1. By Lashay Brown 2. IntroductionI have selected to analyse the
music video of Group 23 from the previous year.I chose this
specific video because I was visually satisfied by the conventions
that I wouldusually expect to see in a music video.I will be
applying the theories of Andrew Goodwin, Carol Vernallis and Laura
Mulvey toidentify what I feel the videos main strengths and
weaknesses are.The video can be seen below: 3. Andrew Goodwin
TheoryFirstly, in order for the audience to connect with the music
video we must identify:structure, role of the artist and the way
the images connect to the lyrics of the song.The structure of the
video is presented very well as we see the editing is in time with
thebeat of the song, from beginning to the end.There is a clear
differentiation between the chorus & verses as there are
repetitive shotsused in the chorus along with fast paced editing
which matches the same speed as the songwe also see the editing
slow down when the verses come in.As the video begins, we are
introduced to small narrative segment where the artist is
seenacting, whereas throughout the video the artist is seen
performing to the camera whichengages the audience to view the
content as a music video. This portrays the artist ofhaving the
roles of a performer and a narrator.Lastly, the connection between
the images and the lyrics of the song is interpreted to
beDisjuncture, as the images we see do not contradict the lyrics,
however adds a new layer ofmeaning. For an example, the artist is
seen holding a red rose throughout the video whichis a
representation of love or romance which links back to the lyrics as
were repeatedly hearher singing You are my everything however at
the end of the video a desaturated filter isadded which shows the
rose to appear black signifying the death of her love. 4. Andrew
Goodwin TheoryPainting of the red roseintroduces the concept
oflove.Painting turns into a realrose as the artist picks itup from
the wall.Real rose symbolisesthe the love was real.As the video
comes to anend, the artist places theflower back into the
wall.Black & white filteremphasises on the concept ofthe love
is now dead. 5. Carol Vernallis TheoryAnalysing this video through
Carol Vernallis theory, the 3 elements of mise-en-scene, editing
andcamera were fulfilled to what I would usually expect in a
Dubstep genre.Beginning with mise-en-scene, throughout the video
there was a change of setting that was shownconsistently which
complimented the genre of the song.The settings used are urban,
vibrant and modern which would usually reflects the artist and
thesong. For an example, one of the base tracks used is of a
location with a graffiti wall reflecting thegenre of Dubstep and
indicates the artist as youthful, whilst adding an urban vibe to
the video.The camerawork shows us exactly what we would what we
would expect to see in a music videowhich is a range of close ups
and medium shots of the main performer. As the video begins, we
areintroduced to a extreme close up of the artist which allows the
audience to identify her look, this isthen followed by a longshot
showing the artists full appearance from head to toe.With this
being seen before the artist starts performing, the audience is
given an insight of whattype of genre the artist is.As we look
closely, the camera is constantly moving throughout the video which
reflects the actionsof the audience, as it is expected we would be
dancing/moving when listening to music.Lastly, the editing brings
the video together specifically through the use of base tracks,
jump cuts,slow motion & special effect editing which all apply
to Carol Vernallis theory. At 1:21, we see thatslow motion has been
added when the artist turns around to match the tempo of the song.
The useof jump cuts takes the audience into a variety of locations
where the base tracks are alsoincorporated.At 2:02, we see the
performer push away the camera which sends us to another location,
thisspecial effects allows the audience to believe they are a
participant in the video. 6. Lack of colour representsthe mood of
the artist.(Heartbroken or Subdued)Base track of a location with a
graffiti wallcompliments the artist urban image thatwe see
throughout the video.High angle shot of artist looking up atthe
camera captures a full facialexpression and body language
whichgives the audience an idea of theatmosphere.At 1:35, A panning
shot is used inslow motion as the artist seems tobe unaware of the
camera, whichhelps the audience to identify herimage. (a type of
promotion) 7. Laura Mulvey TheoryIn relation to Laura Mulveys
theory, the music video does portray The male gaze to the audience,
however not asprominent as I would usually expect in a Dubstep
music video.Throughout the whole video we see the artists trademark
image of wearing red lipstick which can be signified asappealing or
sexual, however this contrasts the artists costume as she is
wearing casual/youthful clothing which isntrevealing any body
parts. This questions whether the groups intentions was to oppose
Laura Mulveys idea of the malegaze?As the video continues, In
various shots we visually see the camera panning away from the
artist, enabling to capture afull view of her body, whereas a few
shots specifically capture her chest and legs, which is normally
appealing to themale eye.My personal overview of Laura Mulveys
theory in Group 23 music video didnt fulfill my expectations of
what I wouldsee in music videos of today.As The male gaze is
usually presented very strongly whether a female is captured
wearing a lack of clothes (such as abikini) or a extreme close,
focused on specific body parts (bum, chest, legs) which Mulvey
studies that a females bodyis dismembered.But the lack of portrayal
of the male gaze in the video, considers if this was the groups
decision to challenge thetheory.Red lipstick wornthroughout the
video (seenas artists trademark)MCU- Panning shot movingdownwards,
focusing on theartists bodySlow motion of artist turningaround,
showing off herimage to the audience
