Script
Introduction
I will be looking at three music videos; the first being Robbers by The 1975 as my narrative-based music video, the second Chop Suey by System of a Down as my performance-based music video, and finally Humble by Kendrick Lamar as my concept-based music video.
I will be looking at three music videos; the first being Robbers by The 1975 as my narrative-based music video, the second Chop Suey by System of a Down as my performance-based music video, and finally Humble by Kendrick Lamar as my concept-based music video.
The 1975 - Robbers
In this narrative-based music video there is an interesting dynamic between the two main characters, played by lead singer Matt Healy and actress Chelsea Schuchman. They constantly portray love for each other, despite the relationship being dysfunctional. There’s a constant contrast between the past and present, creating the atmosphere of change and regrets. The director Tim Mattia created a consistent dark and gloomy atmosphere to emphasize the dark place both characters are in.
Love is a key theme portrayed throughout the entire music video. As I have stated before, the love between the two main characters is conveyed as dysfunctional and unhealthy for both. Further on in the music video [0:27 and 0:30] he is seen smoking alone, this creates an atmosphere of self-destruction and self-loathing; he has been left alone with nothing but memories and his regrets. Further on in the music video at 0:35, Chelsea places the cigarette in Matt’s mouth, similar to how he did to her at the beginning of the music video, and after he inhales the smoke they kiss. The director used the mise en scene to create an association with the love they share and rebellious behaviour, in this case smoking. This concept is reinforced shortly afterwards when director uses a two shot to portray Matt in the same location with Chelsea consuming a pill of sorts; without context of the situation the audience instantly assumes the pill is some form of drug. The director does this to emphasize the obvious issues surrounding the relationship: even someone simply viewing their actions and decisions is able to notice the consequences of their love for one another.
One of the issues resulting in their dysfunctional relationship explored within the music video is the lack of equality between the two characters. Matt is portrayed as superior to Chelsea via positioning of the characters in certain shots and the props used. In this example [0:15] the director uses a long shot to show Matt standing above Chelsea and placing a cigarette in her mouth while she looks up at him. This has visual connotations of superiority and makes it clear to the audience that Matt has power over Chelsea.
At 0:55 Matt’s dominance is conveyed once again, he is seen pulling Chelsea towards him with the intention of kissing her. This was done in relation to the idea of taking what you want, which creates a connection to the music video’s title ‘Robbers’.
In this scene [1:46] a close up of a bloody handprint is made on a white wall. This creates juxtaposition and foreshadows the inevitable outcome due to their actions, the fact that it is on a white walls signifies the corruption on their potentially healthy life and relationship. The red from the blood further connotes love and desire, however simultaneously danger and cruelty; this further associates the themes with one another and the result of the characters love. This association is reinforced at 2:51, where both main characters kiss before robbing the store, this portrays a connection with their bad life choices such, as crime, drugs and alcoholism, and their love for each other.
Their love for each other is portrayed as inevitably ending in separation and pain. Here [4:24], after everything has taken place, Matt kneels in a room, alone with a gun and a bottle of alcohol. He is finally alone, with nothing but the consequences of their decisions.
The characters costumes are used to further emphasise the negative time in their lives and the dysfunctional relationship they’re in. For example, here [1:25] Chelsea’s clothing, or what’s left of it, seems to be barely clinging to her body; this conveys the concept of her slipping away from a potentially pure and safe life. This idea is immediately reinforced in the next scene, where Matt falls off the table he was standing on, this could signify his fall down the social hierarchy and into a life of crime, drug abuse and alcoholism. Another theme which directly relates to the narrative and is prominent within the mise en scene is crime. Between the two main characters, the crimes they commit are shown through a series of images and objects. For example: gun violence, alcoholism ,drug abuse, robbery and potentially murder. The theme of crime is foreshadowed at the beginning on the video with the use of a wide shot. [0:07] ‘The 1975 Robbers’ appears with the two characters holding hands and walking away from the camera; furthering the the exploration of love.
Lighting is used in this music video to create either a positive or negative atmosphere. When the two characters are together the lighting is dark and gloomy, suggesting it is a dark time in both of their lives, however at 0:17 the lighting is immediately contrasted in comparison to this, the atmosphere is brighter and suggests a better time in their lives has come. To develop upon this, Matt is seen through the use of a close up shot as being alone and thinking back to the robbery. This along with the lighting mentioned portrays the concept that they are both better off alone.His expression connotes sadness and emptiness, conveying the idea that he isn’t functional without Chelsea.
