Alex: (00:00) The establishing shot introduces our artist to our audience. We have used a medium shot of our artist walking from left to right and a shot reverse shot is used. This adheres to conventions as the audience are seeing the artist for the first time. This is a good promotional aspect.
Kenza: Jake shows his anger and
frustration from the beginning, this works well as it becomes most of the
narrative in the video by showing something has happened in his relationship. To
stop it happening to other people, he tries to spread the love he wants to feel
himself. This is the preferred reading
Alex: (00:05) We have broken conventions
by including diegetic sound. This worked well and we used this as we felt it
would create the atmosphere for our video. There is a shot reverse shot used to
transition between the three opening shots. This shows the position of the
artist walking towards a bench alone. This is a repeated motif through the
video.
Kenza: (00:13) In this shot, tracking
round his head is used of him putting headphones on. The music then is faded
in. The headphones signify Jake Moss trying to block out the world. This shows
the audience that he is upset and makes him more relatable as he appeals to our
TA as the artist addresses social issues throughout the video. For example,
teenage relationships.
Alex: We have adhered to conventions as a high angle
shot is used. This shows that the pain of the breakup is taking over. All of
these shots break conventions because he does not look into camera. We
purposely did this to show that the artist is in a little world on his own.
Kenza:
(00:16) Next we used a close up shot of Jake leaning against a wall. The
wall shows the isolation of the artist and the still shots works well with the
lyrics. The shot is smooth and is a convention as our artist is clear to the
audience. The lyrics “I can feel the memory in my brain” work well with the
shot because is it calm with no one around. This adheres to conventions of a
new music video, according to Goodwin, as close ups promote the artist better.
Alex: (00:23) A medium shot of Jake is
shown in a quick one second shot. He is singing into camera which is another
convention of music videos according to Goodwin.
Kenza: (00:24) Again, another one second
shot is used. This adheres to conventions because it keeps the video moving by
cutting on the beat frequently. This is a convention of pop music videos and
narrative is developed.
Alex: (00:27) We then used an over the
shoulder shot of Jake looking in the mirror. This shows the audience that he is
trying to understand the change his love interest has seen also linking to the
lyrics “looking in the mirror, through yours eyes”.
Kenza:
In this shot, we instructed the artist not to look into camera to break
conventions because we wanted him to convey him talking to himself trying to
understand.
Alex: (00:29) Jake can be seen with his
hood up in this medium shot. His hood being up is another representation of him
blocking out the world. Although this time they act as blinkers showing that he
is not seeing clearly.
Kenza: (00:35) In this shot, we have used
a medium long shot of Jake looking to the top right-hand corner of the shot. He
is positioned centre frame which adheres well to conventions. We also added a
vignette in this shot of his ex-girlfriend to show that she is the villain.
This is part of Propps theory of heroes and villains. The lighting on the side
of the vignette is duller to signify she has made him unhappy and this assumed
villain.
Alex: (00:37) The next line of the song
is “but that was then”. Jake walks out of the shot towards the camera.
Kenza: (00:38) A shot of a moving sky is
placed in the instrumental part of the song. This is to show brightness in the
song. The lighting is also bright as vibrancy is a convention of pop music
videos.
Alex: (00:40) Jake moves from off camera
to left of frame and walked to centre frame whilst singing into camera. This
shows the journey from one location to another showing Jake moving on and
trying to get over something in the past. We decided to use a Ken Burns on him
in the middle of the shot to a medium shot. This is so the audience are drawn
in to him meeting conventions as a promo video.
Kenza: (00:46) The camera moves with Jake
in the next shot. The lighting in this shot has been lowered which connotes
that the town is lonely and empty. This goes against Todorov’s Theory as the
music video is mainly disequilibrium and turns into new equilibrium. The
walking around the town shows he is in search of love and people.
Alex: (00:50) In this shot, we have used
a close up of Jake. This breaks conventions because he is interacting with the
audience by singing the line “so tell me when will you”. This is a postmodern
idea as he askes the viewer this question and breaks the wall.
