Shot Count (Dan Spurway)

Somebody Told Me - The Killers

 

 

 

 

 

Shot count: Approximately 130

This video is considered Rock, as it reflects on the typical conventions of Rock genre. This is due to the fact that nearly all of the footage taken is of the band playing their instruments. The video is very fast in the beginning, and moves on to a slower pace as the artist sings. The video also features beat counts, where the video cuts resemble the beat of the music.

Throughout the video, it's made apparent that Goodwin's theory applies, due to the fact that Brandon Flowers is in the main shot all of the time. The reason for this is because Brandon is the lead vocalist, and therefore the music producers will ensure that the main star is focussed on, in order to sell the band to new and potential fans all the time, which ties in with Jason Mittel's theory that music videos use genres to sell products, with the band being the product in this scenario.

A lot of panning shots, as well as zooms and tracking shots, are used throughout the video to add an element of interactiveness, rather than the typical conventions of media where the camera is in fixed position. It's also worth mentioning that the shots in the video aren't limited to a handful of shots; the shots are taken at all angles and distances (long, medium, close-up shots).

During the entire the video, the band play in front of a giant screen, showing them playing the same song, but during daytime rather than at night. This iconography can be a visual representation of Claude Lèvi-Strauss' theory with the use of light and dark, and how it relates to binary opposites. In the literal term, the band are playing in a darker environment, with a brighter version behind them. However, in the interpreted term, the band could be playing sinisterly, as the dark theme is commonly used in Rock videos. This sense of internal conflict can portray the dark emotions and anger that the singer is clearly feeling about his ex-girlfriend moving on. This anger is channeled a lot into the lyrics.

In addition, Hall's theory states that for the visual representation to work, there must be a visual presence which the audience can recognise and relate to. In the video, the theme and storyline are related to the emotions that many face when an ex-partner moves on. In this case, the main vocalist discusses his experience after his ex-girlfriend has moved on. The video also features a sense of bitchiness which is quite common, and relatable.

This also ties in with David Gauntlett's theory that an image must be retained, as The Killer's songs are most about relationships or potential partners; as well as Barry Keith Grant's theory that familiar characteristics are typically covered in a music video.

© Dan Spurway

Advert Analysis (Dave Waugh)

Advert analysis

This is a poster of the band ‘ greenday’, this poster showcases the bands new album ‘ 21^st century breakdown, the way in which this poster is set out is standard for its particular genre, the name of the band is the largest text on the poster, this is their brand identity, this text is used on all of their albums and posters, this makes the band seem more familiar to its fans and this allows them to sell their brand to their audience more easily, the text itself has a unique point to it, the text looks like it has been painted on which explains the slight rugged look , this also represents the rebellious nature of this band or in fact this genre.

The poster also supports the theory of Andrew Goodwin, the star image theory, mainly due to the largest or the closest image to the viewer is in fact the lead singer therefore making the product sell better.

The image of the band shows that the entire band is in a close distance to the viewer meaning that each member of the band is just as important as the other members of the band.

Also the general color of the poster is black suggesting that because they have not went for a more colorful approach they are trying to get straight to the point, also the writing is very basic primary colors, in this case white and yellow, once again this is nothing flash and its main purpose is to grab the viewers attention, also all of the writing which includes the main and the extra details on the poster are in bold writing once again referencing to a possible rebellious feel and to get the audiences attention straightaway.

 

MoodBoard Logo Creation

MoodBoard (Record Label)

The was created also using Lino. It allowed us to create an collage of images. Which will allow easier construction of the Logo.

Initial Ideas

Initial Ideas

The Initial Ideas was created using a program called Lino. It allowed our team to post our ideas in a simple and easy way to showcase our ideas. 

Email request to Record Label

This is a email sent to Hollywood record requesting the use of the song 'Diary of Jane' by Breaking Benjamin. 

This was the second draft of the e-mail, as well found numerous errors in the first draft.

