I created this survey to gather some audience research, I will analyse results and draw conclusions regarding demographics and information which will help planning my own video.
Thursday 20 July 2017
Wednesday 19 July 2017
Thursday 13 July 2017
Record label research - My chosen track (to be confirmed)
So far I have decided to work together with Chloe, a peer who I have worked with previously as we have great cooperation, the same work ethic and are share musical interests.
We have planned which tracks we would be interested in using for our music video and have two options which we are considering :
'September' by Kick the Dog
'Paris' by The 1975
So far we are leaning towards the more commercial track rather than the unsigned singer-songwriter as we believe the other song could allow us to become more creative with the 'star image' as the band have already established a solid image for us to use as some inspiration.
We will consider utilising the other track if we believe this will translate better into visuals but 'Paris' is our first choice. Because of this I have researched the record label 'Dirty Hit Records' and presented my findings below.
Dirty Hit Records - 'The 1975'
We have planned which tracks we would be interested in using for our music video and have two options which we are considering :
'September' by Kick the Dog
'Paris' by The 1975
So far we are leaning towards the more commercial track rather than the unsigned singer-songwriter as we believe the other song could allow us to become more creative with the 'star image' as the band have already established a solid image for us to use as some inspiration.
We will consider utilising the other track if we believe this will translate better into visuals but 'Paris' is our first choice. Because of this I have researched the record label 'Dirty Hit Records' and presented my findings below.
Dirty Hit Records - 'The 1975'
Digipak Analysis - 'What do you think about the car ?' Declan Mckenna
Front cover :- The main image found on the digipak is a close-up of the artist ; Declan Mckenna, with no other design on the cover and no text to provide the album title it is evident the digipak is selling both the artist and their music
- The necklace which features a car is the only hint at the album title and content, the album title 'What do you think about the car?' refers to a home video of the artist and the childhood dream of Declan to release an album ; a key piece of the marketing package
- As this is found in the main image the established audience can make connections between the artwork and previous marketing from the artist e.g. social media posts whilst a new audience becomes intregued regarding the significance of the 'car' symbolism and childlike mise-en-scene provided by the dirt on the model (Declan) and the messy hair also
- The aesthetic value is minimalistic as white space is evident in the design which comments on the importance of the artist and their personal connection to their work , this is also mirrored in the lyrical content of the album which explores Mckenna's personal belifes, values and social stance regarding important issues
- Limited edition bundles including signed copies of Declan's debut album demonstrate the importance of the car symbolism, the vinyl copy especially shows this as the artwork of the car is found as a picture disc and is also utilised in clothing merchandise and sleeve artwork in the gatefold vinyl
- The car symbol and artwork is found on the back cover of the digipak, this image is located in the bottom right corner to ensure the layout is sleek and neat
- A conventional tracklist is featured without a numerical order, the first three tracks are singles previously released by Mckenna so grab the attention of both an established and new audience
- The font is minimalistic and neat with the positioning at the left of the composition, the sans serif font is easy to read and grabs the attention of the consumer with the capitalised letters
- Below the tracklist and image the legal credits, record label info etc is found in a small credit block to ensure the consumer can find which label the artist is signed to and any information needed to credit those involved
- The tracklist also allows the audience to deduce the style of the artist and their lyrical content and themes, the use of titles like 'Paracetemol' and 'Mind' suggest the artist will look into hard hitting social subjects whilst 'Listen to your Friends' and 'Make me your Queen'convey a lyrical theme of love and the lives of young people
- Colours utilsied in the car design also comments on the style of music which may be found on the album, the bright pink and yellow tones illustrate the electro, synth undertones in the alternative pop found on the album whilst the smoke coming from the window suggests the music may have a psychedellic twist
- The use of these legal credits and record label logos ensures that a new audience can grasp the position of the artist in the industry and understand they are an established musician with credible industry status
- The barcode is located in the top right corner of the design to ensure the plain, grey 'road tarmac' background is not too bold whilst acting as a required commercial feature
- By using the grey background the consumer can connect the 'car' theme of the album without seeing the title of the album except on the spine of the digipak giving a continous aestheic and theme to the digipak
Digipak analysis - 'Something to Tell You' Haim
Front cover :- Signature font which markets the band's style and timeless, classic music
- Colours are warm and provide the 'retro' aesthetic the band have complimenting their music style and genre
- The image introduces the audience to each member of the band providing 'star image' ,explained by Dyer
-Composition works well as it is easy to find the album title, no use of the band name as the images illustrates the band through varied shots of each member
- The style of clothing, accessories and contrast vs exposure in the image markets the band by utilising their well known aesthetic and style
- The cover hints at the music found on the album through the aesthetic values but provides no hint towards lyrical and thematic content, only the title can suggest themes of the album
- 'Something to Tell You' being the title of the album suggests the album will focus on the relationship and communication between people hinting at possible songs on romance, friendship etc.
