Wednesday 31 August 2016
Saturday 27 August 2016
Thursday 25 August 2016
Tuesday 16 August 2016
Friday 12 August 2016
Music Video Analysis: G-Eazy and Bebe Rexha. Me, myself and i
'Me, Myself & I' is an song performed by American Singers G-Eazy and Bebe Rexha. Released on October 14, 2015- it was written by both Bebe Rexha and G-Eazy with the help of, Lauren Christy, TMS and Michael Keenan. The song's music video premiered on October 29, 2015, and since it's release it's gained over 198 million views (aired on G-Eazy's VEVO youtube channel). Through the four key micro-elements; Mise-en-scene, Editing, Camerawork and Soundtrack, I will be analysing whether the music video conforms or subverts the common codes and conventions of a hip hop/ pop-rap music video.
Watch 'Me, Myself & I' music video on Youtube here; G-Eazy, Me, Myself & I.
Mise-en-scene:
The Mise-en-scene includes; the lighting, props, costumes, settings, etc. This song's mise-en-scene, conforms and subverts common stereotypes creating polysemic views on their demographic. For example; the lighting throughout the music video is a high contrast between light and dark- signifying a symbolic relationship linking the low key and high key lighting to the emotions of the protagonist, characters and/or the demographic. Where a over the shoulder, mid shot is denoted, the low key de-saturated lighting connotes a deterioration of the protagonist's mental illness, in which he is fighting a losing battle with. From the ideology of a the artist dealing with a mental illness, it can become relatable to their target audience that may be struggling with the same issues. This relates to Richard Star's theory and the Paradox of the star, where the artist is both ordinary and extraordinary. Ordinary in the sense that he deals with an issue a average non-famous person can, however is extraordinary in his ability to sing and produce songs.
The lighting throughout the music video is constantly low key, and the only high key lighting source is from the party however it is de-saturated, signifying how the protagonist is distant from the party and the other characters mentally and emotionally, where his surroundings become disillusioned in the de-saturated lighting, the slow motion editing technique used in these shots conform to this ideology. The de-saturated lights cast a strong contrast against the darkness of the outside, symbolising the darkness as the depression or darker self, connoting that it can't affect you when you're in the light surrounded by other caring people, in this point of the music video the protagonist seemly becomes more relaxed and happier in his surroundings, however this can be signified that his drunk. This is denoted from a montage of shots connoting a time lapse of the night, where the protagonist and artist is increasing his alcohol consumption.
Unlike many hip-pop genre music videos featuring a male artist, 'Me, Myself & I' subverts the common codes and conventions where the Laura Mulvey's theory of the Male Glaze is subverted as no females are denoted wearing seductive or revealing clothing, disallowing the audience voyeuristic pleasure. This connotes that the artist doesn't want the demographic to get distracted by the visuals and listen to the bigger image that the artist wants his target audience to encode and decode.
Camerawork:
The various camera shots used throughout the music video conform the previous ideology of depression, this connotation is denoted in the shots were the artist is primarily encoded on his own, where the demographic signify and encode isolation. In a mid shot, with high key artificial lighting behind him casting him as a silhouette, at a connoted level these denotations signify the silhouette as the black dog campaign. The Black Dog is used as a metaphor for depression- by the protagonist/artist being the one that is symbolising the ideology, his making the direct link to himself and depression. This links to Richard Star's theory where the artist is an idea, artist G-Eazy is promoting the Black Dog campaign as well as making it personal to himself.
Majority of the shots, in a variety of angles, is the protagonist singing to the camera denoted in front of a black background, even though the audience can see the artist clearly, there is no light source or direction of high key lighting in the surroundings. This allows the audience to decode that the artist himself is the light source and the darkness around him is symbolic of his mental illness. This creates a larger image signified that only himself and in his own mind can he beat the mental illness and stop that illness from engulfing him, personally in his case music may be his escape; this links to the uses of gratification theory where target audiences might be able to relate to escaping in music or the mental illness his expressing.
