Elton John’s music DVD ‘Dream Ticket’ strikes me as a brilliantly crafted piece of media. The background colours snatch one’s attention boasting bright shades of blues, reds and pinks. The background image is of an aeroplane taking flight from off of a runway. The blue shade is used for the runway and red for the sky. In the distance an array of spotlights are shining high into the rose-red sky, suggesting the destination of Elton John’s live performance(s). The spotlights being white turn a patch of the red sky a light pink shade adding more depth and detail to the piece.
The use of bright bold colour give the piece an abstract feel like that of pop art and the works of Roy Lichtenstein. The most affective colour is the intense yellow used which is central on the cover. A yellow box that resembles a flight pass/ticket is the centre piece which reads like a flight ticket containing information regarding the locations of the performances/shows, and what each disc consists of.
The piece is a four disc set featuring performances at New York, London and Ephesus with a disc for each live show. There is also a fourth disc which contains a look back at Elton’s work through the time he has been in show business, as suggested by the ‘flight ticket’ which reads ‘DVD 4 | Elton In four decades 1969-2004’. This flight ticket acts very much as a contents page if you like informing a buyer/the audience what the DVD contains, however in a clever format maintaining the house style of the piece.
The black font used on the yellow contents/ticket stands out very clearly making it easy to read. These two colours used against each other in this way resemble those used on the bill/line up posters for the hugely popular British music festival that is Reading and Leeds. Perhaps this was a deliberate ploy to attract younger audiences. A reason being after the initial interest caused by the Reading/Leeds appearance attracting one to the piece, they purchase the DVD for a parent upon realising their parent(s) enjoys Elton John . . . no?
Back on planet Earth: A Sans Serif font has been used for all the text. A white font has been used for the artist name (Elton John) alongside a washed grey for the DVD title ‘Dream Ticket’. Below the titles is a brief insight as to what the audience is looking at or what a buyer is considering purchasing; Four Destinations Four DVDs. ‘Four Destinations’ is seen in the washed grey colour below the artist name (Elton John, white in colour). ‘Four DVDs’ on the other hand is written in white so a check board style pattern makes the title/info stand out and easy to read.
Below the flight ticket/contents is further text which reads ‘Flying time seven hours – over seventy songs’. The ‘Flying time seven hours’ adds to the house style and main theme of travel relating to the main title ‘Dream ticket’. This also adds a bit of enjoyment and excitement for a buyer, as if to say if they watch the DVD they actually will fly to and from each destination.
‘Over seventy songs’ is a great use of statistics to draw the public in and persuade them to buy. With seventy being such a high number this works well. This alongside the mention of Four DVDs contributes to alerting the public of what the DVD contains and what is in store for them.
Overall the entire piece has a brilliant captivating house style and a blend of vivid eye-catching colours to lure an observer.
Here we have created a mood board. The idea behind the creation of a mood board was to spur ideas and inspiration during the development process. The concept behind the mood board is that we wanted to create a piece one could expect to find upon the bedroom wall of a member of our target audience.
The magazine advert for the Arctic Monkey’s new album release ‘Humbug’ appears simplistic with both limited colour and detail. There is a central image of the bands heads merged together to create one circular silhouetted image. This central image is what captures a reader’s attention as it is a bizarre concept one is not used to seeing.
The band’s cartoon-like logo also features in the central image as if the letters have been cut out from the silhouetted image. With a bright yellow/beige base/background colour this stands out against the burgundy/maroon shade of the circular silhouetted image.
At the top of the page the album title ‘Humbug’ is on display in a Serif font in the same maroon colour as the circular silhouetted central image. Below the album title lie the words ‘The Album’ in a more vivid pink shade. This mixes the colour scheme up slightly adding more variety to the piece. This is also informative and lets a reader know immediately what it is they are looking at.
Towards the bottom of the page is a picture of the album cover. This helps readers by giving them an insight as to what they are to look for if they go out to purchase the album. Also it is just pleasant for a fan to see what the album artwork is like. I believe you can gain an understanding of what the music will be like from an album cover and it’s artwork. If it is bright and colourful perhaps you are to expect upbeat positive songs where as if it is dark and dingy you can expect heavy or aggressive songs. It is very dependant on the genre. However I believe this theory is not always a good one to follow. In generalities it is correct but not always. A band may be ironic and have a cheerful looking album cover and a track list consisting of the heaviest most depressing songs in the history of music. The main use of the album artwork featuring on the advert is so that shoppers are aware of what to look for in stores.
Beside the album cover is information as to when the album is available, the words ‘Out Now’ are published. This is straight forward and to the point again for the aid of readers and buyers.
At the very bottom of the page are two website links one is the bands’ website the other is the record label’s site. (cross-media convergence). Alongside these website addresses is the label companies logo. This helps promote the record company, if fans enjoy Arctic Monkeys and their music they may be intrigued to hear other bands by this label.
This is my least favourite advert out of the selected few I have analysed as it seems dull and lifeless, where as others have seemed charismatic and pleasant to look at with the use of many concepts and mediums to grab ones attention.
This advert still achieves it’s purpose I just feel it is a tad bare and minimal. On the contrary the fact the advert reads ‘Out Now’ suggests there may have existed an original advert before the release date which contained more information during the build up to the release, and this advert is a more recent ploy to round up anyone who has not yet heard or in fact purchased the album.
