My chosen genre is Indie Rock with representation of Gothic or Punk Rock. My artist will portray a rugged/grunge rocker persona and the video's antagonist will show punk/goth imagery, being a male and female as well as to provide representation of two social groups (man and woman)
Siouxsie Sioux
Olivia O.
Megadeth
Sir Chloe
Leon S. Kennedy (Resident Evil 4)
MOTHICA
Type 0 Negative
American Goth band Type 0 Negative incorporate army-green with their typical goth black appearances. Their presentation of long black hair is interesting.
Non-binary grunge artist Iris Bilinsky utilises a drag-like gender-manipulative style to their visual aesthetic.
I hope to incorporate some drag-inspired makeup techniques into my two characters, especially on my AMAB actor. Furthermore, their grunge aesthetic is a big inspiration for my costume design.
Song:
'Should I' by Sir Chloe, from their 2023 LP "I Am The Dog", belonging to the indie rock genre
About the Artist/ Song:
Sir Chloe are an Indie Rock band from Vermont, USA. Headed by vocalist Dana Foote, the band have released 1 EP and 1 LP since their formation in 2017: "Party Favors" in 2020 and the studio album "I Am The Dog" in 2023.
Described as Indie and Alternative Rock, the band bring a modern take on heavy guitar riffs and varying vocals from metal-esc shouting to melodic pop-inspired verses.
The song 'Should I' is the first track on the LP and features a stripped verse with brassy drums and raspy guitar, building up into a wall of sound during the chorus.
My Artist:
Played by my friend, my artist would be an indie rock/ grunge duo, a man with generic punk attire and a woman with inspirations from 1970-80s prolific punk rock band Siouxsie and the Banshees' lead singer Siouxsie Sioux; my chosen song's band Sir Chloe's lead singer Dana Foote; indie grunge band Lowertown's lead singer Olivia Osby; and noir/ dark popstar MOTHICA.
Overall, I am aiming for a punk/gothic rockstar look with vintage themes and a grungy alternative/ androgynous aesthetic.
Below is a list of music videos I found inspiring and analysed, with a list of time-stamps for each video relating to moments I liked.
Music Video Analysis:
Bug Like an Angel - Mitski
This is a narrative music video, following an intoxicated mature female actress as she ambles down a street, interacting with the music artist in the role of a choir performer with her fellow chamber. There are moments of lip-syncing from the artist but the majority of the time is spent showing the actress.
Genre: Indie Folk Rock
Approx. shot Count: 1
Analysis:
0:20 - The actress begins jerky movements as the vocals come in, I like the way the presence of singing animates the character/ they move with the words.
0:38 - The camera follows the actress as she moves and tumbles around the street in a steady, spectator-like form.
0:48 - The night-time lighting of moonlight combined with cold fluorescent artificial light on the character's face is beautiful. I will take lighting especially at night into consideration
0:55 - The actress nearly blends into the foreground and becomes out of focus as Mitski and the other background actors are shown. Plays with the use of perspective and objects of focus.
1:41 - We see a sign that reads "Christ offers forgiveness for everyone everywhere". The background displays the message of the song of salvation and the mutual recognition of 'low points'. I like this visual storytelling
1:54 - When the actress bumps into/ interacts with/ is helped by the choir members, the lighting changes from cold to warm to convey human contact and humanitarianism
2:09 - We are now shown the artist herself in a stationary shot, lip syncing the most sensitive and message-carrying part of the song. Evokes personal connection to audience, I like the use of this.
2:55 - The pitiful and wasted woman turns into a mocking and dislikeable figure as she pulls a face and staggers away from help, bowing and walking off towards a neon cross street sign.
3:33 - As the actress walks off for a long single take, we can focus on her surroundings. I like this shift to focus on the background as the actress walks away.
70s to 80s punk band Siouxsie and the Banshees were arguably the most important influence to the British Gothic movement. Originally written and performed by the Beatles, Siouxsie's version's lack of gender-change makes the song an early iteration of Sapphic representation and themes in punk music.
Genre: Post-Punk Rock
Approx. shot Count: 34~
Analysis:
0:03 - The video opens with short clips of every member of the band counting from 1 to 4, including Robert Smith from The Cure. I like how this introduces the band in a quick and interesting way.
0:08 - Visuals of moving landscapes are overlaid over dark and defined areas of the original footage of closeups of the band. This effect is used throughout the video and creates a trippy, experimental and grungy feeling
0:19 - Lip-syncing is spread throughout multiple shots at different locations and angles. Variety of shots and use of mise-en-scene.
0:29 - constant return to a shot of the band staggering and walking towards camera in a dark hallway. Contrasts to static serenity in sunlit shots. Repeated use of overlaid footage.
0:39 - Use of comedy as band use umbrella against the sun. Plays into gothic stereotypes, makes video more light hearted and enjoyable.
1:03 - Intermittent shots of band walking up the same hallway individually. Ending clip of this sequence with lead singer's face transparently featured over top. Playing with editing and filming the same shots with different people is interesting and cool here.