Soundtrack:
Soundtrack can be split into two separate sections; diegetic soundtrack, which is sound we hear that is happening in the music video and non-diegetic which is sound that the characters cannot hear but the target audience can. The diegetic soundtrack of, 'Me, Myself &I' signifies about isolation and loneliness conforming to the major ideology of mental illness and being stuck within himself. As the soundtrack is contrapuntal to the images of the happy party life style happening around the protagonist, it connotes and reflects how the protagonist feels uncomfortable in the situation he was forced into. However as the diegetic soundtrack is contrapuntal and contradictory to the visuals seen
the audience can also decode that it connotes the feeling of isolation is not his normality and is a new feeling or situation that he is fighting to overcome. More diegetic soundtrack of the artist singing, 'Happy Birthday' to himself, brings a sense of irony to the music video. The croaky pitch and slow tempo of his voice signifies he is the opposite of what he is singing; 'happy'. This juxtaposition criticises and mocks the lyrics, has the target audience can encode that the artist and protagonist is far from happy. The non-diegetic soundtrack of the music video creates polysemic views. Whereas the fast pace tempo of the non-diegetic sound is synchronous and parallel to the lifestyle of the party- denoted in slow motion clips. Connoting a happy atmosphere and normality to the artist's life, conforming to the common codes and conventions of a hip-pop genre music video. It is however, contrapuntal to the protagonist/ artist where he is denoted in various camera angles and shots alone, signifying his sadness and isolation from the rest of the characters around him.
Editing:
Editing is the way in which the music video is pieced together, through the editorial process the editor has the ability to add and create affects. For example, in one bathroom scene, there can be four versions of the same artist denoted, from this the demographic can encode that each version portrays a different mood or aspect of the artist, signified from the era very different era each of them are giving off, further more this connotes and conforms the ideology of having a mental illness and the audience are witnesses and encoding the scene as the artist's battle with his mental illness within his own head. With this being said the contrast between the de-saturated and low key lighting makes the light in the frame almost 'fuzzy' to the audience, where it can be signified that the event occurring on screen is a disillusion inside of the artists head. Through editing the scenes and shots can be placed together in a number of different ways, throughout the music video the shots are dominantly edited in a montage
of shots, parallel to the pace and beat of the non-diegetic music. The montage of shots (using a variety of angles and styles) of the artist in the car, connotes and foreshadows a crash, this conforms of a dominant reading of males as men are associated with flash cars and the danger of speeding in cars. However editing creates oppositional readings of males through cut jumps between the present and archive footage, there is a juxtaposition as in the present shots the artist can be denoted as sad and isolated from the party, where as in archive shots and flashback shots he connotes happiness and a sense of belonging- as the male artist viewed as emotional and lonely his subverts the hegemonic reading of a strong man as male's lack showing of negative emotions, therefore the artist is a counter-hegemonic reading.
The mental illness, seemly is a reoccurring theme throughout the music video, with codes and convention to conform to this theory, the title of the album in which the music video was released in 'When it's dark out' conforms to this as it can connote a fighting battle with his issues or an mental illness, relating personally to his own health or other whom may be dealing with the same, where 'dark' is symbolic of a split personality being out or depression being felt.
Watch 'Me, Myself & I' music video on Youtube here; G-Eazy, Me, Myself & I.
The Mise-en-scene includes; the lighting, props, costumes, settings, etc. This song's mise-en-scene, conforms and subverts common stereotypes creating polysemic views on their demographic. For example; the lighting throughout the music video is a high contrast between light and dark- signifying a symbolic relationship linking the low key and high key lighting to the emotions of the protagonist, characters and/or the demographic. Where a over the shoulder, mid shot is denoted, the low key de-saturated lighting connotes a deterioration of the protagonist's mental illness, in which he is fighting a losing battle with. From the ideology of a the artist dealing with a mental illness, it can become relatable to their target audience that may be struggling with the same issues. This relates to Richard Star's theory and the Paradox of the star, where the artist is both ordinary and extraordinary. Ordinary in the sense that he deals with an issue a average non-famous person can, however is extraordinary in his ability to sing and produce songs.
The various camera shots used throughout the music video conform the previous ideology of depression, this connotation is denoted in the shots were the artist is primarily encoded on his own, where the demographic signify and encode isolation. In a mid shot, with high key artificial lighting behind him casting him as a silhouette, at a connoted level these denotations signify the silhouette as the black dog campaign. The Black Dog is used as a metaphor for depression- by the protagonist/artist being the one that is symbolising the ideology, his making the direct link to himself and depression. This links to Richard Star's theory where the artist is an idea, artist G-Eazy is promoting the Black Dog campaign as well as making it personal to himself.