- The tight image and lack of whitespace in the cover allows the cover to stand out in commercial shops and for online sales, the central title also grabs the attention of consumers as the image is the focal point of the cover providing curiosity for a new audience and familiarity for their established fans ; reinforcing the presence and absence required in Dyer's star image theory- The overall style of the cover matches the music well and successfully conveys the 'indie pop' genre of the band, the retro feel is both on brand and extremely marketable to the key demographic demonstrated by the limited edition vinyl release of the album which was hugely successful when on the market
Back cover :- The band members are also featured on the back cover of the album acting as a continuation of the front cover image style
-The aesthetics are the same for this image but the composition is now a mid/long shot for all members with a background featured also
-The background of the image continues to reinforce the retro style of the band and their music
- The common feature of a track-list is found in the bottom left of the cover in the same font and colour way as the text on the front of the album, this continuity is effective and allows the customer to clearly locate and read song titles
- As the track-list is visible fans can deduce what themes and styles will be found on the album, for example 'Little of your love' and 'want you back' suggest the album will have some focus on love and relationships
- The information which is less important for the audience and required for legal credits is located on the right of the cover and in an unconventional vertical composition
- The barcode is also located on the right hand side as the eye is not drawn to this area but is drawn toward the image and track-list
- A conventional feature is to introduce numbers to the track-list to ensure the consumer can locate songs when listening to the album
- The text is not centred but is compositionally cleaner when paired with the image, the minimal layout of the track-list also ensured the text does not detract from the image
- The first track is the single 'Want you Back' with the other pre released singles spread out in the middle of the track-list and toward the end to ensure the audience are familiar with the popular tracks when listening to the album and reading the titles
- Label information and credits are well placed on the cover as the band's star image is the focal point of the cover, selling the band as the powerful, girl group is key in the cover design whilst ensuring their retro, classic aesthetic is consistent
- Overall the cover sells the band and their music well, their style and matured sound is clear in the cover for their second album and illustrates their development in music, lyrics and style
Digipak Analysis - 'Long Way Down' Tom Odell
The front : - Image of artist- Artist and album
name
- Promo font
- Minimal photography
- Artist image
-The front cover has a focal point of the artist, as this is his debut album this is extremely effective as a new audience are drawn in by the mystery of the image
- By utilising a mundane, street location for the background we understand the artist is down to earth and will address experiences we all can understand in their music
- The small and subtle font is clean yet a signature for the artist who features the same font on all promo
-A fairly neutral colour selection depicts his singer/songwriter alternative piano music which attracts a wide range of listeners who can all connect with the songs
-The title of the album and the artist name is positioned in a clean and neat manner which will not detract from the images but still give an insight into who the artist is and suggests the lyrical content will have a deeper, alternative meaning and twist on everyday life
- Mise-en-scene exploits the 'indie' star image the artist is attempting to portray, the windswept hair and use of cinematic filters suggests the artist is unique and not heavily manufactured to suit the pop culture ideals
-Overall the cover is simplistic yet effective, a clear sans serif font can be located when placed in commercial shelves and rows of albums whilst the image is focused on the artist and their genre reinforcing their unique style and fresh songwriting
- Promo font
- Barcode
- Distribution info
- Label info
- Tracklist
- The back cover of the digipak is again simplistic and continues the theme of clean, precise visuals and typography
- The classic approach to the digipak suggests the artist has timeless tracks that can be enjoyed by many
- The image on the back cover is a candid, action shot of the artist walking up some steps in a quiet suburban street
- The tracklist is placed at the foreground over a simplistic background, they are not labelled numerically but spaced out clearly with precise layout that is intriguing yet aesthetically pleasing
- The track names reinforce the theme of love in the album and emotions which everyone can connect over in their everyday life, letting any audience relate to the songwriter and get an insight into the star themselves
- We do not see an obvious star image or personality traits from the digipak leaving us wanting more from this absence much like Dyer's stardom theory states
- The conventional legal, label and publication info is at the bottom of the cover with a barcode to ensure the digipak takes on a simple form which does not detract from the overall style but still sticks to the legal and commercial guidelines
Tuesday 11 July 2017
Music Video Analysis - 'Cocoon' Catfish and the Bottlemen
Cocoon - Catfish and the Bottlemen
'Coccon' is a single from the debut album by Catfish and the Bottlemen, the music video was released in July 2014 and was directed by James Moore. The band formed in 2007 and released many EPs before they found commercial fame when signing to Communion Records in 2013. Their music is housed under the label of alternative or indie rock, the music video itself demonstrates characteristics from music videos of this genre
- Narrative of a couple
- Lowkey lighting
- Fast edits
- Montage sequences
The lyrical content of the song connects with the music video in terms of narrative, camera and editing. The narrative as whole echoes the meaning of the song and mirrors the most prominent line in the song "F**k it if they talk". The song is taken from the perspective of someone telling their significant other they will be there to support them no matter what judgement they receive from the outer world.