Kenza: (00:52) We used a medium shot next
of Jake swinging round a lamp posts. This adheres to Goodwin’s theory because
it there is a relationship between the visuals and lyrics. The lyrics sung are
“Bring love, back around”.
Alex: (00:55) The video then cuts to a
tracking shot of a sign stuck to a tree. The sign says, “Bring love back”. This
corresponds with the lyrics and makes the video more interesting which adheres
to Barthes semiotics theory.
Kenza: (00:57) A montage of shots with the
effect “romantic” on them. This is to show the audience that Jake is dreaming
of being around lots of people. These quick shots cut on the beat. This adheres
to conventions because pop music videos always include more than one artist.
Repeated shots of people, Jake swinging round a lamppost and the sign on a tree
is used. We also included a reverse shot of the lamppost shot. This could have
been better if we used a tripod for a steadier shot.
Alex: (01:05) In the next shot, our
artist is stood in a large field alone. This connotes what he had. A fade and
swipe is used when he swipes the camera away. This again adheres to Goodwin’s
theory because “till it’s gone” are the lyrics as he swipes the camera away. He
also changes costumes when the camera comes back. Throughout research, we
noticed that this was a common convention. This worked really well as we used a
cross dissolve/fade to make the transition between each costume smoother.
Kenza: (01:15) Again, we used an over the
shoulder shot of Jake looking in the mirror. He is wearing a different costume.
However, this time he is looking in the mirror because he doesn’t know who he
is anymore without love in society.
Alex: (01:17) The next shot is of Jake
sat on his bed, looking at his phone.
This shot is to show that there is no one to talk to and he is
completely isolated in his room. We did this as this address’s different social
issues in society today.
Kenza: (1:18) Over the shot of a burning
fire we have included a shot of his phone. This relates to the lyrics “this
feels like hell”. We have reduced the opacity of the phone to show the fire.
This signifies the burning of relationships.
Alex: (1:19) In this shot our artist is
singing into camera. This is a recurring
convention for us as it is important for our artist to connect with our
audience. We purposely directed him to sing into camera as he looks down and
innocently wishing to get back with his love interest in the video.
Kenza: (1:23) We used a high angle shot of
our artist. He isn’t looking into camera because he is looking to the past and
singing “but that was then”
Alex: (1:25) A following shot of the
phone and fire signifies he was down and everything was bad.
Kenza: (1:27) In the next shot our artist
is seen sat on a window sill. He is waiting for love, which is shown in the
next shot.
Alex: (1:28) We have used a shot of hands
in the shape of a heart with a low opacity over the sky. This shows that love
is just an imagination as he looks at the sky waiting for love.
Kenza: (1.29) The camera zooms out and
shows Jake looking down and upset.
Alex: (1:35) The slow pan and darker
effect really develops the meaning behind the lyrics in this shot. "it
feels dead in this town"
Kenza: (1:39) The high angle shot of Jake
stood against the wall emphasises the narrative of him being alone on a journey
trying to bring love back to the world.
Alex: (1:42) An over the shoulder shot
shows Jake swinging round a pole. This was to relate to the narrative and
create a sort of play on words as he has to come "Back Around" the
pole.
Kenza: (1:43) A fade is used revealing a
medium shot of Jake swinging around a pole in a different location.
Alex: (1:45) The medium close up and
"romantic" effect in this shot is successful in working with the
narrative of Jake trying to get people to bring love back to the world. Members
of the public are also holding a sign that says "BRING LOVE BACK
AROUND". As the shot it played the sign is perfectly in sink with the
lyrics. Ultimately working with Goodwin's theory as lyrics and visuals match.
Kenza: A shot of members of the public in
a medium close up holding a sign is shown. These fast shots of members of the
public emphasises different people around the world helping the narrative. A
short montage of shots is played showing multiple members of the public holding
signs saying "BRING LOVE BACK AROUND". This is conventional as POP
music videos include more than one person. All Shots have a romantic effect on
them and are a medium close up. They develop the narrative of Jake trying to
bring love back to the world.
Alex: (1:46) a medium shot shows Jake
with his arms out wide, singing into camera. This works with POP conventions as
he is happy and singing into camera.
