Final Digipak Booklet
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Sunday 31 January 2010
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Friday 1 January 2010
Further Revisions to Narrative and Discussion of Themes
Further Revisions to Narrative and Discussion of Themes
During continued filming and editing sessions, we have made small changes to the narrative of our music video. Initially, we had intended for our narrative to be linear, producing a straightforward narrative-based music video. However, due to a combination of teacher advice and collective dissatisfaction within the group, we felt that neither the footage we had (e.g. we didn't have enough close-up shots of the artist and many shots were repetitive) nor the initial intention for its use fulfilled our aims. Given the theme of lost love and romance in our song, we did not believe that a simple linear narrative did justice to the expression of these themes and emotions in the song. Consequently, through editing and re-shooting, we began moving away from this linear narrative and towards more of a concept-based narrative, using collection of scenarios intertwining to convey the emotions expressed in the song. By using cross-dissolve transitions we are connecting the various scenarios, which link together to create a dream-like sequence of past and present, as well as hints towards the future, concerning the couple starring in the video. We believe that by creating this dream-like atmosphere in the music video and a general “looseness” within the narrative (similar perhaps to narrative techniques used by Martin Scorsese in Mean Streets; 1973 and Taxi Driver; 1976 or Woody Allen in Annie Hall; 1977 - in which the narrative is used in a particularly relevant way to us as it is used to convey the 'merry-go-round' nature of relationships by intertwining the beginning, middle and end of the main storyline) we are with it able to incorporate themes and ideas of deep thought, reflection, contemplation and nostalgia which are no doubt present in the song as clearly implied by the consistent use of questioning (e.g. “Oh baby where did you go?”) and a wishful-thinking or almost pleading tone (e.g. “Oh baby we got so close...”). By doing this we are therefore in a sense following Goodwin’s theory of consistency between lyrics and visuals, although not in its strictest sense as we are creating a consistency between the themes in lyrics and themes in visuals rather than a direct link.
Also as a result of the type of narrative we are able to incorporate a theme of death (which we had previously intended) in a much less literal sense, rather using aspects of mise-en-scene (e.g. graveyard settings, use of sunsets, walking towards a light etc.) and editing techniques (e.g. cross-dissolve and dip-to-white transitions) in order to imply death in multiple philosophical senses; e.g. the death of a relationship, the death of “a part of you” etc, in a Bogart-esque “We’ll always have Casablanca” idea.
We are confident that these changes will result in a stronger and far more effective music video, representing the band as sensitive, serious and intelligent which is likely to appeal to our target audience as my audience research has shown that the vast majority of our target audience are potential undergraduates with interests in music, film and different cultures and so are likely to find intelligence, sensitivity and seriousness to be desirable traits.
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