Video Format

I thought I'd try and copy what 30 Seconds To Mars do with their music videos. They fashion them as short films - cutting the song to fit in with the film. They do this successfully with these three videos:

Jared Leto, under the pseudonym Bartholomew Cubbins, has directed all of these videos. It seems appropriate because of his film acting career. I don't think I will split the video into the typical narrative stages like in the videos above. I would prefer to use a mostly non-linear narrative to display the Lunatic's current mindset. I would also want to copy a lot of 30 Seconds To Mars's style. I think the band's dark identity (black hair, black nail varnish, black clothing, dark subject matter) would suit the overall look that I want to achieve.

I'm working on a few surreal ideas for the video. I've decided to establish what locations I am going to use and what is involved in them. I will post a blog of these soon.

Interior Location Pics/Live Shot List

Because I am setting a large amount of my video in my house, I decided to take some pictures in areas which I thought would be ideal. I took most of them at night so that it suits the darker elements of the video.

The following photos were taken in my bedroom. I was at first trying to experiment with three stages of light from high-key all the way down to low-key:

I wanted to see at what level would suit best for what I want to create. I think it may be the second stage which will be chosen. I was thinking of a scene where my antagonist, THE LAUGHING MAN, stands at the foot of the bed - staring at our protagonist, THE LUNATIC. I haven't done a POV shot for TLM in the second stage of lighting yet, but I have done one in the first and third stage:

I think there needs to one in second-stage lighting because we would not be able to see TLM standing over TL.

The bedroom will be an interesting inclusion for the music video because it will allow the audience to see what kind of character TL is. So, a lot of work will have to be done for the mise-en-scene. I'm thinking of peculiar and sexual posters around the walls, weird drawings of TLM and maybe books to show he has an education. This is similar to Donnie's room in the 2001 film Donnie Darko, which I will take a lot of inspiration from - as well as making some intertextual references to.

I also took pictures of my landing. I thought this would be good because it is almost like a narrow corridor and this device is often used in horror films - particularly in The Shining. I also thought the wallpaper has a slight resemblance to prison bars, which can be used as an extended metaphor in the video. He can be trapped in his own mind; unable to escape. In the scene where this is used, I thought TLM can be standing on the other side of the landing - staring at TL as he enters. TLM then goes down the stairs - stiffly and slowly. I want the TL to be following TLM all through the video - representing a) TL's curiosity and fear and b) his own mind going deeper and deeper into darkness. 

I thought this bottom shot could be used, once again, for TLM's point-of-view. TLM is essentially TL's evil twin. But the evil twin is leading TL into darkness to join him. Or at least, this is the embodiment that TL imagines.

I also love the idea of having mirrors in the music video. This dwells on inspiration from The Shining where it is theorised that Jack Torrence only sees the Overlook ghosts when in contact with mirrors.

If we extend this further into schizophrenic territory, the ghosts can either be seen as mirror images of himself or their way of stimulating self-doubt and anxiety. In any sense, I would like to have TL looking in the mirror and have a glimpse of TLM. I'm not sure whether to have a quick cut of TLM standing behind him or a quick cut of TL wearing the mask. I'm not sure if the latter would give too much of the intended ending away. However, it can be seen as TLM attempting to grasp TL and pull him into darkness. TL has to pull himself away - he strives to be good.


I like the idea of having a high angle shot looking down the stairs. This would be when TL has decided to cross the landing and go down the stairs. I like the idea of the shot being done like this because it's almost as if TL is descending further and further down into a dark abyss. Now, I'm thinking that the hallway needs to be very dark to connote this.

I thought that as he descends, we should have this handheld insert:

With darkness from the hallway juxtaposed with the light from the upstairs landing, it will look like that TL is going deeper and deeper into darkness. I think it gives the video more energy.

There has to be one light on when TL is in the hallway, which he is attracted to. This will be from the kitchen - where his girlfriend/boyfriend is washing dishes.