The Doves have scored a corker with this magazine advert insert. It has D&G written all over it with it’s simplistic and minimal style; lack of colour (variety), straight forward text (straight to the point), and a flattering quote to top it off. This shows from my judgement that Doves possibly have an older target audience than that of The Used of Panic at the Disco whose adverts I have already looked at. Doves are targeting an older more sophisticated reader.
To reiterate, the advert consists of three main colours, black (dark shade) as the background, a tainted rusty yellow for the main logo/image and white for the text. The main logo reading ‘Doves Kingdom Of Rust’ is situated in the centre of the page. Each word is on it’s own line and has been adjusted so that each word takes up the same amount of space (length ways). For instance ‘Of’ consists of two letters so to take up the same amount of space as say ‘kingdom’ a seven letter word there is a large space between the two letters – ‘O F’.
The font used for this main image/writing is thick, it’s chunky. It is sharp and razor like at the edges. This creates a solid like image, as if made from Iron or Steel. This is definitely a deliberate affect as the name ‘Kingdom of Rust’ has connotations of metals.
Inside the letters is an array of images displaying gorges joined by large steel bridges, birds-eye (high angle) shots of steel works and industries, rail bridges and city bridges which at a glance could easily be confused for construction cranes or electricity pylons. These images create a great eye catching pattern behind the title which draws you in as a reader/observer. In an amongst this collage of steel and bridge-like frames, on another layer if you like, is another eye-grabbing element. There appear to be street lights and/or car lights scattered around the image. They could also be sparks which could relate to a steel works/industries. These lights/sparks are similar colours to that of the main image tainted yellows and oranges forming a nice blend.
‘The new album out now CD/LP/Download’ is the only information given about the album. This is positioned below the image, centralised in a classy, sophisticated font like that of Verdana or Century Gothic. Below this information regarding what/where/when? Is a quote saying nothing but praise about the album from Q magazine. Again Q is aimed at more of an up market older society thus relating to the idea Doves are targeting a specific older generation. At the foot of the page is a reference to the Doves web address.
To conclude, the advert for Kingdom of Rust, The Doves latest release is presented with sophistication and class through it’s simple layout and minimal yet striking colour scheme, attracting older readers/listeners.
Another album avert I stumbled across was that of Panic At The Disco and their new album ‘Pretty Odd’. Take away the bands name/logo from the advert and you can still hazard a guess that it belongs to the colourful, vibrant Panic’. The advert still has an air of ‘cartoony circus art’ as I like to call it relating back to their debut album ‘A Fever You Can’t Sweat Out’. It’s almost like they have created their own house style if you like.
The background colour is a shade of purple/lilac. The page is bordered with a golden frame like that from an old story book, or child’s fable. In each corner is a floral triangular pattern sitting nicely with the border.
The central image is what one assumes to be the album cover or at least some of it’s artwork. The image is host to yet more flowers and horticulture. The image appears tattered and worn contributing to the possibility of resembling an old children’s story book.
Incorporated into the central image is the album title ‘Pretty Odd’ which sits in a yellow cartoon-like font upon an orange fairytale style banner. This contributes to the children’s fantasy/fable feel. The sentence ‘Welcome To The Sound Of’ positioned above the banner creates a build up to the album name and creates a kind of ‘world’. A sense that ‘Pretty Odd’ is not only an album of music but a world which you can enter. Possibly a secret world behind an old wardrobe, beneath a small rabbit hole, or beyond the gates of a mysterious factory!
With this concept of Children’s stories in mind, at a glance the stories of Alice and Wonderland, Thumberlina and Charlie and the Chocolate Factory all seem apparent. (Charlie’ more so down to the use of purple as the dominant colour, however the Tim Burton version was on the vibrant and colourful side, then again the idea of a Tim Burton film relates to the title of the album ‘Pretty Odd’).
The bands title sits at the top of the page in a quirky, cartoon-like font. With shades of purples, pinks, blues and reds the letters stand out on the page (all of which are found in the central album artwork). The words ‘Panic’ and ‘Disco’ appear large and are very unique and diverse; each letter stranger than the last. The words ‘At’ and ‘The’ sit in white with a light violet drop shadow giving a 3d effect.
The usual What, When, Where? Is located below the central. The words ‘The New Album’ followed by it’s release date are in a large white Serif font. Despite being Serif the font is slightly rounded making it friendly on the eye, like everything else on the page! Below the release date is information as to where you can get the album (website) and a mention of a single which is included on the album.
Further website addresses feature below this and then endorsements and the label name.
It appears the key things to incorporate on a magazine advert apart from the obvious release date and album name would be a single which features (obviously would be the song I make a video for Seventy Times Seven), website addresses, references to other merchandise (possibly) and limited edition versions for instance double disc versions or DVD packages, signed artwork for first one hundred reserved copies etc things along those lines.
After in depth analysis Panic’ have a clear house style which worked awesomely well for their first album and will no doubt follow suit. They have created a friendly on the eye piece which totally resembles the album name ‘Pretty Odd’ triggering connotations of fairytale lands and children’s stories.
