'The Kindest Cut' Theory applied to a music video: Sia 'Chandelier'

Below is a textual analysis of a music video I did in order for me to have an in depth look at what sort of edits and lighting etc are featured in music videos. 



Editing:

One of the first edits we see in the chandelier music video which draws attention to itself is the scene where a long shot is used to show the protagonist in the door frame, which then cuts to a close up of her feet after she jumps to the floor. This clearly draws attention to the edits.

In addition to this, the editing in the video is particularly sharp and the shot type rapidly changes. For example, when it goes from a close up on the protagonists face to a master shot. This creates a voyeuristic feel to the video as if we are 'spying' on the girl.

Jump Cuts:

Throughout the video, jump cuts are used to create the overall mood of the video as well as reflecting the true emotion behind the song. For example, jump cuts are most commonly used in Chandelier to show the change of pace within the the song. This is a prime example of the music working alongside the video.

Moreover, jump cuts are frequently used in the video to show the protagonist's different facial expressions and also how quickly one person's mood can alter. When taking Marjorie Feruson's (1980) categorisation of facial expressions theory into account, Chandelier subverts this theory as more than one facial expression is used, so therefore Chandelier does not fit into one of Ferguson's sub categories.

Camera movements and noticable shots:

When the protagonist dances around the room, the camera seems to dance with her, tentatively following her and zooming in on particular limbs.

The camera shots are also sped up during the chorus which will have been edited during post-production. High key lighting is also used during the chorus's which connotes that there is a feeling of hope for the depressed protagonist.

Mastershots:

In Chandelier master shots are frequently used throughout. The most common use of master shots in the video are when the protagonist is dancing or is changing location. Often, when the location in the video changes, the saturation changes- usually from low saturation to high saturation or vice versa.

Laura Mulvey- The Male Gaze Theory (1975) & Textual Analysis

From this textual analysis I was able to understand how music video producers use female characters to create seductive imagery as well as how they use it to target a specific audience. This greatly helped me as I was then able to take into account how to incorporate this in to my own video if I chose a song/genre this would fit in.

Website Textual Analysis- Lana Del Rey

http://lanadelrey.com/

Within moments of opening Lana Del Rey's website, it becomes clear of the initial aim of it. A large banner cascades down the page highlighting to the audience that there are various different formats in which you can buy her latest single/album such as LP's, CD's and vinyl.

Lana's website showcases her talent, and reflects her retro personality. Lana, being a fan of the 1960's, uses the website to make it clear to the audience what type of singer she really is, soulful and smooth as well as being sophisticated and artistic. One way in which the website does this is through the use of images. Each post included in the website features a different picture of Lana such as close ups and retrospective shots. This connotes that she has full involvement with what is published on the website therefore creating a synthetic relationship with the intended audience. This again displays the type of person Lana wants to come across to the audience as, tasteful and sophisticated.

Furthermore, in a different section of the website, Lana's old, new and upcoming albums are clearly displayed giving the viewer full access to the content. This connotes that she wants her fans to feel more included by giving them a deeper insight as to what music is available.

Lana also provides a deeper insight to her adventures on the road and her general day to day life through the online gallery. This suggests that Lana is 'friends' with the fans in a non personal way.

In addition, further down the website a list of Lana's future venues and tickets for her tour is displayed. Calm, simplistic colours such as blacks and blues are used to maintain the house style of the website as well as reflecting Lana's soulful style of music. The simplistic style allows the viewer to see where they can purchase tickets from as well as keeping up with Lana's busy touring life.

5 Seconds Of Summer- Music Video Analysis

 

5 Seconds Of Summer (5SOS) are a four piece band from New South Wales, Sydney, Australia. 'Don't Stop' is the second single released by 5SOS and soon shot to the number 1 spot in the UK charts.

Before the official music video for 'Don't Stop' was released, a lyric video sporting the house style of the band was released on the 5th of May 2014. The official music video was released on the 19th may 2014, 2 weeks after the lyric video was released.

The official music video includes all four band members playing both themselves, and geeky yet quirky superheroes in a parody of what actual superheroes are stereotypically supposed to do.

-Calum Hood as 'Cal-Pal', an environmental activist saving the world one plastic bag at a time.

-Ashton Irwin as 'SmAsh', a super strong, hulk-like superhero who rescues kittens from trees.

-Luke Hemmings as 'Dr Fluke', a ninja like superhero who escorts old people across the street.

-Michael Clifford as 'Mike-Ro-Wave', who beats up all of the bad guys.

At the start of the music video, a parody of a disclaimer that is used for movie trailers is used which connotes that the video is going to have a strong yet clear story line to it. It also connotes that the band is playful and is also reflective of their genre 'pop-rock' signifying that they are neither too serious nor to immature. 5SOS's logo is used in the square in the information box towards the bottom of the image to make it clear to the audience who the band featured is.

Following the opening disclaimer, several jump cuts are used to flash back and forth showing a band member, then some text to kick-start the 'story'. The use of jump cuts also helps to distinguish that the music video will follow the 'action' genre and suggests a fast paced video.

Following these shots is an establishing shot of the boys on a rooftop not only to signify the location, but to also show the band to the audience. The mise-en-scene in this particular shot connotes that 5SOS are quite a grimy, and punky band which is again, reflective of the genre they are making their music in.

How Goodwin's conventions of a music video can be applied to 'Don't Stop':

1. 'Music videos demonstrate genre characteristics':
   In Don’t Stop, Goodwin’s convention is challenged as 5 Seconds of Summer are a boy band and there is no clear dance routine or stereotypical elements. However, there are some amplifying features that are stereotypically associated with rock bands such as 5SOS playing live on a dark building, wearing dark clothing and a low key lighting to create an authentic pop-rock band look. Also, as the video is based around a movie trailer, it follows the typical expectations of what must be included as we follow the lives of four very different superheroes. 
2. ‘There is a relationship between lyrics and visuals’:
   There are some examples of relationships between lyrics and visuals, but more of an illustrative technique has been used not to create meaning, but purely just to show what the word means. For example, the lyrics are “and when you push me off” and in the visual components an old lady is pushing ‘Dr Fluke’ away from her.
3. ‘There is a relationship between music and visuals’:
   The visuals in Don’t Stop contradict the music rather significantly as the song is about falling in love with a girl who doesn't reciprocate the feelings for the boy, yet the music video follows the lives of four superheroes so a contradicting approach is taken here. 
4. ‘The demands of the record label will include the need for lots of close ups of the artist and the artist may develop motifs which recur across their work’:
   Goodwin’s theory is supported by 5SOS’s video as there are a large amount of close ups of the artists and a clear, consistent style is maintained throughout the video.
5. ‘There is frequently reference to notion of looking and particularly voyeuristic treatment of the female body’:
   Don’t Stop highly contradicts this convention as there are no voyeuristic treatments of any female bodies and there are no notions of looking through things such as through TV screens.
6. ‘There is often intertextual reference’:
   Goodwin’s convention cannot be applied to Don’t Stop as there are no intertextual references to any website, band, TV show etc. However as 'Don't Stop' is based around a movie trailer, there is an ongoing motif present throughout the video beause the video has an authentic movie trailer feel to it.