The girlfriend/boyfriend will be washing dishes. At first, the audience sees her/him and he/she looks ordinary. However, when TL enters he thinks that he sees TLM washing the dishes. TL doesn't want to be tormented any longer and he thinks he can take TLM. But it is really the girlfriend/boyfriend and so when TL goes for the attack, the g/b is weak. TL throws her in a cupboard and locks her in... throwing the key on a pile of biscuits ("you lock the door... and throw away the key").

In the initial scenes when SPEAK TO ME is playing, I want to have TL in a therapeutic environment. So, I thought about using my sitting room:

The therapist would be sitting on the chair on the left, and TL will lie or sit on the sofa to the right. I'm not sure whether I would prefer to do this in the daytime or the nighttime because this is set after the events which we are about to see. If we have it in darkness, then it indicates that there is a hopelessness and TL cannot be saved from the dark engrossing in his mind. However, in therapy, TL doesn't need to be secluded because he openly discusses his mental illness. So, the presence of light will act as a brief step into the "Good World" from the "Bad World".

I would also want to portray the paranoia side of the schizophrenia within him. To achieve this, I would like there to be a separate video camera intended for filming the therapy session. However, this camera is broadcasting much like a reality TV show (Big Brother, etc.). This is a postmodern way of portraying schizophrenia:

So, I would have inserts of people watching TL on their own television screens. I want TL to have two different personas to suit the structure of the song (which has two voices of dialogue) - as well as feed in Multiple Personality Disorder, which occurs in many schizophrenics. So, one would be sitting upright in the centre of the sofa and one will be lying down - thus indicating two completely different personas.

I would want there to be few other wide shots in the film, focusing mainly on the close-ups. This shows a close interaction between the THERAPIST and TL. For instance:

Obviously, with people there it would be more effective - but you get the basic idea. I also like the red colour scheme, which I would like to present as being representative of TL's anger and frustration. 

DIGIPAK ANALYSIS - "The Wall"

I will now analyse the digipak for the 1979 album "The Wall" by Pink Floyd. I obtained the photos from the iTunes LP feature that came with purchasing the album.

This is the front cover of the album. This is the 2011 digitally remastered edition of the album, so there are a few differences from the original. For example, there was no writing on the front cover to preserve its minimalistic style. The album is essentially a rock opera revolving around the character of PINK and his feelings of abandonment and personal isolation - the wall being symbolic of this. These are some themes I am going to try and work into my music video.

The colour white - other than paying homage to the incredibly minimalistic album cover of The Beatles' "White Album"

- is inviting and enigmatic at the same time. There's a distinct blandness to it, which attracts people's curiosity. I believe this method would be unattractive if the band was not well-known. But because both The Beatles and Pink Floyd are well-known and liked, they are able to use artistic techniques without it affecting sales. In this modern era, however, fewer and fewer people know of Pink Floyd than, say, Lady Gaga or Olly Murs. 

This is probably the reason why the creators of this digitally remastered edition of the album chose to place writing on the wall (which has the unlikely possibility of being a reference to the idiom 'The writing on the wall' - meaning a pre-determined future - which appeals to the more artistically knowledgeable) saying the name of the band and the album. The writing is also done in a graffiti style, which not only gives it a realistic position but also makes it appeal to the younger generation of today. It suits the contemporary youth social context. A few of the songs  - most particularly "Another Brick In The Wall Part 2" - definitely appeal to a youthful audience, so the use of graffiti was a wise choice. Its black colour also relates well to the dark themes of the songs on the album - as well as looking good on a predominately white backdrop. The use of grey could also be an artistic device - if you place it with the black and the white. It could represent different view points, usually coined when referring to one view - which is black - and another - which is white. The grey represents the thoughts in between, usually coined in the phrase: "There are lots of shades of grey". If we take the character of Pink, who's life is falling apart and he feels separated from everything, and these different colours - this digipak could be to represent Pink's distorted mindset. 

This is the back cover of the album (picture obtained from Amazon.co.uk):

As you can see, there is about as much minimalist detail on the back of the album as the front. Much of the text is still in that graffiti style - it is only the logos and the barcode that do not conform (since they need to be recognised, in spite of their connection to the album, as their own brand). 

