video is tended to be used to change the audience’s focus amongst the band or the band’s surroundings. There are also no shots of the band together until the second to last shot which features the entire band with exception to Morrissey who features in the final shot alone.

Fade in and fade out effects being used
There are also some special effects used in this music video. The effects consist mainly of fade ins and fade outs. This allows for more shots to be used but also it is used to change the focus. However there aren’t as many special effects that a secondary audience viewing today would expect. This is due to that technology was more expensive in the 80s than today. Despite this the primary audience that this video is targeted for wouldn’t expect it to be full of videos. The target audience for this video would most likely be for 40 – 50 with a secondary audience of 15 – 24 that grew up listening to it because their parents played it in the car or around the house.

RM - Biffy Clyro - Many Of Horror (When We Collide) Deconstruction

Band: Biffy Clyro
Song: Many of Horror (When We Collide)
Genre: Rock
Director: Andy Morahan
Audience: 15 - 24
Year Released: 2009

Biffy Clyro’s “Many of Horror (When We Collide)” is entirely performance based music video featuring the three band members Simon Neil (vocals and lead guitar), James Johnston (bass guitar) and Ben Johnston (drums) playing in Battersea Power Station.

Special effects used to distort the vocalist' face
The special effects that are used during the video to distort the vocalists face. Another special effect used is to make it seem electric is coming out of the power controls. This effect starts to be used during the parts of the song when the tempo has quickened, this starts from about 2.02 and carries on till the end of the song. This anchoring the location to a power station and that the band’s equipment is causing this to happen.

The majority of the focus is on the vocalist
Throughout the music video the band are seen to be playing together and separately, with the majority of the focus on Simon Neil. This is a common convention among music videos. This is anchored by the shot types used with the lead vocalist having shots that are either close-ups or shots that start of medium distance but zoom in to become close-ups, the only time these shots aren’t used are when the shot is a group shot of the band. In this case the vocalist is standing in the foreground whereas the other back members are in the background. For the other two band members the shots mainly consist of medium distance with a few close-ups. Another way the audience can anchor the focus is on the vocalist is that there are no shots of the other band members until all the instruments are being played but even then the shot is the entire band. Another common convention used is that the lead vocalist and band lip-sync during the song, during their respective parts.

The entire band performing "Many of Horror"
There has recently been a cover of this song from X-Factor winner Matt Cardle which the show changed the name of the song to “When We Collide” as well as making the song more mainstream, this provoked outrage amongst Biffy Clyro fans who decided to buy their version of the song in an attempt to beat Cardle’s version. Click here to watch Matt Carle's version.

RM - Pendulum - The Island: Part 1 Dawn Deconstruction

Artist: Pendulum
Song: The Island – Part 1 Dawn
Genre: Drum and Bass
Audience: 14-24
Year Released: 2010

Pendulum’s “The Island – Part 1 Dawn” is a concept music video with elements of performance featuring the lead vocalist.
The first few shots in this music video combine to make a sequence of establishing shots. This allows audience to view the setting of the remote location featured in the video. As well as this how the video has been edited makes it look like it is a short film this is done by setting the scene and also by the white text fading in on screen. Many other bands have done this concept for a music video but normally in a trailer format two examples of this is Muse’s “Knights of Cydonia” and My Chemical Romance’s “I’m Not Okay (I Promise)”.

Illusion of a male vocalist
After this sequence of shots the video mainly features on two people; a woman, protagonist, who is exploring the “island” whilst following another figure, it appears both people are wearing the same outfits it, and what appears to be an illusion of a male vocalist, this illusion is in fact the lead vocalist of the band Rob Swire, who is lip-syncing throughout the video. Thus being a common convention of a music video. The illusion is emphasized to the audience by the use of special effects which blur the face of the lead vocalist. The two elements are linked together with the use of shot-to-shots.

Protagonist being chased by herself
Throughout the video there is a variety of shots used, most of these are close-ups of the protagonist and vocalist, but also there is a lot of shots which are extreme long shots, point of views and over the shoulders this allow the audience to gain a prospective of the location as well as the protagonists view on the situation. The situation the protagonist is in includes a woman wakening up not knowing where she is, whilst she is looking for clues she spots a figure in the distance that appears to be dressed the same, which she decides to chase. This chase takes her over mountains and passing reflective triangles. It is not known who she is chasing until the very end of the music video where this narrative enigma is revealed. Thus allows the audience to find out the protagonist is in a paradox and she is in fact chasing herself.

