Video Analysis -Tesla Boy - Thinking Of You (Official Video)

Video Analysis -Tesla Boy - Thinking Of You (Official Video)

During the course of this essay I will be analysing the music video to Tesla Boy - Thinking Of You directed by Yoram Benz.  The song Thinking Of You is a Synth pop song and thus many of the characteristics of the Synth pop genre can be seen here with the inclusion of neon lights and overly saturated colours. This characteristic of synthpop can be seen here on a website focused on synthpop here as well as a google image search of the genre itself. From this one notices one of the main elements of the synth genre is bright saturated colours and lights and this is very evident in the Tesla boy video.

In the official video itself lyrics are illustrated and complimented by the visuals of the video through abstract and sometimes subtle or suggestive imagery. This can be seen when the line "A heavy breathing I can hear" is uttered early on in the song when at 00:22 we the viewer see a shot of two lips in the background with the artists face split in two and placed in the foreground. One may suggest the suggestive look of the lips amplifies the lyrics concerning heavy breathing by making said heavy breathing feature more sexual connotations. Furthermore the composition of the shot successfully illustrates the title of the song. This is evidenced by the fact that the female figure remains in the background whilst the artist in the foreground illustrates how the artist is think about this person. They are in the background and don't really say anything;they represent the thoughts behind the artist. Not only this but the female depicted is very prominent in the shot and takes up a large portion of the composition. One may argue that this suggests that this female figure plays a large role in this artists thoughts as he is always thinking about her. This in turn emphasises the title of the song adding more meaning to the title"Thinking Of You "

This abstract illustration of the lyrics is echoed throughout the song and can be particularly seen during the chorus of the song, "If I'm passing through, Only thing I do, Thinking of you, Thinking of you.” At 1:11 we see the artist split in two and then join up again only to be split in two once more to add more emphasis to the line "If I'm passing through." The use of this animation illustrates and exaggerates the meaning behind passing through; we get a clearer understanding of the artist’s thoughts and feelings of the person he is thinking about as we may establish that the lyric in conjunction with the illustration at hand may show how the artist is wandering around thinking about this person all the time.

The lines "Thinking of you, Thinking of you.” has been illustrated via the use of a mid shot and a close up of the female figure to convey the artists obsession with this woman by featuring her in a close up shot by herself we the audience identify her importance in this video and in these shots; she is the central figure and subject matter. Furthermore the visuals are in sync with the lyrics  "Thinking of you, Thinking of you.”which also displays the link between lyrics and visuals as she is shown fully each time the artist mentions thinking of you to show this is the only person on his mind.

Another example of the relationship between lyrics to visuals can be see when the artist utters "A weeping soul is moving fast" the weeping soul here being represented via the use of a white silhouette of the female figure however whats significant about the the relationship between lyric an visual here is how visuals contradict the lyrics to add more to the video.Instead of moving fast as the lyric mentions the silhouetted figure moves in a slow yet smooth motion which as a result conveys a more sexualised looked to the form which explores the sexualised subtext that can be seen throughout the video.

Similar to the relationship of lyric to visual the video also features a relationship of music to visual however not as strong as the previous relationship. Said link between music to visual can be seen during the video at 1:04 when we hear the transition from the verse to main chorus of the song to compliment this we see a graphical animation of neon lights moving frantically in sync with the sounds of the beat. This visual cue illustrates clearly the transition between verse to chorus whilst also allowing the video to transition from animation to animation as we see the close up shot of the artists head transition to a close of the lips.

Another example of this relation can be seen around 1:40, during this time the music have become progressively distorted and have an echo like sound to them. As a result of this during this sequence we the audience notice how distorted and exaggerated the forms have become; the forms are much more abstract as they move into each other and  criss-cross looking more like echoes of each other thus clearly depicting the echo sounds visually.

This abstract look is further exaggerated around 2:59 seconds when we hear an instrumental solo and see the smooth movement of the forms in a circular motion. The sounds at this point sound much more hypnotic and thus this hypnotic look is depicted within the visuals with its circular motion and its bright colours.

Around 3:12 the pace in music increases and so does the pace in visuals as the visuals previous shown i.e the circular motion increases as well as its frantic nature. The visuals start to transition in sync with the beat of the music, not only this but during said sequence the music starts to become more electric in its sounds through the use of strange eerie sounds. These sounds in turn are represent by an array of colour distortions and neon lights to convey the electric feel of the sounds. Near to the tend of the sequence we hear piano noises which are depicted visually by wavelength like movement of  the pink neon graphics.  To summarise these visuals in conjunction with the music show an electronic and distorted aesthetic.