A booklet is contained within the album. This is the front and the back cover:

The front cover, as we can see, is exactly the same as the front of the CD case. The back, however, is rather different. No graffiti writing is used on this page, probably to separate the band members and the companies from the songs themselves. This carries on with my theory in the Dark Side of the Moon album, where the artists only want the music to be heard. It is a part of that world, as it were - and the ordinary text used on the back page suggests that it is not part of that world. It could be simpler than that - the writing could be different because there is a large amount of small text and it would perhaps be considered unreasonable if it were in a graffiti font. All the names have uppercase lettering with a bold font, so people can recognise the names instantly. 

Like the booklet in the "Dark Side of the Moon" album, this one also contains the lyrics to all of the individual songs. They have continued the same style that was on the front cover - graffiti-esque writing on a bland, white wall. This perhaps suggests that poetry can be found in graffiti as well. Perhaps the designer is speaking out for the youth subcultures who do graffiti. In any case, this font is certainly nice to look at. It has also changed slightly from the front cover because it is mostly in lowercase lettering. Some of the letters also appear to be smudged - and with its blackness it suggests that this is ink. Ink would probably be appropriate because of the references to school in the song. Ink and handwriting like this could be reminiscent of schoolwork. This is another contributing factor in appealing to a youthful audience. 

Half-way through the booklet - marking the transition form the first disc to the second - is a surreal picture of the wall:

The wall now has many bricks removed and many peculiar visions and image emerge. These images - in their sexual, disjointed and amusing premise - are obviously reminiscent of many paintings by the surreal painter, Salvidor Dali. It seems that we are given a further glimpse into Pink's mindset. It seems to be that the world, according to him, is inherently absurd and so this is why he chooses to separate himself away from it. The colours now vary from the white-grey blandness of the wall. There are four spotlights pointing at one individual in the space on the left. These spotlights could represent the four band members of Pink Floyd and their creation of Pink the protagonist. Maybe it is also to display Pink's thoughts when being in the real world - he is constantly in the spotlight. The colour seems to have an overall darkness, which is placed in contrast to the whiteness of the wall. Pink like the wall because it is brighter, in spite of its two dimensions. 

All of these surreal elements appeal to contemporary and intelligent audiences, who enjoy this style. Since Pink Floyd also makes music which is considered to be rather surreal, this image would appeal to their fanatics (as well as followers of progressive rock in general). 

Conventions

Hello, I thought I'd talk about certain conventions which music videos usually follow as well as how I'm going to apply some of them to my own.

One feature of music videos is the extensive use of close-ups, which is part of Andrew Goodwin's Theory. This is for the audience to establish who is playing or, if they are not familiar with the band, to remember them after seeing it.

Music videos often draw inspiration through making intertextual references to other media texts. For example, in the "CALIFORNIACATION" music video they use many references to video games:

There are clear references to games like 'Grand Theft Auto', 'Lara Croft', and 'SSX'. This is probably because around the year 2000, console gaming became a common activity - especially with the PlayStation 2 coming out that year. 

Music videos also specify the band/artist's particular identity. They have to be identified with a particular genre and the music video highlights that. For example, in the music video of Eminem's "Stan" the basement - which is used in many of his videos - is covered in pictures of Eminem. It establishes his identity as being well-known and that the song is by Eminem. The dark colours in the video also highlight the dark nature in his songs.





In most music videos of progressive rock songs do not contain obvious indications that a specific band/artist performs it. This is most obvious in Muse's "HYSTERIA", which doesn't even have videos of the band playing the song. Because many new-prog bands are quite dark in their songs, most of their videos have dark subject matters. In "HYSTERIA", it's about a hysteric madman struggling and suffering to piece things together. In Muse's "MADNESS", a love story occurs in a dystopian future - similar to films like "A Clockwork Orange" whilst touching on more contemporary topics like "Harry Brown". As we can see - the dark colours match the dark themes in the videos.