Soundtrack can be split into two separate sections; diegetic soundtrack, which is sound we hear that is happening in the music video and non-diegetic which is sound that the characters cannot hear but the target audience can. The diegetic soundtrack of, 'Me, Myself &I' signifies about isolation and loneliness conforming to the major ideology of mental illness and being stuck within himself. As the soundtrack is contrapuntal to the images of the happy party life style happening around the protagonist, it connotes and reflects how the protagonist feels uncomfortable in the situation he was forced into. However as the diegetic soundtrack is contrapuntal and contradictory to the visuals seen
Editing is the way in which the music video is pieced together, through the editorial process the editor has the ability to add and create affects. For example, in one bathroom scene, there can be four versions of the same artist denoted, from this the demographic can encode that each version portrays a different mood or aspect of the artist, signified from the era very different era each of them are giving off, further more this connotes and conforms the ideology of having a mental illness and the audience are witnesses and encoding the scene as the artist's battle with his mental illness within his own head. With this being said the contrast between the de-saturated and low key lighting makes the light in the frame almost 'fuzzy' to the audience, where it can be signified that the event occurring on screen is a disillusion inside of the artists head. Through editing the scenes and shots can be placed together in a number of different ways, throughout the music video the shots are dominantly edited in a montage
The mental illness, seemly is a reoccurring theme throughout the music video, with codes and convention to conform to this theory, the title of the album in which the music video was released in 'When it's dark out' conforms to this as it can connote a fighting battle with his issues or an mental illness, relating personally to his own health or other whom may be dealing with the same, where 'dark' is symbolic of a split personality being out or depression being felt.
Sunday 7 August 2016
Music Video Analysis; Ariana Grande, Into You
'Into You' is a dance-pop song recorded by famous American singer Ariana Grande for her third studio album, 'Dangerous Woman' (2016). Directed by Hannah Lux Davis, the music video was debuted on 24 May 2016 and so far as surpassed over 165 million views.
Music video for 'Into You' can be watched here: Ariana Grande, Into You.
Mise-en-scene:
The majority of the music video is set in a rural environment, as the song is about the emotions felt towards a loved one- signifying that love creates a feeling of only two people in the world. In every frame in which the lovers can be denoted, the girl is looking up at the male, this conforms the common stereotype that girls are below males giving males a sense of importance. The two character's behaviours are juxtaposed against the isolation connoted in the surroundings- a common stereotypical location for a horror movie. However, by the energetic and happy posture and actions of the character the ideology of horror is subverted, fear isn't the main focus when spending time with a loved one.
2:36 minutes into the 4:14 minute long music video, cross cutting between the familiar love between the two character isolated from the rest of the world, is now continuously interpreted by the low key lighting scenes where the artist is denoted walking through a crowded room. This connotes that when in love being around the person you feel more complete and less lonely than being in a room surrounded by hundreds of friendly faces. The second male introduced is denoted grabbing the artist's arm in a unpleasant forceful way, as these two character were previously seen in a stereotypical 'couple' scenario, it signifies that love cannot be forced for anyone or in this case cameras, and the love he is trying to force is only a show for the cameras and to gain fame in the media. On the other hand, her secret romance is one of pure love but, cannot be shown in the public eye because the gentleman may not be conform to the life of fame and their relationship would be frown upon in the media. The high key saturated lighting used in the motel connotes the happiness felt in love.
Camera:
Through the different camera angles, shots and movements the hegemonic readings of a typical love pop song is subverted and conformed. Low angles which denote the artist looking down at the camera connotes her as a powerful character, by taking the genre and style of the music video into consideration the demographic can connote that love is what makes the artist (or people in general) powerful. However through the edited sequence and shot types a common code and convention of a pop genre music video portraying love is subverted. In a long shot of the two lover laughing and running into a motel room (as the door opens the denoted high key saturated lighting in a pink tone floods out the room) this along side how the movement of the camera is stationery for one of the few
times throughout this music video. As the audience are forced to not follow the characters it brings connotation that signify that the characters are looking for private 'love making' time. However this previous connotation is subverted in the next scene where a mid shot is denoted of the two characters now in the bedroom, the camera/target audience was once restricted from. Sitting on the floor playing cards, the behaviour of the two subverts the ideology of 'love making' and sexual activities that is a common convention in pop genre music videos, as it is replaced with the enjoyment of each others company, signifying love is down to the little moments shared together, this ideology not only subverts the common convention of a pop music video but casts as a counter-type.
