Sunday, 25 November 2007

Music Video Technical Analysis – Plain White T’s

Bullet Point General Analysis

Plain White T's - Hate (IReally Don't Like You)

Duration - 3 Minutes 19 Seconds

Total Number Of Shot - 113


Performance/Narrative based

1st person mode of address - lead singer - close up's - 'meat' of the video

A number of close up's, medium close up's and medium shot are used to reinforce the authenticity of the band

This is also constructed through the editing technique of overcranking

Urban setting possibly in America - link with indie/rock music

Typical genre characteritics - performance of band, converse shoes, instruments, long hair

Rebellion motif - white t shirt

Intertextual references - The Verve, Massive Attack

Barthes cultural code - walking - traditionally used in urban areas

In a number of shots especially when we see him walking in the streets the camera is tilted up and this conveys him as powerful, dominant and in control.

Enigma present - why does he hate her?.......what has she done wrong?.........what will be the reaction when they meet?

The video is also an example of ambient viewing

Also the lead singers attitude is strongly constructed throhghout the video, he is perpetuated as rude, selfish when he walks inte people, while at the same time appears to be disrespectful the way he doesnt act to events around him.

We are able to understand the content of the video by linking the phone, picture of his former loved one and shots of her to deconstruct his attitude. Everything is blocked out in society and the use of overcranking enables this and it feels that we are put in the eyes of his girlfriend and is singing to us.

The silent surroundings emphasises his star persona

His hard man walk, and attitude reinforces his masculinity

The performance shots in the building represent team ethic, unity and reinforces the ideology that "everyone is safer in numbers".

Exibitionsim - showing to the audience his attitude, how he wants to act and that his issues are the most important.

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