During the music video one notices how there are many close up shots of the lead singer; this may be becaue Tesla Boy are not a well known band and thus the record company behind them may be using the lead singers face to not only sell the band to audiences to do not know who they are but to also depict them as fashionable or "cool". This can be evidenced in the artist image throughout the video as he calmly performs the song with a hypnotic stare towards viewers as well as his general costume consisting of a  sunglasses black leather coat and fashionable hairstyle which are types of clothing that can stereotyped as "cool"clothing . One may suggest the record company are attempting to market the band as being young, fashionable, and "attractive" by having the performer directly stare at viewer's. The calm performance approach my present the artist as mysterious and may also add to this "cool" character that is presently depicted; he's calm and in control.

 
After watching other Tesla Boy music video's one may notice a focus on lighting particularly neon lights and strobe lights which can be seen in Thinking Of You, Electric Lady and "Rebecca". This neon look conveys the band as more of a party band ; their music is being marketed as the type which one would listen to at a gathering or a party rather than to listen to by yourself when down.

Througout the video the notion of looking is referenced heavvily throughout as the lead singer has direct eye contact with the auidence throughout the song possibly for the purpose of engaging audiences to watch the video and follow him directly. Moreover the nature of the video is present in a way reminsent of looking through a teleidoscope or a kaleidoscope, with its unique patterns and circular movement. One may suggest that said feature has been employed to make the visuals more hypnotic and mesmerising; our attention is either focused on the lead singer or the female model as we are immersed in the visuals.

In addition throughout the video one may argure that there is a sense of sexual display of the model as well as the lead singer. This can be evidenced by many close up shots of both the model and lead artist pouting and staring directly towards audiences, that said the model's facial expression conveys more sexual connotations.

As you can see in the image above the model is posed in a provocative way as she is staring direclty towards audiences with a lustful look on her face. This feature is repeated throughout the video and may have been possibliy used to market the band and the music as "sexy" and "young" and most of all desirable. Other examples of this sexualised imagery can been seen during the video when we see shots of the models lips as well as shots of her legs moving slowly. Below, the shot of the lips draws audience attention to them as a result of there centre position and also how bright and saturated the colour lips are. One could suggest the the saturated red has has connotations of lustful imagery which further emphasises the sexual display shown during the video. Also the use of close ups of legs and lips shows a sexual display by focusing on parts which are seen as desirable and attractive but also the way these parts have been presented is of significance. During the video said parts are present with slow yet smooth animations and transistions. This slow movement creates emphasis on the provocative presentation of these parts whilst allowing audiences to focus on this parts. Finally in terms of costume the close up of the high heels conveys an erotic look to the model whilst giving her some power in this video; the model is presented as something one desires but does not easily obtain. This sexualised imagery as mentioned before presents the model and the band as desirable and also "sexy" in terms of a social status; If you listen to Tesla Boy you're cool just like them.

When watching the video, one notices the intertextual reference of the 80's styles that can been seen sublty throughout the video; these include the use of geometrical patterns and bright vibrant neon lights. These references relate to the artists image by focusing on the new wave/ synth sounds of the artist's music and illustrating them with graphics that would illustrate the synth artist's of the 80's; in some ways tying the artist's music and image to the decade which synth orignated from. This illustration of tying Telsa Boy's image with the 80's can be seen in the image below. The album cover on the left is artwork for Tesla Boy while on the right is the artwork for an 80's Synth album. One notices how both share the use of bright neon colours as well as brush script font to present there brands as elegant. Moreover in the Album on the right notice how the female figure is the central focal point of the artwork, this is similar to that of the Thinking Of You video as well as the bright lights.

When considering the Music video's style its adopts features from performance based music videos by featuring the band performing the song, however the video takes a more concept based approach by employing abstract graphics and animations with the performance to create a srange yet engaging video with no cohersive narrative.

Overall the music video to Thinking Of You use music and visuals to emphasises and exaggerate meanings by using sexual display to exaggerate the lyrics and present the band as desirable. Not only this but the video uses concept based styles to tie back Tesla Boy's image to the 80's . Finally the video features imagery of the bands performance due to the fact that Tesla Boy are not as well known as bigger artists and therefore must star in there video's to gain awerness and sale themselves.

