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main task - textual analysis

'CHOCOLATE' - THE 1975

Chocolate by the 1975, was directed by Gareth Phillips, this is on the 1975's first proper album (self titled the 1975..after multiple EP's), it came out in 2013 shortly after they released their music for cars on March 4, 2013 via Dirty Hit Records, The 1975 are a British Alternative Rock band from Manchester, England. The group who all met at school comprise vocalist Matthew Healy, guitarist Adam Hann, drummer George Daniel and bassist Ross MacDonald. This dreamy guitar-laced tune is the lead single from their third EP, Music For Cars, Chocolate became their first song to chart in the UK Top 20.  

 

The song finds Healy taking on the persona of a gangsta as he sings about fleeing the police in his car with a stash of weed. (Chocolate is their euphemism for marijuana.) Matt Healy explained: "It's a love letter to the authority figures in our town – you know about small town boredom, both by the kids and by the police." 

 

To me, the artists meaning (discussed above) is not an obvious meaning to the text, I believe the explicit meaning (the obvious meaning behind the text) of the text is not clear due to the fact that no gangsta iconography and codes and conventions are used it is not apparent that he is a gangsta, and the euphemism behind the marijuana is not a direct reference to drugs such as 'kush' or 'weed' more commonly known as a nickname for marijuana. I believe that the artists meaning is more of an implicit meaning to the text (subtle with multiple possible meanings), I believe this is done in a way that gives a subtle nod to dedicated fans in the way that 'they would only understand'. therefore it could also be a subtextual meaning in reference to Healy's whole artist image and a wider discussion in the bands fan 'world'. We can see this in the video by the way that the visuals are not obvious to the lyrics, for example, the 'chocolate' euphemism is not decoded by visuals and the visuals demonstrate a much calmer atmosphere opposed to the intensity of a car chase police packed text that Healy means.

 

The Music Video for the song (dir. Gareth Phillips) has just over 23,000,000 views on youtube. The video takes a similar narrative to the song, using a car possibly this being a 'getaway veichole'. similar to the rest of the 1975's aesthetic talked about within with digipak and promotional poster textual analysis, the video is in black and white although at the end the last shot shows colour where the car speeds of and the smoke trail is left with a quote saying 'POETRY IS IN THE STREETS IN FULL LIVING COLOUR'.

 

This quote is from a french poem 'La Poésie Est Dans La Rue',

which steams off a larger quote: La poésie est dans la rue en

couleur pleine de vie. Poetry is in the streets in full living

colour. Beauty is all around us, whether that’s in relationships,

nature, people, memories, even music. This is a huge contrast

to the majority of the video as it is in black and white and the

body language presented suggests glum and gloomy

atmosphere.

 

 

The video features mainly the main singer Healy but the shots of the band and silhouettes also include the rest of the band By using no actors and the band themselves this adds success to the video as more people will watch to see the artist. The video takes place in mainly 4 locations:

 

 

 

 

 

 

The first location shown, is Healy stood in a 'underground' ambiguous location, with pipes running across the walls and a more industrial setting, this is shown through a master shot/mid shot. The next location shown is the car itself which become apparent that this is the main focus of the video, after this a series of shots feature Healy perhaps and a female are shown, getting more and more intimate, Finally the last location seems to be a studio location perhaps with Silhouette lighting used to contrast against the band. These four locations and narratives are shown, jumping and cutting between throughout the video. this various other shots used in the locations for example even though the car shot is primally used as the above master shot, various closeups are included shown to the right ->

this could be to show facial expression of the artist.

This could almost be deemed to be 4 separate narratives. A variety of cinemato-

graphy aspects are used with tracking in the first shot to focus pulls of the lead 

singer. these are to add a less static audience view aswell as adding diversity to

the work, the focus pull helps to add pull the audiences focus towards in this

case matt Healy (shown below on the right) on the left i have included a zoom out used, another concept used for a brief 

 

 

 

 

 

 

time is the idea of breaking the fourth wall this happens as Healy sings directly to the camera saying lyrics such as YOU. this grabs the audiences attention.