In this narrative-based music video there is an interesting dynamic between the two main characters, played by lead singer Matt Healy and actress Chelsea Schuchman. They constantly portray love for each other, despite the relationship being dysfunctional. There’s a constant contrast between the past and present, creating the atmosphere of change and regrets. The director Tim Mattia created a consistent dark and gloomy atmosphere to emphasize the dark place both characters are in.
Love is a key theme portrayed throughout the entire music video. As I have stated before, the love between the two main characters is conveyed as dysfunctional and unhealthy for both. Further on in the music video [0:27 and 0:30] he is seen smoking alone, this creates an atmosphere of self-destruction and self-loathing; he has been left alone with nothing but memories and his regrets. Further on in the music video at 0:35, Chelsea places the cigarette in Matt’s mouth, similar to how he did to her at the beginning of the music video, and after he inhales the smoke they kiss. The director used the mise en scene to create an association with the love they share and rebellious behaviour, in this case smoking. This concept is reinforced shortly afterwards when director uses a two shot to portray Matt in the same location with Chelsea consuming a pill of sorts; without context of the situation the audience instantly assumes the pill is some form of drug. The director does this to emphasize the obvious issues surrounding the relationship: even someone simply viewing their actions and decisions is able to notice the consequences of their love for one another.
One of the issues resulting in their dysfunctional relationship explored within the music video is the lack of equality between the two characters. Matt is portrayed as superior to Chelsea via positioning of the characters in certain shots and the props used. In this example [0:15] the director uses a long shot to show Matt standing above Chelsea and placing a cigarette in her mouth while she looks up at him. This has visual connotations of superiority and makes it clear to the audience that Matt has power over Chelsea.
At 0:55 Matt’s dominance is conveyed once again, he is seen pulling Chelsea towards him with the intention of kissing her. This was done in relation to the idea of taking what you want, which creates a connection to the music video’s title ‘Robbers’.
In this scene [1:46] a close up of a bloody handprint is made on a white wall. This creates juxtaposition and foreshadows the inevitable outcome due to their actions, the fact that it is on a white walls signifies the corruption on their potentially healthy life and relationship. The red from the blood further connotes love and desire, however simultaneously danger and cruelty; this further associates the themes with one another and the result of the characters love. This association is reinforced at 2:51, where both main characters kiss before robbing the store, this portrays a connection with their bad life choices such, as crime, drugs and alcoholism, and their love for each other.
Their love for each other is portrayed as inevitably ending in separation and pain. Here [4:24], after everything has taken place, Matt kneels in a room, alone with a gun and a bottle of alcohol. He is finally alone, with nothing but the consequences of their decisions.
The characters costumes are used to further emphasise the negative time in their lives and the dysfunctional relationship they’re in. For example, here [1:25] Chelsea’s clothing, or what’s left of it, seems to be barely clinging to her body; this conveys the concept of her slipping away from a potentially pure and safe life. This idea is immediately reinforced in the next scene, where Matt falls off the table he was standing on, this could signify his fall down the social hierarchy and into a life of crime, drug abuse and alcoholism. Another theme which directly relates to the narrative and is prominent within the mise en scene is crime. Between the two main characters, the crimes they commit are shown through a series of images and objects. For example: gun violence, alcoholism ,drug abuse, robbery and potentially murder. The theme of crime is foreshadowed at the beginning on the video with the use of a wide shot. [0:07] ‘The 1975 Robbers’ appears with the two characters holding hands and walking away from the camera; furthering the the exploration of love.
Lighting is used in this music video to create either a positive or negative atmosphere. When the two characters are together the lighting is dark and gloomy, suggesting it is a dark time in both of their lives, however at 0:17 the lighting is immediately contrasted in comparison to this, the atmosphere is brighter and suggests a better time in their lives has come. To develop upon this, Matt is seen through the use of a close up shot as being alone and thinking back to the robbery. This along with the lighting mentioned portrays the concept that they are both better off alone.His expression connotes sadness and emptiness, conveying the idea that he isn’t functional without Chelsea.
System of a Down - Chop Suey!
