[DF] Evaluation (1)

• Using Goodwin’s critical framework (Dancing In The Distraction Factory, 1993), it is clear that our video conforms to many of the characteristics which are prevalent in the genre and many of the techniques which are used in music videos to generate a star image.

• The genre of our track, ‘Parade of Punk Rock T-Shirts’ by Maritime, is indie rock. Characteristic of the genre musically are catchy lyrics and melodies, a relaxed or light-hearted tone and quirky or interesting aspects in some way (for example, an unusual vocal technique). The music videos for indie rock tracks are extremely varied, and tend to be anything from pure performance videos such as Maritime’s only other video for their song ‘Paraphernalia’ (Poltermann, 2011), to fun mixes of performance and narrative fuzz, for example in fun.’s video for their song ‘All The Pretty Girls’ (Director unknown, 2009), or even deep philosophical or political statements as seen in videos like Arcade Fire’s, for their song ‘The Suburbs’ (Jonze, 2010). In following these conventions, our video took a light-hearted tone with an emphasis on the fun, quirky and somewhat nonsensical concept aspect. This conforms to the genre characteristics in being quirky, slightly random and unusual. We also included a performance aspect, which, as per many other indie videos we investigated as part of our secondary research, tended to be quite ordinary, straight-up performances either outside or in as studio location (unless the performance was the core of the video, for example in Tegan and Sara’s video for ‘Call It Off’ (Kendall, 2008)).



A still from 'All The Pretty Girls' by fun.

• In terms of the relationship between the lyrics and the visuals, our video was an amplification of the song in many ways, however some ways could be said to be more illustrative. For example, at some points we timed written lyrics to appear on screen in sync with the vocals, but aside from that our video simply amplified the mood, tone and pace of the song. We took the light-hearted tone of the lyrics and applied it to the video. We also sped up certain clips in order to fit better with the tempo of the song.

• As for the relationship between the music and the visuals, there are three key things we did. Firstly, we used the light-hearted sound and tone to the song as the basis for our concept. Secondly, we timed the cuts and edits of our clips with parts of the music, for example a change from the verse to the chorus, or from one line to another, or applying a zoom to follow a guitar riff, or more prominently with the stop motion sections which we cut to the beat. Thirdly, our performance is synced to the actual song, anchoring the sounds in the visual.

• There are many close-ups or ‘meat’ shots of the star, primarily throughout the performance. This generates a strong star image. One star motif could perhaps be the changing of T-shirts throughout the song – a key part of the concept.

A close-up of the lead singer's fact: a 'meat' shot.

• The video is primarily concept-based, with an aspect of performance. This makes the video perhaps a bit more enigmatic for the consumer, seeing less of the band performing and more of seemingly random clips.

• The form of a music video is apparent through our use of performance, syncing cuts to the music, ‘meat’ shots used to generate a star image, unclear or incoherent narrative and a variety of camera techniques and movements.

• The video also conforms to the characteristics of it’s genre by emulating the light-hearted tone, using quirkiness and humour and our use of bright colours. Similarly, our use of the camera and editing was conventional in that we included a wide variety of shots and camera movements and included effects such as reversal or time manipulation, which are common in the genre. In questioning whether or not we challenged any conventions of the indie genre, it’s difficult to answer, as the genre is extremely varied in terms of music videos. However, many indie videos have a slightly more linear narrative, allowing the video to feel like a story, and ours was far more conceptual.

• We also included lyrics which appear onscreen alongside certain lyrics, which is unconventional, but we felt set the performance apart from others, and emphasised certain lines which go along with our themes of youthfulness and energy, such as ‘between the places we messed up’ and ‘swallow fire.

Lyrics being matched with performance.

• The text could be said to be polysemic in some ways. It promotes the ideas of being youthful, energetic and fun, but simultaneously invokes feelings of longing through the lyrics ‘when you can’t break through with the one that you want’. This ensures that the audience are left wanting to view it again in order to build a coherent picture. Overall, I would suggest that these interpretations come together to promote the idea that being young is about having fun and using your energy, without worrying about relationships or the breakdown thereof.

• Other interpretations suggest that our video is primarily concerned with ideals of friendship and male rebellion. There is plenty of energetic, disobedient action which is portrayed in a happy, light-hearted manner.

• Using semiotics to deconstruct the text, it is clear that bright colours are an important signifier for the values of youthfulness, energy and fun. This connotes a similar meaning associated with the band. The setting also signifies through the vivid colours, outside location and bright lighting a love of fun and harmony with the world.

Vivid colours and T-shirts emphasise the youthful, energetic nature of the video.

• By association with coloured T-shirts, which can be said to represent youth, fun, energy and light-heartedness, the band are attributed the myth that they possess these traits and that they are desirable for a teenager.

• The video is postmodern in style in that it makes use of parody at times. For example, the video includes the common technique of stop motion in various parts, but parodies this technique by including sections where the stop motion has seemingly ‘messed up’, such as the second time the stair sequence appears, and instead of the final still there is a clip in which one band member has descended onto the wrong stair, to the amusement of the others. This approach is somewhat unconventional of the genre, which in our secondary research we found to not often use parody. However, it is not unheard of, as can be seen in the music video for Pharaohs’ ‘Drift Away’ (Porter, 2011) which mocks the (perhaps overly) energetic and passionate performances that many bands use in their videos by playing in bed, in their underwear and without much apparent effort.

 



Left: a still from Pharaoh's 'Drift Away'.
Right: a section in our video in which the stop motion seemingly 'messes up'.

 

• The video does not feature any females, and so this gender exclusion is the only discernible discourse on gender. This could tie in with our overall meaning for the video, that relationships are not important at a young age; the focus should be on having fun. This is, however a male-centric view.

• In a preferred reading, the video reinforces the dominant ideology that teenagers are rebellious and perhaps immature, but in a positive way. This is done through the use of humorous and light-hearted sequences, and the inclusion of signs such as ‘WET PAINT’ which are purposely disobeyed. However, an oppositional reading might be one of negativity towards the disobedience of today’s youth, together with complaints about their apathy.