 

 

 

 

 

 

The mise - en - scene used within the piece is stereotypical of the genre, using appropriate costume and dimmer lighting. The strong lighting concept used within the video is the Sillotte lighting, this is unusual and not seen often in the industry of the msuic videos, as i used this song for my groups Preliminary task, we experimented with the concept of this, as well as a few other concepts. These worked well i plan on developing these even further into my final construction tasks. Below you will find various shots and cinematography inspiration we used for our prelim task.

 

 

 

 

 

 

 

 

 

 

 

 

 

Special Effects: It could be said that the car scenes as seen on the above top row left side are a green screen as it is unliekly that tjis is a real car driving along due to more expensive/risky filming.

 

I believe that within this video the main representation we see is youth, I believe this as from matt healy's quote we disocver the true meaning to the video which is young teens growing up in a small town wanting more than the town offers. We see here a cofrmity to the stereotypes of young rebellion and a slightly negative almost exaggerated sarcastic representation of youth culture.

 

Here we can see a rebellion almost against the dominant ideologies of society, including the legal system and abiding by this system, the band are seen fleeing the police within the video therefore disagreeing with this idealogy almost as if they were rejectting and trying to escape the dominant ideologies of our society.

 

 

 

'BREEZEBLOCKS' - ALT j

'Breezeblocks' by ALT J is a song on ALT-J's first album released in 2012, The video for the song is directed by Ellis Bahl. The video has nearly 150,000,000 views on youtube, this is considerably more then the 1975's chocolate video even though alt j are probably less well known than the THE 1975, this could be explained by the eye catching editing and narrative used within the video, This is as the video is entirely in reverse, meaning not only that this causes interesting cinematography effects such as bottles reforming and people (seen in the thumbnail) 'flying' but makes the audience want to watch until the end, as this causes the audience to want to understand the whole story portrayed as the beginning shows a mid shot of a female laying dead in a bath tub and ends with her being alive and about to creep over with a knife and kill him. The video also uses slow motion to fit the pace of the msuic itself this creates a strangely relaxing vibe to the video contrasting majorly the visuals portrayed shown below.

The video made it's debut on 23rd of March of the year, Representation within the piece includes gender representation and stereotypes such as masculinity within criminals. This video also goes against mainstream usually pop genre concept of using male/female gaze in its narrative as this video lacks sexualisation of any sense. Unlike the 1975 and lana del reys videos Alt J have chosen not to feature in the video and have it entirely based off the narrative this is an unusual concept as usually star power is what ensures the success of the video however the their 100% narrative choices works to their advantage gaining the most views out of both other artists videos. Breezeblocks as a song falls into the genre of alternative (a genre i am exploring for my own work). This alternative style usually feature more narrative also seen in paradise by coldplay although this does feature performance elements.

 

The narrative story follows a reverse conflict starting with the murder of the woman as result of physical harm caused by the man aswell as drowning. The video progresses to show that the woman had actually assaulted her killer, inside what we can guess is his own home. it isn't clear but is delineated that she has taken the wife hostage by tying her up and duct taped her mouth inside of a curtained cupboard, cutting within the video is used to time the video to the songs beats, More subtly cuts are used with visual representation of lyrics, such as when the woman is murdered by the strike of the 'breeze block', before drowning, this ties with lyric 'Hold her down with soggy clothes and breezeblocks'.

 

 

 

 

 

 

 

Aswell as this the lyrics as the song progresses also get increasingly 'romantic' with lines such as 'please don't go, please don't go i love you so i love you so' These lyrics also give more meaning to the video, suggesting perhaps the conflict shown is in fact between perhaps a romance between the young murdered lady and the man, perhaps an affair or even a jealous ex. Myself i believe this is an affair issue as their are some visuals that match this such as the focus on his wedding ring in closeups, as closeups are used for the viewer to identify small details, I would also like to discuss a closeup shot of the feet of the dead woman and the man's feet, this shot is featured a few times and to the common eye would seem pointless but i believe this is to represent a sort of dance and rhythm between the two, as a dance connotes socially to a intimate thing this suggests that they have been lovers. The director Bahl however has said she’s left it up to the viewer’s interpretation, perhaps to appeal to a wider audience.