Most prog-rock bands like Pink Floyd, 30 Seconds To Mars, and Muse contain these dark themes in their songs. They also contain many intertextual references to famous film - some more obvious than others. This is clear in 30 Seconds To Mars's video for "THE KILL (BURY ME)", which I have often referenced in my blog. A lot of these videos tend to have a strong narrative - some even having a long prologue to the song making it seem more like a short film. One of the best examples of this is the music video for "FROM YESTERDAY":

30 Seconds To Mars usually has this format in their videos - seen in videos for "HURRICANE" and "THE KILL (BURY ME)". This is probably because of Jared Leto's inspiration from films - resulting from his acting career (Requiem for a Dream, American Psycho, The Thin Red Line). 

30 Seconds To Mars is known for its identity, which is highlighted in how they dress and appear. They are usually associated with the emo subculture - so the music tends to appeal to a younger, more rebellious audience.

Scriptwriting

1. BLACK SCREEN

TITLE CARD: PHANTASMIC ENTERTAINMENT PRESENTS

TITLE CARD: An E. M. Franklin Film

Once the titles disappear, a small shape appears in the centre. It comes further and further towards us. We recognise it as a TRIANGLE. Within the the TRIANGLE, we see an EYE with a BLUE AND GREEN colour filter. The EYE is that of the LUNATIC.

The LUNATIC looks nervous. His EYE constantly look about him. Every time it blinks, a new colour filter is presented. He seems to be in solitary, not being able to move.

Above the triangle,

TITLE CARD: SPEAK TO ME/

Below the triangle,

TITLE CARD: BRAIN DAMAGE

CUT TO:

2. INT. CLOCK ROOM - NIGHT

A DARK ROOM. We slowly zoom into A DALIESQUE CLOCK until it fills the frame. It is lit by a CHEAP TORCHLIGHT. We hear the clock tick-tick-ticking. The screen splits into more clocks. The MINUTE HANDS go with the different tick-tick-tickings.

FADE TO:

3. INT. THERAPY - DAY

We slowly FADE to see the THERAPIST, sitting on an ARMCHAIR. He wears a tattered suit and round glasses. He looks too happy, to the point of hyperbole. Bits of RED PAINT seem to be scattered on his face. His smile seems to be painted on ... Literally.

We see the LUNATIC, lying down on a LARGE SOFA. He looks up at the ceiling and not at the THERAPIST. A CAMCORDER films him as he speaks. But we float separate from that camera. He seems to be ANGRY and UPSET but hides it behind an emotional barrier. There is a a long line of coins and notes surrounding him, almost like a barrier.

LUNATIC

          I've been mad for fucking years. Absolutely years. I've been over the edge for yonks.
          Been working with bands so long, I think crikey.

SUPERIMPOSE:

4. INT. GREYSCALE ROOM - GRIM DAY

CASH REGISTER operating on its own. Whenever there's a close-up of the THERAPIST from here on, it will be superimposed with this visual.

BACK TO:

5. INT. THERAPY - DAY

The LUNATIC now sits in the centre of the sofa. He wags his finger toward the THERAPIST in argumentative frustration.

LUNATIC

        I've always been mad. I know I've been mad like most of    us are. They have to explain why you're mad ... Even if you're not mad...

CUT TO:

6. INT. THE LAUGHING MAN - NIGHT

ANOTHER DARK ROOM. THE LAUGHING MAN stands far down in the centre. We move quickly toward him. We can see that he's laughing through his body language. We get to him. He wears a VENETIAN MASK. He face eventually fills the entire frame, to the point where the film looks amateur.


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This is the first page-and-a-half of my script for "SPEAK TO ME/BRAIN DAMAGE" by Pink Floyd. I wanted to place the protagonist in a therapy session because - as well as establish what tone the music video is taking - it is likely that Syd Barrett, the person who the song is about, had to undergo therapy for his schizophrenia. The introduction, which is the SPEAK TO ME section, is largely concept-based. It is full of abstract images to suit Pink Floyd's style and to display the vast illogical chasm that is a schizophrenic's mind.