‘Take Me To The Hospital’ is The Prodigy’s latest album release which features in a music magazine appealing to it’s audience in more ways than one. The colour scheme for one is more eye-catching than any I have seen, with fluorescent pink, orange and yellow triangles forming pyramid style tessellated tiles as a background.
‘Take Me To The Hospital’ is printed in block capitals; a stencil like font which appears scratched and faded in certain areas. The word ‘Hospital’ is in a different font with rounded edge rather than sharp straight edges. ‘Hospital’ appears as if the letters are dripping, as if just been painted and the paint is running. Also connotations of blood spring to mind with the word Hospital.
The ‘O’ of ‘To’ resembles the Pepsi logo only ‘The Prodigy’ replaces ‘Pepsi’. This is just my interpretation of how it appears, my way of describing it. For those unfamiliar with the Pepsi logo, imagine two semi-circles separated by ‘The Prodigy’ in between.
The platforms and release information is below in a smaller font which reads ‘CD/12/DD/Out Now’ This suggests it is available on CD, Vinyl and what I’m guessing is ‘double disc’. A reference to The Prodigy’s website is seen below in the same font, along with a small image of what looks like a school black board with the album name upon it framed by an old authentic golden frame. Perhaps this is album artwork?
At the bottom right of the piece is a reference to the albums’ availability at HMV. (Cross-media convergence).
Over all the advert is simplistic in that there is not a great deal going on. The piece is very reliant on the colour scheme and use of unusual font to grab the readers attention. The colour scheme replicates the groups’ genre which is drum and bass which relates to bright vibrant colours resembling clubs and live concerts/shows. The bright colours can also have connotations of drugs and hallucinations which are a big relation to nightlife and this particular genre of music. The piece is very clear and easy to understand.
Reprise Record’s The Used, an American alternate rock/metal four-piece are all set for the launch of their fifth album. Fitting in to many sub-genres of rock there is no surprise the magazine advert for their new album ‘Artwork’ appears to be blood-ridden.
Taking up the top half of an a4 page (landscape). The dominant colour, being a white background makes the red and black colour scheme stand out like a sore thumb. A large Serif font is used for the band name and album name giving an air of sophistication in regards to the title(s). Not only does this appear to add class but it identifies the artist and album name right away for a reader, they no exactly what it is they are looking at from their initial glance.
A second font is used for the rest of the text. This font is bold and of Sans Serif variety. Around the edges this font appears rough and sketchy relating to the rawness and harsh feel to the genre.
The remainder of the text informs the reader of the release date, available platforms (CD, download, DVD), links with iTunes, T-shirts, online video footage. The availability of the single ‘Blood On My Hands’ through the use of iTunes, and the reference to the ‘uncensored video’ on Facebook are examples of cross-media convergence, whereby the record company Reprise Records amongst iTunes and Facebook have diversified in order to produce and distribute across more than one are of media.
The main image, and what one assumes is the album cover sits opposite the band name and majority of the text on the opposing side of the page. The image is has been rotated so that it is on a slight angle creating a quirky feel. The image shows a pair of hands; someone is carving the word ‘work’ into their left forearm with an authentic syringe whose contents is the word ‘Art’. The image has been enhanced so that the prominent colours are dark reds and yellows against an almost jet black background.
The black of the background merges beyond the border of the image spilling on to the white of the advert. I use the word spilling as it actually appears as if a black substance has been splashed onto the page. This has connotations of blood relating to the image in the picture, but also to that of ink also with the album name being Artwork.
A circular ‘sticker’ if you like overlaps with the picture and the rest of the advert, advertising the limited editions of the album and single which are available at a specific website. The website address is in a yellow font as opposed to white in which the rest of the text is written. This highlights the important details the audience require if keen to purchase the single or album.
The circle is red, we definitely think this is blood, as the edges have been created so that it looks like a bloodstain; the edges have run as if a drop of blood has recently made contact with the page.
A reference to the band’s website and the record labels logo are situated in the bottom right corner of the page. This is further advertisement and acknowledgment of other media platforms.
To conclude this is a very simple yet affective advert. A simple colour scheme catches one’s eye and relates to the concept of the piece very well. The use of bloodstains and rough fonts are no surprise for an artist of the rock/metal genre with constant connotations of death, darkness and all things satanic at large.
In order to create a music video in the style of and influenced by our chosen subject Brand New I have analysed a music video by Brand New. ‘The Quiet Things That No One Ever Knows’ is the fifth track taken from ‘Deja Entendu’ Brand New’s second album.
From the word go this video is dark and gloomy this is achieved through the use of dim lighting and an upsetting narrative creating a dingy and almost depressing tone. The video’s narrative displays scenes of a road accident creating opportunities to film on location at a hospital, the interior of an ambulance, on the road side to name but a few. Thus the videos narrative element is thrilling and exciting to watch.
The first ten seconds sets the scene and we see Jesse (vocalist) driving a car/truck-like vehicle with a female passenger on his right. The two characters share moments of laughter as they plough on down an unlit road in the jet black night deep in conversation.
There is a fade to black and the band appears in a large dimly lit room. The room looks like an empty conference room or meeting room, which would normally contain cubicles and desks or a large boardroom style table, however it has had its contents removed in order for the band to perform in it.
