Music Video Analysis- 'Electric Twist' by A Fine Frenzy

I chose to analyse the music video for 'Electric Twist' by A Fine Frenzy according to the conventions of a performance music video.

1. The music, lyrics and imagery work in collaboration: This is present in this particular music video, as there is clear sound-vision editing. The lyrics also occasionally work with the imagery, especially with the telephone to match the '... thanks for the call' lyric. Some of the dance moves also echo the lyrics, such as the twisting move that accompanies the chorus and the 'Don't talk' action.

2. The performance drives the music video and is sustained throughout: Alison Sudol, the lead singer, continues to sing throughout the video, directly addressing the camera, and the other members of the band make an appearance when the beat picks up, playing their respective instruments. However, there are also both narrative and conceptual elements; the lyrics tell the story of a bittersweet love, which provides the narrative aspect, whilst the theme of childhood  (toys, paint, goldfish, building blocks) creates the concept of young, and perhaps immature love.

3. The artist sings/ mimes throughout: Alison sings throughout the music video, and the lip-syncing is believable.

4. The role of the artist may switch between artist performance and artist-in-character performance: As well as singing, we see Alison in several roles that connote naivety. We see her appearing to be wooed by a potential love interest, who gives her a goldfish, which directly relates to the bittersweet nature of the lyrics of Electric Twist. We also see her dancing with a pregnant woman and messing around in paint, both of which are fairly immature actions and therefore accentuate the kooky brand associated with A Fine Frenzy.

5. The audience will expect to see singing/ dancing/ movement/ playing instruments: Aside from Alison singing, there is also some dancing, which often matches the lyrics (for example, with the words 'don't talk' and 'twist'). The dance moves are quite quirky, which conform to the expectations of the alternative genre and also fit with the brand image. Other band members, with guitars and a drum kit, appear when the beat picks up in the middle and at the end of the video.

6. The artist performance will be engaging/ impactful/ visually striking: The engagement in this particular video comes from the construction of the brand identity through the use of costume and props; her laid-back costume work in conjunction with the props, particularly the toys, to create an impactful image. The development of the love story in the lyrics, along with the development of the band relationships up to the end of the video, are both fun and aspirational, and therefore engaging.

7. The video features a highly stylised variety of costume, hair, make-up, backdrops and effects: Throughout the video, Alison changes outfits various times, from a stylish, canary yellow dress for her 'date' set, to dungarees, big t-shirts, tights and boots in other sets. Her make up and hair are fairly natural in all the sets. The costume, hair and make-up are all stylised in a way that allows the quirky aspect of the artist to shine, and the natural hair and make-up could emphasise the theme of naivety. The sets are quite plain, but well lit, and often feature props such as a bench or a window. The effects on the video, including the border around it and the occasional split screen also add to the playful mise-en-scene.

8. A strong sense of development is expected: The development in this video comes primarily from the appearance of the other band members when the beat picks up. The addition of the paint at the end, when the band are with their instruments, also allows the viewer to see the relationships between band members through their childish of fun.

9. A strong sense of artist identity is crucial and must be aspirational to fans: The elements of costume, dancing and visual effects are used together to construct a brand identity that suggests that A Fine Frenzy is cute, kooky and alternative. For example, the dance moves are quite easy to replicate, especially the twist, the marching and the hair whips. The sets that feature the baby, the 'date' and the pregnant woman are also very cute and convey innocence, whilst the costumes, particularly the dungarees and t-shirts, move away from the sexualised female figure of mainstream music, which may make A Fine Frenzy more aspirational to young girls and women.

10. Beauty shots/ money shots are expected: The close-ups of Alison's face throughout the video are softly lit to accentuate her unique look and auburn hair. Furthermore, the set up in which she wears the yellow dress could be said to be a beauty shot as she is closer to conventional, feminine glamour here rather than in her dungarees/ T-shirts.

11. Extreme juxtapositions and binary opposites make the video interesting: There is a clear juxtaposition between the props used in the video, particularly the various toys, and the adults who feature in the video, as the toys act as signifiers of childishness and innocence.

12. Discontinuous editing is standard: Discontinuous editing is used throughout, with the video swapping regularly between the various set-ups, in order to create interest and develop the music video.