G324: Audience Profile Research Task

 G324: Audience Profile Research Task

Preferred genre - Synthpop

Artist Profile - Com Truise

Born as Seth Haley, Com Truise is an American Synthpop and electronic artist born in Oneida, New York. Com Truise's heavy synth based sounds were influenced by the 1980's styles; this is particularly illustrated in his artist image as well as graphics surrounding Truise's work, taking visual cues from 80's sci-fi as well as 80's fashion and graphics. This stylistic choice can be seen in the music video below as it takes many visual elements from 80's sci-fi films such as tron with its neon game like graphics, Terminator evidenced by the opening logo as well as blade runner which is illustrated by its sci-fi noir narrative of a detective investigating a murder. These intertextual references relfect the synth genre by tying it back to its origins of the 80's. Through the use of these intertexutual references the video communicates the retro sounds of Truise's music whilst also reflecting the electronic and sometimes science fiction aspect of the synth genre caused by the elctronic instruments used to produce the music.

Album covers

This visual motif of the 80's is extended even onto the artwork of Truise's albums featuring technology from the past as seen in the komputer cast albums at the bottom and video game like graphics and pixel art on the fairlight album on the top right hand corner. The computer's seen in the komputer cast album is the Commodore PET, the significance of this being by referecning "retro" products on the album work this not only conveys the electric theme in Truise's sounds as well as synth sounds but also reflects the retro-futuristic theme in his work.

This idea of retro futurism reflects the synth genre by taking the futuristic aspect of synth that has been formed by its electronic sounds and its associations with robots and sci-fi by such artist like kraftwerk and Daft Punk and brings it back to the past using older depictions of technology to convey the future in a stylised way. In some ways it brings the futuristic sounds of synth to its past origins.

Furthermore one may argue that the album cover for galatic melt on the top left hand side borrows visual elements from one of 80's synth artist afrika bambaataa promotional materials, evidenced by its clean swiss graphics. One may suggest such an intertexual reference may evidence the 80's element seen throughout Truise's work by referencing 80's graphical designs as well as the artists who were involved with the music in the early days.

Website

The website

Similar to Truise's album cover's, the website for the artist uses swiss graphics which convey a retro look to the artist. Not only this but one may argue that such design is reminisent of  the video game packaging for the Atari 2600, an early games console. This throw back to old technologies further explores the retro-futuristic elements Cruise's sounds, by in some ways referencing a product for its time was the future of entertainment; a new medium for people to consume. Not only this but this further explores the tech based imagery of Cruise's style as well as the electronic aspects of synth.

Adverts/flyers

In terms of Truise's promotional materials the 80's look and 80's icons is further displayed here, as seen in leaflet in the bottom left hand corner which adopts a similar look to the atari video game box art. This 80's look can also be found in the bottom left hand leaflet which features video game like graphics reminiscent of older video games such as Tetris and super break out which further explores the tech look as well as providing a slight sci-fi look due to their geometrical shapes. Finally on significant poster is the poster on the top right hand side in which the artists name is stylised in the top gun font; an iconic 80's film. Additionally this plays on the spoonerism of the artists name "Com Truise" by referencing the film in which Tom Cruise played lead role and is famous for. Overall these graphical references illustrate how retro the sounds the artist is whilst also depicting the future through imagery of technology and sci-fi conventions.

Artist Profile - Kraftwerk

Kraftwerk are a German electronic and synth band known as pioneers of the electro/synth genre. The band's sounds are known for their simplicity and electric melodies as well as their computer generated vocals. Throughout Kraftwerk songs and promotional material one may notice a robotic/computer like motif that is played throughout, this can be seen in the videos below.

One notices in the robots video the band are presented as manikin like figures with no emotion and only slow movement to convey the robotic nature of the group. This with the computer generated vocals display the synth genre by exploring the mechnical and computer themes present within the genre due to how the music is produced via tools such as Moog synthesiers. Moreover the live performance for Kraftwerk - Radioactivity is perfromed with the use of a large lcd monitor which features pixel based type and white flashes. These graphics further emphasises the computer motif that is aparent in Krafwerk's sounds and which in turn exaggeratest the computer generated vocals and the electric feel of synth.



Costume

This robotic or computer look is continued via Krafwerk's costume. In the image above notice how each band member wears the same plan red shirt with a uniform haircut as well as each conveying a lack of emotion evidenced by there "blank" faces. One may argue that this presents Kraftwerk as more machine than human; in some ways suggesting that the music is produced by machine
rather than people which one may ague that this reflects attitudes toward the synth genre. Unlike other genres of music synth or electro is normally produced with more electronic instuments such as synthesiers; some may argue that its not the artist who's producing the music but rather the machine or synthesier thats creating the sounds. Kraftwerk are the machines itself who are producing the music not the people who "press the button".

