5 Alternative/Indie Album Covers Research

For help with producing album artwork for our music video of 'Human' by The Killers, I've searched for 5 various albums (of which the artists I've listened to before) that match The Killers' genre: Indie/Alternative. I'm going to be comparing album artwork and attempting to find a common ground between the majority of them. Here they are:

                               Of Monsters and Men- 'My Head is an Animal'

The front cover of the album has an abundance of a bluish grey tone, with a man walking on a beach whilst the central image takes the normality of the scene away and brings in a surreal, artistic element in the form of the small wooden house being flooded by the tide. It raises some questions: is the house owned by the man on the beach? If so, is he escaping the tide, despite him not being in the running posture? Is the central framing of the house intended, so that it's the first thing we see upon viewing the cover? Are these surrealist tones supposed to mirror the album content? The only other different tone is the pink of the artist name, which forms an acronym. This cover design could also be simply derived from a song lyric in their work.

The inner cover of the album is much more multicoloured (For each of the three sides of artwork in the album, there's two portraits). We notice the black and white/possibly sepia torsos below the multicoloured drawings. It is obviously a take on the album title 'My Head is an Animal,' which was a line from their song 'Dirty Paws;' connotations of animals. The division between the monotonous torsos and the rainbow-scheme of the animal drawings could imply the alternative genre of the band as their songs range from indie pop and rock like 'Mountain Sound' or 'Six Weeks' to slow-runners like 'Slow & Steady' or 'Your Bones.' The animal drawings seem beast-like because of the tusks and horns accompanying most, which could refer to possible Icelandic folklore concerning mythical beasts, so as to introduce their culture. Also, the colours used in these drawings are very organised into the appropriate areas of the animal faces, which could maybe remain in a surreal fashion without mixing colours like most mainstream pop albums do. It could simply be interpreted that the animal drawings, the colours used in these drawings, and the division between monotone and 'multi-'tone could just be the personalities of each band member, as there are six of them. 

The back cover is the same location as the front cover, but without the man, the house and the slight roughness of the sea. Could the front cover, because it is the front, signify the introduction of the album and how it will be like, then the inside album artwork of the animal heads mirrors the artistic, alternative nature of each song (as we're listening to it), and then the back cover signifying the end of the album, with the surreal-ness (house in the sea) of the album gone and now it's all calmed down, as pictured with the sea. 

Arctic Monkeys- 'Favourite Worst Nightmare'

Again, with this album cover, we're given an image of something normal, which is (possibly) Sheffield's terraced council houses. There is the abundance of a dark greyish tone, yet it's put out of focus because of the bright 70's style groove of the wallpaper designs in the three lit rooms, where it attracts you first before you turn your attention to the mustard-yellow title of the album, which gives the band title as well as the oxymoronic subtitle 'Favourite Worst Nightmare.' These terraced houses could be the band's original housing either before or during their fame, as it seems to have at least some significance with the lit rooms which could be where the music (or the band living/performing) is coming from.

In comparison to the front cover where the lit rooms are shot from a diagonal long-ish shot, the flipside (inner) of the case shows the rooms dead on, multicoloured and very attractive designs. It seems,  like the first album, to suggest that you're listening to the music as implied by the colours and the dynamic designs, as though to further suggest the album content. The central disc artwork has only three colours: black, white and green, which could be just a convention of the designs of indie album artwork; simple yet effective.

Only dual colours black and yellow used here, probably to indicate the end of the album, with no terraced council house, light or position of the title. Just a list of the songs for information and company labels etc.

Gabrielle Aplin- 'English Rain'

Again, there's an abundance of the grey tone to give the album title it's meaning; bad weather or (English) rain. The title is in a handwritten font, maybe to emphasise that Aplin wrote her own songs, as most indie artists do. Her presence in center frame wearing a creamy yellow dress and running in the rain with a rainbow umbrella as though she's trying to gain momentum and fly, attracts the most attention. She's the good in the midst of the bad (weather). The emphasis on one coloured image alone attracts us and raises our curiosity on the content of the album.

The flipside (despite it not being divided into three separate images) is very artistic. There's the same image of Gabrielle Aplin with the umbrella (on the left) yet this time she is pointing the umbrella towards us, presenting a wheel of colours to attract. The other side consists of Aplin attempting to fly with multicoloured balloons in an otherwise monotone background, which mirrors my suggestion of her trying to fly with the umbrella on the front cover. Also, the idea of her being in a wide open field, as the front cover also is, it could be allegorical, maybe symbolizing the openness that allows her space to fly, or just basically giving a view of the English countryside to visually correspond with the title 'English Rain.' The booklet is just the umbrella itself in center frame, more close up and topped with Gabrielle's name along with a kiss as though to thank us, the audience (or spectators) for listening to her music. The colour is the same as the front cover to maintain its indie look without overusing colours in a different image.

The trackless on the back page is in a handwritten font to possibly further the suggestion that Gabrielle wrote her own tracks. The position of the tracklist replaces Gabrielle with the umbrella, resulting in a dull 'English Weather/Rain' background, as though to, like the other albums, signify the end of the album.