Lyrics Breakdown

This was a group effort to create a general idea of how the music video will be constructed. Such as motif that maybe used and the progression of the narrative. This will become imperative as the project progresses, as the timings listed will help the editing process. 

Advert Analysis

This is a poster of the band 'The Killers' this poster showcases the bands new album 'Day and Age'. The composition of the poster is the standard in this genre, the name of the band in the largest text. In the case of the 'The Killers' the text is their brand identity, this type of text is used on all of their albums, and posters. This is known as a brand identity, it allows the band sells them self to the audience easily. Similar to motifs used in film and TV, a brand identity is a direct link between a symbol or a idea i.e The Killers title text, to ensure the audience knows that the product is linked to the band. The text it's self is unique, it consists a 100s of dots. Similar to the lights on a stage, it may be a link to the technological era, as all of the bands songs have a reminiscent undertone.

 The poster conforms to the theory of Andrew Goodwin 'Star Image' as the largest image on the page is the a photo of the band. The image of the band has been put through a visual filter to create a more vintage look and feel. This links to the underlining theme portrayed by the bands new album 'New age' this also intricately links with the text, giving the poster a juxtapositional feel. This a common for the Killers as the main selling point of there work is there unique perception.

The Digipac is placed in the bottom left hand corner of the poster is located on a blank background, the whole bottom 1/3 of the poster is black. Similar to a footer, all of the important information is located on the black footer; release date, barcode, intuitional information. It is unconventional for the Digipac and advert not to have intricate links, such as style or design. In this case only the 'Brand Identity' the font used for the 'The Killers' is the only commonailty.

The image of the band has a intresting composition the lead singer in on the left, away from the other members of the band. He is also located closer to the camera, implying that he is more important. This also links to isolation and segregation, a common theme explored in this genre. This image highlights this is a subtle way, the attire of the lead singer is also different then his band members. He is wearing a leather jacket with some interesting shoulder pads. The wall behind him is whiter than the wall behind the others, further implying his importance and his isolation from the band. The release date is in plain bold white text on the black header, to ensure it is seen clearly.




By Alex Preston







    
             

Digipac Analysis

This Digipac is for the album 'Day and Age' by The Killers. The Killers are discribed as a rock/indie band due to their previous albums. The 'The Killers' text is a brand identity that allows the audience to instantly know if a product is part of the The Killers base. This digipac is only 3 panes, the one we will be producing will be 6 panes but the basic principles apply. The overall theme of the digipac can only be discribed as mosasic effect, which in on all three panes.

The first pane or 'Title pane' has the mosasic effect covering the entire space, the image is of a cliff/mountain in a desert at night. A image such as this may have multiple meaning that apply to many different people. The Vague nature of the image allows the audience to add their own interpretation of it meaning and add this new found knowledge to songs. The mosasic effect is similar to the 'The Killers' text in which the image is comprised of 100s of small dots. This may a consequence as the same text has been used on all the 'The Killers' albums. The reason for the mosasic effect may the connation of immortalisation and timelessness as if something is painted or created. It becomes timeless as it does not change, this is an underlining theme present in this album.

The second pane contains the same mosasic theme, but also the track list and many intutional information. This pane has the same image as the last, it is a continuation of the image. This is used to have a common link between the panes, ensuring the theme continues. The spine contains the band name and the name of the album. This is essential and compulary for every digipac to possess.

The third pane is the most intresting as it includes close-ups of the band. This is conventional of the Rock Genre to have images of the band, linking with Andrew Goodwin 'Star Image'. But this pane slightly subverts the norm of the genre, as the images of the band are on the back pane, not the front. Also the images themselfs are distored same of the rest of the digipac, to create a surreal effect, this effect is more apparent as the images of the band are more distinguishable than the landscapes present on the other two panes. This highlights the unique style of the band and again their unique perception.

The CD again follows the mosasic style, but as there is no image the style is based off, creating a more detached and surreal feel. The colour scheme is idential to its digipac counterpart. The CD itself has no unique visual quilities that are not present in the digipac, making this more of a accompaniment to the digipac.        