"Rest on me
Honey, that’s all right"
The music video introduces a montage of a couple who are residing in the same hospital which the audience can assume treats mental health patiences. The montage includes a mixture of shots in terms of length and angles, this allows us to see both the emotional and physical isolation they have against society when they are together.
The video begins with the couple finding each other in the hospital and using their relationship as a 'cocoon' to escape from their problems and the judgements from the other patients. The use of mine-en-scene in terms of location also depicts the change in the relationship when the couple are seen in the clinical, claustrophobic care home rather than the atmospheric outdoor shots.
Round your shoulders"
As the music video progresses it is evident the relationship has reached a breaking point with a lack of communication and the demise of the male character.
Lighting visualises this with a sudden dip in brightness when showing the two characters in comparison to the previous shots. The editing also picks up pace to illustrate the frustration of the man who cannot get through to his girlfriend until his mental health declines to the same level as her own. This is illustrated by the use of a final two shot and tracking on a close-up of the couple holding hands once more.
The music video also connects to the music by utilising beat to drive the editing, the sequences of editing increase in parallel to tempo with solos of instruments being emphasised by narrative. For example during the struggle the male patient has with his doctors vocals are cut with just an instrumental utilised to amplify the atmosphere of the narrative.
The song also opens with a drum intro and guitar which is utilised to display the fade up from black transition, the speed is pretty constant for the first thirty seconds of the video before editing picks up with the tempo and narrative mirroring the change in all aspects of the music video as the characters first see one another.
When the most dramatic scene is introduced intercutting is utilised to illustrate all action in the narrative with an ironic scene of the patients enjoying a music session which gets gradually more aggressive with the tempo and solos in the music. This is extremely effective as the editing is interesting and somewhat comical whilst keeping the main narrative interesting for viewers.
Emotions in the narrative reach a climax with the music, as the vocals fully kick back into the track a close-up with shallow focus illustrates the couple who undergo huge emotional strain during their breakaway attempt.
The music video gives no close-up or obvious hints at the star image or even performance scenes. As the music video is narrative based only in one scene do we see 1 band member and a crew member associated with the band. This is extremely subtle and comical to the audience who know the band thus commenting on their humour and laid-back attitudes towards the industry.
This scene allows the record company to sell the track by focusing on the music but still injecting some personality and aspect of the 'star image' in a much more subtle way than usual. As Dyer explains the star must be a paradox and be both present and absent making the quirky promotion of the band themselves even more interesting.
This is a completely different approach than previous music videos released beforehand which were either all narrative or all performance based. Because of this we can finally experience the music and the band as a whole whilst still having an overall interesting piece.
With no conventions as described by Fraser, the music video lacks the voyeurism and intertextuality seen in previously analysed videos making this a refreshing an comical convention that contributes to the success of the video as a whole.
Though there are no performance scenes I think the use of camera, editing and mine-en-scene is sufficient to create a well executed music video. The diversity in narrative and lyrical connections translates well into visuals and captures the essence of the band whilst leaving out star image cliches and shots that seem misplaced in an effective video for the single.