Mika- 'The Boy Who Knew Too Much'

This album cover is very different to other indie albums. The colour scheme is very vast and the imagery is very imaginative. The colours could indicate the colourfulness of the album content and it's variety. The title 'Mika' is presented in a white stencil font with a blue 3D pop-out which resembles the childlike nature of the album cover, with connotations of fun and imagination. The image of the boy on the floor reading the book is very interesting, as the surrounding environment of colour,  space, planets and stars derive from the book he is reading, his imagination. He's 'The Boy Who Knew Too Much,' which is a reference to Hitchcocks's 'The Man Who Knew Too Much.' Alfred Hitchcock directed independent films like the iconic 'Psycho.' This independent factor is a possible reason why Mika's album is indie: an indie artist referencing an indie film/director; the wild yet controlled colours of his imagination; introducing us to the colourful album, using a childlike design like he did with 'Life in Cartoon Motion' to attract us straight away, and also having that surreal element of the Birdseye angle that establishes the imagination, as though suggesting that when we listen to his music, we imagine the songs visually, like the boy imagines the book visually. The colour does, however, seem to break the convention of indie albums being mostly dim toned and fixed on just a few light colours, instead creating a multicoloured and imaginative design.

The flipside mirrors some of the songs. The blue background emphasises the white symbols, such as the female symbol, which could relate to the song 'Blame it on the Girls,' or the article that mentions the song 'Dr John,' or the sewn up rag doll that relates to the song 'Toy Boy.' These images are not disjuncture or amplification, but illustration of the lyrics in the songs on the album. The idea that the images illustrating the lyrics being on the flipside, where the disc is, could imply the songs playing as the images are seen in this section. The colour scheme again is very imaginative and instantly attractive, yet not too childish as some images, in particular the devil using a sewing pin on the rag doll, seemingly reference dark fairytales because of the rag doll; a child's toy, is being attacked by the child demon. Yet the bright colours take the seriousness out of it and remain attractive to the eye.

The back cover is very imaginative in comparison to the other albums. The tracklist is golden in colour, surrounded by an artsy depiction of the universe that continues to attract. It resembles Mika's style of music and videos; indie pop, electronic, partly ballad (Relax, Take it Easy) and alternative. The back cover still remains imaginative and appealing, yet without 'The Boy Who Knew Too Much' in the frame, it's the end (possibly).

Wolf Gang- 'Suego Faults'

Wolf Gang's 'Suego Faults' has a very interesting front cover. The overall tone is a very light blue/turqouise colour, which is very conventional of indie albums because there's not an abundance of colour, where only turqouise, black and maroon/brown are the main colours. The surrealism of this cover emanates from the central framing of the person wearing an Indian War Bonnet in the middle of the woods. It could emphasise the alternative and indie nature of the album, mostly consisting of indie alternative and indie ballads and rock. The image of the fallen tree seems possibly symbolic, but I can't exactly put a finger on it. The positioning of the title and the subtitle in the top-left corner is possibly intended to be small because the artwork attracts us first because of its interesting imagery, before we take a look at the title. In comparison to mainstream albums, such as Katy Perry's 'Teenage Dream' album, which doesn't reveal any title at all because we already know who she is, indie albums rely on a variety of low key and interesting imagery to capture the eye of anybody who would consider listening to new, unknown artists.  

The back of 'Suego Faults' is very reminiscent of Paloma Faith's 'Do You Want the Truth or Something Beautiful' album. Faith's album consists of her in center frame, donning a very classy hairstyle and holding what look like doves. 

The back of the 'Suego a faults' album is dark in tone, with the only real flare of colour being a woman's fiery hair. The tracklist is very formal and in a low-key golden colour. The imagery is, like most indie albums, simple but effective. 

So from the look of these five (six if you count Paloma Faith's) indie albums, to successfully produce our own five-sided Album artwork, we would need to consider: tone,mostly dim, yet with certain colours that attract ('English Rain,' the rainy background with the colourful Gabrielle Aplin in the center); simple (and occasionally surreal) imagery, such as the man from 'Suego Faults' in a War Bonnet in the middle of the woods, which is overall effective; central framing to attract (as well as attractive colours in a single image); the title being positioned marginally or in corners to allow for full view of the image; possibly an image of the band. These are factors that I will mostly consider for the creation of our album artwork.

Thanks for reading :-)

Changes Made

Here are the various changes we've made during the shooting:

•  Made alterations to the schedule list, including added days and more filming to fit in the schedule  before the deadline.
• The equipment book with additional dates for using it.
•  The first initial actors were both changed to two other people who we re-shot their scenes to include them in.
• A real hospital gown was unavailable at the time of shooting, so we instead changed it to a white jacket, which could still have an advantage as we could imply that the actor's character is almost insane due to certain negative factors of his life.
• We changed a few angles and camera shots for a few scenes involving the band performing in the woods, as establishing shots would reveal the borders of the green screen.
• There was considerate change in costume, as we no longer had the intended clothing at the beginning. They were changed to more informal clothing such as a bright orange football shirt and green trainers.
• We had to replace Ryan Hayden's role of the man with Leon Asgari taking his place.
• We didn't include the shot of Leon walking through the hospital corridor where we see the signs reading 'Sadness, Devotion and Dancer' because it was intended to be done in the actual hospital, but we would have needed to create our own signs. So, if there is time during the re-shooting stage, we could attempt to include it.
• We changed the beginning location of the woman's narrative after learning of Chelsey Willis' departure from the project. So after Nicole Denman agreed to replace her, we instead filmed her introduction in a consult room, where we could turn all of the lights off to give a darker tone.
• Josh Hobson replaced Joe Clark's position as a band member, as well as Connor Faulkner replacing Dan Howley as another band member.
• Some instruments were replaced with ones that were lighter in weight, but still resembling the intended instrument. We also excluded the microphone as we wanted just close-ups of the singer performing, as the more established and side shots with the microphone would reveal the borders of the green screen.
• We had the band perform on the school field in front of a single tree to give a simple look to the video.
• The band placed the instruments in the tree after finishing, which we used for the video.
• We filmed Nicole in an extra scene in a play park to give her miserable character a colourful perspective, intended to imply the play park as her transition from 'Human' to 'Dancer.'