Monday, 8 August 2011

RM - Gorillaz - Feel Good Inc. Deconstruction

Band: Gorillaz
Song: Feel Good Inc.
Genre: Hip Hop
Director: Jamie Hewlett and Pete Candeland
Audience: 15 - 24
Year Released: 2005

Lead vocalist of Gorillaz is animated form
Gorillaz’s music video for their single “Feel Good Inc.” is a performance based music video with a twist. The twist being that the band members don’t feature in the music video instead it is their Gorillas aliases that are called: Stuart Pot (lead vocals), Murdoc Niccals (bass guitar, Noodle (lead guitar) and Russel Hobbs (drums). This is a common convention among Gorrilaz’s videos until recently when the band decided to announce the band members to the public. As well as this the music video also contains De La Soul who collaborated with the band to produce this single.

Lead vocalist of Gorillaz (animated) member of De La Soul lip-syncing

The entire music video is animated due to the band’s original idea to hide their identity apart from De La Soul who appears on several cinema screens lip-syncing. Thus being a common convention among music videos. Another common convention used is that the majority of the focus is on the vocalist. As well as this during the introduction to the song three of the band members are focused on whilst playing or singing their retrospective parts. The shots featured in this sequence are mainly close-ups and medium shots showing the audience which band members are trapped.

 The music video seems to feature two parts one being the present were the band seem to be trapped in an isolated building and the other being were the lead vocalist is viewing what it’s like to be free. The two are linked together due to the three isolated gorillas and the free gorilla playing the song as a band. As well as this the focus changes between the two groups when the vocalist places his hands upon a window and stares out of it, therefore signifying the shots were the audience watch the free gorilla could be a point of view. However this image appears to be in danger due to helicopters chasing the island throughout the music video.

Last shot in the music video
The ending to the music video is very much like the opening to it with the vocalist in the centre of the screen singing “Feel Good” whilst there is laughing from an un-known source, with the exception of the shot. The opening shot zoomed in whereas the ending the shot is zooming out. There is then a fade in transaction to the last shot which shows the remaining gorilla being caught and helicopters. This is likely to have a connection to the un-known laughing which could be signifying gorillas being hunted for sport and caged like wild animals and in the isolated tower.

Saturday, 6 August 2011

RM - The Clash - Rock The Casbah Deconstruction

Band: The Clash
Song: Rock the Casbah
Genre: Punk Rock
Director: Don Letts
Audience: 30-55
Year Released: 1981

The Clash performing with the main focus on Joe Strummer
The Clash’s “Rock the Casbah” is a concept music video with elements of a performance based music video. In this music video the two elements consist of an Arab and a Hasidic Jew travelling to one of The Clash’s gigs, followed by an Armadillo. The Armadillo also featured in the opening shots of The Clash’s performance. The other element the music video consists of is the band, dressed up in army uniforms, performing the song in front of an oil rig. The band wearing Army uniforms is quite unique and strange for the viewer to watch today as many artists and as well as celebrities have gotten into trouble for wearing uniforms such as the army or depicting war. An example of this is in Rihanna’s “Man Down”. During the entire performance the lead vocalist, Joe Strummer, is lip-syncing.

The Hasidic Jew and Arab passing the band without realising

The music starts at the same time the music video starts. This is when an Arab appears over a cliff face and puts binoculars to his face, thus starting a chain reaction in shot-to-shots between the concept idea and the performance idea. With the audience’s focus switching their attention between the Arab and Hasidic Jew’s journey with the band’s performance. By allowing this the director has been able to allow the concept idea to coincide with the performance. An example of this is whilst the Arab is signalling to get a lift with the drum beat. As well as this the Arab is also listening to the radio which The Clash is being played on. Another example of this is when the band are next to a swimming pool, with the exception of one who is in it, where the Arab and Hasidic Jew pass the band with no notice of whom they were.

During the chorus the focus is on Mick Jones and Paul Simonon
During the performance element the audience focuses on Joe Strummer, the lead vocalist, except for the chorus where the guitarist, Mick Jones, and bassist, Paul Simonon, are the focus. This is signified due to the pair being at the front instead of Joe Strummer. It is a common convention for the lead vocalist to get the focus but not so much the guitarist and bassist, unless lead plays one of these instruments as well.

The Arab and Hasidic Jew at The Clash's gig (Propp's Theory)
At the end of the music video there is also a live performance at one of The Clash’s gigs where both the Arab and Hasidic Jew are attending. This being Vladimir Propp’s theory of storytelling.

