Analyising a similar artists video- Daft punk Harder Better Faster Stronger
From listening to Harder Better Faster Stronger without the visuals I managed to count around 35 cuts in the first 37 seconds, this was however based on the beat and pace of the song. When, actually viewing the music video to the track I have noticed that there were only around 16 cuts which is just above half the amount I counted. What the video does is during parts of the track where it would be assumed a cut would take place the video would either pan or track movements to keep viewers interest engaged. Certain shots would also feature the movement of characters and objects to prevent the shots being static and flow with the pace of the song. This movement would also in pace of the beats thus keeping up the pace without using too many shots to overwhelm viewers. Around 11 seconds into the video, it shows the action of one the pods opening up in different perspectives each perspective changes on the beat of the track. Furthermore during the video one notices that there is still cuts on beat however not every beat leads to a cut. This allows audience the time to consume the visuals and understand what is being shown to them.
From this I have learn't that not all cuts need to be on beat, in fact it would cause a problem for viewers to understand what is happening.
Burnin fever - Possible locations, props, initial storyboard and brainstorm ideas
The prezi above contains two A3 pages of plan/notes for my
music video; these plans include a storyboard of possible shots for the
first 48 seconds of the video, ideal locations to film certain scenes, props
that would be needed for the shoot. Also included are, a new helmet
design/concept for the robot, a sort of structure to the narrative of the
video, ideas for imagery that could take place during certain places in the
track as well as a short brainstorm as how to depict the robot taking over the
digital world. To read the Prezi please full screen the presentation and zoom in on each page.
Below I have included some extra details concerning certain areas of the two A3 pages
A new helmet design
For the look of the robot I have decided to alter its appearance keeping the astronaut base helmet but opting for a more blocky look. I've decided to make the design look like a video game like graphic or pixel to suggest the robots more software like ties and to convey a technology theme/visual motif that can be found in my chosen genre of music for my music video and similar genres such as techno.
An example of pixel video game like graphics. I would like the robots mask to have a similar aesthetic to this
In addition, the use of a mask can convey the look of a masked DJ or artist; a convention that is found in my chosen genre and similar genres.
"I did it because the thing in techno you weren’t
supposed to do was to be recognized and stuff. The sort of unwritten
rule was that you can’t put your face on the sleeve. It has to be like a
circuit board or something. Therefore I put my face on the sleeve.
That’s why I originally did it. But then I got carried away."
—Aphex Twin
Aphex Twin explaining anonymity in the techno genre. Structure/Plot line
During my mind map, I started to develop a more focused structure to my music video. As mentioned before in another post my music video will follow the exploits of a scientist/hacker as he uploads a virus to the web causing which causes chaos in strange ways. After mind mapping and really thinking what the virus does and how it works I managed to come up with a structure and less broad idea to the events in the music video.
Sequence 1 - We are introduced to the Hacker as uploads the virus
Sequence 2 - We see the robot/virus affect the web/digital world as a group of office workers watch a viral video of the robot which also happens to be the virus
Sequence 3 - The office workers get infected by watching the video
Sequence 4 -The office workers spread the infection
Sequence 5 - The infection is widespread and worldwide
Sequence 6 - The Hacker gets infected by his own virus
Within the Prezi on the second page I have left some notes certain events that I would like to happen at certain times during the music video
The virus and how it works
I have decided that the virus depicted in the video works by a person watching a video of the robot and which causes them to lag or glitch out as if they were in a video game (to show the artists sci-fi image and to also keep with the technology theme). Eventually the viewers turn into a zombie like creatures which then
spreads the virus to other people. The idea of a virus traveling via
television or someone watching a video was influenced by the horror film
called The ring which features a cursed video which people who watch it
die within seven days. In my music video the people who watch the video
do not die because it would cause a massive shift in tone furthermore
one may suggest possible showing some sort intertextual reference or
parody to the ring may be suitable in my music video to convey a comic
tone that is desired as mentioned previously in my initial ideas post.
