WEEK 3 - protest song video analysis

HOZIER - 'Nina Cried Power'

The entirety of the shots featured in the video consist of medium-close ups (as seen in these first 10 shots) and close ups. This allows the audience to focus on the person featured in each shot as well as the video projected on too their face. These shots also feature a small amount of camera movement around the subject to keep the flow of the video moving. Furthermore, the video utilises the deep focus technique to draw the eye to the background projection as well as the person, however what the camera focuses on first in the technique varies throughout the video.

The shot duration throughout the video is quite consistent ranging between two to four seconds. Despite this, the first shot lasts for eight seconds to establish the setting and environment featured in the video Like the shot duration, the transitions are consistent throughout the video featuring a basic cut between shots. Despite the basic technique, the sudden cuts allow a sense of juxtaposition and contrast between each person and projection featured and thus ultimately creates a greater sense of diversity featured.

The mise-en-scene in this video highlights people’s diversity and morals. This is explicitly shown through the physicality of people used in the vide, as they create a range of age and ethnicity. Their gender and values are represented through the videos projected on each person.

Despite the artist being featured in their own video, there are not any performative elements –the only aspect of the video that could be considered performative is how the people react when listening to the song as it progresses. There also is not a clear overarching narrative, but instead the video narrative is created through each individual’s values

FRANKIE GOES TO HOLLYWOOD - 'Two Tribes'

Throughout the entirety of the video, a large range of shots and techniques are used to portray the narrative. For example, when framing the two main characters in the wrestling ring, it is primarily shot with medium shots – to view emotion - and long shots – to view their actions. The artist also uses a handheld camera technique to further exaggerate and enhance the video’s chaotic nature.

 The shot durations and transitions featured in this video reflect the narrative’s chaotic nature. It starts with an extremely long shot at around thirty seconds to establish the environment and finish the introduction of the song. From this point onwards, all the shots are significantly shorter - lasting from less than a second to three seconds – the sharp cut transitions also helps to maintain the quick paced action sequences. Later on in the video, flashed of red are spliced into the video where punches are being thrown to add a comedic and mocking nature to the video.

The mise-en-scene of the video has been used in a contrasting manner to caricature the leaders and circumstances during the song’s release (May 1984). This juxtaposition is created by taking the images of the two most powerful leaders during this time - American President Ronald Reagan and Russian premier Konstantin – and pitching them against each other in a wrestling wring. The performative element of the video fits with the mise-en-scene where the lead singer acts as a commentator on the event.

MUSE - 'Uprising'

The video starts with establishing shots in various angles to introduce the setting and main themes the artist still withholds information as to keep the audience watching the video. There are also a variety of shots when the band performs; these are usually shot with medium long shots to capture the band’s movement, however close up shots are also used when the video features lip-syncing elements from the lead singer.

Out of the three videos that I have chosen to analyse, this video has the shortest duration of the first ten shots: five out of the ten shots last around one second. This fast pace id consistent throughout the entire video (mostly lasting from one second to three), however this is contrasted with longer shots around the chorus and significant verses. Because of the contrasting range of shot durations, the video ultimately feels more actioned packed and fast paced. The shot transitions also add to the dramatic element of the video as it matches the quick pace of the music as well as not interrupt its flow.

Unlike the many music videos, this video features elements of mixed media to create a novel yet eerie setting. This is done by contrasting the childish setting of toys and miniatures with violent imagery, such as fire, destruction, and the dark dystopian city scape. This directly contrasts ‘two Tribes’ use of juxtaposition as that video took a serious subject and contrasted it with a novel and comedical setting.

This video presents many performative elements by portraying the whole band playing together. In a way, it could be interpreted that this forms a sense of unity which is required for a revolution. This performative element fits with the narrative story as it portrays an abstract representation of revolution as it represents the message through novel toys. The video also makes some bold metaphors with its imagery, such as the literal ‘spark of revolution’ being lit featured in the first shots. The video also alludes to media information and the idea of ‘fake news’ despite being released before the phrase was even heard of.