The triangle at the beginning is to mark the protagonist's secluded mind - and his claustrophobia that comes with it. It is also a reference to the 'Dark Side of the Moon' album cover, which SPEAK TO ME and BRAIN DAMAGE are on. The blue and the green are used because they are colours used in diagrams of chlorpromazine - a drug used to treat schizophrenia.

The character of the THERAPIST is created out of the LUNATIC's mind. To him there is no emotional attachment - and so the THERAPIST doesn't show any real feeling for him. It is a literal displaying of the famous phrase 'their smiles seem like they're painted on'.

The LAUGHING MAN represents the embodiment of the protagonist's schizophrenia. His mask, like the Therapist's smile, hides himself away from any emotional attachment. But the LAUGHING MAN is truly evil. None of his face can be seen - and he only laughs at the Lunatic as he tortues him with the illness.

The main props - the cash register and the clocks - are used to keep in time with the song. Since there are specific moments when these objects are used in the songs, I had to try to fit these in the script.

Laura Mulvey's Male Gaze Theory

In 1975, the feminist film theorist Laura Mulvey invented the theory of the 'Male Gaze'. One aspect of it is that the camera makes the audience see through the eyes of a heterosexual man. When women are presented in the video, they are objectified for the men's pleasure. This is extensively seen in the music video for "You Shook Me All Night Long" by AC/DC:

There are bits where the camera points to the sexual parts of the female body. For example, the woman's breasts as she puts her jumper on to get changed at the beginning and a woman's buttocks when she is exercising on some kind of machine.

Another aspect is that there are two types of female character in film and music videos. One is the virginal innocent character or ingenue, which can be clearly seen in the music video for "Love Story" by Taylor Swift:

In spite of her obvious sex appeal, she is presented as the ingenue of the piece - clearly referencing stories like 'Romeo and Juliet' and 'Pride and Prejudice'.

The second stock character which women are usually given is the sexy whore. These are used to appeal to the male audience - in spite of the femininity in a song. A good example of this is in the video for "Don't Cha" by the Pussycat Dolls:

As we can see, women are heavily sexualised in this music video. Their dance moves, their lyrics, and their facial expressions all have sexual connotations. This fits in with that character of the sexy whore.

Laura Mulvey referred to this theory of having only two types of female character as the Virgin/Whore Dichotomy.  

Andrew Goodwin's Music Video Theory

The media theorist Andrew Goodwin invented a list of conventions which all music videos seem to follow. 

The first one is that music video's characteristics suit the genre of the song itself. For example, a pop video would have to be colourful, contain a kind of cheeky rebellion, contains dancing, humorous, stylish, and possibly have an urban setting. These can all be seen in the video for Olly Murs's "Heart Skips A Beat":

http://www.youtube.com/watch?v=j5dFe-WKuPs  (I couldn't find the video on the blogger youtube)

However, with a rock music video there is likely to be: dark colours, a stage performance, a strong sense of rebellion, a unity with the audience and heavy use of instruments. These can all be seen in 30 Seconds To Mars's video for "Closer To The Edge":

The second one is that there is a relationship between lyrics/music and visuals. This can be done in three ways: to illustrate, to amplify or to contradict. Illustrating means that the video follows the lyrics/music completely. This is seen in the video for Taylor Swift's music video for "Love Story":

The video follows the lyrics of the song completely, particularly when she sings: 'I'm standing there/on the balcony in summer air' and she is physically where she is singing about. 

Amplifying means that the lyrics aren't really followed, but the overall meaning of the song is kept in the video. This can be seen in Muse's "HYSTERIA":

The overall meaning of the song is about somebody with hysteria and desperately wanting someone. This is conveyed very well in the video, even if the lyrics are not followed to the letter.

A contradictory video is one that ignores the meaning and the lyrics of the song completely. This isn't done often because it veers away from the audience's expectations, particularly if the music itself is ignored. A good example of this is the video for "FAKE PLASTIC TREES" by Radiohead:

The lyrics and even the rhythm of the music is ignored. The only relationship to the song it has is the lip synching from the lead singer. 