For zombie like creatures or infected I have taken inspiration from the Aphex twin music video, come to daddy which features a group of children wearing Aphex Twin masks and running around an causing chaos. The infected in my music video will take a similar approach to the children featured in come to daddy as they will wear masks to conceal their humanity and convey a subtle hint of creepiness however I would like to dress these infected people in fancy dress clothing such as pirate hats pyjamas or onsies to convey the comical and whimsical tone.
Other notes
Throughout my planning I will be referring to something as the digital world which refers to any types of visual texts such as TV, films and music videos which the robot lives in and is taking over.
I would like the robots take over to be represented in a variety of ways which include the invasion of other genres similar to the music video Red Hot Chili Peppers - Dani California and how it features many of the tropes and stereotypical looks of certain music genres however this may be subject to change if it proves to much of a large scale to work with.
Another way I would like to depict the robots take over of the digital world is to feature a sprite sequence similar to the music video Junior Senior -Move your Feet in which we see a simple dance animation of the robot in a video game like graphic.
During the video as mentioned previous post I expressed my interest to use stock footage to draw parallels to how my chosen genre uses samples from other texts to create something new. This idea of visual samples was inspired by the music video Com Truise Brokendate a track of a similar genre to my chosen one. I have however chosen to use "visual samples" to convey and add emphasis to the virus overloading the digital world around 3:42 to 4:10 in which the pace of the music picks up and repeats the word fever several times. Furthermore, similar to Brokendate which features visual samples from old footage from the 80's, I too would like to use a mix of 80's/late 70's footage to convey a retro look whilst making reference to my chosen genre,nu disco's 80's origins
Finally during my music video I would like to have some type based sequences similar to the music video Daft Punk - Technologic which features sequences of kinetic type flash on a small monitor. I would like to employ this effect to emphasize the lyrics"like a fever burnin', and let the love with feel" as computer commands.
Words such as "Burnin" and "love" will be represented by rebuses such as an image of fire and a love heart to draw emphasis to such words.
Video Analysis - Calvin Harris - Acceptable in the 80's
The video I will be analysing is the music video to Calvin Harris - Acceptable in the 80's which was directed by Woof Wan-Bau. Acceptable in the 80's is an electro house/nu disco song and thus characteristics of the genre is present throughout the video, these include the use of bright vibrant colours to convey a cheerful mood as well as the use of a female figure or model for possibly the use of sexual display. These characteristics of electro house/nu disco can be evidenced by a google image search of both genres electo house and nu disco. Similar to Anna Calvi's Desire the music video to acceptable in the 80's a mix between concept, performance and narrative based evidenced by the fact that certain visuals can be left for interpretation. The performance aspect of the video is evidenced by the fact that the artist performing in his video possibly due to the fact that this song was part of Harris' debut album I Created Disco and therefore the artist would need his face featured in videos to be promoted and known. In addition the narrative aspect of the video can be evidenced by the continuity that follows when we see scientists on an animal and the effects it has on other characters. When looking at how the lyrics of the song are illustrated via visuals acceptable in the 80s uses well known stereotypes and of the 80s in its video to present what was acceptable or the norm in the 80's linking in with the title of the track.Examples of this can be seen in terms of costume as various stereotypical 80's fashion has been used for instance the 80's fashion trend of large hair, vibrant clothing and leather jackets with patterned clothing. One could argue that the director's excessive use of these stereotypes have been employed to emphasise how strange the 80's was compared to today by using and exaggerating so many fashion stereotypes to make the decade seem so alien. However for those who grew up during this decade the use of these stereotypes will create a sense of nostalgia about how the way things were.
Additionally, one may argue that the actress above bears some resemblance to singer Kylie Minogue. The significance of this being that Kylie Minogue was a large icon during the 80's, this could've been employed to further convey the 80's aesthetics of the visuals.
Another instance in which lyrics are amplified via visuals is during the opening sequence around 0:17 in which we see a two shot of men in lab coats testing on a toy otter. Said shot is an intertextual refecence to how animal testing was still legal in Britain during the 80's and thus links in with the main chorus of the song "It was acceptable in the 80's". In addition one may argue that the use of a toy otter instead of a real one or an accurate prop may convey that perhaps the director intended to make the scene itself seem strange and emphasises how strange it was looking back that this was allowed to happen. Furthermore, the use of low key lighting rather than featuring the lab in a well lit room may connote that the experimentation may not be exactly legitimate operation looking back.