 

 

 

 

 

 

 

 

 

 

In more depth representation stereotypes of gender are challenged as the video begins by giving you the impression the man is the 'villain' here but as the video progresses and you discover the wife you learn that actually the young woman is the actual villain here. This has stirred much debate over gender capability and the lack of sexualisation through male/female gaze. Male gaze arised in the second wave of feminism in the 1960's - 1980's, a concept suggested by Laura Mulvey. The male gaze believes that female cast within movies and other various media forms become objectified through camera lens putting the viewer in the position of a heterosexual man. This was formed at the fact that mass media is controlled within the industry by patriarchy, most of which were powerful positions taken by White Heterosexual males. More modernly the opposite concept has also arised within media, where camera lens buts the viewer in the position of a heterosexual woman usually objectifying and sexualising men. Breezeblocks however doesn't feature either of these gazes, as both genders play a significant part in the development of the narrative. Although it could be argued that women hold more power in the video as one woman is portrayed as a dominant active role with much aggression and is murdered and the other is only casted as a plot developer and twist, portrayed to be restrained and helpless only to be freed by the rescue of a male. The shot below could be said to represent the struggle of power between the two genders. It could be suggested here that the man has more power here as he has more of the breezeblock this is also where in the narrative power switches between the characters as she towards the end does have more power.

 

 

 

 

 

 

 

 

 

 

 

 

The colour scheme of the video also features dull and darker colours, which in creates a more melancholy atmosphere. The only special effects used within the video are the reverse and slow motion features, this creates a artistic vibe to the video, the use of creativity this way could be considered a form and convention of the genre alternative as this is well known on creating a more 'wacky abstract' aesthetic to video and music as they are given more creative freedom then mainstream genres such as pop which has more strict conventions in order to be a success. The reversing feature of this video unique and unusual for a music video i would like yo explore this with in my work perhaps not fully reversing my video but partially reversing it. The general alternative genre audience tends to be male and female aged between 18-25: this kind of age audience are still developing and therefore this kind of statement video is more likely to cause an emotional response in this audience.

 

Here we see another demonstration of an artist/director messing with the meaning and reading to the text as we see the narrative switch half way through therefore this text could be considered a oppositional reading, as the viewer in a way understand the meaning but realises the video is reversed and therefore rejects the meaning when finding out that the lady in the bath tub is not the victim but the attacker.

 

The meaning behind the text is also a subtextual one, due to the fact that the text demonstrates a wider discussion about gender roles and the representation of these in society. it could be considered that the text has multiple readings as when i first watched the video I believed that the narrative was a man who had abducted two females one had got free and he was trying to recapture her although this turned out not to be the case, but it demonstrates how a audience may have a different perception of the text.

 

To conclude, the fact this video has so many creative and thoughprovoking messages and concepts means that alt j do not have to conform to main stream representation. They can experiment with themes and don't need to conform to the main stream convention such as male gaze. Breezeblocks is a cleverly directed video that uses reverse video editing as a tool to withhold infomation causing plot twists. The video is the bands first video and a massive presence within the indie video industry.

 

Special Effects: I believe as this video does not include any artist or star power, that the actors are stunt people trained perhaps in stage combat due to the nature of the video, for example falling into the water, holding breath for long periods of time, jumping over the sofa as well as stunt props perhaps being used, such as the breezeblocks table, sugar glass bottle, knife.

