The establishing shot is of a woman that has been kept well dressed, which then cuts to a shot of her phone saying ‘Lucas It’s over. I know you’ve been cheating.’ This opening is a typical theme in the genre of romance. The non-diegetic music slowly builds up to when the text is sent, and then BassHunter’s lyrics start as if to start the music video, as he is passionate about the female central protagonist. We also know that the singer is passionate about the female character as she is in a out of focus shot with her in focus, to signify that she dominates his life as she is also filmed in a close up shot. Her clothing does not follow the mis-en-scene, as it is designer wear in a Burger King restaurant. This contrast signifies that she is out of place here and this is when we get the cut to BassHunter. The actions of the female charcater match the pace of the music and the words spoken by BassHunter, with the word angel. This follows Goodwin's theory of a relationship between words sung and the actions on the screen.
The editing cuts in beat with the guitar and in a similar close up as the girl, reveals BassHunter to signify the close relationship between each other. This follows the typical genre conventions as a romantic film. The movement of the characters moves in time with the lyrics of the song, such as ‘Eyes are burning on my skin,’ in which the central protagonist woman kisses another woman on the cheek. This is a typical action that most music videos follow, as if to make the music and film a combined narrative.
The female character is wearing the stereotypical pink t-shirt to signify that she is a feminine character, where as BassHunter is wearing white to signify that he is her ‘Angel’ in relation to the song title. This also includes a sneaky shot of BassHunter’s music group, for advertisement after seeing the angel. This makes the consumer want to listen to his music even more.
The busy party scene is another typical part of a Trance music video. This is due to the generic conventions of the music genre being relating to the night life in clubs. However the contrast to in the video is that majority of it is shot within the day time. However the party scene carries on as if it is night, with lots of tracking shots and close up of beautiful women.
Again following the typical narrative of a romantic film, the girl in which we saw in the establishing shot is still going out with the so called ‘villain’ of the narrative in the video. This is shown by the binary opposite colours (which follows Levis Strauss’s theory), as the hero character is wearing black, and the villain is wearing white. This is an odd way to signify the villain as the colour black is usually signifies darkness. However this could also mean that the hero’s life is dark without the central protagonist girl. She is also wearing a short outfit, to which almost signifies that the female character is
a type of whore (Propp’s theory). Or this could also follows Goodwin's theory with the notion of looking through a voyersitic portrayal of women. However the audience also makes the connection between the hero and the girl as they are wearing exactly the same colour as each other, to signify that they should belong together.
The non-diegetic music at this point is at a slow pace until the two characters get in
to the cars. The countdown of ‘3,2,1’ follows the movement of the central protagonist girl, to build suspense in not only the racing scene next. The music pace picks up dramatically, as if it was would a fight was taking place like in an action genre film. In this case the intertextual link could be with the film 'The fast and the furious'. Again this follows one of Goodwin's theories of music videos. The bright neon colours of the cars, also symbolises the typical colours of trance music, relating back to the club life of this music genre. In the mis-en-scene of the car chase, it is set in an industrial estate, which is another theme that reoccurs through the Trace genre music. Trance music is always related to the city landscape. The long shot of the cars at a fast tracking pace, ties in with the music to signify the speed at which the music is at now. The editing pace increase drastically and increases the amount of shots, to keep to the beat of the music.
The final scene or the new equilibrium of the music video is again a p
arty scene of the nightlife. This time we have the hero/singer start signing to the non-diegetic song towards the end. This is to signify that the narrative and girl has become his and now he can sing along to the song, because it relates to his personality now. He is also shot in a low angle shot to signify his dominance along with the song. There are many close-ups of Basshunter which is another Goodwin theory as this is classed as a re-occuring theme in many music videos, to get the singer recognised by the audience more. The editing pace still keeps with the music beats, and shows off the highlights of the dancing girls in the lights. The ‘villain’ of the narrative is the only non dancing character as he knows the song has defeated him. To which when BassHunter goes to kiss the girl it fades out to signify his winning position, so therefore the music does not have to continue.
The non-diegetic music at this point is at a slow pace until the two characters get in
to the cars. The countdown of ‘3,2,1’ follows the movement of the central protagonist girl, to build suspense in not only the racing scene next. The music pace picks up dramatically, as if it was would a fight was taking place like in an action genre film. In this case the intertextual link could be with the film 'The fast and the furious'. Again this follows one of Goodwin's theories of music videos. The bright neon colours of the cars, also symbolises the typical colours of trance music, relating back to the club life of this music genre. In the mis-en-scene of the car chase, it is set in an industrial estate, which is another theme that reoccurs through the Trace genre music. Trance music is always related to the city landscape. The long shot of the cars at a fast tracking pace, ties in with the music to signify the speed at which the music is at now. The editing pace increase drastically and increases the amount of shots, to keep to the beat of the music.The final scene or the new equilibrium of the music video is again a p
arty scene of the nightlife. This time we have the hero/singer start signing to the non-diegetic song towards the end. This is to signify that the narrative and girl has become his and now he can sing along to the song, because it relates to his personality now. He is also shot in a low angle shot to signify his dominance along with the song. There are many close-ups of Basshunter which is another Goodwin theory as this is classed as a re-occuring theme in many music videos, to get the singer recognised by the audience more. The editing pace still keeps with the music beats, and shows off the highlights of the dancing girls in the lights. The ‘villain’ of the narrative is the only non dancing character as he knows the song has defeated him. To which when BassHunter goes to kiss the girl it fades out to signify his winning position, so therefore the music does not have to continue.
1 comment:
Well detailed account of narratives used here, but not so much about Goodwin's ideas - artist's appearance to satiate record co, link between music and visuals etc. Some good ideas that will influence your own video though.
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