Music Video Analysis - 'Honey Sweet' Blossoms
Honey Sweet - Blossoms
'Honey Sweet' is a single by the band Blossoms from their debut album, the track's music video released in February 2017, was directed by the band themselves as a tribute to their love for Netflix original series 'Stranger Things'. The music belongs to the 'pop' genre but is labeled by most journalists as somewhat 'indie' due to the consistent infusion of a classic 80's sound.
Saying this the music walks the line of indie/pop encouraging both pop and alternative fans. This is reflected in the music video through various characteristics :
With fast paced edits and many mid/long shots throughout the music video it is evident the romantic mood of the lyrics is ignored. The use of the band's hometown Stockport introduces an interesting element to the video as mine-en-scene is emphasised for the audience.
Costume is also utilised to influence the 80's theme of the video with each member of the band sporting a costume found from shows of or inspired by the era. One example being the frontman's costume ; a direct copy of the iconic outfit worn by Bender in 'The Breakfast Club'.
With the narrative based upon the band's love for 'Stranger Things' the use of props like the bikes and sci-fi elements like a 'Back to the Future' DeLorean were highly effective.
The visuals contradict the lyrics for the single as there are no examples of couple or romance in the video. The wide variety of shots are used to explore the group of friend's and their hometown giving emphasis to their youthful spirits.
As the video is directed by the band themselves it is clear to see their aim was to sell their image as well as the single. As we get an insight into their film interests the audience can understand the band's 'star image' whilst not having revealed too much meaning the audience are still satisfied with their absence/presence balance as explained by Dyer's stardom theory. The band also include an 'easter egg' in their music video by utilising the date for a significant gig which had just been announced.
Moving on, the connections between the music and the visuals are much more evident than that of lyrical content and the music video. As the band explore the use of synth and classic guitar licks in their songs the 80's aesthetic of the music video is fitting and of interest to their target audience.
The editing is mostly driven by beat and increase in tempos, sound is also manipulated when the characters are conversing driving the narrative along whilst emphasising interesting solos in the single itself.
The costumes, locations and style of the whole music video echoes the style of the song with every aspect of the music video screaming 80's. Everything from the edits of 80's cars driving around the run down town to the establishing shot of the house exterior leading into a sequence of the boy's vinyl collection and 80's football cards.
The editing introduces a slow motion sequence of the boys on bikes much like the scenes from 'Stranger Things' demonstrating a huge range of intertextuality throughout. Other music videos also influence the visuals with a shot of 'Stockport Lads Club' much like the shot of 'Salford Lads Club' made famous by The Smith's in their 'Stop Me If You Think You've Heard This One Before' music video.
Star image drives the promotion of the band and the single in the music video by introducing the band's interests and influences from the era of interest. As the band's sound introduces 80's pop and indie undertones the video successfully markets both the music and image of the band, giving fans an insight into the personalities of the band memebers.
Overall, the video introduces no signs of performance due to the importance of the narrative and intertextual elements. I believe the emphasis on the band's hometown and interest in the 80's era effectivley sells them as 'stars' whilst selling their music. The vertility of shots, editing and mostly mise-en-scene makes up for the lack of lyrical and visual connection as the focus is on the band's image and musical style.
'Honey Sweet' is a single by the band Blossoms from their debut album, the track's music video released in February 2017, was directed by the band themselves as a tribute to their love for Netflix original series 'Stranger Things'. The music belongs to the 'pop' genre but is labeled by most journalists as somewhat 'indie' due to the consistent infusion of a classic 80's sound.
Saying this the music walks the line of indie/pop encouraging both pop and alternative fans. This is reflected in the music video through various characteristics :
- References to 80's pop culture
- Urban locations
- Retro style mise-en-scene
-Teen film style narrative
-Range of edits
- Atmospheric shots
In terms of a lyrical and visually connection this is lacking. The lyrical content addresses a relationship and miscommunications between a young couple. The relationship appears cyclical with a routine of sadness and joy until it reaches an ultimate end and someone moves.
"I've seen you two about
And talk about rebounding"
However, the music video does not take on the explicit lyrical meaning by reintroducing a storyline comparable to the films of John Hughes. A group of friends decided to hunt for an unknown place found by one of the boys much like 'The Goonies'.
