Photo Shoot


These are the best photos that we have taken for our digipak cover and magazine advert.

Gwilym and I decided that a picture of the band best relates to the genre, considering in Rock there is either artwork or a picture of the band (i.e. for the magazine advert as I’ve examined in my study of them, the Stereophonics’ magazine advert:Stereo.jpg

Here, the band are all clearly visible and by the clothes they are wearing you are able to tell that they are an Alternative Rock band.)


Thriller – Michael Jackson – Analysis


Michael Jackson’s Thriller is considered to be revolutionary in the music video world due to it’s short film typing, along with it being the first big budget music video, as well as it being the first being directed by a Hollywood director (that being John Landis (known from IMDb among other sources)).

Whilst the song is from the pop genre, the video itself is based around the horror genre, i.e. the prologue of the film enticing the audience into the actual story along with the un-dead and trapped within dream sequences. However, the video does link to the music in that there are certain motifs of the pop genre, mostly being the dancing which takes up a significant part of the video, once the zombies are around, it mostly focuses on the dancing.

The camera work in this video is the most significant technological aspect, within the prologue there is a shot reverse shot between Michael and the girl, this sequence of shots is often key to the horror genre in order to build the suspense of the scene. During this movie prologue, there is also a tracking shot when the girl is running, following her side. Tracking shots are also key within the horror genre in order to establish the victim of the scene, in this case it’s the girl. Usually editing would be seen as very apparent and important in pop songs, with a lot of editing to the beat; however there are only a few cases of this, John Landis likes to have the camera speak for itself a lot of the time.

Intertextuality is obvious throughout this video, the most prominent would be the introduction using themes set by the film ‘American Werewolf in London’ also directed by John Landis. The intertextuality seen comes from the transformation of the wolf, for example in the original film; there is the extreme long shot of the moon then the struggle of the pain of transforming into the beast. They also both have a close up of the wolf’s eyes at some point during the transformation;



A music video with a song consisting of a similar genre would be The Cat Empire – The Car Song

The Car Song’s genre is jazz-rock, the same as Miss America, in fact it’s very similar only faster, and obviously singing something different. In fact due to the fast paced nature of the song, the video is fast paced too, reflecting the lyrics and ‘teenage’ singer. This relates to our idea for a music video because the video will be quite slow paced like the music.

In this video, the lyrical content is reflective of teenage pressure from their parents, i.e. “Harry, you’re gonna be a lawyer someday’. However, the video does not reflect this apart from the fact that the teens are playing basketball against teachers and parents. Similarly to this, our video will be related to the song at certain parts, such as “Rebecca was a quiet girl, behind the wheel with a mouth full of diet pills“, in which we plan to have a girl in a parked car trying to overdose on drugs.

In this video, there is only a slight amount of performing, with the vocalist singing in tandem with the video. In our music video we intend to do the same, focus on the conceptual side of the video, but have parts of performance, for example we intend to have people around a table playing cards (linking to the jazz feel) and have some performance, possibly of the instruments as well as the vocals, which is a part where we will differentiate.

The basketball setting relates to the upbeat, teenage feeling of the song, discovering individuality and finding yourself, and basketball is a fast paced sport where a lot of different people can play (it also relates to the line “It’s hard when there’s a basketball game“). For our video of Miss America we are going to differentiate with this one because we do not intend to have a setting relating to the lyrics as the main set, instead it will be fragmental.

Social Distortion – ‘Machine Gun Blues’ – Analysis


Social Distortion are a punk rock band consisting of: ‘Mike Ness’ lead guitar and vocals, ‘Jonny Wikersham’ rhythm guitar and backing vocals, ‘Brent Harding’ bass and backing vocals, ‘David Hidalgo Jr.’ on drums and ‘David Kalish’ keyboard. However they have had a non stop rotation of members with Ness being the only consistent.

