JC: Auteur Analysis

1.) Bjork ' All is Full of Love' (Cunningham, 1999)

Mise en Scene
- White plastic + rotating machinery creates soulless, inhuman atmosphere (contrasts lyrics about love)
- Flickering fluourescent white lights - leaves little shading, almost monochromatic colouring - bleak surroundings
- Machines resemble those used on car production lines
- Fully expressive human face on robot ties in with music: industrial instrumentation with lyrics about love
- Water running over machinery when the robots are kissing makes the technology seem more 'organic'

Editing
- Extremely slow cutting rate - each shot on average lasts at least 5 seconds
- The slow-paced editing reinforces the intimate visuals and subject of the song.
- Also allows for the technology to be 'shown off' in way, giving the sense that the machines are moving quickly around the singer.

Camera
- Variety of different types of shots e.g.: CU, ECU, LS
- Slow camera movement works with slow cutting rate to further build on the intimate atmosphere
- High angle shot on first robot makes audience pity her?


2.) The White Stripes 'Fell in Love with a Girl' (Gondry, 2002)

Mise en Scene
- Use of stop-motion animation of lego bricks is coherent with the basic instrumentation and structure of song.
- The solid colours of red, white, yellow and blue also create a sense of simplicity
- Able to use lego bricks to form morphing shapes which would normally only be available through special effects.

Editing
- Fast-paced cutting rate
- Bricks appear to create montage of images such as roads, people on bicycles and swimming underwater

Camera
- The camera used to create this video took thousands of still images of the lego bricks in order to give the illusion of movement, so no different angles or ways of movement are used.

Beastie Boys 'Sabotage' (Jonze, 1994)

Mise en Scene

- Vintage filter applied
- Costume: Mustache, dull coloured suits, aviator sunglasses, old car 70s haircut wig - parody of 1970s police drama
- Location is an urban/city centre
- A lot of on-screen action e.g.: forward rolls, kicking down doors, running through corridors

Editing
- Fast cutting rate intensifies action
- Use of slow motion
- 'Retro' title
- Still shots with introductory credits imitating the beginning of a sit-com

Camera
- A large number of fast zoom shots - commonly seen in 1970s police dramas
- Handy cam/steady cam - places audience within the action

4.) Radiohead 'Street Spirit' (Glazer, 1996)

Mise en Scene
- Greyscale effect - bleak aura
- Layered images creates the effect of two of the same person
- Low-key lighting
- Abandoned caravan park
- Blood dripping from man's head

Editing
- Layered images allow different speeds of slow motion footage to be in the same shot
- Slow cutting rate

Camera
- CU, ECU of singer's face shows changing expressions
- Very slow movement
- Eye-level for majority of video

5.) Kanye West - 'Jesus Walks' (Milk, 2004)

Mise en Scene
- Depicts images of prisoners, drug dealers and other people who are part of the 'underworld' of society and mixes them with images of religion such as crucifixion and white doves
- Locations include deserts, labour camps and the back yard of a tin house

Editing
- Fairly fast cutting rate
- Goes between main storyline of video and performance clips
- High contrast filter

Camera
- Low angle shot of rapper gives him prevalence in the discourse of the video

6.) Beck 'Black Tambourine' (Levite, 2004)

Mise en Scene
- Entire video based on typewriter text
- Monochromatic
- Performance based video

Editing
- Fast cutting rate of different formations of letters and characters
- Images also increase and decrease in the number of letters

7.) Mister Heavenly 'Bronx Sniper' (Adams+Craig, 2011)

In this video, it is clear that the narrative is the driving aspect of the clip, as there are no shots of the band members on their own or even performing. The video is based on surreal humour which I feel captures and even exaggerates the essence of pre-pubescent/teenage angst. The video shows the boy's fantasy coming true and ultimately taking revenge against his parents, therefore this is a dominant, positive representation of youth, as the father is made to look stupid by his appearance and short temper.

The video also references the transition from boy to man, and mentions the primal action of being part of a group or 'pack', as the father asks his son: 'do you wanna run with the pack?' Later on in the video the doll which becomes a life-size man has a patch on the back of his jacket which reads 'Man Wolfs'. This deliberate spelling error connotes to childhood, as the word 'Wolfs' could be something a child says as they start to learn new features of language, this is then partnered with the word 'Man', which connotes to what the father has said previously about raising his son not to play with dolls, and reinforces the video's sub-text of the course of adolescence.