The narrative then leads to the boys falling out possibly hinting at the deeper meaning of 'Honey Sweet' a quote from Oscar Wilde's 'The Picture of Dorian Gray'. The quotation "honey-sweet and honey-coloured blossoms of a laburnum" taken from chapter one connotes the doomed flowering of youth much like the struggles of the boys in the music video.
With fast paced edits and many mid/long shots throughout the music video it is evident the romantic mood of the lyrics is ignored. The use of the band's hometown Stockport introduces an interesting element to the video as mine-en-scene is emphasised for the audience.
With the narrative based upon the band's love for 'Stranger Things' the use of props like the bikes and sci-fi elements like a 'Back to the Future' DeLorean were highly effective.
The visuals contradict the lyrics for the single as there are no examples of couple or romance in the video. The wide variety of shots are used to explore the group of friend's and their hometown giving emphasis to their youthful spirits.
As the video is directed by the band themselves it is clear to see their aim was to sell their image as well as the single. As we get an insight into their film interests the audience can understand the band's 'star image' whilst not having revealed too much meaning the audience are still satisfied with their absence/presence balance as explained by Dyer's stardom theory. The band also include an 'easter egg' in their music video by utilising the date for a significant gig which had just been announced.
Moving on, the connections between the music and the visuals are much more evident than that of lyrical content and the music video. As the band explore the use of synth and classic guitar licks in their songs the 80's aesthetic of the music video is fitting and of interest to their target audience.
The editing is mostly driven by beat and increase in tempos, sound is also manipulated when the characters are conversing driving the narrative along whilst emphasising interesting solos in the single itself.The costumes, locations and style of the whole music video echoes the style of the song with every aspect of the music video screaming 80's. Everything from the edits of 80's cars driving around the run down town to the establishing shot of the house exterior leading into a sequence of the boy's vinyl collection and 80's football cards.
The editing introduces a slow motion sequence of the boys on bikes much like the scenes from 'Stranger Things' demonstrating a huge range of intertextuality throughout. Other music videos also influence the visuals with a shot of 'Stockport Lads Club' much like the shot of 'Salford Lads Club' made famous by The Smith's in their 'Stop Me If You Think You've Heard This One Before' music video.
The music video fufills the Dyer theory of star image in the form of many close-ups and sequences of the band specifically the frontman. The record company and band have a clear objective regarding the marketing of the track and the music video.
Star image drives the promotion of the band and the single in the music video by introducing the band's interests and influences from the era of interest. As the band's sound introduces 80's pop and indie undertones the video successfully markets both the music and image of the band, giving fans an insight into the personalities of the band memebers.
The video is refreshing as it is not attempting to be original or protencious but highlights the style and image of the band. The video translates their 'star image' with suggestions of pop culture and alternative interests whilst standing out from past music videos from the band which focus on mystical , cinematic endevours.
Overall, the video introduces no signs of performance due to the importance of the narrative and intertextual elements. I believe the emphasis on the band's hometown and interest in the 80's era effectivley sells them as 'stars' whilst selling their music. The vertility of shots, editing and mostly mise-en-scene makes up for the lack of lyrical and visual connection as the focus is on the band's image and musical style.
Music Video Analysis - 'Bethlehem' Declan McKenna
'Bethlehem' is a song by Declan Mckenna, a solo artist signed to Columbia records, the music video for this single was released in June 2016 and was directed by John Merizalde. His style is counted as alternative but also has singer-songwriter qualities evident in his music due to his approach to writing. The alternative or indie genre characteristics reinforce Declan Mckenn's style, the examples in this video are :
- Vintage grain effects
- Landscape shots
-Gritty, natural lighting
-Smoking characters
-Retro styling
- Film camera style composition
The lyrical content of the song is based around the idea of views being oudated and the selective ideology of religion. In terms of establishing the theme locations found in the video reinforce the theme of religion with many shots of a church, religious families and the cross symbol.
The lyrics continue to discuss the condeming of sins by those in power who commit simillar acts themselbes, the hypocrosy of those in power is visually emphasised in a series of shots. The visuals suggest a couple is belived to sin for having a physical relationship before marrige yet those who sin in other way (mostly drugs and alcohol) are not at all punished. Those who are devoted to their cause will do anything to guarentee their future even if this means pushing others down.