The third one is that music videos have plenty of close-ups of band members so the audience can recognise who is playing. This is a way to easily commercialise the video for music companies. The video must also have recurring motifs which suit the band's style. This can be seen in the videos for 30 Seconds To Mars, which are often done like short films with preludes and dialogue on top of their music:

This is probably because audiences will know of Jared Leto's film acting career.

The fourth one is the notion of looking. Band artists are constantly seen looking in the distance or looking straight at us. This can be seen in "THE KILL (BURY ME)", where Jared Leto looks up at the camera as if he were addressing a dominant presence.

This also contains voyeurism, which is the second half of this point. The video contains a woman walking out of the shower with just a bath towel on and two lesbians kissing one another. There are no female protagonists. This video also suits the final point, which is intertextuality. This video makes heavy references to the 1980 film The Shining, with its copying of plot-lines, character actions and editing style. 

Intertextuality

It is theorised by Andrew Goodwin that there is a great deal of intertextual references in music videos. This is when there is a scene from a music video has been manipulated to look almost identical to that of a popular film. This can be done briefly in the video like in the "HYSTERIA" music video:

The scene where the protagonist trashes the hotel room references the scene from the Pink Floyd film "The Wall", based on their album. As we can see, it is very similar:

This is interesting because this film isn't the most popular. The reason they chose to reference this film is probably because both Muse and Pink Floyd are a part of the Progressive Rock genre. So, die-hard fans of progressive rock will be able to understand the reference - this is who the "HYSTERIA" music video is trying to appeal to.

Other videos use the exact same scenes from certain films, but do not use the reference through the entire video. Some start with the reference and carry on with something completely different. Some may continue to jump back and forth from the reference to something else. A good example of this is Geri Halliwell's cover of "It's Raining Men":

The introduction references the iconic scene from the film "Flashdance":

Halliwell's video copies the entire audition scene with the same dance moves, most of the same clothing, the same initially disapproving judges (who change their minds after a while) and the same turntable. Since most of Halliwell's audience is likely to be women, the makers of the video clearly wanted to use something that they may recognise - since "Flashdance" is mostly aimed towards women.

There are also music videos that have one large intertextual reference which carries on through the entire thing. The best example I have found of this is the music video for "THE KILL (BURY ME)" by 30 Seconds To Mars:

This video is obviously a reference to the 1980 horror film The Shining. It copies the plotline, the style of editing, the transitions, the different characters and how they act, and the enigmatic ghostly doubles. Since this video copies, to a large extent, the entire film I will pick out one specific example of intertextuality:

Although the 30 Seconds To Mars video uses a shower and she has a towel around her, both scenes are very similar. I think this is because 30 Seconds To Mars has quite a dark style and in this video they wanted it to be scary as well as dark. People who enjoy this dark style are also likely to enjoy scary movies. The movie which is often rated the best scary movie of all time is The Shining.


In my own music video, I plan to use some intertextual references. This shouldn't be very difficult because - since my video will be about schizophrenia - there are many films about mental illness and psychotics. However, I don't want to place my protagonist in a villainous, negative light like in The Shining. I would want him to be more like Donnie in Donnie Darko who actually suffers from schizophrenia. I thought about using a rabbit mask to convey the idea that he is seeing things that aren't there. In Donnie Darko, the bunny rabbit helps Donnie. But in my video, I would want him to be the antagonist of the piece - a kind of personified schizophrenia.

I think I would want it to be more human though and rabbit suits like that are quite expensive. So I thought about using a venetian-style mask. I haven't thought about the rest of the costume yet, but I'm sure something will come. 