Group Decisions of who will take charge in what

        In preparation for our music video, we as a group have decided what, who and where in terms of shooting the music video for 'Human' by The Killers.

Kayleigh: Costumes, props, locations and photos of the chosen actors.

Jack: In charge of Health & Safety for the shooting of the video.

Jake: Main storyboard drawing with partial help from the other group members.

Connor (Me):  Treatment of the music video, partial storyboard drawing and taking care of the schedule list to know when we are able to shoot.

For Kayleigh's blog, visit: http://www.kayleighmusicvideoblogg324.blogspot.co.uk

For Jack's blog, visit: http://www.jcharlesworth96.blogspot.co.uk

For Jake's blog, visit: http://www.jakejonesg324.blogspot.co.uk

Full Treatment

       The beginning of the storyboard centres on the lead singer and the band (the band begin playing their instruments through the intro, mid-shot of the band) as the camera cross-cuts between the two other separate narratives consisting of a woman in one and a man in the other. The woman is shown to be sleeping with a dishevelled look (birds-eye mid-shot), and the camera cross-cuts to the man, who is in a hospital corridor on a gurney (the orderlies push the gurney through the hall, the man is clearly upset and in pain, shot from a dolly effect) as the pre-lyric sequence plays through. The hospital is a metaphor for the mans 'pain' of living a bad life.

        As the song actually begins (cross-cut to the band) the lead singer is shown in front of the microphone (lead singer begins singing from a mid-shot) and starts the song. As he is singing, the narratives switch to a phone falling off the hook in the same room as the sleeping woman, who is woken by it (camera cross-cuts to the woman jolting awake and has a confused facial expression) and gets up to look (camera cross-cuts to the woman walking drearily to the hanging phone, from a side-shot). The phone dropping off the hook and needing to be replaced is a metaphor for the woman's uneventful life and she yearns for a 'replacement' in life. The woman replaces the phone after listening to the other end of the line, where the lead singer is singing. Upon hearing the music from the phone (close-up of the woman's eyes widening and immediately starts smiling, pulling a sticker with the image of an upturned smile from her face, cross-cutted into a mid-shot), she puts the phone on the hook, which this time doesn't fall off. With the odd look of a smile but with a frown, the woman leaves her room and sets off down a road to an undisclosed location (a dolly shot follows the woman walking out with a frown and smiling, but remaining in an excited state). The lead singer is then shown singing for a few seconds (mid-shot, side-shot of the singer performing). 

         This then switches to the mans narrative (from a side shot). After hearing the singing, the man gets off of the gurney (brief side shot of the man suddenly getting up, smiles and jumps off the gurney, with a brief panning shot as he walks). The narrative switches back to the woman for a few seconds to show her frown disappearing (shown from 4 different shots. Mid-shot of her face, high angle of her hands feeling her eyebrows, extreme close-up of the fingers peeling off the stickers, then a high angle of the woman with a happy face), allowing her face to express a smile. The narrative cross-cuts to the band (mid-shot), then returns to the woman (she becomes excited and sticks her arms up in the air, high angle).
       Turning back to the mans narrative, he is walking through the hospital corridors (dolly shot follows him), notices a set of signs with 'sadness','devotion' and 'dancer' on them (he stops and stares for a second, from a mid-shot, then carries on walking), implying that he leaves his human emotions behind and heads for a better alternative. (Showing elated expressions from a long shot) The man walks out of the hospital and begins towards an undisclosed location. Cross-cuts to the lead singer (close up, shown from the side, the singer wraps his fingers around the microphone), then to one of the other band members (playing whatever instrument they have, shown from a mid-shot).
      Returning to the woman's narrative, where she stops outside a forest (the woman runs towards the forest, then stands still just outside, shown from a long shot), which then cross-cuts to a long-shot of the man, who has also entered the forest, from a different entrance (the man walks slowly, the camera follows him as though he is following the camera, sustained long-shot to establish the forest and the man looking around). The story then shows an unused gurney and then a hanging telephone/unused mobile etc to symbolise the abandonment of the average human life (?) (quick cross-cuts to the gurney and the phone).
     The man and the woman are then shown as they are about to enter (split-screen of both people to show that they're not actually next to each other, shown from a mid-shot) a large clearing (long shot of both people entering the clearing from a distance apart), as the narrative quickly changes to show empty streets (from a long-shot for both frames, to emphasise the emptiness) where no people are. (an establishing shot of) The clearing shows the band performing in the background and a large crowd of people who run towards the man and the woman (from a side shot run by a dolly or panning shot), who are shown (from a side shot) noticing each other for the first time. The singer is shown performing (mid-shot) again, with (a cross-cut mid-shot of) the man and the woman throwing their arms in the air and expressing excitement and an elated mood. We once again see the band performing (from a long shot) to imply that the video/song is almost over. The band (from a sustained long shot, no cross-cutting) performs until the end of the video, where just before the very end, the man, the woman and the crowd are shown all together (in either an establishing or a long shot). The video ends.