13. The audience will gain pleasure from references to popular culture: There are conventional symbols of childhood throughout the video, including the building blocks, the vintage-looking puppets, the animal toys and the hula hoop, all of which connote carefree fun, whilst the goldfish is also a symbol of childish love.

14. The video will be polysemic in nature, offering different layers of meaning: The lyrics tell the story of a bittersweet love and consequent indecisiveness, and whilst the toys could symbolise childhood and innocence, they could also imply that the love interest is not 'wild' and carefree enough.

15. It is likely to provoke a strong audience reaction: In my opinion, this video could be enjoyed by people of all ages, especially due to the easy dance moves and memorable lyrics. The market for teenage girls is probably most likely to be attracted to this kind of video, as some will aspire to be like Alison, whilst others may appreciate the way in which the character is not sexualised, as many females are in the music industry nowadays.

Reservoir Dogs Title Sequence Remake

Here is a remake of the Reservoir Dogs Title Sequence that we shot and edited this week. I edited with Emily, and this is the final outcome. I hope you enjoy it!

Dexter Title Sequence Re-edit (DYM)

Our task was to re-edit the Dexter opening sequence. Watch ours here!

1. Summarise the conventions of title sequences that were most important to this task.

• A consistent font and colour scheme to establish a brand for the show.
• Legal requirements, such as names of the main cast, directors and producers.
• Should be reflective of the genre of the show- in this case

2. How did your group plan to edit the title sequence? (consider timings, industry requirements etc).

• We made a list of names and roles that we would typically see in an opening sequence of a drama, such as an executive producer, a director and the names of the main members of the cast.
• We also tried to synchronise the titles with significant moments of the visuals of the opening sequence. For example, we had two cast names appear when the blood dropped into the sink.

3. Explain the creative decisions made by your group.

• The typeface we used was quite plain  so that the titles would be legible, but still reflective of the horror/mystery genre.
• We wanted to follow the convention of having a consistent font and colouring in order to brand Dexter, but we also used various effects on our titles so that they could work harmoniously with the visuals.

4. How does your re-edit compare to the original?

• Our re-edit was perhaps not conventional of the genre in the sense that we used a variety of effects on the titles, whereas usually, the titles would all appear on the screen in the same way, regardless of the visuals. This is to maintain simplicity and not detract attention from the visuals and from the importance of the titles. 

Prelim Evaluation (BLK)

This is our short continuity sequence entitled Faceless.

EVALUATION
PLANNING       SHOOTING      EDITING

1.       Who did you work with and how did you manage the task between you?

·         Group members- Emily and Raagavi

·         Planning- we worked together on the planning processes (brainstorming, scripting and storyboarding) so that everybody could pitch ideas about our short storyline and how we should shoot it

·         Shooting- We all wanted to shoot at least two shots so we tried to arrange it so that the people who weren’t acting in certain shots could shoot. Raagavi shot all the shots with both me and Emily in them, Emily shot the ones featuring me and vice versa

·         Editing- we alternated who was working on the editing at regular intervals so that everybody had a chance to work with and get used to the software.

 

2.       How did you plan your sequence? What processes did you use? What theories did you try to take into account?

·         The main purpose of this task was to create a sequence using continuity principles. We worked so that an establishing/master shot, shot-reverse-shot, match on action, and the 180 degree rule were all included in our sequence.

·         We started off by brainstorming ideas- we initially had two ideas, one featuring somebody being followed and another about a conversation with a mysterious person whose face is never revealed. Unable to choose between the two, we ended up combining both ideas into our current idea of Faceless.

·         We then made a shot list, script and storyboard to identify continuity principles that we had to use and how we would add them in seamlessly, and how we would tell our story

·         The shot list was then translated into a shoot schedule to make the shooting process more efficient, as we could shoot according to the various set-ups we needed

·         We thought it would be convenient to rehearse the sequence in our desired location (long brick wall) prior to the shoot, in order to check that the timing would be correct. During the rehearsal, we also took into account the position of the camera in each shot, and character placing in the frame

 

3.       What technology did you use to complete the task, and how did you use it?

·         Shooting- A Canon DV30 video camera was used on the day of the shoot, along with a tripod, which we made us of on all of the shots but one- this was the shot where the protagonist/victim starts running away from the follower, and the use of the handheld shot accentuates the disorientation, confusion and terror going through the character’s mind.