 

I believe the main representation in this video is gender, I believe this due to the play we see on gender roles within the video, and how the director has tricked the audience by flipping the audiences sympathies with the protagonists, We therefore see positive and negative representations of gender within this video, at first we believe the video is going to conform to stereotypes of a masculine man vs a weaker female but we soon learn this is not the case and the stereotypes as rejected and almost reversed.

 

Here again we see a rejection of an dominant ideology in society, which is gender roles, males being the strong and 'violent' within gender in t society, we see a lesson being that this is changing and females can also be this way.

'LUST FOR LIFE' - LANA DEL REY

'Lust for life' by Lana Del Rey featuring the Weeknd, was released on Del Rey's 4th Album that includes more then just singles (The majority of del rey's songs are released as singles), The video to which is directed by Rich Lee, He has directed music videos for Maroon 5EminemThe Black Eyed Peas and many more big names. The video has just over 60,000,000 views on youtube. Considering this was probably the biggest and most established artist within the industry, this is not as many as ALT J.

 

The video features Del Rey herself and The Weeknd. This choice definitely fit Dyer's Star Criteria, Using there names to enable the success of the video, usually within the genre a music video with be more narrative based with performance pieces cut inbetween, although in this the narrative and the performance pieces are combined into one video, this helps the flow of the video, using more continuos and seamless editing. Unlike other music videos, match on action and other rules of continuity are used. Graphic match is also used at the beginning of the video where it starts as a galaxy and zoom's out into del rey's retina.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

The video features the two artists doing things they 'enjoy' such as dancing on the "H" of the hollywood sign, perhaps suggesting this gives them lust of life (the title of the song), The video draws heavy inspiration from the glamour and nostalgia of old hollywood, Also connoting her digipak and promotional poster, Del Rey uses a more 'old' looking style of 'glitchy' film. Similar to her past work, Del Rey's video includes her dark tone aesthetic, underneath a posh surface.

 

 

 

 

 

 

 

 

 

Del Rey's cinematography is a very interesting choice with a range of shot types used, as well as movement such as the zoom out at the beginning of video previously talked about and zoom out again at the end of the clip where her and the weeknd zoom out the the world into a peace sign, this could be suggesting no matter size or scale peace is above all. Del rey also breaks the fourth wall in this video talking directly into the camera a few times, an aspect of Del Rey's video i would like to experiment with myself is close to tend where her and the weeknd are in a 'better place' laying between flowers, this then zooms out with aeriel cinematography perhaps though drone or crane. I myself have a drone and would like to incorporate this type of shot into our work.

 

 

 

 

 

 

 

 

 

 

 

There has been some speculation that the song connects to the suicide of Peg Entwhistle. An english broadway actress that moved to Los Angeles to pursue a film career, Her first major role was cut from the final version of the film Thirteen Women by David Selznick leading her to hike to the Hollywood sign, climb a 50 foot ladder on the H and jumped to her death in September 1932 (Aged 24), it is gossiped that Entwhistle 'haunts' the sign and her ghost can be seen sitting at the top of the H from time to time, This seems to vividly connect to where Del Rey and The Weeknd are sat cuddling and dancing on the top of the sign. Also their is a lyric reference almost within Del Rey's song "CLIMB UP THE H, OF THE HOLLY WOOD SIGN, YEAH, IN THESE STOLEN MOMENTS, THE WORLD IS MINE (DO IT, DO IT), THERES NOBODY HERE, JUST US TOGETHER (SHUT UP, SHUT UP)".

 

 

 

 

 

 

 

 

 

 

The trailer to the song, also references the Hollywood sign's 'H' with the first shots showing a figure trekking through bushes in a desert setting followed by Del Rey as a ghost in the room inside the H of the Hollywood sign with a ladder behind her.saying:

You know, in this town an artist really needs a lot of space when they’re trying to create something special. A place to cultivate; a world of their own, far away from the real world that’s around them. Luckily for me, I live right inside the middle of the H of the Hollywood sign and this is how I spend most of my nights, perched high above the chaos that swirls within the City of Angels below.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Del Rey talks about the name of the song saying it i reflective more of a frame of mind being positive "I had a lot of stories that I wanted to tell that I hadn't told yet up until this point. And now, through the last four records, I got out a lot of those stories and a lot of those feelings, and for the first time, I've caught myself up to real time. And now, I'm at this place where I feel like I'm really present, and when I'm reading the news, I'm really reading it, whereas before I was a little bit in my own head. So, there's definitely been a feeling of freedom and lightness being in the present moment. That brings on that lust for life feeling, when you don't have all of those feelings about the past weighing you down."