TO SEE THE STORYBOARDED VIDEO, PLEASE VISIT;  http://www.youtube.com/watch?v=eFwCWb00GGM 

Treatment of my Music Video

     For my own interpretation of the song 'Human' by The Killers, I have constructed a trio of narratives on my storyboard. This is where I have created two separate settings for the two main characters to start in, then a third is included to show the band performing the song in certain sections throughout my storyboard. The two separate storyboard narratives will follow a man and a woman, who both live separate but very average lives. The woman is introduced sleeping in bed with dishevelled hair and wearing all of her clothes instead of clothes like pyjamas etc, to insinuate that her life is out of order in some ways. She wakes up with a depressed look on her face, then walks towards her phone (which is ringing) and then, just as she picks it up, the shot of the singer is shown with the microphone. The woman then suddenly drops her phone, as though she has just heard the singing, then begins to peel off a fake upturned smile imprinted on a sticker over her mouth, which when she removes, she is smiling, then leaves her apartment/room and starts walking to an unknown  destination that is revealed later on.

   The man in the other narrative is introduced just as the other narrative finishes until later on. The man is in hospital, being pushed on a gurney down the white corridors, until they stop at a set of double doors. Around this time, the singer is shown again in the third narrative, as the man sits up, gets off the gurney, and walks through the hospital (signs of 'sadness' and 'devotion' direct towards the place where the man has just come from, and a 'dancer' sign that points in the direction he is going). The hospital is sort of a metaphor for the mans ruined life. The man then leaves the double doors and starts walking to an unknown destination. As this is happening, the woman is shown walking down a street, feeling at her frowning eyebrows and noticing that they are peeling off. She pulls these stickers off, now revealing a much happier face as she walks towards the unknown destination. The stickers represent sort of a manufactured sadness that becomes automatic when people live the same life day after day. Now she has given her 'regards to soul and romance,' she can set off to become the 'dancer.' With the bands performance and singing lasting, the woman finally reaches the outside of a forest, in which she begins to pass through. Around this time, the man from the other narrative enters the same place, just metres across from the unsuspecting woman (the man also doesn't realise that the woman is nearby). The music becoming louder to both people, they quicken through the forest, both eventually reaching a clearing at the same time, but still not noticing each other. It's at this point where the story briefly cuts to   a deserted street, as though to question the disappearance of everybody. Cutting back to the man and the woman in the forest clearing, a large crowd of people are shown surrounding the band. Upon noticing the man and the woman, and upon the man and the woman noticing each other for the first time, the crowd rushes towards both people. The video ends with the two people being brought through the crowd and everybody becoming much more joyous. 

   

Music Video Analysis 104

Name of Song- New Soul

Artist- Yael Naïm 

GENRE CHARACTERISTICS

            The dress sense in this video is sustained to each person; it doesn't change throughout. This is evident as Yael Naïm wears the same blue striped dress from beginning to end. It's the same with the 'strange' characters who wear odd things and hold odd items, maybe to imply the imagination of the singer? The tune of the song has a very happy but melancholic tone, it has an upbeat piano rhythm with new instruments being introduced through the course of the song. This is evident when a character is shown walking through a field with what looks like a trombone/trumpet, this instrument is then introduced into the song. The cinematography presents a very positive and child-like atmosphere. This is obvious as we are given a bright sunny day and a nice lake with a fancy floating room in the middle, which counts for the child-like factor as the rooms walls fall down and reveal a surrounding lake, which implies the fun imagination of the artist as she then encounters the strange characters and an upbeat, positive ending. The location basically speaks for itself as it much resembles the typical indie genre; a nice wide open space that is empty and seemingly imaginary characters begin to appear. The location is quite easy to tie in with the lyrics, especially here, as the room is floating on a lake. Could that mean something?

RELATIONSHIPS BETWEEN LYRICS AND VISUALS?

              'Im a new soul, I came to this strange world, hoping I could learn a bit 'bout how to give and take.' These lyrics do coincide with the visuals, as the events in the video are certainly odd, with what looks like imaginary characters and the imaginary demolition of a room floating on a lake. This straight away gives us the idea that she has certainly come to a 'strange world.' Apparently the lyrics are about Yael Naïm moving from Isreal to America, so the big cities and the people is like a whole new world to her, hence the song title 'New Soul.'

RELATIONSHIPS BETWEEN MUSIC AND VISUALS?

               The only relationship between the music and the visuals is that both are upbeat and represented very positively, such as the bright sunny day and the colourful clothes worn by the strange characters. 

ARE THERE CLOSE-UPS OF THE ARTIST AND STAR IMAGE MOTIFS?

               The camera does close in on the artists face on occasion, but there isn't a strong sense of relation of thematic elements between this video and the artists other works, so her work doesn't exactly harbour a known artists trademark. There is, however, a similarity in the sound of the music, as her other single 'Toxic' is very slow and melancholic, much like a few parts in 'New Soul.' Her other video 'Go To The River' has little to no relation in thematic elements with this video. The location, costume, cinematography and the tune are almost completely different compared to the cheerful video.