·         Editing- Adobe Premier Pro was used to edit our sequence. We started off making a rough cut by sequencing, cutting and pasting clips in a desirable order. We then cut each shot down further so that it lasted for a reasonable amount of time and also followed continuity principles such as match on action.

 

4.       What factors did you have to take into account when planning, shooting and editing?

·         Planning- we had to take into account everything that we had learnt about cinematography, and therefore had to make decisions about point of view/perspective an also about where we could use camera movement and where the camera would remain static in order to put across a certain mise-en-scene. We also had to take into account continuity principles (establishing shot, shot reverse shot, 180 degree rule, and match on action) and how we would shoot and edit these. One other factor was how we would distinguish our characters from one another and how we would communicate their relationship through framing and camera work- we decided that character positioning, such as that in the first shot, was extremely significant to show them in relation to the space and each other.

·         Shooting- We needed one final rehearsal along the brick wall to confirm the spacing between shots. Furthermore, we needed to shoot shots where there was a match on action multiple times and from various angles so that when editing (such as when the protagonist turns around), it would be easier to create a seamlessly continuous sequence.

   ·   Editing- Our main focus when editing was continuity; we made frequent references to the master shot, cut together a shot-reverse-shot of the moment the protagonist acknowledges the follower and also edited various matches on action (turns and coming through the door) so that they looked continuous.

 

5.       How successful was your sequence? Please identify what worked well and in hindsight, what would you improve/do differently?

·         I was really happy with our idea as I thought it was both intriguing to watch and challenging to edit, due to the various matches on action. Furthermore, we took audience involvement into account by using over the shoulder shots and an appropriate shot order to bring them into the action. I also feel we worked very well as a team on the day of the shoot as we had to change our shoot schedule to increase practicality. In terms of the final cut, we were pleased with how we edited the matches on action as they looked fairly seamless. Also, the genre of mystery/thriller was established well through the pace and rhythm of the sequence.

·         One thing we had to amend when editing was the running sequence. We originally had three shots of the protagonist running from different angles before she reached the door. However, we had to delete the last of the three, which was a static camera shot of her running towards the door, as it was not continuous and was slightly disorientating.

 

6.       What have you learnt from completing this task? Looking ahead, how will this learning be significant when completing the rest of your foundation course?

·         We learnt about the process of taking an idea for a sequence and processing it into an actual film, through the stages of planning, shooting and editing.

·         We finally got to put the continuity principles we were learning about into action, as we were given a chance to plan, shoot and edit a sequence in which we always had to consider how to establish continuity. I think this will be relevant in all future film-making, and in the short-term, our film opening sequences.

Homework 7 (DYM)- Opening Sequence Sound Analysis

I looked at the three categories of sound- background music, dialogue and sound effects- in the opening sequence for the animated film Kung Fu Panda.

http://www.artofthetitle.com/title/kung-fu-panda/

Music

• The first section of the opening sequence features an ethnic backing track, with instruments that are associated with the Oriental culture, such as a gong. This gives the audience an immediate sense of setting through cultural codes.
• The latter half of the sequence is fitted to a strong, orchestral piece which is played in a major key. Therefore, the whole sequence is very upbeat and fast-paced (and therefore exciting), and thus the genre of a children's film is established. 
• There are pauses in the orchestral music in order to accentuate the visuals or another aspect of the sound.

Dialogue

• "Legend tells of a legendary warrior"- bad play on words in the first line of the voice-over establishes the comical elements of the film plot.
• "There is no charge for awesomeness... or attractiveness."- another funny punch line from the protagonist, Po, helps to establish character in the opening sequence. 
• "We should hang out." "Agreed"- unlikely punch line in a film based on martial arts, but again reinforces the comedy genre. Furthermore, this is slap-stick comedy, and as it is easy to understand, this also further appeals to the target audience of children.

Sound Effects

• The fast movement in the action sequences are accentuated by short whooshes, which suggest Po is moving at an incredible speed. 
• There is a sound effect of teeth chattering when Po enters the room, which connotes fear.
• The sound effect added when Po swallows is accentuated by a pause in the music and an introduction through the voice-over. This heightens the significance of the moment.