Soundtrack:
'Into You' music video by Ariana Grande doesn't equally denote non-diegetic and diegetic soundtrack. The non-diegetic soundtrack of the fact pace beats are synchronous and parallel to the changing of the shots, connoting as the heart beat of the artist increases when she's around her loved one, the pace of the non-diegetic soundtrack is also parallel to the fast moving and high energy scenes of the romance between the two, not only does this combination connote the happiness on screen, it's a 'psychological trick' (Steinbeck, 1950) to pick up the mood of the target audience. The lyrical non-diegetic soundtrack where the artist sings, 'Baby don't let them see it' conforms to the previous ideology of a secret romance between the lovers.
However the lack of diegetic soundtrack throughout the duration of the music video, especially denoted in the scenes of the two lovers, connotes that love is a deafening and over-powering force, where the words of the artist is encoded as the focus point, more so than the surroundings sounds that would be heard. Oppositional view is that the lack of diegetic soundtrack delusion the reality to the point that love over-powers.
Editing:
The high key lighting scenes in the rural environment, denoted a pink tinted filter overlaying the scene, this connotes disillusion caused by love, and the feeling of love that makes reality and everything seem 'dream-like', this edited filter also signify that we are looking through the eyes of someone that is in love. However other editing techniques applied to the music video, such as slow motion add to the sense of a dream like emotion, bringing connotations that love isn't long lasting just like a dream, therefore we must enjoy the moments we have. The cross cutting between the two juxtaposed shots, there is one scene of the artist denoted being photographed with a different male, with whom she doesn't look happy with, this connotes that a relationship with both the male characters is happening and the same time, conforming to why one relationship must stay a secret romance. The flashes of lightening cross cutting in the flashes of a camera is connoted as a symbolic link where the lighting is the warning before a storm, and the camera flashes signifies as acting in the same way, foreshadowing a tragic event that may take place.
In spite all the connotations and conventions that signify the emotion of 'love' the title of the song, 'Into You' connote more of a partial liking in someone's appearance rather than a deep love in their personality, this subverts the emotion felt during the song, and music video, this could connote a corruption in today's society and the movement of the new generations ideology of love.
Music video for 'Into You' can be watched here: Ariana Grande, Into You.
The majority of the music video is set in a rural environment, as the song is about the emotions felt towards a loved one- signifying that love creates a feeling of only two people in the world. In every frame in which the lovers can be denoted, the girl is looking up at the male, this conforms the common stereotype that girls are below males giving males a sense of importance. The two character's behaviours are juxtaposed against the isolation connoted in the surroundings- a common stereotypical location for a horror movie. However, by the energetic and happy posture and actions of the character the ideology of horror is subverted, fear isn't the main focus when spending time with a loved one.
Through the different camera angles, shots and movements the hegemonic readings of a typical love pop song is subverted and conformed. Low angles which denote the artist looking down at the camera connotes her as a powerful character, by taking the genre and style of the music video into consideration the demographic can connote that love is what makes the artist (or people in general) powerful. However through the edited sequence and shot types a common code and convention of a pop genre music video portraying love is subverted. In a long shot of the two lover laughing and running into a motel room (as the door opens the denoted high key saturated lighting in a pink tone floods out the room) this along side how the movement of the camera is stationery for one of the few
'Into You' music video by Ariana Grande doesn't equally denote non-diegetic and diegetic soundtrack. The non-diegetic soundtrack of the fact pace beats are synchronous and parallel to the changing of the shots, connoting as the heart beat of the artist increases when she's around her loved one, the pace of the non-diegetic soundtrack is also parallel to the fast moving and high energy scenes of the romance between the two, not only does this combination connote the happiness on screen, it's a 'psychological trick' (Steinbeck, 1950) to pick up the mood of the target audience. The lyrical non-diegetic soundtrack where the artist sings, 'Baby don't let them see it' conforms to the previous ideology of a secret romance between the lovers.