Albums

1.Computer world  2.Electric Cafe  3.The Mix  4.Musique Non Stop

As you can see above the Kraftwerk's album covers further reflect the robot motif that can be seen in their music as well as their costume. The computer world, electric cafe and musique not stop artwork particularity show this by using computer graphics or computer imagery to present the group as more of A.I or software. The electric cafe graphics particularity shares similarities with the A.I character MCP from the original Tron film. This artificial intelligence connotation presents the band as more of software intended for the production of this music rather than people who make mistakes. This sci-fi idea of artificial intelligence and software illustrates the genre by making the genre sound and look futuristic which due to the period which these sounds were first produced would sound futuristic to the early listeners.



Website

The website

When investigating the website to the band, one may notice the use of LCD font styles as well as pixel fonts for their logo. The use of such font styles which owe there origins to products such as calculators and video game consoles further plays on the computer idea of the band rather than using normal sans serif font styles the site is stylised as if its an old computer program. This makes the overall site less human and more robotic. Not only this but the sites minimalist look with its use of pixelated gifs representing the band members further suggests that said band are more machine if not software than man by displaying an empty and cold atmosphere. One may suggest that this computer program look reflects the synth genre in a similar way the albums do; by conveying a sci-fi look to compliment the electronic or futuristic sounds of the genre.

Adverts/flyers

Likewise the robotic aesthetic is continued on in the promotional materials of Kraftwerk in particular the two images on the far right. These graphics once again employ pixel or computer like graphics to depict the band as machine. However the two leaflets on the left hand side feature more fantastical imagery and worlds either with its vibrant colours to engage audiences or the use of drawings which fill the entire page; the graphics present a more fantasy like setting with typical sci-fi tropes.This sci-fi look connotes a more futuristic look to the band by presenting them as something out of this world.




Artist Profile - Daft punk

Daft Punk are an electronic music duo consisting of Guy-Manuel de Homem-Christo and Thomas Bangalter. The duo are known for their elaborate live performances which include visual effects and elements incorporated with their music as well as there robot disguises when performing or in public.

As you can see above embedded is a video of one of Daft Punk's live performances. During the video we can see a number of vibrant and bright lights shining while the music is being played to convey a cheerful and party like atmosphere thus reflect the party and upbeat nature of synth and electronic music. Moreover the set of the performance uses a geometric structure as seen by the large pyramid in the middle and the triangular lights. This geometrical look can also be found during the sequences when images are animated on the pyramid as we see the movement of grid shapes and other geometrical objects in a similar fashion to the opening titles to TRON. This particular aesthetic conveys a virtual reality or computer generated look and feel similar to Krafwerk or Com Truise's visual style. Said visual style just like Kraftwerk and Truise reflects the synth genre by conveying the sci-fi themes and visual styles of the genre but also showing the computer "generated-ness" of the genre by using computer generated images to emphasises the computer generated or tech based sounds.

Furthermore when watching the performance one must consider the significance of the duo's costumes. The duo are seen performing in a black leather jacket whilst wearing robot helmets which conceal there faces and conceal the human aspect of the artists. Similar to Kraftwerk it appears Daft punk are presenting themselves as more musical machines rather than men which as mentioned before displays the sci-fi themes of the synth and electronic genres. This robot persona is also displayed by the used of computer vocals and lyrics which can be heard during the performance.



Albums

Daft punk's robot persona is also evident in the album art of the artists. One notices how in their album artwork there seems to be a metalic or technology theme running throughout as evidenced by the album on the top left hand side's use of metalic colours with bright multicoloured strokes to display a robotic  or space like theme.The 2nd album on the top right side consists of the artists name within an lcd monitor conveying a similar effect to the album cover of krafwerk; illustrating Daft punk as a software for music rather than just people.This software like look can also be seen in the 3rd album cover on the bottom left as the simple geometrical patterns and strokes share visual cues with Tron as mentioned before which shows a virtual reality or sci-fi look. Finally the last album cover features the duo's iconic helmets along with type reminsent of Micehal Jackson Thriller album.
One may suggest that the use of the helmets as the central image further displays Daft Punk's robot  aesthetic and persona by only including the imagery of the helmets thus conveying an image devoid of human life. However the use of the script or handwritten type makes the album cover seem more personal and humane in some ways; unlike kraftwerk who are depicted as cold lifeless robots it seems that the group are trying to portray themselves as robots with life and feeling. In addition this robotic motif is continued in the albums name Random Access Memories which is the full work for RAM a computer component. These Robot and sci-fi motif's further illustrate synths sci-fi and electronic styles and themes caused by the way the music is produced as mentioned before.