The camera cuts frequently between this performance and the narrative now revealing scenes of an ambulance being loaded with a body, what appear to be forensic scientists observing the incident, medics and the ambulance in motion with its lights flashing. (The ambulance lights pulsate in time with the music and beat, this is something to consider when making our own video).
A medium shot sees a female medic close the rear doors of the ambulance which like the pulsating lights fits in time with the music.
At this point the performance based shots are very quick and occur in great succession. The shots are predominantly close ups and shot from obscure and canted angles creating a frantic air which reflects the upbeat tempo of the song.
When the lyrics kick in after about 38 seconds of the song the video cuts to the interior of the ambulance which is in motion. The lead singer Jesse is sat in the rear of the vehicle alongside a medic who is checking and monitoring the female character who is lying on a stretcher bed in the back of the ambulance. Jesse is singing the lyrics at this point.
Close up shots of the female are actually point of view shots as if the male medic is looking at her.
Further performance shots whilst maintaining the intimate closeness to the subject(s) see the camera pedestal and pan in different directions creating more franticness and intensity.
A shot worth pointing out occurs in and around the 1 minute 25 second mark where the female patient is being wheeled through the hospital corridors. We see a close up of her face and then the ceiling as she advances through the corridors, this is a point of view shot. Jesse’s face comes in to view and alternates with that of a male surgeon who unlike Jesse who is singing the lyrics when in view, is actually talking to the female as if to comfort her.
At the 2.20 mark we see a long shot displaying a waiting room in which a few people are seated in positions suggesting they are anxious, fed up and/or tired. A series of superimpositions occur to create an affect of waiting and time passing. The shots overlap each other slightly and fade slowly as the following shots come up beneath them. This superimposition make the characters in the waiting room appear to be bored and wrestles as they slowly fade and reappear in different seats of the waiting room.
A further theme of religion is incorporated as we see Jesse lighting candles and what I am assuming is praying as the lyrics “I lie for, only you” are sung. This creates a relationship with the character, you begin to sympathise with Jesse’s character as it shows he really cares and is upset.
In and around the 3 minute and the 3 minute 10 mark there is a series of extremely fast cuts displaying many different images which fit in time with the drum fill. This is a great piece and from using video editing software, something that is very time consuming, yet greatly effective if correctly achieved.
Overall the video follows a narrative which comes to a sad closure. However at least it comes to a closure and does not leave the audience confused or hanging. The intense performance shots create an upbeat frantic atmosphere which is echoed throughout and weaved cleverly between the gripping narrative.
A variety of shots and angles are used to brilliant affect, I have mentioned the ‘killer shots’. Edit transitions have been successfully incorporated creating an enjoyable piece to observe and also to relate to when creating my own work.
* PLEASE NOTE THE EMBEDDING FOR THIS VIDEO IS UNAVAILABLE ON YOUTUBE. IN ORDER TO VIEW THIS VIDEO PLEASE FOLLOW THIS LINK: http://www.youtube.com/watch?v=Aq1Am8tBg_A *
The Canadian four-piece together with Marc Klasfeld (Video Director) have created, in my eyes, one of the most memorable music videos of the decade. I say this I regards to people in and around my age group, as Sum 41 were at the top of their game in the late 90’s early 2000’s when this video was released in ’01.
As the video commences we see the band in a long shot proceeding forth from their van towards the camera. The song ‘Fat Lip’ (another Sum 41 classic) is heard the sound is diegetic as if being played through the vans stereo.
As the four men pass the camera, the camera pans left at a steady pace revealing a sign which reads “Diving Center meet today @ high noon”. Upon panning left the stereo fades and the song “In Too Deep” begins. The camera at this point is still panning left and comes to a halt at 180° we now see the band members in black bath robes with the band’s logo on the back. This is a great edit making it appear the band have changed clothes in a matter of seconds whilst the camera pans 180°. There is also an air of comical value amongst this section as we now assume the band will participate in a diving event of some sort which is utterly ridiculous thus being funny.
The next frame we see displays the band in an empty (waterless) swimming pool. This is a great location as it links perfectly with the diving center and the song title. Empty swimming pools are also favoured locations for skaters, and bikers as the bowl like gradient is ideal for this type of sport. This relates to Sum 41’s image and their fan base predominantly being young teenagers who enjoy punk rock and nu metal and spend most of their spare time skateboarding.
This mid shot of the frontman establishes the fact it is a performance as the band are seen in the background and fans are situated crowding around the edges of the pool watching from a height. At 19 seconds the camera has reverse zoomed revealing the whole band and a large crowd in a long shot. This is a great shot which only lasts a matter of seconds, yet it looks great and establishes what is going on at this early stage.
The series of shots which follow take place by a large Olympic size swimming pool. We see the band walking towards the poolside in their bath robes, before switching to a mid shot which tracks left revealing a crowd of screaming fans. The band remove their robes in a long shot revealing their slim and undefined bodies. Meanwhile a group of athletic young chaps stand across the pool in blood red Speedos taunting the band as seen in a mid-4 shot.
The rest of the video flicks between performance and narrative. Due to the similarities of both locations as a viewer you do not feel lost or confused at all, the closeness between the settings works well in a way which makes the video seem whole and well crafted; there exists a close link between the two capturing your attention and focus.