"You follow codes and break them
For love is only what does suit you most"
There are many shot-reverse-shot sequences of the young lovers in church taken from their perspective and eyeline match to reinforce their awareness of a lack of freedom in religion. The lyrics discuss love only existing to meet certain standards, the visuals illustrate this through a fast paced straight cut sequence of close-up and mid shots. This involves of one of the young lovers and one of the older committed memebers of the church who fight due to conflict over their contrasting morals and views of love.
"For love is only as you see it"
Overall, the lyrical content of the song is based upon people thinking they are above others based on their own beliefes and that religious groups are focused on defeating forms of love they do not experience.
"I've got a seat in heaven,
And though I am heaven sent,
I can do as I want"
In terms of music and visual connection the editing is driven by the beat of the song, this creates a sense of an ordered narrative which is well translated from song to screen. The guitar solo is amplified by the jump in editing pace transitioned after a longer shot to emphasise the mood of the narrative.
The shot sequence with many angles and shot sizes introduces a fast pace parallelled in the instrumental developments. The scene involves a fight between religious brothers and one of the protaganist, young lovers.
I find the video extrmley interesting and well balanced with lyric and music content leading the narrative, the connections are translated well visually with mise-en-scene, edits and shots. I found the first watch a little confusing as there was a lot going on with intercutting performance pieces but then found many effective elements on the many times I watched the video after.
The record company sells the artist through various performance scenes and his unique songwriting topics which address social issues not discussed by younger people in the media. The track attracts a young indie audience who share the same views as Declan and appreciate seeing a representation of themselves in the public eye.
The video highlights the concerns of society shared by Declan and his fan base thus selling him as a self aware, interesting alternative young person. This is how the 'star image' is portrayed to his audience also seen in his previous videos, an example being his music video for 'Paracetemol' which addresses gender and sexuality issues amongst young people. The motifs of young people facing issues which are of concern to them in the current social climate are found in all of Declan Mckenna's work, this is just one of the ways his star image is reinforced mirroring Dyer's stardom theory.
In terms of conventions of music videos this example adresses sexual liberation rather than explotation and objectification. Declan Mckenna's narrative for the song and music video is based upon the values of religion and their attitudes towards love, therefore McKenna tackles the physical side of the young couple's relationship by focusing on their love for each other rather than pleasure or 'voyerism'.
The video has a balance of performance and narrative to sell the song and the artist, the use of a strong narrative which intertwines well with lyrical content creates an allround effective music video set apart from most through unique aesthetic and narrative the unique selling point of Declan as an artist.
Overall, the video includes a hugely interesting aesthetic down to shot composition and the post production editing. The locations and narrative are completely fitting to the song elevating the piece as a whole. In terms of promoting the star's image and selling Declan McKenna's music the video is entirely successful, the director captured the essence of the single and the artist effectivley leaving fans with an interesting visual representation of the single and intreguing a wider audience also.
Music Video Analysis - 'Sweater Weather' The Neighbourhood
'Sweater Weather'- The Neighbourhood
'Sweater Weather' is a track by the alternative band The Neighbourhood, the music video for the single was released in March 2013 and was directed by Zack Sekuler and Daniel Iglesias Jr. As their music is of an indie style, the music video takes on relevant genre characteristics which reinforces the entire promotional package for their album and the 'image' they present.
The characteristics :
- Greyscale aesthetic
The lyrical content of the song explores the relationship of the narrator who describes their perspective of the intimate yet challenged relationship. The lyrics are diverse and suggest the couple are intimate physically and emotionally, the visuals amplify this with multiple shots of the couple.
"Head in the clouds but my gravity's centered" An extreme close-up and two shot paired with fast editing of a montage sequence provides insight into the passionate relationship. The visuals focus on aesthetic and the star image with hints of narrative, though most shots depict the band to portray their image the music video is littered with intercuts of the couple mirroring the importance of the narrator's romance.
The shots of the couple amplify the lyrics emphasis on the physical side of their relationship whilst the visuals ignore the lyrical suggestion that the narrator's lover keeps them grounded. The lyrics and visuals also explore the location of California as this is where the couple have found a home and is also used as a metaphor to expose flaws the narrator has e.g. being hypocritical.
'Sweater Weather' is a track by the alternative band The Neighbourhood, the music video for the single was released in March 2013 and was directed by Zack Sekuler and Daniel Iglesias Jr. As their music is of an indie style, the music video takes on relevant genre characteristics which reinforces the entire promotional package for their album and the 'image' they present.