System of a Down’s song ‘Chop Suey!’ is an excellent example of a performance-based music video; this is because of the use of a unique variety of camera angles, the bands interaction and portrayal of their audience, and intended portrayal of themselves: as an innovative band who are passionate about their music and fans. This includes the lyrics and the mise en scene, such as costumes, lighting and location.
An example of the mise en scene is the costumes used within the music video to draw attention to the band members and separate them from the audience, who are all wearing black clothing. Black is used within this genre of music to portray rebellion and uprising against social norms and mainstream ideas. Aside from the lead singer, Serj Tankian, all the band members are not wearing shirts throughout the music video. This creates the same atmosphere of rebellion to social norms and portrays the band members as having similar mindsets and beliefs as the audience. In contrast to the other band members, Serj Tankian is fully clothed throughout the music video and when on the stage he is seen wearing a yellow shirt. This draws the audience's attention to the lead singer, creating an association with him, the bands image and the music, which ultimately aids in the sales of the music and recognizability of the band.
At the beginning of the music video a backwards moving long shot is used to portray the audience as zombie-like and oblivious to everything around them. The director uses juxtaposition when the drummer begins hitting the drums instead of just the hi-hat, this is because it shows the change in atmosphere when the band is present [0:15]; a close up shot is used to show the audience as energetic, excited and enjoying the bands music and presence. This creates an ideal image for the band because it shows the influence their music has on their audience and portrays them as a core aspect of their audiences happiness. Wide angle, long shots used within these scenes give a sense of space and dynamism.
At 0:46 the backing singer and guitarist, Daron Malakian interacts with the audience and gets close to them. This is done to emphasize the band’s interaction and engagement with their fans, they are portrayed as equals in comparison to their audience and are seen as viewing themselves as such. This type of interaction creates a strong relationship between the band and their target audience, which will in turn aid in broadening their viewership.
[0:30-0:44] The director chose to use fast pace editing in sync with the beat and the changing of shots and angles within the music video. This creates an energetic atmosphere and allows the audience to experience what it would be like to be at one of their concerts live. The changing of shots and editing is in sync with the beat of the music; the increase in tempo creates a build up of anticipation and eagerness from the audience as they wait for the music to begin. Capturing the live experience. The purpose of this is to create a more excited atmosphere for the viewers of the music video and audience within it.
A variety of camera angles and editing techniques are used throughout the music video to draw the viewer's attention towards certain themes or aspects of the video. Here [1:00] visual effects are used to show the band members passing throughout each other while they continue to play their instruments. Effects such as this create a unique selling point for the band and draws the viewer's attention towards each of the members. This is seen again at 2:19, where the lead and backing singer pass through each other as they sing with clear emotion; this is done to emphasize the band’s passion towards their lyrics and music as a whole.
Here [2:49] the camera arcs around and under the lead singer and transitions into the opposite movement with the backing singer being centered instead. The director chose to incorporate this into the music video to convey the flexible dynamic of the band and their music; the focus on these members also draws the audience's attention towards them which creates an association between the dynamic aspect of the camera shot and the members of the band.
System of a Down’s song ‘Chop Suey!’ is an excellent example of a performance-based music video; this is because of the use of a unique variety of camera angles, the bands interaction and portrayal of their audience, and intended portrayal of themselves: as an innovative band who are passionate about their music and fans. This includes the lyrics and the mise en scene, such as costumes, lighting and location.
An example of the mise en scene is the costumes used within the music video to draw attention to the band members and separate them from the audience, who are all wearing black clothing. Black is used within this genre of music to portray rebellion and uprising against social norms and mainstream ideas. Aside from the lead singer, Serj Tankian, all the band members are not wearing shirts throughout the music video. This creates the same atmosphere of rebellion to social norms and portrays the band members as having similar mindsets and beliefs as the audience. In contrast to the other band members, Serj Tankian is fully clothed throughout the music video and when on the stage he is seen wearing a yellow shirt. This draws the audience's attention to the lead singer, creating an association with him, the bands image and the music, which ultimately aids in the sales of the music and recognizability of the band.
At the beginning of the music video a backwards moving long shot is used to portray the audience as zombie-like and oblivious to everything around them. The director uses juxtaposition when the drummer begins hitting the drums instead of just the hi-hat, this is because it shows the change in atmosphere when the band is present [0:15]; a close up shot is used to show the audience as energetic, excited and enjoying the bands music and presence. This creates an ideal image for the band because it shows the influence their music has on their audience and portrays them as a core aspect of their audiences happiness. Wide angle, long shots used within these scenes give a sense of space and dynamism.