Categories of Music Videos

Performance Based Videos

Performance based videos are ones which only show the band performing with their instruments. These are usually done with footage of the band playing in concert. A great example of this is "Closer To The Edge" by 30 Seconds To Mars:

This video consists of footage from the band's "Into The Wild" tour in 2010. They filmed at every 30 Seconds To Mars concert on the tour, which - as the video makes clear - occurred all around the world. It begins with fans of 30 Seconds To Mars talking about things which are relevant to the themes in their songs and, indeed, music itself. These people are slowly cut together with visuals of the band preparing themselves for a concert, some of which was clearly filmed in a studio as opposed to a concert. It brings forward the suggestion of a sentimental connection between the artists and the admirers. This is especially shown when Jared Leto is seen in the video to run amongst everybody in the crowd. The music video doesn't have a pure narrative because it is all about the music. It's all about the experience that music gives you, whether you go to a concert or not.
They have title sections for each individual band member doing things that resemble their personality. Jared is seen interacting with the audience and even jumping in with them - showing his incredibly enthusiastic nature. Shannon is seen riding a motorcycle down a road, which probably means he is the 'cool' one of the group. Tomo is only seen with a guitar, which gives him a mysterious and exciting quality. Jared Leto in particular has a specific style which suits the genre of their music perfectly. It is like David Bowie and the glam rock years, but far more modern, rebellious and dark. This darkness is highlighted in their clothing, the overall lighting and just their general style.

I don't know whether I want to involve any performance-based material in my music video. It might be ideal because the song "BRAIN DAMAGE" is about a former band member. So the environment of the band may suit the overall meaning of the song.


Narrative Based Videos

A narrative based music video is one that displays a story with the music dubbed over it. This is quite a common basis for music videos because it makes the audience more interested in the video - since it shares a convention of film and TV. A good example of this is the video for "Hysteria" by Muse:

This story follows a man suffering from a mental illness, presumably hysteria, who tries to remember what he did the previous night. He finds out through a video camera which taped his experiences. He has been stalking a woman with this video camera. It is clear that he has been doing this for a while because of the different locations he has filmed this woman in. The film jumps at certain points to a flashback, made clear by the presence and absence of the protagonist's white shirt. It is clear that the protagonist has somehow convinced this woman to spend the night with him. However, we see by random intercuts that he abuses her before any sexual activity can proceed. We can see that she escapes but not at the end. The narrative jumps backwards and forwards in order to bring us to the same level of confusion as the protagonist. It ends with the woman climbing seductively on the bed, just before the abuse from the protagonist takes place. This is the story of the music video.

I chose this one in particular because - apart from the music - the band does not appear in the video at all. There isn't even a logo or shots of them playing their instruments. The video is wholly focused on the narrative and the characters. It also seems that the music is only used to transport the audience into the protagonist's mindset, which is distorted and out-of-control. This is probably why no lip-synching is included either. The makers clearly didn't want any distraction that veers away from the story.

I believe I would want my video to fall under this category because of the subject matter of the song itself. Since "BRAIN DAMAGE" is about Syd Barrett's schizophrenia, I would want to base the video on his experiences. I think I would like lip-synching, unlike "HYSTERIA", because Barrett was one of the founding members of Pink Floyd. So, essentially, music meant a great deal to him.


Concept Based Videos

These music videos are based on an idea or concept, which they stick with through the entire video. There is not usually a narrative, and even if there was one it would be rather enigmatic. This technique isn't usually used for commercial purposes because the band does not appeal to a wider audience. It is for aesthetic purposes but they must suit the style of the band.

Here is the music video for "FAKE PLASTIC TREES" by Radiohead. This definitely follows the concept-based style. The entire video takes place in a futuristic supermarket with Thom Yorke, the singer, being pushed around in a trolley by an unseen person. Yorke is clearly supposed to be portraying a baby or toddler being pushed around a supermarket presumably by his mother. There is also shots of other band members in trolleys - most notably Colin Greenwood who has his guitar with him and doesn't play it. This establishes his position in the band. The trolleys go around colour-co-ordinated canisters filled with an unknown substance. It appears that Yorke's trolley stays in one aisle, even though it is being pushed around. Many unusual characters appear in front of Yorke: the cowboy with two guns, the bald man who attempts to shave his head, and an elderly woman dressed in yellow who decides to sit on a chair in the middle of the aisle.
The director of the video has said that the video is about 'death and reincarnation'. This ideas are clearly seen when everybody has to leave the supermarket. Everyone goes toward a white light, which is indicated as being the exit. Yorke is able to break free of his trolley and exit with the others.