 

A differentiating view on the video is that is could be religious, with the weeknd representing a 'devil' sort of character influencing the decision to jump, this would make sense with his darker costume choice and glasses, and also the fact that she runs almost away from him, there is also a very interesting shot where he is almost above her as she slides down to her death, The place they are in afterwards could be considered 'hell' in the way that as she lusted and lust being a sin now she can be happy there.

 

this video demonstrates an implicit meaning by having multiple readings from it, with many viewers believing this to be the story of peg entwhistle but the artist herself not beliving this to be the meaning behin dthe video. We also see here a reference to subtextual meaning with the last scene being a shot of the earth turning into a peace sign this could be seen as a symbol for world peace therefore assissting a wider conversation about world peace. Special Effects: Special effects in lana del reys video can be seen in a number of places for example cgi or green screen would have to be used for the hollywood sign scenes as it is unlikely that lana del rey and the weekend would be allowed to use the real hollywood sign due to risk factors, for example when lana del rey slides off the edge of the sign this would cause actual death, aswell as the seen towards the end of the video were del rey and the weekend are laying in a field which zooms out into an aerial shot of the earth which in turn changes into a peace sign, this is also most likely to be cgi as it is highly unlikely that a cinematographer went to space to film such a short scene.

 

A few ideologies can be seen to be explored in this text, we see exploration of the ideology of religion and heaven and hell (seen by the connotations of the devilish character the weekend is playing) and the land they go to after her death potentially being purgatory/heaven or hell?. not only this but we see conformity to dominant ideologies such as that of hetrosexual relationships being dominant within society.

 

 

'NEW AMERICANA' - HALSEY

'New Americana' by American singer songwriter Halsey under record labels Astralwerks and Capitol, and released on her debut studio album "badlands" in 2015. The Jodeb - directed music video was shot in it Hawaii and then Categorised as an alternative pop song.  the song describes normalisation of aspects of counter culture in the united states, including recreational drug use and same sex marriage. the music video was release on September 25th 2015 premiering on MTV and shortly after was posted on Halsey's VEVO and Youtube. the video has a dystopian setting and has been compared to the hunger games. the video opens into an intro of mountain scenery recorded in VHS style and with a voiceover by Halsey herself saying "We were a community. They made me their leader even when I never asked to be. But the lightning in their eyes heralded me to whatever they needed me to become. We were hopeful we would win because nothing could scare us. We feared no city and we feared no man".As the song begins to play, Halsey is then showed joining and being captive with a group of Americans doing unexceptional things.They are then barged in by troops who line them up and take Halsey as hostage since she is presumably the leader of the Americans. She is then dragged to a village where she is tied up to a bonfire. While being poured over with gasoline, Halsey pleads for help but no one responds until immediately before being lit up, when she is then rescued by the Americans. After escaping the troops, Halsey and the Americans are then shown heading out of the forest and running away from the village. The video ends with an instrumental of "Drive" featuring Halsey lying on the ground somewhere similar to the mountains as seen on the opening of the video with a backdrop of a city covered in mist. She is seen wearing a white dystopian outfit and left with nothing but car keys and a radio which she then reaches out to and tries to unravel. the song had a very large negative critical response with the New York times calling it a generational anthem for millennials. Nathan Reese from pitchfork was unconvinced by the song lyrics, describing the song as plasticky and superficial. Halsey commented in an interview with oyster, "it is so frustrating when people don't understand the satire of New Americana, they think it's this insane basic pop song, but thats the point. i wrote a song critiquing pop culture and made it sound like a huge pop song. People are writing angry think pieces about how they don't appreciate me rhyming "legal marijauna" with "Biggie and Nirvana". The whole point is for it to be a buzzworthy song. I'm making fun of current pop culture. Has anyone heard the bridge? I say: "What kind of bubble gum have you been blowing lately?" In my other songs, I'd never say something like that. But the whole point of that lyric is me saying, "What kind of bullshit have you been talking? What kind of vapid things have you been obsessed with lately?" Honestly though, the fact people miss the point of the song is driving me fucking insane". Speaking to Last FM, Halsey said how her diverse worldview was inspired by her parents' different music tastes. At the age of nine, the singer explained, she was listening to her father's 2Pac records and her mother's Nirvana records. "I was exposed to different cultures, different walks of life, different ideas so the older I got, the less scared me," Halsey continued. "And the less shocked me, appalled me, and the more open to diversity I was. So who are the New Americana? "It's this idea of these kids who are part of a generation where pop culture is so heavily influential that diversity doesn't scare them the way it scared our parents and their parents. We're more accepting of different walks of life," Halsey explained to MTV News. "So I think the New Americana is racially ambiguous, people who are proud of their culture and they own it, possibly not from a binary of gender." 