Website



The website



Above is a screengrab to the Daft Punk website. Unlike previous artists who's sites feature unique and new graphics the site to Daft Punk simply borrows the artwork of the Random Acess Memories album to create cross promotional synergy.

Adverts/flyers

The graphics above continue this motif of technology evidenced by the bright lights and neon strokes as well as the inclusion of the duo's helmets. Just like the previous graphics these elements reflect the synth genre by illustrating the electric styles and sounds of synth via the use of sci-fi imagery.



Audience Profile
When considering the type of people who would listen to this genre of music one may suggest that the hipster subculture may be a potential audience for this genre due to how "retro" synthpop can sound fitting in with stereotypical hipster views on the vintage and old.

Stereotypically fashion styles that would be apparent in said audience would included clothing that displays highly saturated colours or famous characters or sayings. In addition said audience could also wear T-shirts with images of nature or cartoon animals as well as bright belts with unique or quirky belt buckle usually referencing something from the past or an iconic character or band. Other fashionable accessories include vibrant wristbands vintage headwear or beanie hats as well as ray band sunglasses or horn rimmed glasses. Moreover typical gender lines are blurred with haircuts and styles which convey an ambiguous gender.  One may suggest that such a trend is caused by the fact that said "audience wants to emulate there favourite artists who use this ambiguous gender style: artists such as La Roux, Martin Gore and Annie Lennox.

La Roux - Synth pop artist (one can see how gender lines are blurred here by the artists "masculine" hairstyle)

When considering the leisure activities of said audience one may suggest that these activities include an involvement with the arts whether it being photography,graphics, art or even producing Synth music of there own due to how easy it is nowadays to produce this type of music with the software available to us. Other activities include attending gigs and clubs as well as attending art exhibitions and using social media sites such as tumblr, blogger and instagram which allow them to voice there opinions to the public.

When considering the socio-economic background of listener to this genre of music while it may be difficult of find an exact social class one must consider that listeners would have to be fairly wealthy or from a middle class background to engage in these fashion trends and activities.


C4 Tribes - Creative

After taking the channel 4 tribes survey the tribe I belong to according to channel 4 is the creative tribe. According to channel 4 people who belong to this tribe “I’m part of a creative bubble”, I’m frequently involved with the arts in some way, I love heritage and I like to enjoy myself but without the excess. To some extent I would like to agree and think of myself being part of this “tribe” as i have expressed interests in the arts before as well as the  artistic and visual styles of previous decades such as the 50’s, 60’s, 70’s and 80’s. During the video footage of the tribe presented to me no known musical tastes we presented directly to me; however in one of the shots I saw a sign for a disco possibly suggesting those in the creative tribe listen to disco or club music. To some degree this reflects my own musical preference as I listen to similar genres or genres which have their roots in disco music to make activities such as work much more enjoyable.

When looking at similar artists what I've noticed about these three is in terms of visual motifs is the use of neon styles and colour, sci-fi conventions such as robots, computer motifs as well as intertextual references to the stylistic origins of the genre which are the 1980's.  For my own media product if I were to chose a song of similar genre one would have to consider adopting said visual styles to both music video and also potential Digipak. Focusing on computer themes  and 80's visual motifs to adopt this in my own media product one would have to center a narrative or a concept around technology or sci-fi themes to communicate to viewers the type of genre my music production. In addition to convey the 80's/retro look to my video visual styles such as glitch art would work in showing an old VHS effect to the video as well as splicing old 80's footage similar to how truise employs such a feature to show a retro look whilst tying it back to the genres origins. When thinking about theses artists use of bright neon lights to show electrical themes if I were to work in a similar genre such visual style would work well in visualising the genres sounds. Perhaps for my video, feature sequences which have colours or lights moving in beat with the sounds of the song.

For my potential digipak if I were to work in said genre I believe my digipak could go in two directions to convey this genres conventions and its stylistic origins. One would be to go with the swiss graphic look seen in some of Com Truise's designs and look at popular graphic artists of the 80's such as Peter Saviles  minimalist work on similar bands such as New Order and OMD or to keep a stronger sense of synergy between video and digipak and feature themes mentioned above that may be included in my video such as neon visuals and saturated colours and a technology motif. However this will depend on the style of my chosen song whether its a more "warm" type of electronic song like Daft Punks One More Time or something much more colder in tone like Blue Monday by New Order.

Daft Punk - One More Time

 

 

 

One Music video that has particular stood out to me was the music video to Daft Punk's One more Time. To me this Music video represents the creativity that can be found with producing a music video by not only complimenting the featured song but also by telling a narritvie which enhances the song.