RM - Muse - Butterflies and Hurricanes Deconstuction

Band: Muse
Song: Butterflies and Hurricanes
Genre: Rock
Audience: 15 - 24
Year Released: 2004

Muse’s “Butterflies and Hurricanes” is a live performance based music video. The footage taken was from their 2003 - 2004 Absolution tour including the Arena of Nimes in Nimes, France as well as Glastonbury, United Kingdom. The video also features special effects throughout. These special effects either constructed the stage, placed each band member on stage and quickly zooming after changing the setting of each stage.

Throughout the music video the majority of the focus is on Matthew Bellamy, the lead vocalist, of the band. Thus being a common convention of music videos. This can be anchored in the opening few shots with the stage being set up around him with the exception of the foundations. As well as this the stage is also being constructed in layers, like how it would be in real life. This isn’t a common convention, if it was to be the stage would of already been constructed an example of this is the band’s cover of “"Feeling Good" which was on the album “Origin of Symmetry” which was firstly released in 2001 with "Hyper Music" (both music videos have similar styles - click here to see the original videos for "Feeling Good" and "Hyper Music") but "Feeling Good" has another music video released in 2007 which is a live music video for their sell out tour called HAARP. Click here it so Muse's cover of "Feeling Good" live performance music video.

The special effects used for the changing of setting occur whilst the music picks up its tempo, this also happens with a music video, as the effects used quickly zoom out from one stage to another one in a different country. Whilst this is happening the audience views the countryside of the countries in. As well as this there are also shots used which included wiring and stops at band members looking for the lead vocalist, if he isn’t found there is move travelling looking at wires until he is found. This anchoring the common convention that is the focus is mainly being on the lead vocalist.

As well as this as each instrument is introduced the focus switches to the band member playing that instrument. This is anchored at the beginning of the music video when Dominic Howard, the drummer, and Christopher Wolstenholme, the bassist, are introduced into the song the audience’s focus is on the instead of Matthew Bellamy. Thus being another common convention for a music video.  As well as this there is no lip-syncing throughout the video as it contains footage from gigs and festivals. Another way this is anchored is that Muse an objection to lip-syncing one example of this is when they went onto an Italian television show when the band where asked to lip-sync each member changes position. During this performance Matthew Bellamy normally the vocalist played drums, Christopher Wolstenholme normally the bassist plays lead guitar and Dominic Howard normally the drummer was the lead vocalist and bassist. Click here to view the performance.

The last shot the audience view is taken from Glastonbury during their 2004, of this song. A possible reason for this is because the song was released as a dedication to Dominic Howard’s father who died shortly after the band’s performance at the festival.

Wednesday, 3 August 2011

RM - The Killers - All These Things That I've Done Deconstruction

Band: The Killers
Song: All These Things I've Done
Genre: Indie Rock
Director: Alexander Hemming & Kristy Gunn
Audience: Primary audience: 15-24
               Secondary audience: Fans of 80s music as the band take inspiration from that decade.
Year Released: 2004

The Killer’s “All These Things I’ve Done” is performance based which features the band walking around the streets of London followed by fans and live footage filmed at a concert held at London Astoria. Both these two different types of performance footage are linked into each other. However the majority of the footage is taken with the band walking around the streets of London.

Opening shot of the video
The first shot the audience views is a group shot of the band walking down the street, due to this being their third single from their debut album it is likely the band are introducing themselves to the audience. This is quickly followed by a point of view shot looking down the street, which is then followed to shot to shots of the band and the concert held in London Astoria.

Brandon Flowers greeting fans
After the lyrics start the band are greeted by fans and are followed throughout the video. This could signify that the band has “made it” thus is anchored by their previous singles “Somebody Told Me” and “Mr. Brightside” reaching 3rd and 10th respectfully in the charts. The shots used for the street shots mainly consist of medium shots, to allow the audience to view how many followers the band has, as well as close-ups of the band and members of the public. Most of the close-ups that feature band members consist of Brandon Flowers, the lead vocalist, whom lip-syncs through the video. These are two examples of common conventions of a music video, that the lead singer lip-syncs and gets the most attention in a band. As well as this at 2.12 four gospel singers appear in the crowd surrounding the band singing the chorus “I’ve got soul, but I’m not a solider” behind the band remain their fans whom also sing the chorus.

