feedback and progress report

1) Video conventions; This post feels a bit unfinished George, The vids you've chosen are good examples but I need to see more of an explanation about how they conform to the conventions; currently basic and needs to be excellent!

I need to finish off the explanations, I will have this done by Wednesday. (done)

2) The Specials;  Good background info about this (great) song and video but what's lacking is any technical analysis. Its is important to at least talk about shot types and editing, but also location, lighting etc in order to push this up to excellent.

I need to go into detailed technical analysis with screenshots, I will have this done by Friday. (done)

3) Cage The Elephant; This is a good analysis George but it needs more about the technical aspects - especially shot types and camera movement. You should have screenshots from the video (5-6 maybe) with an annotation ascribing the shot type and any movement. This is important because you need to start thinking about techniques you might want to use when you come to making your own video.

I need to go into detailed technical analysis including screenshots, I will have this done by Monday. (done)

4) King Krule;  bla bla bla is not going to get you an A George!!

I need to finish this post, including screenshots and shot types, It will be done by Monday.

5) Rock The Casbah;  Once again, good on the background and context but weak on the technical aspects. Shot types, editing, miss-en-scene etc etc.

I need to add technical analysis to this, it will be done by Wednesday.

Music Video Analysis - Andrew Goodwin

Genre
Rastafarianism is closely connected with reggae music. For this reason, Rastafarianism themes are conventional in reggae music and videos alike. In this light hearted celebration of life in the "West Indies" we are presented with all sorts of sunny visuals. We see Sunny lanscapes, colourful Rastafarianism clothing and the video concludes on the beach with huge speakers, weed smoking and skanking. 'Babylon' even makes an appearance in the form of roadside police almost preventing them getting to the beach celebrations. These conventions help to establish the song with fans of the genre.

Lyrics/ Visuals
In this video,

Music/ Visuals
When the song adjusts, so does the visuals. For example, when the song crescendos, with high pitch ghostly sounds, the car begins to swerve from side to side, with the shifting camera angles exaggerating the eerie section.

Record Label
As an emerging superstar and teen idol, in this video the label will have demanded Justin Bieber's presence in the video. With multiple close ups, lots of lip syncing, and almost continuous presence popularity of the album, video and the song was driven forward using Justin Bieber's stardom.

Iconography
Queen's Freddie Murcury had already become an icon when this video was produced. He is predominant in the humorous, passionate video. His infamous moustache remains during his role as a frustrated house wife, making him instantly recognisable to viewers. The director has taken full advantage of his fame to maximise the success of the video.

Voyeurism
In this strangly sexual video, women are sexualised throughout. In a time when this was ususual and alarming,  it's controversial sexuality was a huge selling point for the video, boosting the song's exposure. 'Sex sells' is an appropriate phrase for a song about 'girls on film.'

Intertextuality
I believe the director must have been hugely influenced by Stanley Kubrick's Clockwork orange. Both revolve around the idea of cruel experimental treatment on a mentally unstable patient. The treatment is delivered to music, in front of an audience making the procedures appear more like fascinating specticles or research than an actual endevour to help the patient. The patient is central to the narrative in both texts and a similar 60's style is present.

The Specials (Video Analysis)

Genre
'2 Tone,' as it came to be known, was a 70s new wave ska revival mostly based in the UK, influenced by both current UK punk music and the ska and reggae of Jamaica. Signifiers and conventions were established. For example the outfits, specifically suits (often black,) worn by the members of the band. Black and white check and pork pie hats were also signifiers but do not feature in the video. This appealed to the specific, often politically active, segment of the UK audience as well as the general public some of whom saw them as individual, cool and appealing.


Lyrics/ Visuals relationship

There is a extremely close connection between the video and the lyrics describing an empty lifeless 'Ghost Town' which was once filled with energy. We see dutch angled shots of dull buildings at night, with no-one to be seen on the streets as the band drive through the city.

Music/ Visuals relationship

Again, a close connection. When the song adjusts, so does the visuals. For example, when the song enters a louder, more complex section with high pitch ghostly sounds the car begins to swerve from side to side, with the shifting, shorter dutch camera angles exaggerating the eerie section. Ghostly shadows are cast on a wall replicating the haunting, threatning nature of the music

Record label

As the specials had already hit stardom, the label would have required their appearance in the video in order to boost sales using their fame. Thus, they appear in closeups throughout, rammed into a car and a long shot on a beach at the end.

Iconography
By following conventions of 2 tone music discussed in section 1 (Genre) the band are being shown to the public as part of the subculture which went along side. For one, the suits make the men appear smart and fashionable, elevating their image. Secondly, although this particular song has minimal political protest implications, their image does. Many songs within the genre dealt with issues of race and problems in society and so in this and other music videos, the band placed themselves in peoples minds as active protesters and politically conscious performance. This gains them respect and distinguishes them from another commercial pop group despite their huge successes.

Cage the Elephant - Cold Cold Cold (Video Analysis)

Visuals & Lyrics relationship
There is a tight link between the two in this video, directed by the lead singer of the band himself. The song explores feelings of unrest or discontent; "Doctor can you help me, something dont feel right." The speaker reaches out to a 'doctor' to help him. This is reflected in the narrative of the video where a man in a straight jacket, presumably insane, is taken to an alarming experimental hospital to be cured. "Before I change my mind" suggests he is unstable and may no longer be willing, just as the patient in the video is foced into treatment against his will.

Mid shot is used here to present a new character into the narrative

Intertextuality 
I believe the director must have been hugely influenced by Stanley Kubrick's Clockwork orange. Both revolve around the idea of cruel experimental treatment on a mentally unstable patient. The treatment is delivered to music, in front of an audience making the procedures appear more like fascinating specticles or research than an actual endevour to help the patient. The patient is central to the narrative in both texts and a similar 60's style is present.