The narrative sees the band take on a bunch of, what seem to be, professionals at a diving competition. They in turn each make their way up to the diving board, perform a dive and the panel of judges award marks out of 10 for each dive. This is just like a professional event like the Olympic games, which to some people may well be the most boring thing in the world, however because it is a band performing acrobatic leaps into a swimming pool it is extremely funny.
A great shot which occurs around 47 seconds sees one of the ‘pros’ making his way up the ladder to the diving board. It is a high angle shot looking down the ladder, and the swimmer makes his way up towards the camera.
Low angle shots are used when the band and the swimmers are diving off the board, this is so that we as viewers can see the dive and gives us a perspective of the judges who also watch from ground level.
Further camera work of good standard is used when the band members compose themselves at the top of the ladder, bracing themselves for their jumps. Midshots see the band from the shoulders up revealing emotion and building tension.
On more than one occasion we also see the band members mid air in a midshot as they plummet towards the water.
At the 2.30 mark the crowd in the performance element begin to pour into the empty pool in which the band is performing. This shows we’re coming to a climax in the song.
We certainly come to a climax in the video when the drummer takes up his position on the diving board. The sticksman removes his shorts revealing leopard print Speedo swim shorts. A close up displays the drummer performing a hand stand on the diving board, as he winks into the camera appearing upside down in the hand stand position. The drummer performs a series of jumps and leaps as he makes his way to the water having jumped on every single spring board on his way down. Not only is this a joy to watch but it adds brilliant comical value.
My favourite shot occurs at 3minutes and 14 seconds: An old man is watching from the crowd in a cowboy hat, a close up shot reveals his shocked face as he gapes open mouthed as the drummer flips and spins amongst the spring boards. The thing that makes this shot is the old man’s face, his forehead is wrinkled and his smile lines are ever so prominent, his facial expression is priceless. You can understand why they used him for this video this emphasizes the importance of appearance when casting for my music video, you need someone who fits the part and who you know will do a good job.
Upon the drummer entering the pool the judges appear ecstatic; one judge gets up from his seat and dives into the pool himself. This causes the crowd to follow suite and the video comes to an end with a pool full of wild fans kicking and splashing.
Brand New’s Sic Transit Gloria Glory Fades is taken from their second album 'Deja Entendu'. This song is very much about relationships and more to the point sex. However the video avoids direct reference to sexual implication and focuses more on the act of sex and that everyone does it which is echoed through out due to the notion of unison incorporated through puppet style movements. The idea that sex is becoming less of a romantic act to look forward to and more of a frequent recurrence is evident. (Nothing that he tells her is really having an effect, he whispers that he loves her but she’s probably only looking for… So much more than you could ever give, a life full of lies and a meaningful relationship)
In the first frame a low-angle shot provides us with a sight of a backstreet/alleyway. A sewer lid/cap is a matter of inches distance in the shot before the camera. This positioning of the camera helps set the scene and inform the viewers of their surroundings. After 2 seconds pass a footstep hits the ground before the camera, this is the music queue, setting the beat and starting point; Jesse (vocalist) runs away from the camera perfectly in unison with the music and beat of the song. As Jesse gets further away from the camera we jump to mid-tracking shot which follows Jesse from the side as he races on through the alleyway. Further excellent camera work, a low-angle tracking shot sees Jesse from the waist down hurtling round a corner. This emphasizes the notion of running and it’s relevance at this point whilst taking an alternate angle to interest the audience and add an air of professionalism and eloquence to the piece.
Further on in the clip Jesse appears to have come to a stop outside of a fire exit or rear entrance to a bar. The word ‘Sic’ transcribed as graffiti on the wall behind Jesse (subject) in a mid-shot relate to the song title. After passing through the door, it comes to a close and a close-up displays a stencil like shape of a lamb on the back of the door. The only reference I can think of relating to the lamb crop up in the penultimate verse of the song “He is the lamb, she is the slaughter. She’s moving way too fast and all he wanted was to hold her”.
As Jesse proceeds to the bar in a mid-shot we see a booth table with a mirror above it in the background. There is obviously another mirror opposite as Jesse’s reflection is mirrored repeatedly in an infinite pattern. This concept of repetition is revisited in the video through the notion of unison incorporated through puppet style movements which I mentioned earlier.
Jesse sits at the bar adjusting his seated position as we get a glimpse of the bar tender in an over-the-shoulder-shot. (Jesse’s shoulder foreground, bar tender background). The next few shots, a series of mid-shots, point of view shots (both characters looking at one an other) and close-ups begin this talked about ‘notion of unison through puppetry’. It seems what ever gesture or movement Jesse portrays, the bar tender mirrors. For instance at 43 seconds we see Jesse stroking his chin, we return to an over-shoulder-shot and the bar tender is also stroking his chin. It is when Jesse runs his fingers through his hair that we as viewers and Jesse’s character come to realise he is being copied, as the bar tender has no hair, he is completely bald, thus the act of running his fingers through his hair seems a little bizarre.
A mid-shot sees Jesse swivel 180° on his bar stool as if fed up with the bar tender’s clowning around; at this point he is unaware he has control over everybody. However the other customers sat at the bar all spin 180° (because Jesse has) and it is now that he begins to realise he is puppet master if you like. At 58 secs we see the line of males at the bar with their right arms raised before them creating a lineal pattern, lead by Jesse.