Gospel singers singing with The Killers
The shots taken from the concert consist of two types. The first type is before The Killers appear on stage which the majority consist of close-ups to show emotions of some of the fans faces. The second type is after The Killers have appeared on stage which consists of long shots of the crowd showing the audience the entire emotion of the crowd as well as some certain fans, which are close-ups.

This song also has another video, directed by Anton Corbijn. Click here to view it.

RM - Bon Jovi - It's My Life Deconstuction

Band: Bon Jovi
Song: It’s My Life
Genre: Rock
Director: Wayne Isham
Audience: Primary Audience 30-55 but secondary audience 14-25
Year Released: 2000

Bon Jovi’s “It’s My Life” music video features narrative as well as performance elements. The video is focused around the two main protagonists whom are called Tommy and Gina. This is anchored by the lyric “For Tommy and Gina, who never back down” as well as the male protagonist's mum calling him “Tommy”. As well as this the video also focuses on Bon Jovi performing “It’s My Life” live in front of a crowd, which has been done in many of their videos “Livin’ On A Prayer” and “You Give Love A Bad Name” being two examples.

Tommy and Gina on the phone to each other before Bon Jovi gig
The opening sequence to this video contains the male protagonist in his bedroom trying to watch a live stream of Bon Jovi’s performance, who gets interrupted by a phone call from the female protagonist asking “where are you?” During this sequence there are lots of close-ups as well as the camera panning. The audience can also hear the introduction of “It’s my Life” during the phone call but stops when Tommy has put down the phone. This is also followed by the pace of the video quickening, as Tommy runs, this is anchored by the song starting “Woah woah”. The camera tracks the protagonist throughout his sequence.

Jon Bon Jovi, from Bon Jovi, lip-syncing
After these sequences the video cuts between Bon Jovi and Tommy. Whilst the focus is on the band Bon Jovi the attention is more on Jon Bon Jovi, the lead vocalist, who is lip-syncing throughout the video. These two aspects of the music video are common conventions. As for when the audience focus on Tommy the video shows the challenges he has to face which feature; being chased by dogs, running a marathon, posing for pictures, rolling under a jack-knifed truck and falling into cars, until he reaches his goal. This video has references with Vladimir Propp’s theory of stories. The video ends where Tommy has completed his challenge to get to the gig just before Bon Jovi finishes the song “It’s My Life”
Gina and Tommy together during Bon Jovi gig

Monday, 1 August 2011

RM - The Rembrandts - I'll Be There For You Deconstruction

Band: The Rembrandts
Song: I'll Be There For You
Genre: Pop
Audience: All
Year Released: 1995

The Rembrandts’ “I’ll Be There For You” is a performance based music video with elements of a concept video of the friends cast taking over the band. With the first few shots featuring close ups of the Rembrandts band members and the main cast members of the American sitcom Friends (Jennifer Aniston, Courteney Cox, Lisa Kudrow, Matt LeBlanc, Matthew Perry and David Schwimmer), thus being an intertextual reference as “I’ll Be There For You” is the sitcoms theme tune. The intertextual reference is kept throughout the entire video.

Lisa Kudrow using a clapper board.
The music video’s shots and linked into the pace of the song, with the shots quickening whilst the pace of the song quickens. An example of this is 0.09 to 0.11seconds where shots are cut to match with the song’s pitch. As well as this the lyrics are linked to the video due to the intertextual reference. The reason for this is that “I'll Be There For You” is about friendship and the video contains the friends cast. This is also used to effect with the music video. An example of this is where Lisa Kudrow uses a clapper board where there is a clapping in the song.

Last shot during the video.
Throughout the music video most of the shots are panning or tracking which signifies that they are being filmed using television cameras which is anchored by the shots in the gallery as well as the studio the video is set in. The audience are also viewing what is happening from the prospective of the people in the gallery which is anchored by the last shot where the editor and producer are shaking hands. As well as this the shots used focus on the Friends cast more than the band, especially the singer. This isn’t a common convention for a music video. This is also anchor by the shots types use, for the Friends cast the shots are mainly close-ups or mid-shots where as the band are mainly mid-shots.

As well as this the focus of the video changes through it, the focus changed from the band to the friends cast. There are also added effects of black and white footage. This is mainly used for the friends cast until they have taken over the set, thus anchoring the change in focus.

There are also similarities between this music video and Guns N' Roses "Sweet Child O' Mine" as both music videos contain footage of the bands playing but also the crew producing the music video. Also both black and white and colour footage is used during the music video.