There is a clear binary opposition in this video: one side being a 'civilised' adult - portrayed by the parents, and the other being an adult who never grew up - portrayed by the dolls. The video is also a metaphor for the helpless boy's anger at his father. The father character is an over-reactive, short-tempered man, who expects his child to grow up the way he has intended him to. He shows a belief in residual male ideology as he believes that boys should not play with dolls. On the other hand, the dolls represent the boy's angst, which is conveyed in how they completely destroy the house and humiliate the boy's parents. The dolls also represent the opposite of how the father expects his son to grow up: they have tattoos and wear similar clothes to that of a biker gang.

MC: Technical Analysis

JC - Technical Analysis

FIDLAR -  'Oh'

Shot No.	Duration	Shot type/distance	Mise en Scene
1	0:02 – 0:04	Titles	Black background, white font, grainy film effect – old film effect
2	0:05 – 0:09	Long shot of band member	Warehouse door, sunglasses - inconspicuous
3	0:09 – 0:10	Low angle, close up of band member	Looking around suspiciously
4	0:10 – 0:13	High angle, steady cam shot	Unconscious man in mask being dragged by others
5	0:13 – 0:17	Bird’s eye view, pan right	Band open boot of the car and drag the man towards it
6	0:17 – 0:24	Mid shot – Medium shot through window – bird’s eye view	Band put man in the boot, get in car and start driving
7	0:24 – 0:46	Shots of different angles on car whilst driving, e.g., bonnet, roof, back seat	Large number of driving shots give sense of long distance journey
8	0:46 – 0:48	Big close up of band member’s hand. POV shot from the perspective of the man?	Hand holding an axe.
9	0:48 – 0:50	Over-the shoulder, high angle shot of band member cutting man’s hand off	High angle shot give the audience a sympathetic view of man
10	0:50 – 0:52	Cut on action of cutting hand, low angle close up of singer with blood on his face	Low angle shot shows the audience that the band are of higher social status in the video, and is also an example of binary opposition – good vs bad
11	0:52 – 1:00	Steady cam shot of band walking across desert	Singer wipes blood from face, angry expression
12	1:00 – 1:07	Extreme long shot of band walking further	Suitcase with handcuff attached. Band drop suitcase and crowd around it
13	1:07 – 1:15	Different angle, eye level shots	Band try to break open suitcase with rocks and a hammer
14	1:15 – 1:19	Pan right, mid shot	Shot shows the hostage’s legs walking and his bloodied shirt, presumably headed towards band
15	1:19 – 1:21	Close ups showing singer hitting suitcase with axe	Cutting rate increases showing singer cutting the locks
16	1:21 – 1:23	Low angle shot of masked man	The status of the man has changed, uses laser-gun to kill the singer
17	1:23 – 1:31	Fast cutting rate, long shots of band members getting killed	‘retro’ flashing effect is applied when band members die, connoting to old sci-fi films
18	1:31 – 1:37	Wide shots of drummer hiding behind rock, then stealing suitcase back	POV shots show drummer hiding and present masked man as new antagonist
19	1:37 – 1:49	Montage of shot reverse shot of drummer and masked man	Slow motion
20	1:49 – 1:52	Handy-cam shot of drummer dropping suitcase and hiding behind bush	Drummer puts hand over mouth in a comical manner
21	1:52 – 1:59	Extreme long shot/low angle close up	Masked man walks to briefcase and bends down in front of it
22	1:59 – 2:06	Extreme close up of masked man’s face	Stops for a moment- thinking?
23	2:06 – 2:10	Extreme long shot	Circular beams fire from the man into the sky
24	2:10 – 2:17	Close up	Masked man slowly pulls off mask to reveal an alien face – clearly another mask
25	2:17 – 2:29	Close up/low angle mid shot, extreme long shot	Alien throws mask to floor and is beamed up into the sky, the video then ends

Evaluation of technical analysis

Summarise what you have learnt from this technically

- By carrying out this task, it has given me insight into how the videos for FIDLAR's music feature meat shots of the band and also the low-budget feel they favour.