 

The mise en scene consists of a rural background (harsh mountains and thick forests) coupled with a military style base and atmosphere that denotes a dystopian setting and time of conflict. This delineates the combative narrative the video tries to portray to its audience. The artist, Halsey, is placed in this environment to reflect her activist and social justice fighting attitude. Contrasts between the environment and behaviour's of the actors are made through the use of mise en scene throughout the video. For example, at one point during the video the footage quickly cuts from a clip of a male actor’s head being shaved to another male actor with his back turned to the camera urinating against a wall – this is interesting as we can see a contrast between the stereotype of disciplined militant behaviour and the behaviour expected of an delinquent youth or drunk. This is continued throughout the video with shots of actors training being coupled with steamy love scenes and clips of actors smoking and gambling for Marijuana (as mentioned in the lyrics of the song ‘high on legal Marijuana’). This is effective as it effectively portrays to the audience the idea of millennial activism and fighting for our beliefs in a way that is both effectual but still in our own unconventional way and would appeal to those who may associate themselves with this kind of message and approach.

The costume furthers this idea, as it conveys a military style and combative attitude (the colour black used connotes power and formality), but the revealing cut of the clothing also shows the edgy and provocative side of this narrative.  This would appeal to an audience (of young adults) as it’s a style they would identify with and want to replicate.

Dark lighting is used during scenes that take place inside and at night and this is usually created through the use of fire this is contrasted with the lighting in the final shot where the ‘rebels’ escape breaking out of the woods where natural lighting is used. This use of lighting creates a tense atmosphere throughout the video and a sense of relief in the audience when the danger seems to have passed. There are also moments of colourful/neon lighting used in some sections of the video which denotes passion and fits in very well with the rebel image portrayed throughout the video.

This music video is narrative based; this is slightly unconventional as artists often elect to use hybrid narrative-performance videos this however does suggest that Halsey, as an artist, cares more about her music and telling a story to her audience. The inclusion of a dialogue scene furthers the story-telling element of the narrative and creates a movie feel to the video and engages the audience with the story.

Many cuts are made throughout the video to portray the chaotic lifestyle of the rebels, the arc of the story and to display the other actors in the video (a mixture of males and females to appeal to both genders and show unity). Continuity editing is used to create smooth story-telling experience for the audience. The lack of special effects used, minus the old film style filter used in the opening sequence of footage, shows that the artist wanted this to be a genuine portrayal of the story without the narrative being shrouded by such distracting editing techniques.