By Alex Preston          

Music Video Analysis

Music Video Analysis:  Bring Me Back To Life – Evanescence

Bring Me Back To Life is a music video that is very conventional of the Rock genre, due to many themes present throughout the video linking it to the genre. The video opens with a sweeping pan of a fictional city, which the video is set. This is important due to the song is part of the soundtrack for the movie ‘Daredevil’, a superhero movie; the extreme long shot of the city is commonly used in films to ensure the audience know were the film is set. The video uses this to link the song to the movie, as the same extreme long shot is used in the movie. Jason Mittell states this is used to sell products by using common themes or intertextual references to attract audience. Tim O'Sullivan argues that all media texts tell a story, a simple but correct idea. But he also states that this story is based off our cultural ideologies, which according to David Buckingham 'is in constant process of negotiation and change.'
The narrative structure of the video is simple but effective, it follows to separate groups of people, first is the lead singer ‘Amy Lee’ and her transition from dreaming to reality and vice versa. The second is the band, compete with their instruments. Both groups are in the same building, a series of crosscutting shots link the two parties, until the climax when they meet. The use of two narratives is common in the Rock genre as it allows the record companies to sell record marketing the band (Andrew Goodwin ‘Star Image’), but also allows the underlying meaning of the song to be portrayed in a concise and coherent manner. But this is challenged in this video as the two narrative intersect is a substantial way. Around the 2.30 mark Amy and the band meet this changes how the two narratives can be described or analysed. They are no longer two loosely connected stories but one in the same. The use of the camera changes substantially, and shows the two parties as a duet. They directly interact with each other, the lyrics turn into a conversation, as the man desperate to save her from falling. The rapid cuts show the panic; Amy and the man are in to save her.
 
The narrative strand which follows ‘Amy Lee’ has the most analytical potential. It starts with Amy in her bed, this opening shot shows the audience to view her asleep in bed, and the covers are tangled up with her limbs, implying a restless sleep. This simple shot is intercut with her falling. This has had substantial post-production changes added to it, the visual effects include blur, manipulating colour, was used to create a feeling that she was falling at a very fast rate. The cuts back to Amy in the bed are close-ups illustrate her distress at this dream/nightmare.

Andrew Goodwin theory of ‘Thought Beats’ are ever-present throughout this video. Amy is ‘Woken’ when the line ‘Bring Me Back To Life’ is sung by the band. Showing an illicit connection between the lyrics and the actions performed on the video, meaning that this video is defined as an ‘Amplification’ video. One could argue these shots of Amy sleeping are voyeuristic, as she does not acknowledge the camera, but this is known as the fourth wall within films. Andrew Goodwin states that voyeurism is more heavily present in video following a female, as it can perceive in a sexual context, the use of mirrors or through mediums such as TV screens or glass amplifies this exhibitionist perception. Amy’s narrative strand follows the same principles, none of these mediums are used, neither are the shots framed by furniture or doorframes, thus rendering any theory of voyeurism or sexual objectification void, in regards to the opening scene.
 
Once Amy reaches the ledge outside of the window, the cuts become quicker, as the songs pace increases. The two narratives become more intricately linked as common sights are seen in both become more explicit. As Amy climbs higher, she encounters a house party. All the party guests are wearing clown masks, implying concealment of one self or ones intentions, an underlying theme expressed in the song. The same party can be seen for the band’s point of view, suggesting that the two narratives are happening simultaneously. The Party is symbolic of many themes represented in the song; more simplistic meaning is the contrast to the room next to the party, which Amy past earlier. The family there were silent, and of a different age group, compared to the party, but are experiencing the same emotional turmoil. All the rooms Amy passes can be seen as representation of her emotions, thus implying that her climb to the top of the building is a metaphorical. The meaning of this metaphorical climb is very vague, this maybe a marketing ploy. The recording companies are trying to reach as many viewers as possible with each song released, David Guatlett states that artists play with the idea of identity, this allows for each song to mean 100 different things, thus reaching many many more people than the original meaning and song would have.