How is camera movement and cutting rate incorporated to create pace?
- The cutting rate of this video is very fast, with some sections too fast to count how many shots there actually are. This gives the video a sense of fast-moving narrative and reinforces the narrative of the clip.
- The camera techniques such as handycam, steadycam and tracking shots also give the audience a sense of placement within the action of the video.

How are aspects such as the rule of thirds, framing and transitions used?
- Throughout the video, the rule of thirds is maintained, as the director intends the audience's attention to be directed towards the subjects of the shots.
- Different methods of framing are used halfway through the video as part of a montage. The camera is set up on different parts of the car to help give the illusion of a long journey, as the audience sees the car driving for almost half a minute.
- The transitions in the video are predominantly a normal cutting transition, however there are some parts where the change from one shot to the other is cleverly interpretted, such as the car driving into the dark tunnel, and then the darkness being removed and a POV shot of the kidnapped man in the boot of the car.

GROUP:Preproduction development

Preproduction development

Costume:

•  As part of the ‘surf rock’ theme we decided that we wanted to convey through our music video, each member of the ‘band’ who appear in the music video will wear different outfits which are iconic to the general theme of surf/skate culture. 
• Specific kinds of clothing that we may include in our final production include Hawaiian shirts, flat-caps, skinny jeans, hoodies and footwear which are generally associated with the culture of surfing such as vans. • From watching surfing and skating videos, as well as more acclaimed media texts such as the feature length movie “Lords of Dogtown” (Hardwicke, 2005) which is a film that follows the surfing and skateboarding trends which originated from Venice, California in the 1970’s, we have learnt that the use of accessories beanie hats, flat caps and sunglasses may also aid the illusion which we are hoping to illustrate that our music video does take place in such an iconic surfing location like California, as these items are often associated with warmer climates (despite the fact that beanie hats are used in colder environments as well).
• The hairstyles of the characters who appear in our music video production, will be 'scruffy' and create the illusion that the characters have supposedly been surfing or skating, as this would ruin any set hair style of the character before partaking in these sports, as water and wind would most likely ruin the former hair style.
• Their will be no use of make-up in our video, as we are hoping to a project a very raw 'home-video' style, and home videos generally require little or no specific costume or mise-en-scene aspects, and so we will comply to this, by not using make up, and attempting to make the appearence of our charcters very natural. 

Props:

• The most obvious of props in our production to convey surf culture would be surfboards themselves, but due to logistical and geographical constraints, we believe this may not be feasible, alternatively, we will definitely be incorporating shots of us skateboarding/longboarding. We believe that this will have almost the same affect, especially the use of longboards, as the sport of longboarding originated from surfing itself. 
• Due to the nature of the actual track that we are making the music video for, in that the general sound has a rather ambient persona about it, we will incorporate the use of a speaker (boom box) into the music video itself, to create the illusion that people watching the music video will believe that the track they are hearing was recorded onto the music video by the camera’s ability to record sound, while the music was simply played aloud. This will also help us to lip-sync when shooting our video.

Lighting:

• Lighting is crucial in our music video, as we have already decided to create the illusion that our music video is set in California, which is iconically sunny and warm. As we do not live in such a climate, we will attempt to shoot our music video on a day that is forecast to have such weather, but due to the uncertainty of British weather, we may have to use post-production tools such as colour correction to make the environment that appears in our final production sunnier.
• We are still contemplating on whether to include performance based clips into our music video, if we do, we will use artificial lighting to re-create a similar environment to a live concert, this includes a well-lit stage that makes the performers very visible, and less lighting in the area where the crowd/spectators are positioned.

Location:

• One location that we definitely want to incorporate into our music video is a beach and the areas around a beach, as this is obviously where surf culture originated from and is associated with.
• Beach fronts also have very long, flat and wide paths which are perfect for skateboarding and longboarding, we will definitely be using these locations for skating, and they may also be suitable for us to use for performance based scenes. 
• In the very beginnings of surf culture, surf gangs would use the area around the legs of a pier to surf in, and for this reason, we may also incorporate the location of a pier into our final production.

• We may incorporate a scene of performance which will take place in what will appear to be a small music venue, this will reinforce the concept of the brand and image of the artists that we will convey, rather than making our production completely narrative based.