The high key lighting scenes in the rural environment, denoted a pink tinted filter overlaying the scene, this connotes disillusion caused by love, and the feeling of love that makes reality and everything seem 'dream-like', this edited filter also signify that we are looking through the eyes of someone that is in love. However other editing techniques applied to the music video, such as slow motion add to the sense of a dream like emotion, bringing connotations that love isn't long lasting just like a dream, therefore we must enjoy the moments we have. The cross cutting between the two juxtaposed shots, there is one scene of the artist denoted being photographed with a different male, with whom she doesn't look happy with, this connotes that a relationship with both the male characters is happening and the same time, conforming to why one relationship must stay a secret romance. The flashes of lightening cross cutting in the flashes of a camera is connoted as a symbolic link where the lighting is the warning before a storm, and the camera flashes signifies as acting in the same way, foreshadowing a tragic event that may take place.
In spite all the connotations and conventions that signify the emotion of 'love' the title of the song, 'Into You' connote more of a partial liking in someone's appearance rather than a deep love in their personality, this subverts the emotion felt during the song, and music video, this could connote a corruption in today's society and the movement of the new generations ideology of love.
Thursday 4 August 2016
Music Video Analysis: Carrie Underwood, Heartbeat
The 3:29 long country pop song, 'Heartbeat' was recorded by American singer and songwriter Carrie Underwood, from her fifth studio album, Storyteller. Directed by Randee St. Nicholas the music video was released on December 2, 2015. After this 'Heartbeat' met positive reviews from music critics and became a commercial success. Using the four key mirco-elements of; Mise-en-scene, camerawork, soundtrack and editing, I will be analysing the codes and conventions of the music video to whether they conform or subvert the hegemonic reading of a country pop music video.
Carrie's music video was aired on Youtube and can be accessed for free; Carrie Underwood, Heartbeat
Mise-en-scene:
Within the mise-en-scene, the low key lighting in the very beginning of the music video, signifies darkness and negativity over-powering physically and emotionally, the white dress of the artist with her blonde hair juxtaposes the surroundings. The light hair colour and white dress, signify as light, goodness, innocence and purity, where the colour is opposed to the darkness around her. For a number of shots/scenes that denote the artist laying on the grass, this can connote and signify a link form the famous romantic film, 'Twilight', where love becomes a connoted theme of the song and music video. During a scene in, 'Heartbeat' music video, sparkling props can be seen floating around the artist, connoting the forest less of a fright and more of an enchantment escape, for romantic desires. As the artist is the only character throughout the entire video, it creates enigma on whom the song is dedicated to.
Camerawork:
Within the camerawork of the music video a long shot of the artist and protagonist denoted standing in front of the moon. The moon connotes a feminine symbol, universally representing the rhythm of time as it embodies the cycle. As the moon symbolises immortality and eternity, enlightenment or the dark side of her nature, this connotes how her love towards the mysterious loved is a dark side of her. However in other cultures the moon connotes religious significance, signifying that love is a part of all cultures and religious aspects it's explored and felt through everyone. The lunar cycle has, in time, also been connoted to the various mental and emotional states of a individual. The word 'lunatic' is a result of this connotation. The full moon is also said to cause demonic influence, where the 'demonic
influences' is signified as the desires and needs caused by love, this can also link to religion through the temptations Adam felt caused by Eve. The further connotations of the phases of the moon is that the different stages of the moon cycle are signified for the analogy of a human, where the full moon is symbolic and connotes as maturity and pregnancy. Carrie Underwood's son, Isaish Michael Fisher was born February 27, 2015, however in April 2015 an article was released on rumours of another pregnancy. As the music video for her song, 'Heartbeat' was aired in December 2015, Carrie Underwood could be playing on the idea of the pregnancies rumours in order to gain more publicity or even hint to her target audience to encode and expect a pregnancy soon.
Editing:
Different connotations can be signified from the various editing techniques denoted throughout the music video. For example; the slow motion effect used, when the artist is denoted walking through the forest in the low key lighting, connotes a dream like effect, where the artist and the target audience feel a separation from reality. The video throughout as a video effect that softens the image shots conforming to the dream like effect, as this effect is denoted throughout duration of the music video separates the message behind the music video further from reality. In the very end of the music video after the non-diegetic soundtrack, shot fades out in a water ripple effect, this connotes the cycle of life as the video enters and exits with an aspect of nature, this signifies the human life ending and the enigma of the song being sang to a dead loved one, however oppositional view that the beginning and ending with nature connotes equilibrium and equilibrium being restored in the forest, conforming to Todorov's theory of narrative.