At 0:46 the backing singer and guitarist, Daron Malakian interacts with the audience and gets close to them. This is done to emphasize the band’s interaction and engagement with their fans, they are portrayed as equals in comparison to their audience and are seen as viewing themselves as such. This type of interaction creates a strong relationship between the band and their target audience, which will in turn aid in broadening their viewership.
[0:30-0:44] The director chose to use fast pace editing in sync with the beat and the changing of shots and angles within the music video. This creates an energetic atmosphere and allows the audience to experience what it would be like to be at one of their concerts live. The changing of shots and editing is in sync with the beat of the music; the increase in tempo creates a build up of anticipation and eagerness from the audience as they wait for the music to begin. Capturing the live experience. The purpose of this is to create a more excited atmosphere for the viewers of the music video and audience within it.
A variety of camera angles and editing techniques are used throughout the music video to draw the viewer's attention towards certain themes or aspects of the video. Here [1:00] visual effects are used to show the band members passing throughout each other while they continue to play their instruments. Effects such as this create a unique selling point for the band and draws the viewer's attention towards each of the members. This is seen again at 2:19, where the lead and backing singer pass through each other as they sing with clear emotion; this is done to emphasize the band’s passion towards their lyrics and music as a whole.
Here [2:49] the camera arcs around and under the lead singer and transitions into the opposite movement with the backing singer being centered instead. The director chose to incorporate this into the music video to convey the flexible dynamic of the band and their music; the focus on these members also draws the audience's attention towards them which creates an association between the dynamic aspect of the camera shot and the members of the band.
Kendrick Lamar - HUMBLE.
This concept-based music video has a broad range of symbolism and meaning behind every aspect of the music video. The audio is non-diegetic and the costumes vary dramatically, often further emphasizing a theme or atmosphere.
The main underlying concept within the music video is the media’s portrayal of information to the mass population, and societies eagerness to accept said information.
This is clearly seen at 0:31 with the use of the mid-shot, where Kendrick is sat in a hair salon next to three women reading who are reading magazines while taking in and believing what the media presents to them through this source of information. There is no sign of the women questioning the information, they’re simply portrayed as mindlessly taking it in. However Kendrick looks directly at the camera as he raps, instead of reading the magazines as the women are; creating a direct mode of address to the audience.The director chose to use a scene such as this to portray the influence the media has on the general population and our passive acceptance of the information it provides.
To elaborate upon this, in this scene [0:54] camera angles are used to convey the manipulation that comes with perspective. At first Kendrick is seen hitting golf balls off the roof of a car, this connotes wealth and power. However, as the camera pans-out, the background can be seen more clearly as being a run-down neighborhood. His car is parked in wastewater as he hits the golf balls into it, this shows how perspective can alter the truth, further relating towards the media’s effect on the public’s opinions and knowledge.
This concept of altered perspective is addressed directly in certain shots of the music video. The director does this to encourage the audience to question their own assumptions and beliefs. Here [2:07-2:15] Kendrick is seen passing some form of food to a passenger in another vehicle, if the item was covered up the audience would automatically assume drug activity was involved in the exchange. The director purposefully does this to emphasize the audience’s automatic assumptions despite having no context regarding the situation. The scene is an intertextual reference to the Grey Poupon advertisement, where the same exchange was made, however it was between two white men. This conveys to the audience that society has an aspect of underlying racism due to the media’s affect on the information that's provided to the mass population.
Mise en scene is used to show Kendrick standing in the centre shot, dressed with glasses on, and a black turtleneck. Due to the costume the audience assumes him to be educated, however in contrast to this idea, the background shows him to be underneath a highway, graffiti covers the walls, and to the left a turned over shopping cart with clothes in it. Behind him stand mostly black people wearing common clothes, such as hoodies, ripped jeans and other dark clothing. This portrays the concept of separation between the social classes and the audience's ability to immediately assume the social class of those in the fore and background, this ultimately being because of the media’s portrayal of the social class system. Throughout this scene the camera moves in sync with the tempo of the music and the lyrics, this is also done to demonstrate a change in perspective and how it drastically adds necessary context to a situation.