Further choral work is provided as Jesse leads his puppets into violent leans over the bar screaming the lyrics “die young and save yourself” which are some what shouted in the song which is a contrast to the rest of the lyrics which are sang in a mellow calm manner.
We jump to a shot of Jesse’s foot on his stool. Jesse taps his foot repeatedly in time with the music. A canted, low angled mid shot sees a line of booth seating areas and their occupant’s legs. Their feet too, are tapping in time with the music.
The next act to come is the most impressive in the video. Jesse controls the puppets to slide their drinks towards the edge of the tables they are sat at. He pauses for a brief moment (in time with the music) when the music starts up again they push their drinks off of the table which fall to the floor and smash. A close up of a glass smashing is seen around the 1.36 mark. Not only does this shot look epic with the fine detail of the glass smashing and flying everywhere, but the timing was executed brilliantly, especially with the crashing of the symbols on the drums.
Further on in the video Jesse sits at a booth and places his hands on the table. As you may have guessed the other characters do the same. As the music picks up and builds up to the chorus Jesse stands and flips the table over. The rest of the characters do the same. The lineal affect created through the camera’s canted position create a brilliant perspective for the viewers.
Towards the end of the song a sequence of over-shoulder-shots reveal Jesse’s encounter with a female character. She is wearing a black vest top, upon it is a white stencil like shape of a lamb, like that from the bar door we saw earlier.
Still in control of the surrounding people Jesse uses his power to undress the female. Well he attempts to do so anyway… Abruptly Jesse’s hand raises before him after successfully removing one of the females shoulder straps.
Jesse and the audience are shocked by this as he has been in control the whole time. The camera pans left and reverse zooms as Jesse turns around. An over shoulder shot sees a mysterious figure standing before Jesse. A mere silhouette we do not see any facial features. The silhouetted man folds his fingers into a loose fist before releasing them again. Jesse does the same, standing breathless in ore in a mid-shot. The silhouetted man runs his fingers across his neck, as if to signal cutting his throat in a mid-shot. This is the final image.
Ambiguous. This is a word which comes to mind when describing the video for Sic Transit Gloria Glory Fades. From the word go there is a lot of unclear happenings left down to the audience to create back story for. For instance Jesse is running away from someone or something at the opening of the video, where is he running from, who is he running from?, the Lamb on the door and the girls’ t-shirt. What is the significance of the lamb, what does it mean?, the concept of puppetry and the idea of controlling one another what is the motive for that? The silhouetted man at the end of the video, who is he, why is he superior? Is he the reason Jesse was running at the beginning of the video? I thoroughly enjoyed the tension created through the video and the vague unclearness which meant the audience have to try and interpret it themselves. I also enjoyed the lack of performance in the video. The video was 100% narrative which worked well as the story involved kept you on the edge of your seat the whole time. The camera work was brilliant creating a professional screenplay like feel to the piece incorporating good se of edits and transitions. The use of blur on close-ups and over the shoulder shots were also used well.
Before analysing and interpreting the music video for Jennifer Lopez’ song ‘Jenny From The Block’ I figured it would be wise to gain an understanding of the song, it’s lyrics and their meaning. This is because this particular music video follows a narrative and is relatively concept-based in that it reflects and relates to the lyrics a great deal thus being able to translate its meaning.
After studying the lyrics to ‘Jenny From The Block’ I get the impression the song is about ‘JLo’ her personal life. It seems she is insisting that she is down to earth and genuine despite being world famous. Many stars and celebrities let the recognition and popularity go to their heads and they get arrogant and big headed. I think it is through this song that JLo is reassuring the public, her fans that she is not arrogant or big headed she is genuine and close to earth. I think the song also explores an air of loyalty to her roots and background; despite coming a long way from ‘the Bronx’ she’s still aware of her previous life and where she originated; she is unchanged. These are just a few ideas and themes that I believe the songs contains.
Similar to the Huey Lewis’ video ‘Jenny From The Block’ contains a section of pre music footage. By that I mean footage which occurs before the song has started which acts as an introduction to the video providing an insight as to variables such as themes and concepts.
In this case the pre music footage contains scenes of JLo at what seems to be her home (at least her fictional home for the sake of the video). The footage is shot through an almost CCTV like security camera creating a fly-on-the-wall style feel similar to that in such reality television show as Big Brother; we the audience are viewing her in her habitual zone. This pre music footage lasts no longer than a minute and sees JLo doing every day things like using the telephone, listening to an mp3 player, laughing with friends who accompany her, nestling in a lover’s arms. This creates an idea that she is normal despite being a global icon relating to the concepts and themes I mentioned earlier. To add to the ‘spy looking in’ effect the picture has been edited so that instead of a normal frame on our screens we see the image through a circular frame similar to that of a fisheye lens. This circular effect gives the feel of looking through a peep hole or spyglass.
After the pre music footage, as the song begins we jump to the exterior view of JLo’s apartment revealed through a low angle-establishing shot. In quick succession the camera zooms closer to the window of the apartment in which JLo is standing this is now seen through a low-angle long shot. The idea of spying on JLo and watching her every move are not lost at this point; through out the duration of the low-angle establishing shot to the low-angle long shot the camera is shaky and unbalanced giving a handheld feel suggesting an outsider is filming.