A variety of angles are used throughout the video with many of the levels in scenes that involved the rebels being shot head-on which suggest equality among comrades. When Halsey’s character tries to escape from the clutches of the men who capture her this is shot using an up-angle which shows the power of those who hold her hostage. Tracking shots are utilised to follow the action in combat scenes and the panning of the camera as the actors to turn their heads to look at the artist before she is captured emphasises the sense of betrayal she feels from her comrades. Establishing shots of the rebel base and the village help to introduce the audience to the setting/action and fabricate an image of the surroundings. Close ups of supporting actor’s faces are featured regularly to show the wider picture and reaction to the audience. This effective in creating a sense having a wider knowledge of what is happening within the narrative and shows the reactions of the ‘society’ in this alternate world. Much of the video appears to be shot using a handheld camera, with many of the clips appearing to be shaky and almost amateur.

 

Halsey's video demonstrates an explicit meaning with the meaning behind the text being an obvious one, with no speculation abou twhat is going on but furthermore the text demonstrates a subtextual meaning with representions of empowered youth and females being explored (With halsey being a female rights activist this links in to her work).

 

special effects are also most likely used in this video, for example the gasoline they pour on the artist is probably not real due to its harmful nature, also the smoke bomb would require some sort of special training most probably, as well as this I believe that stunt people would be brought in for the fight/rebellion scene to be used as stage performers trained in combat acting.

 

I believe the main representation within the video is age, due to the age of the characters displayed and how the lyrics describe a younger generation fighting back, therefore perhaps the representation of youth is that of a rebellious nature, this could be seen as a positive and negative representation, positive perhaps from a younger audience members viewpoint as we see the youth figthing back but negative from an older audience members viewpoint as it conforms to the youth stereotypes of rebellion in the media for example youth crime.

 

In halseys video we see a total rejection of dominante ideologies through the almost war like atmosphere, the lyrics and visuals combat everything about how the youth are rejecting dominant ideologies and making their own ideologies, for example 'we are the new americana, high on legal mariguana' here we decode a young rebellion supporting the normality of recreational drug use.

 

 

'never enough' - the hunna

The Hunna’s Never Enough is a 2:53 minute music video, directed by Haris Nukem and featuring Polly Ellen Smith, the sing is off of their album the 100, featuring a girl with no clothes on from the collarbone up, The Hunna are an English alternative rock band from Hertfordshire in England formed in 2015. The band members are singer/guitarist Ryan Potter, lead guitarist Dan Dorney, bassist Jermaine Angin and drummer Jack Metcalfe. The band takes inspiration from a wide range of sources, including bands like Kings of Leon, Foals and Queen.

 

 

 

 

 

 

 

There is two types of main shot used in the video, close up of the model, to show facial expressions and therefore really connecting the viewer to the song, and head shots of the actress, from collarbone up, focus pull is also used in the video this draws your attention towards and away from her. Breaking the fourth wall is also used in the video, this really draws the viewers attention the the actress who is for the majority of the video addressing the audience. The actress herself is an interesting and captivating choice, she is very freckly and has multiple tattoos and piercings, this connotes the conventions of costume in the genre, Smith is seen with minimal makeup and again is stripped back, it shows a kind of natural beauty suggesting she doesn’t need makeup or artificial clothing to be ‘enough’ her body language in the video is fairly emotive, with actions such as holding her head, grasping her hair and dancing, the really brings the more basic shot types to life, and whilst minimalistic composition is used this really fills the frame.

 

 

 

 

 

 

 

 

 

Smith is naked in the video, but the frame crops out anything that could be considered sexual suggesting that this unlike many music videos of today is promoting the male gaze, instead of adding sexuality to the piece it adds and symbolises vulnerability and a stripped back, bare view of the song. This could represent a different light though of how even though the girl is naked and dancing she is like the lyrics suggest still ‘never enough’ for society. an interesting audio aspect of the song is that the song is a male band, lip-synced by a female actress, this could be considered a deeper representation of gender, and how gender influences how you perceive the song. the lighting in the video is dull again i believe to connote the genre's conventions and prevent artificiality adding more serious tones to the naked girl, No props are used in the piece again keeping the viewer's attention just on the actress, in the studio setting.