IS THERE REFERENCE TO THE NOTION OF LOOKING?

ARE THERE INTERTEXTUAL REFERENCES?

                As long as I know, there isn't any intertextual references in this video, as the lyrics just reflect a new world to the artist, and the video embodies that with imaginary characters and falling walls and floating rooms. There isn't any reference to other texts or other works in general. Maybe there will be, but if so, it's certainly subtle.

IS THE VIDEO CATEGORY ILLUSTRATION, DISJUNCTURE OR AMPLIFICATION? HOW MUCH?

               This video is probably 30% Disjuncture and 70% Amplification. Disjuncture because we already know that this world is 'new' to the artist, so strange and odd things occur in a positive and happy sense because it's a whole new world and she doesn't know what it would hold for her. This leads to the amplification side, as the odd occurrences, such as the room dismantling into a floating wooden raft on the lake and the strange characters are just subtle metaphors for her own impression on moving to a different and bigger place: the people she'll meet and being able to keep afloat in this world etc.

THE VIDEO- http://youtu.be/XgEfYGzojcA

Music Video Analysis 103

Name of Song- Little Talks

Artist- Of Monsters & Men

GENRE CHARACTERISTICS

           Here, costume and location don't technically apply for this video as it's animated, but still, the animated dress sense is very diverse and has a look of a very diverse fashion, with the clothes being multicoloured moving feathers making up what looks like a robe, and also black and white wooly jumpers are worn too, but the style is the same, as the clothes never change. The location is a large factor of the video, as the animated characters venture through a vast, surreal noir-style world in search of what seems to be some sort of salvation. The location could be one of the reasons why the video is animated (even though that's mainly the bands style), because a real set would cost millions, so creating an animated video broadens the imagination and draws on fantasy, adventure and even horror (the large dangerous monsters) elements. Now, the cinematography has sort of already been discussed, as the lighting is dark because of the noir style that the surreal world is presenting, but there are camera edits that are obviously used to synchronise with the songs beat and rhythm, such as when the background singing shouts 'hey!' The camera either cuts to another scene or follows the rhythm between the lyrics and the visuals.

RELATIONSHIPS BETWEEN LYRICS AND VISUALS?

             The relationship between these two factors is quite confusing because the lyrics tell of two people 'walking around this old and empty house, so hold my hand and I'll walk with you my dear,' but it doesn't match what the video shows, but there is that irritating air of mystery where you can connect the lyrics and visuals but thought is needed to do it, as the video resembles something much bigger than what the lyrics suggest. The video just shows a guardian angel guiding these five people through a dark and dangerous enchanted world, which is possible to connect with the lyrics I previously mentioned, as they're being guided through a dark place.

RELATIONSHIPS BETWEEN MUSIC AND VISUALS?

The relationship here is very strong between word and vision, as every single beat in the video, including when they shout 'hey!' there's always something that appears or happens which is used to synchronize with the beat, creating a very smooth rhythm that encourages a good old singalong. This is evident in every scene. An example is when the video shows the five men climbing up a grapple hook that leads to a stone creatures mouth (so the rope that the hook is attached to is horizontally positioned. Here, the lyrics 'some days, I don't know if I am wrong or right' is sung monosyllabically as the words are monosyllabic anyway so that the beat can attach itself to these. At this moment in the video, every time the arms of the men swap over to climb the rope, the lyrics and the best synchronize with every arm movement. This can be found at 1:21 in the video link below.

ARE THERE CLOSE-UPS OF THE ARTIST AND STAR IMAGE MOTIFS?

            The video has six characters (the five stranded men and the guardian) who have members of the band superimposed onto the faces, so there are close-ups of the artists quite a few times throughout, but it's noticeable that they are shown in close-up because they are frightened of the beasts that try and attack them. There are star image motifs, as the bands other video 'King and Lionheart' is shown in the same fashion; animated, darkly lit and an adventurous setting, as the camera pans, cuts and zooms us from a city in ruins to a wide open space of abandoned buildings and structures. The only difference here is that the characters aren't animated.

IS THERE REFERENCE TO THE NOTION OF LOOKING?

ARE THERE INTERTEXTUAL REFERENCES?

             It's quite difficult to notice any intertextual references, with the only subtle ones being references to OMAM's other songs through the tune of the song, such as 'Little Talks' and 'Mountain Sound' that have a similar upbeat tune that starts the song off and continues through the chorus. The only other reference that I can think of isn't justifiable because it would take reading a whole book to get it, but from the style of the video and the fantastical creatures in it, it seems like one of the Brothers Grimm's dark fairytales. 

IS THE VIDEO CATEGORY ILLUSTRATION, DISJUNCTURE OR AMPLIFICATION? HOW MUCH?

            The video is probably all amplification because we, the audience, can easily put together the subtle links between the lyrics and the events of the video, such as the guardian angel beginning to leadthe men through the enchanted world, with the beginning lyrics 'I don't like walking around this old and empty house, so take my hand I'll walk with you, my dear.' This is why the video isn't disjuncture because the lyrics and images, though visually separate, still create a metaphorical link. It isn't illustration either because nothing that the lyrics suggest provokes the appearance of that suggestion visually.