This theme of animal testing being acceptable in the 80's is carried throughout the song. During the sequence in which we see the scientists, the two characters remove a green substance from the otter it is then at 0:31 we see the green substance being used as hair product on one of the characters. The use of these scenes in particular illustrate the songs title and main chorus by showing us the viewer the relationship between animal testing and fashion during the 80's. These visuals with the songs title may be asking the question was this actually acceptable and with the excessive use of 80's stereotypes and weird imagery, one may assume that the director of the music video is saying no. The weird imagery present a sort of humorous tone to the testing process in someways making fun of it rather than celebrating it.
Throughout the track the toy otter becomes a visual motif as see many of the characters interact with it including the artist himself and dancers. During the video we see many mid shots of the dancers playing around with the otter. One could argue that this in turn presents the the otter as property of the people to do whatever they want with it rather than an actual being. This may suggest linking with the title of the song once again that the director is presenting to audiences the attitudes towards the treatment of animals during the 80's; animals could be testing on and there were no ethical issues about it.
Next at 0:53 - 1:47 we see a series of visuals depicting the scientists once again testing on the otter and then removing an orange substance from its body which is then taken away by another person only for the orange substance to be prepared as baby food for a child. During this sequence of shots we hear Harris mention "I've got love for you,If you were born in the 80's, the 80's,I've got hugs for you,If you were born in the 80's, the 80's I'll do things for you, If you were born in the 80's, the 80's."
If one were to read the lyrics without watching the music video because of the context songs release in 2007, one could argue that the song is talking about the legal consent between relationships i.e. Harris is telling us he would be able to have a relationship with you if you were born in the 80's and thus you would be over 16. However, the lyrics in context of this sequence lyrics may convey a different meaning, that rather than going out with someone this suggests more of taking care of someone or yourself. "I'll do things for you" could suggest the extent people went to, to take care of themselves during the time period allowing things such as animal testing to happen.
In terms of mis en scene the when the food is delivered to the child , the room the child and the parent live in features natural lighting and a vibrant coloured wall. In contrast to the low key lit room of the scientists this could this could convey a sense of innocence to the family; they are happy yet oblivious about the food and where it came from. This could convey that possibly animal testing was only considered acceptable because people were oblivious to it during that time.
At 3:01 we see a man the toy otter on a large balancing scale. This may raise ethical questions about rights; who's life is more important the humans life or the life of animals and is testing on animals right.
When thinking about relationship between music and visuals, visuals tend to cut on beat to the tune of the track each time creating a different effect. One example of this can be found early during the first 7 seconds of the video we see a range of close up shots of two women dancing each time cutting from shot to shot on beat. The may connote the idea the idea that the 80's as liberal and carefree. Furthermore during these shots one could suggest that the women dancing have been put on sexual display due to the composition of the shots sometimes cutting to parts of the human body that are considered desirable and attractive such as legs and the seductive nature of the dance itself. This may have been employed to convey the artists image as sexy and desirable but may also connote how the 80's focused on style and fashion. The shots also tend to cut to close ups of the clothing the dancers are wearing perhaps conveying the 80's focus on fashion and ones status.
This idea of the 80's fixation on fashion may also be evidenced around 0:11 as we cut on beat to a shot in which the frame is split into a 3 by 3 grid and within each frame we the audience can see the dancer once again dance with the otter. The use of the 3 by 3 grid presents each frame as a sort of TV monitor thus conveying a notion of looking in someway. Based the idea that these frames represent TV monitors one could suggest that this connotes how fashion was everything people saw and consumed within the media during the 80's and how fashion dominated the decade.