Mid shot is used here to show the interaction and keep the patient's expression and discomfort central.

This shallow depth of focus here is used to create a creepy and uncomfortable cinematic experience, drawing your attention to the face of one of the masked audience members

Performance/ narrative / concept
The band is present during the entire treatment of the patient. Although appearing passive to the storyline, they are on stage in the theatre and so much like in Clockwork Orange, their music may be significant to the experimental treatment. They do not address the viewer, reinforcing the idea that thye may be part of the narrative. However, the heavily linked lyrics suggest they might fulfil a storytelling role - perhaps a link between the narrative and the viewer. We see several energetic shots of their performance, including close ups, elevating the band's 'star factor' and giving the viewer a sense of relationship and closeness with them, especially the lead singer and director of the video.

This establishing shot is used here to present the alarming close proximity and involvement of the band in the narrative.

Locations / Mise en scene
In the opening black and white shots, a 60's style car pulls up to the bleak institution fenced off to the world acompanied by eerie diagetic sounds. This establishes the dark nature of the video from the beginning. However this gloomy melancholy is soon replaces by alarming scarlet reds inferring danger once inside the building. The 60s setting is continued with costume; many props again align with Clockwork Orange, including slighty concerning brain wear while the patients of both texts are pinned down to a medical chair by nurses in white coats, building the shocking nature of the video. We are made to feel incredably uncomfortable throughout, with flexing body builders, mysteriously sexualised veiled nurses, sword swallowers, needles and everything else you could want from an off the grid gothic physchadelic science fair. This discomfort fits with the patient's, inducing a more powerful effect on the viewer.

This tracking establishing shot lets us see the new surroundings from the prisoner's perspective. 

 This close up makes the audience feel uncomfortable and shocked.

 This long shot sexualises the new characters, fitting almost their whole bodies on the camera as they mysteriously dance.

Todorov's theory
The theory can to some extent be applied here, A state of relative calm and equilibrium turns into a period of carnage once inside the asylum, disequilibrium, before returning to a state of relative (If morally questionable!) calm at the shock conclusion of the clip

 Establishing shots used at the start to set the dark setting.

We return to this medium shot to show the now different relationship between the doctors and the patient

King Krule - Lizard State (Video Analysis)

Intertextuality

This video has been heavily inspired by 'Alfred Hitchcock Presents,' 1955-1965. With an intro and outro taken from the anthology, featuring Hitchcock himself, this is made clear. The illusion of appearing to stand on the wall of the room is replicated throughout King Krule's video. 'The master of suspense' is an ideal fit for the introduction as this particular song has an eerie mysterious sound to it. Using off beats and short sharp stabs of sound, its fast pace does build a sense of anxious suspense.

Lyric/ visuals relationship

In this gloomy black and white video King Krule adopts an angsty swagger while performing, fitting to the anger of a heartbreak which the lyrics explore. His expression is continuously bitter and aggressive - representing the passionate emotions which come with the situation he sings about. "Well I've got myself trapped in the black of your heart" He bubbles over with aggression before admitting defeat "If i can't have her then none can" suggesting he is contemplating some kind of revenge.

Mise en scene


The 50s/60s suit, wallpaper and black and white choices support the theme - something again reflected in the era's sound featuring in some parts of the song. The lizard featured in the video links to the title of the song. The lizard could be a representation of how he feels, a cold blooded creature, heart frozen by the way she has treated him. The vertical standing on the wall could be another link to the lizard theme. Alternatively, he could be referring to the girl as the lizard and his feelings for her is like being 'Trapped in a lizard state.'

Genre conventions/ performance

Conventional with the genre, Krule performs throughout the video - singing and playing the guitar.

The Clash - Rock The Casbah (Video Analysis)

Visuals and lyrics relationship
This is one of the more light hearted (if still somewhat politically driven) of the Clash's songs. It's jovial lyrics are mirrorred in the fun, bright visuals and narrative. The song references the rebellion of people who want to enjoy western music in strict Islamic regimes. The song came close to the time of the islamic revolution in the middle east. Pictured in the video, along with the band's sub standard dance moves and a rogue armodillo, are an Orthodox Jew and hitch hiking Arab. They befriend eachother and indulge in western freedoms, drinking and skanking their way through an American city. 'The king told the boogie men, you gotta let that raga drop' - Strummer thought of Iran where he had heard you would be lashed for owning a disco album. Literal links in the video and lyrics are present to make the song more memorable, for example an overhead flight when the song refers to 'jet fighters.'

Performance/ narrative/ concept/ star treatment
Lots of shots of the band miming the song run adjacent to the narrative, to some extent as a broad narrative voice. The lead singer and the rest of the band address the viewer directly through close ups. This reflects the conventional direct confidence of the clash and the punk genre despite music video conventions barely having developed. Their activist militant style to some extent seeps through to this first time US commercial hit, despite it's slightly more humorous feel. The two characters which the narrative follows end their pursuit of rebellious western pleasure at a Clash concert - placing themselves as the epitome of punk rebellion. The song represents victory of music and freedoms over tyranny, with the jet fighters sent to bomb rebels turning to the music themselves.

Mise en scene/ location
Filmed in Texas, the surroundings in the video represent well the mix of places represented in the song. The sandy desert surrounding the band is reminiscent of the Arab world which the song refers to while 1980's Texas (The flash cars, bright lights and beer bottles) represents the rebellious western culture which the characters in the narrative revel in. The band are dressed in militant punk style, conventional for the genre, but perhaps with unusually bright colours reflecting the light hearted vibe.