The characteristics :
- Greyscale aesthetic
- Retro elements
- Emphasis on urban location
- A couple's relationship
- Perfomance scenes
- Diverse lighting
The lyrical content of the song explores the relationship of the narrator who describes their perspective of the intimate yet challenged relationship. The lyrics are diverse and suggest the couple are intimate physically and emotionally, the visuals amplify this with multiple shots of the couple.
"Head in the clouds but my gravity's centered" An extreme close-up and two shot paired with fast editing of a montage sequence provides insight into the passionate relationship. The visuals focus on aesthetic and the star image with hints of narrative, though most shots depict the band to portray their image the music video is littered with intercuts of the couple mirroring the importance of the narrator's romance.
"One love, one house
No shirt, no blouse"
The shots of the couple amplify the lyrics emphasis on the physical side of their relationship whilst the visuals ignore the lyrical suggestion that the narrator's lover keeps them grounded. The lyrics and visuals also explore the location of California as this is where the couple have found a home and is also used as a metaphor to expose flaws the narrator has e.g. being hypocritical.
"I hate the beach, but I stand in California
With my toes in the sand"
With my toes in the sand"
In terms of musical and visual connections the beat drives the editing causing fast paced sequences and short shots of a 1-2 second average duration. The editing chanegs pace in terms of editing when the track's tempo changes to intertwine audio and visuals thus complimenting the overall video, a convention explored by Fraser's convention theory.
The video illustrates solo percussion through the editing paces and shot sequences, a longer tracking shot with edits flipping shots and creating double exposure of multiple shots is also used when guitar is emphasised and isolated with vocals before the tone changes and tempo slows.
The video is 80% narrative and montage shots of the band reinforcing their image and the insight they are giving fans into their personas. The performance scenes are subtle with minimal instrument performance and few shots of lip syncing. This however is less important to the band as the single promotes their debut album and exemplifies their image when their fan base increased after the success of this song landing them into the alternative yet chart music grey area.
Overall, the music video is a promotion for the band's image as this allows them to connect to a larger audience and gain attention in the industry. The artist appear more marketable from this video as they establish their style both in music and the visuals. To conclude the video introduces conventions and genre characteristics well but still balances narrative to generate interest effectivley.
The band are signed to Columbia, a subsidary of Sony Music Entertainment. The label aimed to sell the song and band as a product taking a synthetic ideology of creativity approach described by Negus as a throw away approach which generates fast profits for the label.
Because of this they considered the star image , exemplifying Dyer's theory, and decided to give the band a grungey aesthetic that appeals to young people with an alternative style who look to stray from the mainstream. The band have some performance scenes in the video and we see all memebers in most shots which successfully allows their 'star image' to be displayed to satisfy the audience.
All of the band's music videos released prior to 'Sweater Weather' took on the same greyscale aesthetic and unsual grunge vibe in an attempt to set them apart from most popular music. The motif of relationships and retro mise-en-scene is common in the videos with emphasis on props and locations, the editing pace and montage quality in the video I am analysing is also a common approach of the band's videos.
As Fraser's theory suggests many music videos share the same codes and conventions which fuel audience pleasures. An example being Vouyerism, utilised to appeal to the male gaze. This sexualisation of the female in the narrative is shown through the pleasure of the frontman of the band. The couple are passionate in few shots with the female being sexualised through costume and provocative stances.
Though Vouyerism is utilised there is little use of performance or intertextuality in the video, some acts even utilised modern styles taking inspiration from technology e.g. creating characters from video games to act as the artist. In this video the retro aesthetic is evident rather than the modern approach, this convention contrast is due to the genre of the song and also the star image portrayed.
The video is 80% narrative and montage shots of the band reinforcing their image and the insight they are giving fans into their personas. The performance scenes are subtle with minimal instrument performance and few shots of lip syncing. This however is less important to the band as the single promotes their debut album and exemplifies their image when their fan base increased after the success of this song landing them into the alternative yet chart music grey area.
Overall, the music video is a promotion for the band's image as this allows them to connect to a larger audience and gain attention in the industry. The artist appear more marketable from this video as they establish their style both in music and the visuals. To conclude the video introduces conventions and genre characteristics well but still balances narrative to generate interest effectivley.
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