Moreover another interpretation of this shot could be that this may be an intertextual reference to the work graphic designer Patrick Nagel who designed the album artwork to Duran Duran; a popular 80's music group. This could be evidenced by the similarities of the two being that both frames featuring women as their focal points against a solid colour background as well as the similarities between the dancers appearance and the women normally depicted in Nagel's work i.e fashionable women with dark black hair and bright red lips. Said intertexutal reference as a result further adds to the 80's aesthetic of the video whilst also conveying the idea that said decade was glamorous and a time for art.
Another significant sequence when video cuts on beat is when we are introduced to the scientists at 0:15 seconds when it cut on beat from close up shot to close up shot of each scientists face. Both scientist when cut to convey an emotionless look in addition to the electric of the beat on each cut this presents the scientists in a more robotic manner rather conveying any humanity to them. This may emphasise how cold the experimentation on the otter is; it presents the experimentation in darker outlook.
This imagery is also repeated around 0:52 as we see both scientists move their heads down on beat thus suggesting the robotic nature of these scientists. It also conveys how effective they are in what they do since no flinching can be seen as they move their heads in uni seen on beat; there conveyed as more of a factory line producing these experiments with no thought as to whether this is right or wrong.
Other instances in which visuals cut on beat are during the scenes in which the child is eating the food, we see shots of the mother feeding the child jump cut and zoom in to show the passage of time in a stylised way.
During the extract, one notices there are many close ups of the artist Calvin Harris performing and dancing with the toy otter. One could suggest that the record company are trying to sell Harris' image as comic and fun; this can be evidenced by the nature of Harris' eccentric performance during the video as he attempts dance with a toy otter against a vibrant background which is constantly changing colour.
Furthermore, when taking in consideration of his costume, Harris mainly wears bright saturated clothing with large bright green headphones that bears resemblance to older headphone designs of the 80's. However the headphones Harris are wearing are plugged in the toy otter rather than Walkman or other type of music player. Perhaps this has been used to poke fun at 80's technology and how it looked;particularly how large and clunky the technology appeared to have been. This ties back to the title of the song as this sort of technology was considered acceptable in the 80's but also this may also tie with Harris' artist image that is trying to be sold. Harris's bright clothing and uncanny take on tech may further convey a fun whimsical nature but may also connote some sort of retro feel to the artist as he adopts an exaggerated version of the 80's style. This retro feel will produce some sort of familiarity among older listener whilst his exaggerated take would provide something new for those who weren't born in the decade and younger to engage with.
In addition, during the video similar to the dancers we can see a 3 by 3 grid of a close up of Harris' face. In the shot he is seen wearing a particular set of glasses known as "fly eyes" due to their studded design. The glasses bear a sort of resemblance to disco balls in there colour and texture and thus could link in with the title of the debut album the track is on "I created disco". This would further add to the artists retro image as well as presenting him as stylish as well by introducing an unconventional type of eye wear to audiences.
Upon watching two other videos of Harris' music ready for the weekend and the girls it appears that a notable theme throughout these videos are the use of vibrant colours, abstract and eccentric imagery and seductive performances from a female cast. Similar to acceptable in the 80's one could suggest that Harris image is being sold here as fun, sexy and stylish due to the creative and abstract look of the videos as well as how campy and over the top they can be. However after watching Harris' more recent videos I Need Your Love ft Ellie Goulding and Feel so Close , it appears there has been a change of artist image being sold to audiences. The campy and eccentric nature of Harris' previous image appears to be toned down as evidenced by a more greyish colour filter applied to both videos to make them seem more realistic. However, I need you love his most recent video keeps the motif of women on sexual display and both feel so close and I need your love carry on the fun attitude to his image however not so overt as his previous videos by featuring other people enjoying themselves. Perhaps this shift in campy image and whimsy may signify an attempt to mature the artist image and brand since he has become more established and wouldn't need to rely so much on a strange appearance and attitude to sell his work. Another factor could be since another artist is featuring in I need your love they must sell her image as well. After watching the video to acceptable in the 80's one notices that there is a strong notion to looking present as many of the cast stare and smile directly at the camera causing a slightly uneasy effect for the viewer. Against the bright colours these cast members staring towards us causes the visuals within the music video to seem distorted and sort of dreamlike. This may connote the directors feelings towards the decade presenting it as very exaggerated and strange to emphasizes how bizarre the decade was looking back.