 

Special Effects: I believe that no special effects are used in this video perhaps to add to the realism of the video with everthing being very natural (we see no makeup either). Maybe to further  represent a pure love as the artist sings about, this desicion therefore could be a connotation of the goodwin theory on lyrics matching visuals.

 

I believe that the main representation used within this video is the representation of sexuality and age, I believe this due to the lyrics describing a romance, and due to the age of the artist and visual actor on screen we see here that these are both young peopople therefore perhaps the song is about young love/first love, we could say that the seriousness of the young female in the hunna's video shows a certain naivity to love, again demonstrating first love. this could be seen as a positive and negative representation although relies of a stereotype of youth being naive and reckless.

 

Due to the performance nature of this video, it is hard to say whether the video is for or against any dominant ideologies in society, as it does not clearly demonstrate a narrative pushing any kind of message or meaning.

 

 

 

 

'INTERTWINED' - DODIE

Dodie Clark's, Intertwined Album is her debut album, the song intertwined released in 2016, The genre of her music is Alternative/Indie, Like most of Dodie’s songs, this one is about a lover, who is unnamed. She feels that she has become numb and in fear of the world, then this person comes along and she is safe. She hopes that they are “the one” and that they won’t be hurt by her. She wants them to take away all of her pain.

use of theoriests and OVERALL CONCLUSION

After doing this textual analysis, I have learnt that music videos mainly consist of two components, the narrative and the performance. this is seen in the 1975's video, Lana del reys video and Halsey's video. This is different in breezeblocks which is just narrative and in the hunna's video we see just performance, this may be due to the slightly more indie nature of these specific bands. therefore I learn here that the more indie the band the more abstract the video is within in the genre not sticking to mainstream conventions, something to keep in mind when creating my own video.. I also have learnt the main reason artists produce music videos to coincide with their tracks is to promote their music, specifically perhaps a specific song or album that may be upcoming, therefore I will produce my video with the concept that my artist has a new album coming, we see this in all of the videos I have analysed as each video is dedicated to a song on a new album (when the music video was released), we see demonstrations of this in the videos, for example, we see speicfic branding towards each artists allowing us to decode that it is their video with only a few seconds of watching it. for example, all of the 1975's work is marketed in black and white, here in the video this is the same and therefore the audience instantly recognises that it is one of their videos. Another example of this is the use of implicit meanings, again if we use the 1975 as an example we see an implicit meaning that only the 1975 fandom is able to decode due to the subtlety of the meaning, this creates more fandom around the back and therefore discussion. We see here that within the indie genre, youth and sexuality are the main representations explored therefore I plan to conform to this convention exploring both of these representations within my video, although I do plan to develop these by not staying with the stereotypes we often see. and adapting the breezeblocks video concept of flipping and raising a subtextual conversation within my work, of positive views on the LGBTQ+ Sexualities. I have also learnt that videos and music within the indie/alternative genre tend to reject or oppose dominant ideologies, for example we see a lor of rebellion of the youth trying to break free from dominant ideologies we currently hold, for example in halseys video we hear the lyrics we are the new Americana, high on legal marijuana', this shows support for recreational legal drug use, an ideology we do not currently support in our society, this is an idea I would like to explore within my own work, I would like to use my oppotinity of creating a music video to push an less dominant ideology for example I would like to use my video to create a message about LGBTQ+ sexualities as at current the hetroseuxality is the dominant ideology withi society and within the music culture, but there is a small indie market for this type of music and it is growing rapidly

 

MEANING OF LYRICS

If you click on the lyrics, I have included the meaning of lyrics - https://genius.com/

chocolate - 1975
dodie - intertwined
Breezeblocks - ALT J
Lana Del Rey - lust for life
new americana - halsey
never enough - hunna
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