We then jump into what looks like Manhattan, New York. The camera jumps frequently between long shots and medium shots of JLo to Medium shots and Close ups of a rap group D-block (formerly known as The Lox) who accompany Jennifer Lopez with vocals on the song.
As well as being concept based and following the narrative of the lyrics there is a performance side to the video also. The footage I mentioned before switching frequently between JLo and D-Block through a variety of different shots and angles is predominantly performance based. The rest of the video contains concept and performance based footage. During the performance based footage we see JLo in a series of different outfits. This seems to be a common thing with music videos regarding the genre that is popular music. The alternating costumes and clothes is a way of making the subject appear more appealing and attractive it also to an extent avoids boredom for a viewer; the frequent costume changes being interesting to look at as opposed to the same thing. On the other hand this is a good marketing opportunity for companies and clothes makes to get their products out there; many impressionable young females will watch the video in admiration and desire to copy JLo, thus her setting trends and the fans imitating her dress sense.
The concept based aspects of the rest of the video fit in and around the performance footage. I noticed two almost contrasting themes to the concept related footage. A lot of the video contained more scenes of JLo seeming normal and like an average woman, down to earth and genuine. These scenes were the following: JLo dancing to herself with her mp3 player in, walking her dog, dating her boyfriend, filling her car with petrol (with boyfriend), swimming with her boyfriend, which are all relatively normal every day things.
On the other hand the other theme which seemed to exist was a glamorous, materialistic type lifestyle. We see JLo basking in the sun on a large Yacht with friends then again later on with her male friend. We see JLo picking out expensive jewellery, being spotted and photographed by paparazzi suggesting she is known and recognized. During the last minute of the video we see the couple emerge on a balcony together in bathrobes where JLo hands a gift to her male friend suggesting materialism and wealth. It’s scenes like these which relate to her lyrics “I used to have a little, now I have a lot”. Perhaps this suggests the ‘normal every day style’ footage is the old JLo and her past and the new JLo is the ‘glamorous sophisticated’ side we begin to see.
I think this is a successful video as the use of a narrative is a very popular medium; where the video relates to the lyrics. I think the target audience would be females in their teens, specifically between 12 and 17 years old. I believe it is at this age when females (not all) are most impressionable and likely to follow trends set by their idles which is partly why the frequent costume changes are incorporated.
Huey Lewis and The News is an American rock band who had a run of hit singles in the 1980’s. One of their songs ‘The Power Of Love’ brought them a great deal of success as it was used as the theme song to Stephen Spielberg’s classic ‘Back To The Future’.
The music video for ‘The Power Of Love’ is very much a performance based video. However there is a great deal of build up; footage leading up to the performance creating an intimacy with the audience; as a viewer you almost feel part of the video, you feel like another jock in a baseball windbreaker jacket heading to the concert. This close relation with the action in the frame is created from the word go as the camera pans right whilst tracking backwards (reverse zoom) revealing many young adults and fans outside the venue building – ‘Uncle Charlie’s’.
The mise-en-scene suggests the fans spilling outside of the club are young adults due to the clothing that they are wearing: denim jackets, leather jackets, windbreakers, drainpipe jeans to name but a few. These items were the height of fashion at the time in the 80’s and are showcased through out Spielberg’s movie. We tend not to stereotype ‘grown ups’ as dedicated followers of fashion. It is seen as more of a younger thing to do. Being a teenager myself I can speak for myself and others and agree that most of us tend to follow the latest trends and fashions. However I have purposely avoided using the term ‘teen’ or teenager’ to describe the crowd of fans outside of Uncle Charlie’s night club. Although the temptation existed I felt the crowd must be at least 21 years old in order to gain admission into the club due to the regulations of the US drinking age limit. Thus ‘young adult’ was a more appropriate label.
Further more one could argue that the crowd of fans outside the club are teens and were unsuccessful upon entry into Uncle Charlie’s, hence standing outside of the club. However this is the opening image which lasts the best part of 3 seconds so I’ll leave you with the decision of ageing the crowd. At least the opening shot establishes where we are and we get a sense of what is to follow.
Soon after we jump to inside Uncle Charlie’s. A long shot pans left following a waitress carrying a drinks tray passing through the over populated night club. We take another jump and we are on the stage behind two members of Huey Lewis and The News displayed in a mid-two shot from behind. This quickly confirms a performance awaits, as the crowd stand excitedly and the band prepare casually.
Moments later we’re back outside the club and a long shot sees the iconic DeLorean DMC-12 roll up by the large crowd spilling out off of the side walk. It is now that one thinks is this video a real life performance, or is it a fictional piece to help promote both Spielberg’s movie and Huey Lewis’ as a band?
It has been said that Universal Studios loved ‘The Power Of Love’, but were disappointed it did not feature the film's title, so they had to send memos to radio stations to always mention its association with Back to the Future. Therefore the arrival of the DeLorean in the sequence confirms any preconceptions that the video is a genuine live performance from Huey Lewis’ but it is almost a theatrical trailer for both the Movie and Song. A boost up the ladder to help gain recognition for both forms of media – Cross-media convergence. The following sequence sees Christopher Lloyd as the Doc’ clamber out of the DeLorean via the Lamborghini style wing doors and into the night club Uncle Charlie’s upon hearing from a group of female ‘young adults’ that Huey Lewis and The News are preparing for a live set. This adds comical value to the music video making it appear that Dr. Emmett Brown is a fan of Huey Lewis and The News. After disembarking the time machine aka the DeLorean, whilst heading towards the club the Doc pleads with the young adults asking them not to touch anything.