Other notions of looking can be found when Harris is performing he directly looks at the camera when singing "I've got love for you If you were born in the 80's the 80's I've got hugs for you If you were born in the 80's, the 80's". This direct address in as well Harris directly looking at the camera immerses the viewer into video as it becomes more of Harris directly talking to us rather than a general character.
When thinking about
intertextual references used in the video one may consider that the video the
video itself is big intertextual reference to the 80's itself, featuring many
of its stereotypes and other visual motifs we associate with the 80s such the fashion
sense of the time. One could suggest this may fit in with the stars image as
mentioned previously to convey a retro look to his image. Also one may suggest
that as a result of these intertextual references Harris' image may have
taken some of the more desirable qualities of the 80's i.e. 80's fixation on
fashion has been conveyed during this video which may as a result promote
Harris' image as fashionable as well.
Overall it seems that the music video to acceptable in the 80s uses a
range of exaggerated stereotypes, intertextual references of the 80's and
strange but vibrant imagery to convey how bizarre the decade, its fixation on
style and fashion as well as commenting on the ethical issues of animal testing
during said decade. Furthermore, the use of vibrant and eccentric imagery
conveys conveys Harris' artist image as whimsical, fun and stylish. Finally,
the video uses a mix of performance,concept and narrative based performance as
evidenced by the narrative of the scientists testing on an otter and the
effects it has and the use of slightly abstract imagery for that are open to interpretation. In addition, the fact that the artist performs during the video
due to the fact that this song was on his debut album therefore Harris wouldn't
been know among a mass audience and needed the promotion.
It was acceptable in the 80's It was acceptable at the time It was acceptable in the 80's It was acceptable at the time I've got love for you If you were born in the 80's, the 80's I've got hugs for you If you were born in the 80's, the 80's I'll do things for you If you were born in the 80's, the 80's I've got hugs for you If you were born in the 80's Yeah It was acceptable in the 80's It was acceptable at the time It was acceptable in the 80's It was acceptable at the time I've got love for you If you were born in the 80's, the 80's I've got hugs for you If you were born in the 80's, the 80's I'll do things for you If you were born in the 80's, the 80's I've got hugs for you If you were born in the 80's Yeah
The music video to the song Desire by Anna Calvi was directed by Aoife McArdle. During this post I will be analysing the features employed between 0:45 and 1:22 minutes of the music video.
The music video to Desire is a mix of
performance based and concept based music video, featuring footage of the
artist's performance. This is possibly because Desire is a track from Calvi's
debut album and thus for the purpose of promotion and exposure her face is
quite prominent in the video. The video also features elements for conceptual
based music videos by using abstract visuals that add meaning and emphasis to
the lyrics without directly following a narrative. A central theme that is depicted throughout
the music video is passion and how passion and ones desire for things can be
uncontrollable and take over people. Said theme can be seen around 0:46 when
Calvi utters, "The sound of love is beating like a fevered
heart" we see shots of
lamps and candles flickering on and off which somewhat suggests the how strong
passion or desire can be. The use of low-key lighting in the shots contrast
with the light and present them as more as fires burning rather than plain
simple lights. This visual with the lyrics present love as a force powerful
enough to cause said fires to burn brighter as the "sound of love is
beating down". One may also argue that this emphasises the idea that love
and passion can take over a person as seen in these shots as it disrupts and affects
the environment around it.
In terms of mis en
scene in one of the shots previous described one can see two candles in between
them we see a skull, which has been lit up by said candles around the candles
we see some form of vegetation. One may claim that the skull represents death
whereas the vegetation connotes life but what is significant in this context is
that skull is more lit up than the vegetation possibly suggesting that the lights,
which illustrate the idea of passion and love in this shot, may lead to bad
consequence. This may show that maybe passion, love or desire can be a
dangerous thing.