Kenza: (1:47) Another short montage of
shots shows multiple members of the public holding signs saying "BRING
LOVE BACK AROUND". This is conventional as POP music videos include more
than one person. All Shots have a romantic effect on them and are a medium
close up. They develop the narrative of Jake trying to bring love back to the
world.
Alex: (1:48) Jake is stood centre frame
in a field pointing towards the camera while singing "your love".
This shot is portrayed to the viewer very well successfully saying he needs the
viewers "love". POP conventions are met here as many products with
this genre have hidden meanings related to the viewer.
Kenza: (1:49) A member of the public is
stood holding a sign saying "BRING LOVE BACK AROUND". Like the
montage it works with typical POP conventions.
Alex: (1:50) A quick shot shows the sign
stuck onto a sign post. This works with POP conventions and was inspired by the
Black Eye Peas "Where is the love".
Kenza: (1:50) Jake is seen in a medium
shot being lively and singing into camera. Developing the performance based
aspects of the video.
Alex: (1:51) This shot is similar to the
previous shot as they both had the same influence and meaning.
Kenza: (1:52) A medium shot shows all of
the girls in the montages together holding the sign in the middle. This is conventional
as in POP music videos, there is usually groups of teens together.
Alex: (1:53) A medium shot shows Jake
stood in a field. On the left of him there are shadows and on the right is the
bright sunlight shining onto the grass. This shot successfully portrays the
left as the side with no love and the right side as being full of love. This
matches props theory of "the hero and villain".
Kenza: (1:54) The girls are seen in slow
motion jumping into the air in a happy joyful manor. This shot is conventional
as it shows everyone being happy.
Alex: (1:55) This shot shows Jake back in
the field singing into camera holding his arms out and smiling. This matches
conventions of the POP genre as he is singing into camera and smiling.
Kenza: (1:56) Continuity editing is used
here as the girls are seen coming back down from when they jumped in the previous
shot. This shot is also slowed down to work even better with the editing
format.
Alex: (1:57) In this shot we broke
conventions as he isn't singing into camera or looking at the camera. A jump
cut is used into an over the shoulder shot showing Jake walking up a hill then
turning around and smiling. His happiness in the shot tells the viewer that he
is starting to bring love back in a positive way.
Kenza: (1:59) A tracking shot follows Jake
up the hill. We decided to break POP conventions in this shot as you cannot see
his face. He then begins to run.
Alex: (2:02) A close up of a hand is
shown as the lyrics "Who can I touch" come up. This is a direct link
with the lyrics. This shot works with Barthes theory of "signs and
signifies".
Kenza: (2:03) Jake is seen further up the
hill. Running into the sunlight. This shot really emphasises his disparity of
wanting to bring love back.
Alex: (2:04) Another close up is used of
members of the public holding hands with the sun behind them. In this shot,
lyrics and visuals closely match as it says "Who can I love?". This works with Barthes theory and adheres to
the typical POP conventions as people are showing love to one another.
Kenza: (2:06) Continuity editing is used
again showing Jake further up the hill in a longshot.
Alex: (2:07) Hands in the shape of a love
heart are shown in a close up, with the sun directly in the centre of the
hands. This adheres to conventions of a POP music video as the symbolism is
very clear. This also, like some of the other shots, suit Barthes theory.
Kenza: (2:08) Jake is stood centre frame
singing into camera "ain't nobody", as he sings this he lifts his
arms up as if to say 'what can I do'. This portrays to the viewer that he needs
their help, providing a clear audience interaction.
Alex: (2:09) The shot tracks backwards quickly
cutting to Jake in a pink T-Shirt. This breaks conventions as Jake is in a
stereotypical girls colours top. As Jake points to the camera it moves up and
down. This again breaks conventions as it is not stable. We chose to do this as
our TA really liked the quick camera movements.
Kenza: (2:10) The shot quickly cuts to Jake
in the same position but back into the black hoodie.
Alex: (2:11) The close up of the hand is
then repeated due to the repeated lyrics. This adheres to the POP conventions.
Kenza: (2:13) Jake is stood centre frame
in an alley way. A medium shot shows him singing into camera.