This video is shot out like a miniature film, set in “1934” with the band members being gangsters, named the ‘Blood & Sorrow Gang’, with their own nicknames: ‘Michael “Sick Boy” Ness’, ‘Jonny “Two Bags” Wikersham’, ‘Brent “Rock” Harding’, Dave “The Hammer” Hidalgo’ and ‘Dan “Knuckles” McGough’. We are introduced to the characters in the standard gangster manner, two getting their shoes shined, one waiting outside, one distracting others and one cleaning a car (most likely the getaway vehicle). The song doesn’t start until 1:51 but the build up is presented as a coordinated attack on a bank. The camera in this video is mostly handheld, making it shake reflecting the chaos towards the end of the video.

The video is primarily narrative based with intertwined performance parts, for example at 2:19 Ness is stood on top of the booths singing whilst holding a gun, intertwining the narrative and performance. The narrative is a stereotypical gangster film premise. Gangsters rob a bank (one has second thoughts but it’s too late for that) and run from the police, pay someone to stay quite and inevitably get caught and up dead.

Intertextuality is the basis for this video, due to the basis being that of gangster films, following Goodwin’s ‘Dancing in the Distraction Factory’ the gangster themes, mise-en-scene etc. focus on the repeat-ability despite this video being a short film, and allow the audience to notice similarities between this and ‘Goodfellas’ (as an example). On the other hand, symbolism isn’t used within this video, it’s very straightforward, it’s a miniature movie about gangster.

The camera at 1:34-1:39 shows a woman at the bank laying cash on the booth, then Ness pays ‘Johnny Rio-Ness’ for shining his shoes. Before the main sequence of events occur within this video, the viewer is shown this; giving them an idea that Ness will make that money back shortly, giving them an idea of what this video is about.1

At 1:57 there is a close up of Ness’ guitar case, this a gain links to the intertextuality/stereotypes of gangsters and parodies them, i.e. how they used violin cases to hold their guns, the parody is the guitar case.2

The editing throughout this video is fairly standard.

In terms of correlation between the music and the video, the diagetic sounds from the video transfer into the music video, for example the gunshots and screams are evident within the video.

Red Hot Chili Peppers – ‘Brendan’s Death Song’ – Analysis


Red Hot Chili Peppers are an alternative rock band possibly most notable for their song ‘Californication’. The band consists of: Anthony Kiedis (Vocals), Chad Smith (Drums), Josh Klinghoffer (Guitar) and Flea (Bass). In an interview with FM, Anthony said that this song originates from a friend of the band’s who passed away, named Brendan (who’s surprised?) when they started with their new guitarist Josh Klinghoffer.

The video itself, directed by Marc Clasfeld, is filmed in a Jazz Funeral style with an old camera style edit, making the video look as though it’s older than it is (being filmed in 2012) In the video there appears to be an entire village (shot in New Orleans) ravished with culture at the funeral, with the band leading the crowd, with some village members (all of which were played by fans)playing instruments (not heard).

Throughout the majority of the video, there is reference to symbolism. For example up until 2:27 Anthony is holding a can with a crow on it, a bird that has throughout time been linked to death. The flaming ‘Death Song’ could be linked to a cremation, and at 0:42 there is a mid shot of a child wearing clown makeup, in which the clown appears to be crying, representing the sadness of the village through the narrative and in actuality the sadness of the band.

At 1:58, the video breaks from its traditional funeral style and goes into the alt rock RHCP we love, in which the band members become manic in their movements (along with some of the ‘village members’).

1 At 2:27 the viewer can clearly see a burning ‘Death Song’ which portrays even greater that this song is in fact an homage to their friend.2.pngAnd then at 2:29 Anthony and Flea go shirtless, a common convention of their videos and style. 3The video then ends with a shot of the ‘village members’ sat with the band, suggesting a community strive with celebration of a friend. 



The camera work in this video uses a large amount of close ups of either sad or emotionless ‘villagers’ ranging from the clown girl to an old man etc. At 0:50 the viewer sees a low angle shot of an old drummer along with a masked woman with a fan, which would have been common in the time it’s set. The low angle shot itself shows the contrast of the black of the funeral to the brightness of the sun, sad versus happy. At 1:05 there is a high angle shot of the coffin with graffiti on it, along with some villagers, this high angle shot can show that despite the graffiti Brendan was held highly in the community, this is suggested through the entire community walking next to/with the coffin.