Sound and Vision Editing

• Po says "Enough talk- let's fight!" This is his first line in the sequence and immediately after that, there is a big change in visuals, with very sudden, staccato movements and a drastic change in on-screen colours and lighting.
• The characters martial arts moves are synchronised with sound effects, which is typical of films of both the action genre and the martial arts sub-genre, as it helps to further accentuate their movements and therefore to establish character.
• Right at the end, before Po wakes up from his dream, the whoosh sound effects along with the pauses in the backing track put emphasis on both the dialogue and the quick pans from one character to another. This camera movement is different to the rest of the sequence, and so putting emphasis on this section informs the audience that something is about to change. 

Homework 6 (BLK)- Continuity Editing Principles

I have chosen to analyse a scene from one of my favourite films of all time, Roman Holiday (1953), starring Audrey Hepburn and Gregory Peck. 



Establishing/Master Shot
The establishing shot of Joe Bradley's (Gregory Peck) home comes very early on in the clip. This is so that the audience immediately sense the setting, and using their shared knowledge of cultural codes, are able to work out that they are in a home. However, throughout the clip, the master shot is re-shown so that the audience can get a sense of the space and where the characters are, in relation to the room and to each other. A significant moment of this clip is when Bradley leans down to help Princess Ann (Audrey Hepburn) sit up, and this is shot from the master shot position in order to show the change in space between the characters.

Shot Reverse Shot
Throughout the clip, the two characters, Bradley and Princess Ann, are having a conversation, and in order to show their responses and expressions, the sequence has been edited so that the cuts between the characters are fast-paced. In this way, the audience is able to keep up with the pace of the conversation as this makes the transitions flow easily. Furthermore, the 180-degree rule has been followed, as the camera always remains to the right side of the bed and therefore does not create a reverse angle. This is effective as it allows the sequence to flow seamlessly as the audience are not confused by where the two characters are in relation to each other. 

Shot Order
An appropriate shot order has been used in this clip of Roman Holiday to avoid skipping through large depths, which would confuse and disorientate the audience. For example, we start with the wide shot of Bradley's room, and then move on to a few mid-shots of Princess Ann in the bed. This has been done in order to show her stance (covering herself protectively with the duvet) and also to show her character in relation to the character of Bradley. At 1.26, there is a further zoom in so that we have a close-up of Princess Ann, which clearly shows her surprised but flirtatious expression. 

Homework 5 (BLK)- Continuity Sequence

This is our first shooting task at AS: a short sequence focusing on continuity and around the theme of 'accidents'. My group decided to create a short narrative whereby two people are arranging to meet over the phone but end up bumping into each other.

We considered continuity principles such as using the full range of shot distances (we used them in the wide-mid- close shot order to steadily take the audience through the geographical space), tracking a character using camera movement (shot 4), matches on action (to make the actions in the shots look the same, but shot from different angles) and cross cutting (perspectives of both characters). 



What worked well about our piece?

• I think the first shot worked as a great establishing shot because it showed the space, and also both the characters in relation to the space and to each other. Furthermore, the first shot immediately draws the audience towards the corner of the wall, which is where the accident is to take place, and so they feel as though they have more knowledge (and therefore more power) than the characters.
• The second over-the-shoulder shot of Alex (character A) walking places the audience in the scene.
• The use of cross-cutting provides two different perspectives from both sides of the corner.
• We re-placed the camera in the position where the establishing shot was taken, so we could reuse the master shot and show the development of the story by showing how far along the characters had moved through the geographical space.
• We went from wide to mid to close-ups and then back to wide, so the audience could be immersed into the action but then drawn back out to see the final outcome.

What could we work on?

• There are some people walking past in the second shot, but they do not appear again in the third- this is a continuity issue that we would have to re-shoot.
• The first shot is cut so that Sam (character B) ends up far too close to the corner and is not in the same geographical space in shot 3. This happens again in shots 5 and 6.
• Showing the whole geographical space in the first shot reveals the potential outcome too early on in the narrative, and therefore gives away the interest and the enigma.
• There are some gaps in the dialogue which do not allow it to flow seamlessly- this could be easily edited out.