Full Shot List


Shot List 1Shot List 2

This is the full shot list that Gwilym and myself are going to be using, this spans across the whole song.

Each highlighted section represents a different verse, with the blue being the chorus


Production Log MM – 01/02/17


Asked permission for black material so that we can film from inside the car whilst keeping continuity.



Unfortunately, due to our actor playing Becca being inept, we are no longer filming today.

Created a shot list for the 3rd:shot-list-for-pl-03

Joel Kefali – Music Video Director


The music video director Joel Kefali has directed videos for famous artists like Lorde and Katy Perry. Kefali follows aspects of Goodwin’s theory, and has the star as the main image in the video, in Katy Perry’s video ‘This Is How We Do’, Perry is, if in frame, in the centre of the frame.


‘This Is How We Do’ – Katy Perry

This is also emphasised in the video he directed for Lorde’s ‘Tennis Court’, in which she stands in frame against a black background. In this video the only lip-syncing she does is the word ‘yeah’, other than that she stands in frame not doing much.


‘Tennis Court’ – Lorde

Neither of these videos follow any form of narrative, however in Lorde’s most famous song, ‘Royals’ Kefali uses a narrative along with close-ups of Lorde, this still follows his usual style following Goodwin’s theory, however the narrative is an anomaly.


‘Royals’ – Lorde (Performance)


‘Royals’ – Lorde (Narrative)

Another anomaly of Kefali’s works is ‘Mmmhmm’ by Flying Lotus. This video could be considered a Kefali anomaly because it’s majoritively conceptual. It’s conceptual provides the viewer with a god like image of the performer, floating in space.

Altos Music is taking the most inspiration from Tennis Court due to the solidarity against a black background for out music video.

I take inspiration from Kefali due to the majority of his music videos have a simple premise but go into more detail and become more extravagant and conceptual. In our original UMV I intend to include the simplistic black background as seen in Tennis Court.

Timeline of influential music videos: 1999-present


Slim Shady by Eminem came out in 1999. It is considered to be an influential music video because he had no boundaries and left few stones unturned, with gay marriage, bdsm and domestic abuse. It also heavily focused on mental health and the way they are treated.

Two years after, Clint Eastwood by Gorillaz made its appearance in 2001. This video from the album ‘Gorillaz’ was extremely influential because it changed the persona representation of music videos, the message was that ‘you don’t have to be who is in your music videos’, they achieved this by making characters for themselves, i.e. ‘2-D’, ‘Noodle’, ‘Murdoc’ and ‘Russel’. Changing the market for a long time.

Yet another two years pass and three influential videos come out. Seven Nation Army (2003) by The White Stripes was influential due to its repetitive yet ‘off the wall’ editing style, the video, when not focused on performance, it focused on imagery; the most obvious being the skeletal soldiers but also the elephant, this was used to promote the album ‘Elephant’. I Believe in a Thing Called Love by The Darkness was also released in 2003. There is no doubt that it was influential. The focus on the sci-fi genre was majoritively unheard at the time, the space ship, space crab and space squid were simple enough ideas, but had never been put into a music video. 2003 brought one more influential music video, Where Is The Love by The Black Eyed Peas was influential because it focused on protest, the image of the question mark portrayed a post modernist vibe.

What You Waiting For by Gwen Stefani arrived in 2004 and was considered influential because of the over arching intertextuality of Alice in Wonderland. The video itself has a narrative at the beginning relating loosely to Through the Looking Glass, but when the song does start, there’s a rabbit and everything.

Push the Button by Sugababes came out in 2005 and is considered influential because it brought sexuality into light. The entire video is based on the visualization of sex, because sex sells.

In 2007 one of the influential videos that came out was Crank That by Soulja Boy Tell’em. This video was influential because it brought the ‘rap dance’ into light, how Soulja Boy became famous. Because of this video the rap dance has taken the industry by storm, in its respective genre of course. The other video was Reckoner, by Radiohead. This video could be considered to be influential due to the concept based video. The animation of the trees showing the development of the modern world.

In 2009, Bad Romance by Lady Gaga arrived to screens everywhere. This is arguably the most influential music video of its decade due to its bizarre nature. The imagery and dance is unlike any other commercially successful music video.

And finally, the most popular video on YouTube to date, in 2012, the music video for PSY’s Gangnam Style took the internet by storm through its dance and annoyingly catchy synth. This particular video has over 2.5 billion views on YouTube. Making it the most watch video on the site.

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.