1:29 - After a short series of landscape shots with filters creating pink skies and saturated boat canals, there are black and white heavily edited/saturated shots of violent head motions breaking up trippy dance-like clips.
2:06 - impactful moment as all filters come off and we see Siouxsie's face in broad daylight as she lip syncs "like a little child". direct mode of address makes this stick out.
2:44 - As the line "reap the brand new day" is heard, we see a visually red-tinted shot of a Venetian-like city. Distorts the normal natural imagery, a useful twist.
2:58 - Use of same clip different people again. This time ending on a comedy descent down stairs.
3:29 - The line "look around" is repeated as Siouxsie walks in circles around the camera. Inverted footage of boats bobbing.
3:49 - ends on the shaky water overlay footage overtaking the original footage before fading to black.
SPIRAL - MOTHICA
In this music video, McKenzie Ellis, better known as MOTHICA, recounts the motions of a 'downwards spiral' and her experience with mental issues while driving around in and exploring an abandoned concrete complex.
Genre: Indie Electronica
Approx. shot Count: 24
Analysis:
0:10 - The first 10 seconds contain text bearing the video's name along with a shot of Ellis moving towards the camera in a ruined building. Sets up location, name, and main character while leaving her identity a mystery.
0:13 - Continues the established theme of disrepair as Ellis lip-syncs through a frame of broken glass.
0:15 - Reversed footage of driving. Unsettling, plays with perception of time. This is effective and meaningful, I will consider it in my piece.
0:21 - Use of natural light and a window to create a frame and silhouette of Ellis. Beautiful cinematography and mise-en-scene. I will consider creating a 'frame' of light.
0:30 - Shots of Ellis exploring the complex she finds herself in. Use of reflections, reversed footage, and cuts between shots in line with drum sequence. Create a punchy and narrative-driven sequence.
0:41 - Long take of Ellis driving in a car. Lights pass above her and the lyrics play like an internal monologue. Shows the music video's narrative qualities and gives a reprieve from quick-lived clips from previous verse.
0:48 - Use of spinning and upside down shots as the lyrics read: "Even when I'm upside down" visually demonstrates a literal interpretation of lyrics. Architecture being curved and a 'spiral' adds to it.
1:00 - In the chorus, each transition slightly zooms in and adds a chromatic distortion to the edges of the shots. Adds to the atmosphere and makes transitions between clips more seamless. Multiple transparent versions of Ellis in some shots helps too.
1:18 - The switch between reversed driving from the backseat to normal driving from a front-on perspective is visually interesting.
1:51 - After a soft pre-chorus consisting of one clip, the editing becomes more erratic and edited as the final chorus plays. More clips and diversity of shots.
2:26 - As outro plays, the lighting shifts to a bluey-purple hue and more shots in the outside world are introduced. Hopeful lyrics combine with this dream-like lighting to create a promising ending.
Human Replacement - Billie Marten
In this video by indie pop-rock artist Billie Marten, she acts through the routine of getting ready to go out at night in a big city, dramatizing the danger of being out alone as a military situation, sitting on a tank through the streets of a city.
Genre: Indie Pop/ Folk
Approx. shot Count: 33
Analysis:
0:06 - Lit only by angled setting sunlight, the artist is the focus of the beginning shot. Lip syncing established from the start. Shots change to different angles with bars of the music. I like the editing style here.
0:09 - Silhouette lighting used to define character and focus on fluidity and motion over definition of character, I like this effect and will consider it.
0:15 - Application of war paint in a mirror uses an interesting shot of Marten's reflection. Sets up the narrative and engages audience into wanting to learn more.
0:23 - Moving shot of the outside, camera follows Marten as she walks forwards.
0:43 - Compilation of shots of a city at night with graffiti, hooded figures, city lights, and street lights.
0:49 - Footage changes to Marten atop a tank down a city road. Sense of surrealism, engages audience with the narrative and is visually impressive. Motion of the shot sustained from walking scene prior, an escalation.
1:13 - Like the jogger in the background from 0:23, more women are shown walking down the streets with military armour on. Reflects the video and song's message of worry for women's safety at night.
2:20 - Continued different angles of the tank and Marten travelling and lip-syncing. Editing and shot duration becomes punchier as the bridge/hook is built up to. Flow of editing moving with the song is an interesting idea.
2:35 - Moving from a front-facing shot of movement earlier, we are shown Marten walking from behind, shows the danger of night-time, a key theme in the video. Marten is lit by tank-lights from behind as she dismounts, very cool use of lighting at night.
2:54 - Ending sequence crescendos the message of the music video as Marten is revealed to have travelled in a tank with an army uniform on to buy milk at a corner shop. Completes the story as the song ends and effectively and impactfully informs audience of the message.
Bline - Lowertown
In this video by grunge duo Lowertown, we are shown two sets of narratives, a story of masked figures transporting a brief case in black and white, and a stationary take of the artist playing/singing the song while lying on a bed in muted green-ish colours. Mix of performed narrative and lip-synced performance.