Around 0:49 we see
an extreme close up shot of Calvi's right cheek as the back lighting behind her
becomes much brighter and prominent when she sings "And it's the
fire". In this shot, one may suggest that the lighting depicts the
fire that she has just mentioned; the lightings prominence adds more emphasise
and feeling to the lyric whilst also giving audiences a stronger description of
how powerful once again these feelings can be. The fire could mean the feelings
and emotions taking over which is represented by this bright light taking over
the frame and the artist as well.
As the video
progress Calvi repeats the words, "the fire" as the volume of
her guitar and drums gets louder and much more intense so does the visuals in
sync with the sounds as we see close up shots of various objects shacking and
tilting. The sounds of the drums in sync with the tilting within the shots
suggest that a force is approaching or knocking. One may argue that this
tilting and disruption further illustrates how these feelings can take over and
pushing everything else aside.The close
up shots allows us the audience to see the disruption in a more overt way
possibly suggesting how at this point Calvi cannot hold these feelings in
anymore.
One significant shot during this sequence is
at 0:55 we see a close up of a crucifix in which a feather glides down and
falls to the bottom of the frame. Around
this time, we also hear Calvi sing It's heavenly, heavenly Desire. The
lyrics during this shot in some ways contrast each other rather than complement
each other as Calvi describes desire as being heavenly or good whereas in said
shot the visual of the feather falling one may interpret as an Angel falling
even heaven falling presents otherwise.Said visual conveys desire as more dangerous thing as one may argue as
previously mentioned since the drums and discourse within the shots represent
the desire then what we see is these feelings shaking down the heavens
themselves; perhaps even dragging them down to hell. This may emphasise connote
how dangerous and uncontrollable these feelings can be so uncontrollable that
Calvi has convinced herself that this desire this want for something is a good
thing yet the visuals show us that what she wants may be her undoing and
"drag her to hell".
However, the intertextual reference of the
crucifix and the bible story of Christ's death may connote the idea of going to
"hell and back", that even though we may get consumed by these
feeling we may always return from them and sometimes achieve what we desire. In the bible, it
is described that Jesus suffered on the cross and on the Saturday went to hell
until he was resurrected. Said intertextual reference may allude to how
sometimes when we want something really bad we go through suffering to finally
get what we want or return to normality;we go through "hell and back" for these feelings. When Calvi first
mentions Desire at 0:57, we see a close up shot of her lips covered in bright
red lipstick. One could say that perhaps the artist is on sexual display as her
bright red lips connote a seductive look thus linking in with the title of the
song, the bright red colour connoting lust and desire. Moreover in relation to
the lyrics the use of solely focusing of Calvi's bright red lips emphases and
turns the word more into a command rather than just a word; it conveys the
feeling that giving into ones desire is something more like a command,
something which you follow blindly.
Additionally, just
like Calvi's lips her costume consists of bright red clothing, which in turn
adds to the connotations of lust, and desire. One could suggest that because
she is covered in red it could connote how these feelings are taking over her
body.
During the extract
around 0:59 we see a POV shot of a dark door slowly opening. The door in shot
features a window in which we can see a flight of bright red stairs. One may
suggest that this shot connotes Calvi succumbing to these feeling and giving
into the temptation of her desire. The red stairs may represent the desire or
lust itself and the journey it will take you on, whereas the door slowly
opening may convey Calvi slowly entering this journey or just starting to be
taken over by said feelings. In addition, the little window on the door conveys
a sense of curiosity as she is slowly peaking in at this "journey" or
what she desires, however that said the silhouette like lighting of the door
may once again suggest how dangerous going after what we desire may be. One can
argue that a dark door opening may signify how this desire is leading to
suffering or a situation full of hardship.
Next at 1:02, we
see another POV shot of the camera or perhaps Calvi walking up the red stairs.