THE VIDEO- http://youtu.be/ghb6eDopW8I

Music Video Analysis 102

Name Of Song- Life is Life

Artist- Noah & the Whale

GENRE CHARACTERISTICS

            As mentioned before in '101,' the costumes, the cinematography, tune and location are the characteristics of the indie/alternative genre. In this music video, I found that the costumes are still not vast but also not so diverse for this genre, as the band wear suits and the main girl who runs is wearing what looks like a PE Uniform. The cinematography here is much more varied, as the lighting is (seems very) natural and bright, which is reflected by the tune of the song, which is very upbeat and cheerful despite the lyrics being a tad darker, such as 'he took up all his old things, and set 'em all on fire.' The location used is rather typical of this genre as well, because it's using mostly one single location, even though it's a wide open setting on a long street with a school field and houses that run along it, eventually leading to an airport hangar then to a hot air balloon.

RELATIONSHIP BETWEEN LYRICS AND VISUALS?

             The only noticeable connection between the lyrics and visuals is a very large section of the video shown as a metaphor for putting away your old life and chasing a better one. This is shown with the very beginning scene of the girl dropping the slice of watermelon (could that resemble manufactured happiness; the slice looking as though it creates a smile if held to the face?) and screaming, as though she's letting everything go; her old life. The line 'left his house at midnight, resolute and young. In search of something greater than the person he'd become.' This is obviously reflecting the girl throughout the whole video running in a visually straight line, eventually passing everything and into a hot air balloon, as though she's off to find a new life.

RELATIONSHIP BETWEEN MUSIC AND VISUALS?

              The music here is very upbeat, which ties in with the bright sunny day and the bright clothes. It sort of becomes the epitome of a warm day for the video, as the beat at the very beginning plays along the girl running, which gives it a lively feel to it.

ARE THERE CLOSE-UPS OF THE ARTIST AND STAR IMAGE MOTIFS?

              There aren't close-ups of the artist, as the band is shown from many mid-shots maybe to allow the bright and sunny background to be shown. However, motifs are evident, such as the suits they wear, which are also in their other single 'L.I.F.E.G.O.E.S.O.N, where they sit in a gloomy bar with black suits.

IS THERE REFERENCE TO THE NOTION OF LOOKING?

ARE THERE INTERTEXTUAL REFERENCES?

              There seems to be no intertextual references to books, other music or other works, which shows the video as being more of a genuine indie video.

IS THE VIDEO CATEGORY ILLUSTRATION, DISJUNCTURE OR AMPLIFICATION? HOW MUCH?

             The video is probably 85% amplification and 15% disjuncture. Amplification because almost the whole video resembles the lyrics, but not in an illustrious fashion, more of a semantic fashion. We see the girl running to a location undisclosed until the end, but we know that she's running after a new life as she took apart her old life and 'set it all on fire' and she's 'gonna change' and she feels like her 'new life can start, and it feels like heaven,' possibly resembling the bright sunny day and going up into the hot air balloon at the end. It's also a quarter disjuncture because some of the allegory is so subtle that you may be wrong in thinking you've interpreted it right. Such examples are the shots of the cheerleaders and of the band, which is a normal element of any video anyway.

THE VIDEO- http://youtu.be/6HKdXbTI49U

Music Video Analysis 101

Name Of Song- Shampain

Artist- Marina & the Diamonds

GENRE CHARACTERISTICS

       The observations for the genre characteristics of 'Shampain,' it being an alternative/indie genre, is the location, the tune of the song, the cinematography style and the costume. The evidence for the location is obvious with the video, as the setting isn't a large place; a play park for most of the video. We see Marina doing a thriller-style dance through a littered park with two backup dancers. The evidence for the tune of the song is that, even though the video was released in 2010, it has a very retro vibe and sound to it, which isn't exactly a widely used style in mainstream song culture. The evidence for the cinematography is that the look and feel of the video, with help from the camera angles and shots, is a sort of glamorous cheesy indie retro feel through shots such as a close-up of Marina's face with heavy make up, only used to contrast with the smeared make up on her face later on, which is shown with surrounding smoke effects and backup dancers moving like the zombies in Michael Jackson's Thriller, generating the glamorous, cheesy retro feel. The evidence for the costume is obvious as the only costumes worn are binary opposites; a beautiful dress and then a ripped up dress. This implies the possibly small budget as different costumes aren't worn every 5 seconds, unlike mainstream pop music videos.

RELATIONSHIP BETWEEN LYRICS AND VISUALS?

         There seems to be connection with these factors, as there is in almost every indie/alternative music video. Here, the lyrics 'drinking champagne, to forget yesterday, 'cause I remember, the way the way the way, I ended the day...' is quite easily connected with the visuals, such as Marina wearing a nice dress and shown in a golden-coloured tone, then wearing a torn dress, as though she's remembering something bad she may have done and tries to 'forget yesterday.'

RELATIONSHIP BETWEEN MUSIC AND VISUALS?

          There is only little relationship between music and visuals, as indie probably pays more attention to lyrical meaning and visual representation. However, the rhythm of the music, it being in a retro style, is synchronized at times with the backup dancers and Marina herself as they do their own rendition of the Thriller (as I've said before, so forgive me).