This allows for an element of cross-cutting to come in to play with action taking place inside and outside of the club. At approximately 2 minutes and 12 seconds in to the video Huey Lewis introduces the song which they are seconds from playing. Immediately during the roar from the crowd, the camera jumps to an extreme close up of the Delorean outside. During the short take in which the front left side of the vehicle is on display one sees the left ‘Lambo’ style wing door’ snap shut to a close. The camera then jumps to low angle from the rear of the car where the DeLorean is seen picking up speed as it’s wheels spin frantically causing a cloud of smoke. The camera then jumps to a medium shot which reveals the famous burning tire tracks left behind from the DeLorean as is blasts to another period defying time itself.
A fade to black is then used and we reappear in Uncle Charlie’s. A medium tilted shot displays the pianist striking the opening chords to ‘The Power Of Love’ as the song begins. The majority of the remaining takes are all fairly long. I say long yet they only last a matter of seconds, 2-4 as this is the right length to fit with the steady tempo of the music. Whereas in comparison with songs from genres like Metal or Dance you are more likely to find shorter takes which flow faster when keeping in time with the beat and tempo of the track.
After the fade to black there are 15 or so different takes during the instrumental introduction building up to when the vocals commence, some longer than the others, again they only last around 2-3 seconds. Some shots are close ups creating an intimacy with the band and others are longer shots revealing members of the audience creating an air of being part of the show/concert.
The majority of the rest of the video is made up of the live performance consisting of close ups of the band members: focusing on Huey himself (vocalist) when holding long notes, or the lead guitar mid solo. Other shots being long shots with the crowd framing the shot with the band in the background, close ups of individuals in the crowd singing along (this shows the song is successful and likeable because people are joining in).
Throughout the song a dim lighting is used which is the norm for most music concerts especially of the rock variety. The lighting is of a dark yellow, almost brown colour. This gives an authentic, real 80’s type feel about it, as we are so used to seeing coloured lighting and strobe lighting in more recent times, so the dull lights tell us immediately we are watching an old video.
My personal favourite edit occurs in an around the 4 minute 10 second mark. We reach the end of the second chorus and there is slight alteration of key the lyrics for this edit are: “They say that all in love is fair” Huey is accompanied by the other group members when these lyrics kick in. During the chorus building up to “They say that all in love is fair” we see Huey in a medium shot, the key change occurs and there is a jump to the two guitar players in a mid-2 shot. However it is actually a mid-2-over-the-shoulder-shot as one guitarist has his back to the camera. As we jump to this mid-2-over-the-shoulder-shot there is a large light behind the two guitarists blinding you as a viewer momentarily, the light soon fades revealing the two guitar players in this mid-2-over-the-shoulder-shot while the camera slowly zooms closer to the two subjects. The fade of the light and the speed of the zoom fit perfectly in time with the music and especially with length of time the two guitarists hold their notes for.
On more than one occasion we see Huey alone in a shot, in most cases a medium shot (mid shot) with a spotlight upon him against a black background. This focuses on him more and signifies and highlights his importance in the group.
At the end of the song we see the DeLorean pull up outside the bar again in a long shot. A great aspect of this shot is in the foreground to the left of this shot is the bumper of a car. The bumper is chrome thus reflecting the lights and the DeLorean as it wheels by. The DeLorean comes to stop and the ‘Lambo’ style wing doors’ rise and we hear a female voice cry ‘Thanks Doc, what a great trip!” this adds a comical closure to the video with a very light innuendo.
After this long shot featuring the DeLorean in the background a Superimposition is used. The DeLorean slowly fades away while the flaming tire tracks emerge to the frame from beneath the long shot.
Overall I think the music video for Huey Lewis and The News’ ‘The Power Of Love’ has a great affect on it’s audience from the word go. One is slightly bemused as to what is going on, is it fictional or a real life performance. It is only through the use of the Back To The Future characters and mise-en-scene do we realise it is not a genuine live performance.
I think the target audience for this music video are Back To The Future fans for one, fans of the movie. Stephen Spielberg fans also. Rock and Roll music fans, people fond of blues and soft rock. I think Huey Lewis’ appeal to female fans more so than males as Huey Lewis himself was regarded as a bit of a ‘looker’ thus attracting female fans.
I believe the video has good structure to it, in that it involves an almost screenplay like scene before the song. The song then begins and we forget as viewers about the DeLorean shooting off before the song. The DeLorean returns after the video bringing the video to a close, creating a circular looped feel to the video, a beginning a middle and an end.
I think this video has acted as great career progression for Huey Lewis and The News as it is featured in the smash hit Back To The Future which is a Spielberg classic and it picked up 14 awards one of which was an Oscar. The films budget was $19m and grossed $381.11m so it was a rather large hit. Huey Lewis actually starred in the film as a teacher so the film was a large career progression for Huey Lewis as an icon and the band in their field of work.
