Tiga is a Canadian electro/acid house and UK garage music producer. He has been producing commercial music since the late 90s and early 00s. In 1998 Tiga created his own record label, Turbo Recordings, which helped start his own music career. This gave him the freedom to explore and develop his own music style without being led or influenced by a large corporate record label. In 2014 Tiga produced the tech house song Bugatti, the music video was directed by Helmi. Helmi is a relatively new music video director who works for the niche Parisian production company, Division. Other notable music videos directed by

Helmi include: 'Champs Elysees' by Bonnie Banane feat. Waltaa, and 'Shake That

by FFRR,’ from the videos of Champs Elysees, Shake That and Bugatti it is quite clear that Helmi's music video style is:

Visually repetitive. As previously mentioned on my blog (referring to the TED Ed Lesson on repetition in music) repetition is important in a catchy song. Most of Helmi's music videos are for repetitive songs so according to Goodwin's (1992) typical conventions it makes sense to produce repetitive

accompanying videos (relationship between music and visuals). Also

Goodwin would say, it seems that repetition is a music video style typical of EDM.

Features cultural stereotypes and memes. Such as in the video for Shake That which stars a stereotype of a Mexican-American gangsta with low riding cars.

Mainly conceptual. Most videos feature no narrative and only a little performance and are basically a montage of random symbols and imagery (Joan lynch 1984).

Retro. Most videos contain retro themes. For instance the video for Champs

Elysees features stereotypical European teenagers from the 90s acid and techno house scenes. Especially typical 90s clothes including brands such as Lacoste, Sergio Tacchini and Fila.

This enhanced performance video (Jon Gow 1992) is not a conventional music video. Thump who is a music editor for the news and media outlet, Vice, described the music video for Bugatti as:

"A hypnotizing montage of scenes that don't quite normally occupy your

average music video."

This refers to the repetitive shots of retro, stereotypical imagery that are typical of a

Helmi music video. The music video seems to be set in the 1980s, evident from the

setting of a typical North American 80s ski lodge and retro 80s technology such as a Soda Stream and 80s fashion. Throughout the video the editing is completely in time with the fast paced music (typical of EDM videos) and shots of different objects repeat over and over again together until progressing to the next series of shots, as the beat changes. The video begins with a montage of close ups of an old telephone, keyboard, dominoes and door closing which progresses to close ups of a floppy disc, shaving foam and shirt collar. The close up shots zoom in and out, and play

backwards or forwards. This starting sequence may seem random but I think that it

is a scene setter for the theme of retro 80s references and sexual innuendos. This then continues until editing pace speeds up just before the end. From a Feminist's, such as Laura Mulvey (1975), point of view this music

video could be said to symbolically

annihilate women as they are sexualised and objectified through the male gaze. For instance the video contains images of sexual harassment of a woman in the workplace by a man, and a woman sitting, being filmed with her legs open among other examples.

However this could be viewed from a post-

modern perspective as being post-modern irony. This means that the director is aware of the prolific sexualisation of women in the media and especially in the 1980s, when the video is set, and is inevitably mocking

this reality not participating in it. Wilkinson

(1997) would say that this video is an representation of how gender boundaries

have blurred, starting from the 1980s. Not a representation of women through the male

gaze. For example a woman shaving, a

man putting on mascara, bald women, and men and women switching places on sofas, among countless other examples all of which defy gender conventions. Goodwin (1992) would say that the woman being filmed with her legs open, along with a woman peeping through blinds, a man looking in a mirror wearing sunglasses and the silhouette through office blinds of a woman receiving oral sex are all references to voyeurism; Voyeurism is a typical music video convention.