ARE THERE CLOSE-UPS OF THE ARTIST AND STAR IMAGE MOTIFS?

          There are quite a few close-ups of Marina used between the switch overs of her costume and make up. This doesn't create a star image motif, as her dressing isn't similar in other videos, and there isn't really any justifiable motif to do with her style in other videos and singles.

IS THERE REFERENCE TO THE NOTION OF LOOKING?

ARE THERE INTERTEXTUAL REFERENCES?

             There are two intertextual references, one lyrical and one visual. The lyrical intertextual reference is when the line 'made by the angel, who goes by the name, of glittering Gabriel' references the angel Gabriel from the Holy Bible, as well as the word 'celestial' being sung at times. The visual intertextual reference is that of (you guessed it) Thriller by Michael Jackson, with the dance moves closely resembling the moves in the 1981 music video.

IS THE VIDEO CATEGORY ILLUSTRATION, DISJUNCTURE OR AMPLIFICATION? HOW MUCH?

               The video is 40% disjuncture, 50% amplification and 10% illustration. It is disjuncture as there are a lot of times where Marina is just shown stumbling zombie-like through a park, which doesn't really connect with the lyrics. However it's also amplification because the stumbling through the park and the zombie-like women seem to reflect that something has gone wrong due to a 'bad night,' which is why Marina is shown well dressed and then dishevelled. The small section that is illustration is just where Marina gets up and walks away from a set of stairs during the lyrics 'the day the day the day that I walked away, away away away.'

THE VIDEO- http://youtu.be/-vHi83LTQjU

    

 

     

 

The Slideshare Powerpoint

Our 'Big Fat' Music Video Research Presentation

I have constructed a short powerpoint (ironic considering the title) based around the section that i am researching for our rendition on the music video 'Human' by The Killers. I'm researching the lyrics to the song, so that i can analyse them and attempt to put them into our own version of the video (for the same song) and try to visually interpret them in as much of a different way compared to the original video. Here are the screenshots of my powerpoint:

The Killers- Human: The Final Music Video, The Planning Stage

It seems, these days, that I'm beginning planning on a tonne of different music videos. This is a plan for our newly appointed music video; 2009's 'Human' by The Killers, the four man band fronted by Brandon Flowers. Beginning our planning today, me, Kayleigh and Jack have chosen different areas of research for the video to be able to piece together later on and create our own vision of the song.
          I chose the lyrical side of the research. Even though this sounds easy enough, I need to be able to annotate the lyric sheet, pick out certain words and find as many allegoric/symbolic references as 'human'ly possible (see what I did there)?
         From first look of the lyrics, they seem to be referencing life, love, suicide and 'opening doors.'
From the perspective of another, the line "are we human, or we dancer" is "his way of asking would you rather be human and live and live everyday doing the same thing, or being a dancer and feeling the music and doing a dance that isn't a regular routine."As I carry on with this research, I'll update my blog to show you the latest news on the research and eventually merge all of the research from each group member together and create a presentation containing this information, using any possible website that creates presentations.

So here are the lyrics that I am annotating:

THE KILLERS LYRICS

I did my best to notice
When the call came down the line
Up to the platform of surrender
I was brought but I was kind

And sometimes I get nervous
When I see an open door
Close your eyes, clear your heart
Cut the cord

Are we human or are we dancer?
My sign is vital, my hands are cold
And I'm on my knees looking for the answer
Are we human or are we dancer?

Pay my respects to grace and virtue
Send my condolences to good
Hear my regards to soul and romance
They always did the best they could

And so long to devotion
You taught me everything I know
Wave goodbye, wish me well
You've gotta let me go

Are we human or are we dancer?
My sign is vital, my hands are cold
And I'm on my knees looking for the answer
Are we human or are we dancer?

Will your system be alright
When you dream of home tonight
There is no message we're receiving
Let me know, is your heart still beating?

Are we human or are we dancer?
My sign is vital, my hands are cold
And I'm on my knees looking for the answer

You've gotta let me know

Are we human or are we dancer?
My sign is vital, my hands are cold
And I'm on my knees looking for the answer
Are we human or are we dancer?

Are we human or are we dancer?
Are we human or are we dancer?

Taken from http://www.azlyrics.com/lyrics/killers/human.html  

Group Music Video: Fluorescent Adolescent- The Storyboard Years Part 1

For the last couple of weeks, we have been working on creating a music video for a song that we were given: 'Fluorescent Adolescent' by The Artic Monkeys. Through these couple of weeks, we got into a group of four; drawing our own sections of the storyboard by basing it off the lyrics from the song. We then began cutting up the storyboard frames and interweaved them with each other to form the three main scenes of the music video; creating a story as the background for the video. The three main scenes were: The band shown to be playing the instruments and singing; the story shown through an almost literal style; and cross-cuts that show a woman with a paper mask on that changes emotion every time the camera cuts to her, with certain items being used to symbolise the fall of her adolescence (which is literally shown as a scene shows cut up letters that create the word 'Adolescent' fall before the woman wearing the mask. I created the scenes for the latter description: the masked woman, mostly because I had no idea how to interpret the lyrics until i was given a hint that she was growing up. Here is the storyboard section that I created:

