Case Study 2

Rob Dougan

Clubbed To Death

The piece of media text, I have chosen to analyse is a music video called Clubbed to Death by Rob Dougan, which is a high expense production. I will be looking into how the micro features such as the camera choices, sound and  mise en scene,  fit into the generic conventions of a music video; and why they are used to provide information. I will also explore editing; and how it is cut with the lyrics.  I will especially be linking audience theory as well as visual identity; while interconnecting codes/conventions and the performance.

INSTITUTION

 The  music video was directed by David Slade, who is well known in the music industry for his avant-garde style of film making. He has produced various renowned music videos such as Hyper by Muse, Girls Not Grey and many others. The music video was realised in 1996 and was considered as a forefront for high budget music productions. The record label that signed the artist and financially marketed the music video, where Mo Wax Records owned by James Lavelle, established in the UK, and founded by Lavelle in 1992. It did not take long for the label to gain public awareness and with Steve Finan who shortly after co-owned the label with James. The label became identified for being the leading edge of turntablism, trip hop and alternative rap in the 90’s. Mo Wax was partially signed over to A&M records in 1996 by Lavelle, which is now a subdivision of the Universal Music Group.

AUDIENCES

 The Imagery in the music video is almost reminiscent of film noir, as the clips have been highly contrasted in saturation’s and levels; in order to interject a more intense response from an audience. This extract targets a group who enjoy music of a more orchestral genre, therefore signifying towards an older demographic. The music video has many intertextual references which audiences can recognise for instance at 1:37 the couple kissing has a reference to films such as Casablanca; and signifies a 1940’s to 50’s style of filmography. The Hypodermic syringe model can be implemented here as some people may have passively read the text; from films such as The Matrix... which has endorsed the song, and re-released its popularity again in 1999.

 Throughout the music video the audience are able to identify what is a highly elaborate production almost congeneric to film sequences; such as the explosion scene at 2:52, this can be linked to audience power theory: in that in the technological age of multi-channel publishing, allows audiences to have input in shaping of the content, as there is a high demand in advancements in media texts.

NARRATIVE/CODES

  Narrative in this music video is quite complex, and is comparable to a powerful film extract; as it is rare to find a complete narrative in a music video. The narrative also differentiates from many music video conventions as it does not provide audiences with repetition. This gives the audience a higher sense of engagement with the text as they are focused on following the plot. The anchorage of the narrative is corruption vs. stability and forward thinking, this has been provided throughout the video, as the camera is in constant close up as well as mid shots of artist at 0:50: These shots have been chosen, so the audience are consistently in observation, of that one character in comparison to the others.  

This extract is unique in that it contrasts and follows some of Vernallises theory on Narrative; for example it does follow one of her theories: in that the video is a dramatic response to the music.However there is a driving force to this video but it is not the narrative; it is the style of music and genre which relates to one of Vernallises theories.

But where this video contrasts her theory highly, is the fact that the narrative presents a story-line from start to finish: as in the beginning we are presented with the corrupt giant figures of society, an indexical reference to the Wall Street crash. The girl at 0:50 is looking up at the corrupt men at 0:33, the man sees what is happening at 0:51 and begins moving forward, the conclusion is he becomes a leader himself the girl sees this at 3:13 and begins moving forward herself.

This represents that the music video poses questions which are answered and follows through with the narrative. This provides the audience pleasure as there is a resolution at the end of the video which audience find satisfying. Most of society’s codes and conventions: is being a moral citizen, and many view themselves as the man in the video moving forward and not backwards, this connection gives the audience a preferred reading of the text.

  MICRO/MACRO FEATURES

There are highly sophisticated and elaborate macro/micro features thought this music video. We begin with a wide shot which establishes the setting and mise en scene this denotes the 1940’s and 50’s: from the indexical signifiers of the old style 40’s theatre posers, to the dated car’s all are a representation of that era.

The audience are then presented with a series of wide shots, and then reaction shots through close up's, and mid shots of the main character. This connects a message to the audience that something is erroneous… we are then presented with a low angled shot of a giant man, placing us in a less powerful position like the little girl who is looking up; this has been done so that the audience are placed in her position.

Throughout the sequence the mise en scene is highly apparent from beginning to end especially the costume, which corresponds to the time setting they are in, examples of this are in 1:34 the couple kissing appear to be dressed in what would be signified as more upper class clothing. She is more visually striking on camera as there is a close up of her  at 1:47. The context behind this shot is that she is standing still and looking forwards, not backwards like the others in society.

 The editing is highly powerful in this, as there are many pace changes throughout the sequence, which have been inputted to implement a varied response in emotion from audiences by adjusting their mood through the sequence. As well striking visual effects are employed, for instance in the long running scene movements have been sped up to add increasing levels of intensity. We are then provided with a spectacular explosion at 3:51 this has been implemented to present audiences with pleasure and has intertextual references to action packed films.

PERFORMER

This video does not follow your old music video conventions, of textual schizophrenia: in that the artist performs directly to the camera not moving. This video contrasts that, in sense that the creator of the actual music does appear throughout the video, as the main protagonist... This is important especially for an audience as involving the artist provides more originality to the video: (this connotes Andrew Goodwin’s theory.) The artist plays a large part in the story line, however there are no lyrics which makes his part solely performance based; the reason for this is that the audience become even more intrigued by the character, therefore making them more engaged in viewing more of the video. There are close up’s of the performer and the general focus is on him. The purpose of this is to add more drama which makes a highly effective music video.