Soundtrack:
The soundtrack for Carrie Underwood's 'Heartbeat' music video, is a mixture of non-diegetic and diegetic soundtracks. The diegetic soundtrack, of the wind in the leaves is parallel and synchronous to the image, it connotes a sense of reality and normality to the narrative. Non-diegetic soundtrack; parallel to the image as it connotes an element of calmness linking to the silence and relaxation of the nature surrounding the artist. In the non-diegetic lyrical soundtrack, Sam Hunt is singing the backing vocals on track, however doesn't make an appearance throughout the music video, this connotes that they are lovers singing about being in a long distance from each other, singing under the moon for each other to hear, however in this case the music video is signified only concentrating on the female's perspective, as she is the only character denoted throughout the duration of the song/video.
The article about Carrie Underwood's rumoured pregnancies can be read here.
Carrie's music video was aired on Youtube and can be accessed for free; Carrie Underwood, Heartbeat
Within the mise-en-scene, the low key lighting in the very beginning of the music video, signifies darkness and negativity over-powering physically and emotionally, the white dress of the artist with her blonde hair juxtaposes the surroundings. The light hair colour and white dress, signify as light, goodness, innocence and purity, where the colour is opposed to the darkness around her. For a number of shots/scenes that denote the artist laying on the grass, this can connote and signify a link form the famous romantic film, 'Twilight', where love becomes a connoted theme of the song and music video. During a scene in, 'Heartbeat' music video, sparkling props can be seen floating around the artist, connoting the forest less of a fright and more of an enchantment escape, for romantic desires. As the artist is the only character throughout the entire video, it creates enigma on whom the song is dedicated to.
Within the camerawork of the music video a long shot of the artist and protagonist denoted standing in front of the moon. The moon connotes a feminine symbol, universally representing the rhythm of time as it embodies the cycle. As the moon symbolises immortality and eternity, enlightenment or the dark side of her nature, this connotes how her love towards the mysterious loved is a dark side of her. However in other cultures the moon connotes religious significance, signifying that love is a part of all cultures and religious aspects it's explored and felt through everyone. The lunar cycle has, in time, also been connoted to the various mental and emotional states of a individual. The word 'lunatic' is a result of this connotation. The full moon is also said to cause demonic influence, where the 'demonic
 |
| Above is an image of (from left to right): Carrie, Mike and their son Isaish Fisher. |
Different connotations can be signified from the various editing techniques denoted throughout the music video. For example; the slow motion effect used, when the artist is denoted walking through the forest in the low key lighting, connotes a dream like effect, where the artist and the target audience feel a separation from reality. The video throughout as a video effect that softens the image shots conforming to the dream like effect, as this effect is denoted throughout duration of the music video separates the message behind the music video further from reality. In the very end of the music video after the non-diegetic soundtrack, shot fades out in a water ripple effect, this connotes the cycle of life as the video enters and exits with an aspect of nature, this signifies the human life ending and the enigma of the song being sang to a dead loved one, however oppositional view that the beginning and ending with nature connotes equilibrium and equilibrium being restored in the forest, conforming to Todorov's theory of narrative.
The soundtrack for Carrie Underwood's 'Heartbeat' music video, is a mixture of non-diegetic and diegetic soundtracks. The diegetic soundtrack, of the wind in the leaves is parallel and synchronous to the image, it connotes a sense of reality and normality to the narrative. Non-diegetic soundtrack; parallel to the image as it connotes an element of calmness linking to the silence and relaxation of the nature surrounding the artist. In the non-diegetic lyrical soundtrack, Sam Hunt is singing the backing vocals on track, however doesn't make an appearance throughout the music video, this connotes that they are lovers singing about being in a long distance from each other, singing under the moon for each other to hear, however in this case the music video is signified only concentrating on the female's perspective, as she is the only character denoted throughout the duration of the song/video.
The article about Carrie Underwood's rumoured pregnancies can be read here.
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