Analysis Of A Music Video From An Independent Artist

To prepare for the planning of my music video of 'Them Heavy People' by Kate Bush, I need to be able to analyse another indie artists music video, so I can get a clear idea of what the music and video of this particular genre consists of in terms of features, like sound, costume, production design, location etc. I will analyse the video for:

           'Fallen Trees' by Saint Saviour

Here is a perfect example of what indie music videos feature. 'Fallen Trees' begins with a close-up shot of the artist, Saint Saviour, as she begins her song with just one camera shot directed at her when she sings. Throughout the whole video, there are very few different shots, such as side shots, mid and long shots and shots that follow the artists movements. The limits of these shots contribute to how an indie music video is defined, as the camera never veers away into unneeded establishing shots of sparkling images. The same can be said with the cinematography of the video, as it is clear that there is no evidence of post-production editing, yet maybe apart from a possible change in brightness. It basically shows that the artist and the cameraman went out and filmed the video and used whatever was already there without need of adding effects inappropriate to the song. In most larger-budgeted music videos from big, well known artists (who in my opinion are much less talented than the independent singers, who write and help produce their own work without needing a dozen big-time producers), the use of props can either heighten or worsen the videos intended effect, but with an independent video, we, the audience, are presented with a video that focuses more on the song meaning than on the surrounding colourful visual aspects and large items that get needlessly thrown around to insinuate fun, but it ends up looking silly. However this isn't to say that indie artists never use colour in their videos, as with Marina & the Diamonds and her 'Oh No!' video, which has a pop-art effect. In the 'Fallen Trees' video, the only noticeable props are two sets of black balloons, each set tied to each hand of the artist as she sways with the balloons. The use of these balloons can convey much more meaning than thinking that they're just there for effect. Is she trying to fly away from something? Why are the balloons black? Now to analyse the use of location. As I said before; the indie artists use whatever there is in the shots of their videos, so here is a wide open space that looks countryside-like or even coastal or looking as if it was filmed on the top of a cliff. Juxtaposed to the more well known music vids by more well known artists, Saint Saviour's 'Fallen Trees' strives for effect from its music and visuals, and not glamour, like many chart toppers try to achieve instead just to get a larger target audience. When a big artist makes a music video, the budget is much bigger, so the idea of being able to put almost anything into a video from the budget gives it a bigger chance to ruin the song with irrelevant uses of over-the-top cheesiness and special effects. The same applies for the film industry. 

       These features that I have analysed should now help me get further with my own my own music video of Kate Bushe's 'Them Heavy People.' Hopefully it should go well. In my next blog I'll share the first stages of my planning for the music video. If you want to view Saint Saviour's 'Fallen Trees,' you can find it here at:

http://www.youtube.com/watch?v=hHUr7KfD8WY

My Five Potential Songs for my Music Video

Because I prefer the Indie genre of music, here are the five songs I would like to make into a video:

Florence & the Machine- Cosmic Love

The amazing beat of the drums in Florence's colourful, imaginative and allegorical song is enough to make me want to make a video of it, despite it being already a music video. The song builds up many times to the chorus, which bursts into a set of completely booming and exciting drum rhythms. The song is fantastic and fantastical.

Florence & the Machine- Howl

The perfect oppurtunity to film a video of this dark and haunting song in the woods, as it would perfectly reflect the animalistic symbolism in the song. This would be an amazing song to do a video for, and luckily it's not been made into one. So, hurrah.

Kate Bush- Them Heavy People

'Rolling the ball!' From the weird and the wonderful Kate Bush, this song is absolutely excellent. And making the video would create a strong accessible point for me: express the weirdness. Catchy, weird, symbolic and just plain fun, this song is a classic and should be listened to by everyone. If I made a video for this, then hopefully encouragement would follow.

Noah & The Whale- L.I.F.E.G.O.E.S.O.N.

An instantly likeable song that raises the spirit if you're feeling down. So making a video surrounding this song would require the implication of a negative atmosphere being overthrown and replaced with a positive atmosphere everytime the chorus plays. A truly remarkable song.


Of Monsters & Men- Mountain Sound

A great, merry indie song. The video for this would require a lot of nature and open spaces to be able to express the song and its harmonic and upbeat tune. This is probably the least depressing video I have considered to make haha.

   A possible, but limited option, could be 'In the Hall of the Mountain King' by Edvard Grieg. The complete lack of lyrics would be what would make the video limited in perspective, but it would certainly have an element of mischief and a sneaky, sly atmosphere.

One of My Originally Chosen Music Video Songs

And the chosen song is...

'THEM HEAVY PEOPLE' BY KATE BUSH

My reason for this song to be chosen for my music video is because, like I've mentioned, I can express my weird'ry' on film. The idea of somebody attempting to stay inside their head and avoid the world's indifferences with the person who is the central subject in the video is a strong point for me. The song is weird, so the video will be. The song has allegory (symbolism/meanings), so I would try to put as much of it in the video as possible so that it could reflect the song. Who are 'them heavy people'? Why was she 'hiding in a room in my mind'? It'd be the most fun song to video, but nevertheless it would also be quite challenging in terms of location and also trying to crack as much of the meanings as possible so the video would fit the song. I will start planning for my music video very soon. Here is the link for the video for 'Them Heavy People', http://www.youtube.com/watch?v=qfNtPbHkp0U 

 

"They arrived at an inconvenient time. I was hiding in a room in my mind."