I don't think I want to adopt only this style into my music video. I would want to make semi-clear about what my video was about. But I would want to insert enigmatic elements like in "HYSTERIA". 

Analysing "The Kill (Bury Me)" Music Video

Analysing the

“The Kill (Bury Me)” Music Video

CAMERA

·      Many wide shots: shows the size of the hotel and how empty it is. Gives a sense of mystery and fear.

·      High-angle close-up of Jared Leto singing up at us. It is as if he is singing to a more dominant presence.

·      Quite controlled, no out-of-control handheld shots – sense of normality brings a more ghostly effect.

·      Slow-moving shots, usually going forward, adds to the ghostly effect as well as build up tension.

·      The Visitors do not have any close-ups until they ‘become one’ with their doubles.

·      Their doubles are given many close-ups, suggesting they are more ‘real’ than the Visitors.

·      Lower angles for the instruments but not for the players’ faces. The instruments dominate them.

·      Low-angle wide of the exterior of the hotel – a scary and superior presence.

·      Shots inside the hotel are often high- or mid-angled for that spectral presence either to be dominant of or to dominate the Visitors.

·      Split-screen cinematography to create the illusion of doubling a character.

EDITING

·      Very rapid cuts of ghosts in-sync with the tempo of the song – the images give off a feeling of overwhelmingness, confusion and fear.

·      Many shot/reverse shots to display the reaction of characters – which brings us to their level.

·      Mirror-image effect to provide a surreal, psychedelic atmosphere suiting the idea of ghostly doubles (which also gives a sense of monstrosity).

·      Fade transitions toward the end – giving a sense of death and conclusion. The music suddenly cuts out and the last fade is extended. DEATH.

·      Title cards to give a sense of plot and narrative – very sudden and unexpected. Brings fear.

·      The sound at the beginning seems to be a loud wind – but connotes a ghostly fear.

·      Typical horror film music to establish the genre of the video.

·      A loud bell synchronising the different shots of the hotel together. Apart from the orchestra, nothing else can be heard within the film. The bell seems rather medieveal in so modern an interior. Gives off the sense of a gothic horror scenario.

·      Edits between the Visitors and the Doubles – we follow both kinds of characters but one is more mysterious than the other.

MISE EN SCENE

·      Location

Empty hotel – a very spooky setting.

Outside the hotel seems smaller than the inside, giving off a sense of the supernatural. It is also far more gothic than the interior.

·      Costume

The Visitors wear black clothing, eyeliner and nail varnish. Their whole image is gothic.

Emoish because of the long, black hair of Jared Leto and Tomo Milicevic.

Doubles wear 1920s tuxedos – reference to the happenings of the Overlook Hotel in The Shining.

·      Props

Skateboard – used by Tomo to glide around the hotel, similar to Danny and his tricycle in The Shining. It also gives us the sense that this character is quite rebellious.

Bouncing Ball – used by Jared Leto to throw at the walls. Quite aggressive. The sound of the ball marks a transition in the narrative.

Typewriter used to show madness.

REPRESENTATIONS

·      Women seem to be only good for sexual activities: woman in bath towel kissing a performer, two lesbians kissing each other. Fits in with Laura Mulvey’s male gaze theory.

·      Women are the only ones who are brutally killed.

·      Men are dominant in this video – have a superiority over women. Men wear black or dark colours, women wear much lighter colours. This coul connote a difference in strength.

GENRE

·      Post-prog

·      Alternative rock

·      Emo

·      Post-hardcore

INTERTEXTUALITY

This video conforms with Goddwin’s theory of intertextuality with its copying of the The Shining’s plotline as well as the set design, props and actiosn of the characters.

AUDIENCE

·      Teenagers

The gothic and rebellious feel of the video.

The horror film aspect

·      Men

There are only male protagonists in the piece with women taking part in sexual activities.

·      White Americans

No black people or foreigners in the video.

·      The emo culture

Contains the emo look.