Alex: (2:14) The close up of members of
the public holding hands is repeated due to the repeated lyrics. This adheres
to the POP conventions.
Kenza: (2:15) Continuity editing joins
together all the shots of Jake In the alley way singing into camera. The
editing really works with conventions of POP as many other POP music videos do
the same thing.
Alex: (2:16) Repeated shots are used throughout
this section of the video due to repeated lyrics. Especially the motif of hands
in the shape of a heart. This links to the Manchester One Love concert using intertextuality.
Kenza: (2:22) A Medium shot shows Jake
back in the field singing into camera. There is a slight zoom to the shot. This
adheres to POP conventions.
Alex: (2:23) A darker effect and slow
motion is used in this shot that shows a medium close up of Jake in a town
centre swinging around a pole not looking at the camera. This show contrasts
against POP conventions.
Kenza: (2:26) The shot then cuts to him back
in the field singing and dancing into camera. Instead of cutting on the beat we
decided to slightly zoom in and out changing the way the shot is every time.
This contrasts against POP conventions but was very successful in our final
video.
Alex (2:34) A stable pan reveals a town
with no one in it. The lyrics and visuals match well within this shot as it
says "dead in this town" there in no one around. This adheres to
Goodwin's theory of using relationships between lyrics and visuals.
Kenza: (2:35) A medium long shot shows Jake
in a field. The shot slowly zooms in as he sings into camera. This
develops/adheres to the conventions of the performance shot.
Alex: (2:40) A MCU shows Jake twirling
his hand. This adheres to performance comventions. This move also links to
Goodwins theory as the motion portrays coming "Back Around".
Kenza: (2:41) Repeated shots of members of
the public holding signs saying "Bring Love Back Around". This was
intentional as the lyrics were repeated. Repeated shots are also commonly used
in POP music videos. We felt adhering to this conventions would target our
audience better.
Alex: (2:42) Jake is in an open field
singing and dancing directly into camera. This idea came from a research post we
did on Sam Smith's "Too Good At Goodbyes". In the video he is sat on
a wall in a field singing into camera. In the background there is a clear
divide between the sunlight and darkness. We tried to recreate our own version
of this in an attempt to adhere to POP conventions.
Kenza: (2:43) Repeated shots are shown
again of members of the public holding signs.
Alex: (2:44) Jake is located in a Rural
Location shown in a medium shot. He is centre frame and singing into camera. As
he is centre frame and alone it manipulates conventions. Synergy links his
jacket with the greenery around him.
Alex: (2:46) A MCU of Jake in the Rural
location is played. He is singing into camera. As he sings he twirls his hand.
This was intended to link the performance shots earlier where he was in the
town singing and dancing into camera.
Kenza: (2:47) Repeated shots are shown due
to repeated connotations.
Alex: (2:48) A quick shot of Jake
twirling his hand develops the performance aspect of the music video.
Kenza: (2:49) We used this shot in order
to link the members of the public together. This puts emphasis on the narrative
of our music video.
Alex: (2:51) The girls from the public
jump into the air. We did this to symbolise how happy they are now all together
and loved.
Kenza: (2:52) We decided to use Ken burns
in this shot to adhere to Goodwin’s theory of close ups establish an artist
therefore, by doing this Jake engages with the audience to a higher degree.
Alex: (2:54) This shot of Jake singing
into camera was used to adhere to conventions of POP music videos and engage
with the audience.
Kenza: (2:57) The average shot length
increases with this shot as is shows Jake in a long shot in the rural location
again, singing into camera.
Alex: (2:58) This shot is of hands
forming the shape of a heart on the lyrics "Bring Love Back Around",
we did this to adhere to Goodwin's theory of "visuals and lyrics having a
relationship". In addition, we also intended to adhere to Barthes theory
of "Signs and signifiers" as the heart is a symbolic sign referring
to love.
Kenza: (2:59) The final shot in our music
video needed to be memorable as many music videos have a memorable ending. We
wanted to portray the ending as our star achieving his aim of bringing love
back around.
farmto table by Kenza Hardy
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