Amy’s attire is quite scares in this video as she has just woken up. She is only wearing a white nightgown; can represent nativity and/or innocence, showing Amy in this light amplifies the power of the nightmare. Laura Mulvey believes that there is a simplistic reason for Amy’s attire, sexual objectification, her theory follows the ‘Male Gaze’, which suggests that the camera and mise en scene is used to emphasise the more desirable area of a woman’s body. This is present in this video due to the revealing nature of Amy nightgown, but this is very subtly done. Unlike other genres of music such as the hit song and music video ‘Call On Me’, the Male Gaze is the major selling point of the video. In ‘Bring Me Back To Life’ the use of the Male Gaze is very scares and even when present very subtly used, as the camera angles can be construed as provocative, I cannot detest to the use of revealing clothing but Amy did not entice the viewer or display any promiscuous movements. Hence the description as 'suitably '.

Todorov narrative theory can only be partly applied to this music video, his theory is more suited to film and TV as it takes time for his five stages to be expressed. As a more simplistic approach must be taken for it to be applied to music videos; Equilibrium- Disequilibrium- New Equilibrium. In regards to 'Bring Me Back To Life' the equilibrium is balanced as she is safe in bed, it is upset when she has the vivid nightmare and climbs out the window. The equilibrium does not change, is returns to the earlier state. Making the video a circular narrative and directing contradicting Todorov.
By Alex Preston

9 Frame Analysis

Breaking benjamin, 9 screen analysis from Presto2012media
By Alex Preston

Shot count Appox - 350

The Rise Against video ‘Re-education through labour’ is very fast paced due to the nature and genre of the chosen song. This video is classified as a Rock video and conforms to the conventions present in Rock videos; many shots of the band, majority of the video filmed in disquieting locations, such as abandoned buildings and locations that can be construed as 'Underground'.

 There is multiple shots of the lead singer, which follows Andrew Goodwin's theory of 'Star Image' the lead singer has unique selling point, his different coloured irises , this further exploits the ideas of isolation and segregation which are commonly present in this genre, allowing the record company to increase sells using this unusual but unique asset. The use of 'Thought Beats' also from Andrew Goodwin can be seen throughout with the timing of the cuts and tracking shots. The Tracking shots are speed up considerably to mimic the fast pace of the song and to create a surreal effect. The Rock music video is classed as an 'Amplification' video. The video shows acts relating to the lyrics, but not directly. The entirety of the video focuses on two parties; the band singing in small 'Underground' location and a group of unknown rebels or freedom fighters dependant on your political view. Strong political messages are explicit from the outset of Rise Against video; the political themes conveyed by the video revolve around suppression of free speech and political oppression.  There are hints at the possible consequences of such oppression. Due to this the video is gender neutral, as is classed as ‘Information’ by Denis McQuail. The video can be seen leaning towards to male demographic; due to previous work completed by Rise Against, but the video analysed separately and objectively will prove it’s non gender specific demographic.               

This closely resembles the theory from Carol Vernaillis as the Diegesis is slowly revealed over time and the narrative is disjointed, this helped with quick crosscutting between the two parties. The differences between the two parties are directly linked to the shots used. The 'Rebels' are seen in shots consisting of; long shots, tracking shots, and medium long shots. Ensuring the audience sees the 'rebels' from a distance; this is partly due to the acts they commit in the duration of the video and also to ensure the viewer relates more to the band than them. The band are seen in affable shots throughout the video, including; extreme close ups, close- ups. This use of shots ensures the band are seen in a more sympathetic light in comparison to the other parties present in the video. This use of camera ensures the rapport the audience has with band is not disrupted by the acts committed by the ‘Rebels’. 
By Alex Preston      

  

Personal Skills Audit

Personal skills audit alex preston from Presto2012media