Camera angles and rapid movement is used once again [1:20] to reinforce this concept of perspective. The rapid shaking of the camera creates a third dimensional effect while still disrupting the validity and quality of the shot. This creates juxtaposition as the two concepts contrast one another; this relates back to the idea of the media altering information which they provide to the mass population, one of which mindlessly accepts said information without question. This scene is an intertextual reference to “Leonardo da Vinci’s 15th-century painting, The Last Supper.” It relates back to the first scene shown to the audience, where Kendrick Lamar is dressed as a pope with light shining on him. This connotes purity and righteousness; however, the scene then changes to him lying on a table with masked women wearing little to no clothing, counting money as he shoot said money at the camera. Christianity being a white religion, this decision to reappropriate the iconography is a comment on the roots of white supremacy. Like the modern media, was used to justify conflicts such as war and inequality. By reappropriating this iconography the director is saying religion plays its part in the inequality of modern society.
This concept-based music video has a broad range of symbolism and meaning behind every aspect of the music video. The audio is non-diegetic and the costumes vary dramatically, often further emphasizing a theme or atmosphere.
The main underlying concept within the music video is the media’s portrayal of information to the mass population, and societies eagerness to accept said information.
This is clearly seen at 0:31 with the use of the mid-shot, where Kendrick is sat in a hair salon next to three women reading who are reading magazines while taking in and believing what the media presents to them through this source of information. There is no sign of the women questioning the information, they’re simply portrayed as mindlessly taking it in. However Kendrick looks directly at the camera as he raps, instead of reading the magazines as the women are; creating a direct mode of address to the audience.The director chose to use a scene such as this to portray the influence the media has on the general population and our passive acceptance of the information it provides.
To elaborate upon this, in this scene [0:54] camera angles are used to convey the manipulation that comes with perspective. At first Kendrick is seen hitting golf balls off the roof of a car, this connotes wealth and power. However, as the camera pans-out, the background can be seen more clearly as being a run-down neighborhood. His car is parked in wastewater as he hits the golf balls into it, this shows how perspective can alter the truth, further relating towards the media’s effect on the public’s opinions and knowledge.
This concept of altered perspective is addressed directly in certain shots of the music video. The director does this to encourage the audience to question their own assumptions and beliefs. Here [2:07-2:15] Kendrick is seen passing some form of food to a passenger in another vehicle, if the item was covered up the audience would automatically assume drug activity was involved in the exchange. The director purposefully does this to emphasize the audience’s automatic assumptions despite having no context regarding the situation. The scene is an intertextual reference to the Grey Poupon advertisement, where the same exchange was made, however it was between two white men. This conveys to the audience that society has an aspect of underlying racism due to the media’s affect on the information that's provided to the mass population.
Mise en scene is used to show Kendrick standing in the centre shot, dressed with glasses on, and a black turtleneck. Due to the costume the audience assumes him to be educated, however in contrast to this idea, the background shows him to be underneath a highway, graffiti covers the walls, and to the left a turned over shopping cart with clothes in it. Behind him stand mostly black people wearing common clothes, such as hoodies, ripped jeans and other dark clothing. This portrays the concept of separation between the social classes and the audience's ability to immediately assume the social class of those in the fore and background, this ultimately being because of the media’s portrayal of the social class system. Throughout this scene the camera moves in sync with the tempo of the music and the lyrics, this is also done to demonstrate a change in perspective and how it drastically adds necessary context to a situation.
Camera angles and rapid movement is used once again [1:20] to reinforce this concept of perspective. The rapid shaking of the camera creates a third dimensional effect while still disrupting the validity and quality of the shot. This creates juxtaposition as the two concepts contrast one another; this relates back to the idea of the media altering information which they provide to the mass population, one of which mindlessly accepts said information without question. This scene is an intertextual reference to “Leonardo da Vinci’s 15th-century painting, The Last Supper.” It relates back to the first scene shown to the audience, where Kendrick Lamar is dressed as a pope with light shining on him. This connotes purity and righteousness; however, the scene then changes to him lying on a table with masked women wearing little to no clothing, counting money as he shoot said money at the camera. Christianity being a white religion, this decision to reappropriate the iconography is a comment on the roots of white supremacy. Like the modern media, was used to justify conflicts such as war and inequality. By reappropriating this iconography the director is saying religion plays its part in the inequality of modern society.
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