In terms of editing, the video is rather plain, just regular cuts whenever they need to. However, at 1:08 there is a fade in to a close up of a woman with an umbrella which is a variation of most of the other cuts. This fade in could be seen as a sense of clarity, how mourning Brendan’s death won’t solve anything, leading to the manic session later in the video. However, at 2:29, the editing becomes quicker cutting between zooms of the members of the band being their ‘manic’ selves.

In terms of correlation between the music and the video, it’s about death and they’re at a funeral. So there’s that. When Anthony sings; ‘When the drummer drums he’s gonna play my song to carry me along’, when he sings ‘carry’ he says it cuts to a shot of the band riding a truck, presumably the one with the coffin on. Also when the lyrics say ‘Let me live, so when it’s time to die even the reaper cries’ there is an old man dancing, living life to the fullest.

The video for this song is primarily performance based, the members playing throughout, following a narrative. The narrative being someone in a community died and their funeral is taking place.

Gorillaz – ‘Clint Eastwood’ Analysis


Gorillaz are an Indie Rock band. This is evident from the music video for their single ‘Clint Eastwood’. Gorillaz revolutionized the music video industry by, not only animating it, but giving their animated characters names, which are continuous throughout all of their songs. In the band there is the lead singer: ‘2-D’, the bassist and secondary singer ‘Noodles’, the drummer ‘Russel’ and the guitarist ‘Murdoc’. This music video is evidence that they are an Indie Rock band due to the fact that the animated characters show the fact that this video is a performance-based, a long with, in contradiction to ‘Sweet Child O’ Mine’, a very evident narrative.

In this music video, in which there are a bunch of prime apes dancing, there is no real link between the lyrics and the video, this is the same with the music.

The video for ‘Clint Eastwood’ does not include any voyeurism due to the fact that there is just the band, and the gorilla’s. This video also does not contain any intertextual references.

The use of the ‘camera’ in this video is used in such a way that shows the main theme of the video itself, as there is no real correlation between the music and visuals. The theme of the video is supposed to be comedic with an essence of gothic. The camera shows this by slowly zooming out when the grave’s appear. This gives the viewer a clear sense of the gothic and the bad that is about to happen to these characters.


Guns N’ Roses – Sweet Child O’ Mine analysis


Guns N’ Roses are a Hard Rock band, you can tell this by, in the music video for ‘Sweet Child O’ Mine’ the fact that band are performing more than anything else, there is also fairly dark lighting when the video isn’t black and white. You can also tell that GNR are a Hard Rock band by the fact that they are in leather clothing, plus Axl has a head band.

This music video is mostly a performance based video, along with a hint of narrative. The video is performance-based due to the fact that we majority of what we see is the band performing. There is however a sense of narrative where, when talking about his ‘Sweet Child’ we see the woman that he is singing about.

The camera and editing in this music video is simplistic. The video cuts to the beat, so when the beat gets faster, the edits go with it. The most used type of edit in this video is a shot reverse shot. These cuts mostly go from Axl to Slash, and vise versa.

In this video, there isn’t much of a link between the video itself and the lyrics. This is mostly due to the video being performance-based. However, despite this there are two cases where the narrative is represented through the lyrics. This is where Axl sings “…break down and cry”, he makes a crying action on his face with his fingers. The other case is when he sings “She’s got eyes like the bluest skies”, the viewer sees the woman’s who he is singing about eyes.

The only relationship between the music and the video is where the edits get faster, when faster music is being played. IThey are cutting to the beat.

The motifs presented in this particular video are Slash’s top hat, shown whenever we see the guitarist, as well as Axl’s signature ‘dance’. In this video there is also reference to the fact that the viewer is supposed to be looking at this performance, this is due to a different camera being in shot to the one that is filming at that moment in time. This shows that the band is being watched. In this video there are not any intertextual references.

This particular music video is a performance-based video, along with a hint of narrative-based visuals.