Genre: Grunge/ Indie Rock
Approx. shot count: 44
Analysis:
0:06 - No fade from black, transition to black and white footage when the drum beat starts
0:18 - Sense of surrealism and mystery as masked figures propose many questions to audience. There is a 'camera static/line' effect on the footage to make it seem grounded in the world and like there are observers viewing the two. This story-telling through filters is useful.
0:30 - Shift to colour. Clips are more bizarre, introducing cigarettes, a guitar, and focusing on the object of interest: the briefcase.
0:48 - Lyrics are shown literally here, for example "Bit my lip, taste the iron on my tongue", "took some pictures they all turned black" are shown acted out. Combines lyrics more with the video.
1:03 - Quick editing with red colour and the word "Bline" showing up on screen. Borderline disturbing motions and imagery used here as the two dance around in the dark.
1:15 - Good transition as masked characters in blurry quality sit and lie on a bed, replaced by the unmasked band in the same position lip-syncing to the song in high quality green-toned footage.
1:20 - Parallels drawn between the two 'worlds' of footage. As the unmasked band whisper to each other, the masked figures are then shown doing the same.
1:29 - More literal lyric interpretations as hand hold out sand and dust as the lyrics read "it's in my attic, collecting dust"
1:48 - Stakes raised as we see the masked figures cover the suitcase, a theme talked about in a metaphorical sense in the song, in gasoline. Literal and visual representation of the song's meaning. I like this use here
2:00 - Series of walking clips from different angles. Range of shots, variety.
2:24 - Mystery intensified even more as the suitcase is opened and light pours out onto the masked figures followed by a rapid sequence of screaming faces and red screens
2:54 - Slow motion used as clothes are thrown in the air. Mixes up the focus of clips, visually interesting and different.
3:14 - Outro plays as camera circles the masks, thrown on the ground, and fades to black with the music.
Crying Lightning - Arctic Monkeys:
Released in 2009, this music video by the Arctic Monkeys for their 3rd album 'Humbug' features the band sailing out to sea while playing their instruments and meeting towering versions of themselves. Performance and narrative fusion.
Genre: Indie Rock
Approx. shot count: 19
0:04 - Unlike many videos analysed before, this video features a 'title card' of the song's name. This established very visually the 'product' being sold to the audience along with the artists themselves.
0:11 - Starts with an image of the band playing the song featured in the video on a boat. surrealism and use of silhouette lighting. Mysterious and intriguing.
0:39 - Long panning shot across the boat to each member of the band.
0:58 - As more shots featuring the band are shown, more angles are explored. Defines the band as the focal point, specifically the frontman and songwriter Alex Turner.
1:02 - Shots at different angles and focusing on different band members are intermittently cut between in line with the music.
1:05 - Lighting is very important in this video, as a red hue takes over the scene's colours. Sunset-esc, indicates night will befall the band soon, useful to engage. Background sky supports this.
1:21 - As shot focuses on building drums and the chorus begins, rain starts to fall and lighting becomes a dark blue, seas become more turbulent and birds fly by. Foreboding and ominous, narratively enthralling
2:01 - Night has fallen and the lights on the boat reflect the starry sky now in the background along with a moon. Rain ceases to de-escalate the perceived dangers as the chorus ends.
2:28 - Camera movements are grounded in the events of the video as the camera follows the boat when it bumps into something underwater. Immerses audience in a useful way.
2:33 - Moment of fantasy as a huge rainbow-emanating form of Turner rises from the water, shooting lightning at the boat as they travel under him.
3:05 - As music picks up again, huge versions of every band member rises and then falls back into the sea as the song finishes.
Don't Hate Me - Lola Young
Released in 2023, Lola Young's album 'My Mind Wanders and Sometimes Leaves Completely' features some of the most modern R&B tracks in the UK genre. The video from the album's most popular hit 'Don't hate me' features Lola walking around London in various long shots that cut into each other.
Genre: UK R&B
Approx. shot Count: 16
0:01 - The use of a vintage television interface to introduce the song is nostalgic and unique.
0:03 - Cutting between shots with the beat featuring the artist in the same position but wearing different clothes in different areas draws attention to the artist in a really cool way.
0:14 - As Lola moves, we see the camera is affixed to her body somehow as it turns to maintain the same angle, blurring and spinning the world around her, creating the artist as a focal point as she lip-syncs
0:23 - Choppy editing lends to the song's heavy emphasis on basslines, I want to use a similar style of cuts between shots.
0:29 - Intermittent shots of the artist from different angles break up the 'walking camera' shots that make up much of the video
0:50 - Hand movements and signs are used to accompany lyrics as they are spoken. Visual representation of the vocals is very important to me.
1:40 - Night-time shots like this show time is progressing as the same shot type is used. Allows for interesting use of lighting. I want to set my video at night so this will be carried over.
2:02 - The song builds up to its crescendo, as the editing becomes more erratic and Lola's hand movements and general demeanour become more intense.
2:20 - Cuts between clips of life going on around the artist like the skateboarders in the background of previous shots.
2:34 - Outro includes many shots and outtakes from each walking camera shot, interesting 'blooper reel' concept.
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