The shot is quite shaky and uses a Chiaroscuro lighting effect, which causes half of
the stairs to be covered in darkness. The shaky and unsettling movement of the
camera conveys a feeling that Calvi is somewhat hypnotised on this journey
towards her desire as she climbs theses stairs. The shaking suggests a
disorientated feeling as if she has been taken over by these feelings and will
just go forward without looking back. One may also suggest that the composition
of the shot also suggests a sort of "no turning back" feeling, as we
do not see that bottom of the stair; there is no second thought and the only
way now is going after this desire. Additionally the use of Chiaroscuro
lighting in the shot presents the journey of going after what desire as
dangerous and as an unknown. This may be evidenced by the fact that certain
elements of the stairs are omitted from the composition thus one may argue that
said shot may also represent how when we go after what we desire it can be
fully of uncertainty we don't know what we are after and anything can happen to
us but we still go on. However, there is still bright on the other side of the stairs,
which could connote the feeling of excitement and temptation that we walk
towards. Although the darkness and fear is on the other side, we still go on to
get what we want.
Then at 1:05 we the
POV shot continues to be used as we see a low angle POV shot of a red lamp
emitting a bright light against a darker environment. One may argue that the
red lamp connote desire itself and with the use of the bright light being
emitted and contrasted against the darker background we the audience almost
direct out attention uncontrollably to this lamp. In some way perhaps this shot
allows we the audience to experience some form of the uncontrollable feeling
Calvi may be experiencing.
The shot then cuts
to a high angle shot of a red staircase going downwards which features a
darkened area right at the bottom. During the shot, we see smoke slowly appear
out of the dark area. One may argue this may connote hell itself as evidenced
by the smoke slowly being emitted from the darkness. The smoke may subtly
evidence the "fires of hell" that is depicted in other texts. This
may connote that if we follow these desires this is where we may end up. The
darkness seems bottomless and it may show that all these feelings lead to is a
bottomless pit as we keep falling. The use of a high angle shot further emphasises how far down and
intimidating this journey is or where we may end up in.
In terms of the relationship between lyrics to visuals when
said POV shots are played we hear Calvi
repeat the word "Desire" emphasising her journey towards this
desire ;the repetition here show how she is following her desire blindly and
thinking of nothing else. In addition,
during two of these POV shots we hear a subtle thunderous noise being played in
sync to the cut. Said noise is played in the beginning of the shot in which the
door opens and during in the high angle shot of the staircase. This sound in
sync with the door opening may emphasise a foreboding feeling as if some force
warning not to enter; not to give in to these desires. However since we also
hear Calvi mention the word Desire during this shot one could argue that
although the sound of the thunder may represent danger and fear if one desire's
something so badly then the danger is forgotten and this is what the door
slowly with Calvi's lyric may represent. When hear the
thunder noise in the high angle shot of the staircase the sound here is used
emphasise the danger that we may experience perusing these desires by adding to
hell theme previously established by composition of the shot. Around 1:12 into
the extract, Calvi mentions "I wanna lay in the dust" and we
see long shot of a stature in a dark red tinted room. It could be argued that
said statue within the shot is Calvi's grave or a monument to her and the red
tinted environment connotes hell or a place of suffering, which can be
evidenced by the red flickering, which is reminiscent of fire burning. Perhaps
this has been used to further illustrate where she may end up or what she may
go through when giving into these desires.
Eventually we see
a close up shot of the stature that appears to a have crack on it from its eye
down to its cheek. Said imagery conveys a sense as if the statue is in pain as
if it's been crying, however the expression on the statures face is blank
perhaps connote the idea that all the emotion and desire has been lost yet it
still suffers in this environment. One could argue that this may connote how
when giving into these desires eventually we end up going through pain and
loose who we are as evidenced by the cold expression on the statures face.
In addition,
throughout the extract there are several extreme closes up shots of the artists
eyes which show Calvi with a determined expression. It's said that eyes are doorways
to a person's soul and perhaps these shot has been selected to specifically
emphasise Calvi's desire or attraction for something.
At 1:19, after
Calvi says, "God knows it's just the devil in me" we see a
high angle shot of a red carpet split with white checkerboard flooring. In relation to the lyric said visual depicts
the internal conflict Calvi is going through as her desire for something is
taking over as evidenced by the fact that the red carpet, which may represent
lust or desire, takes up more of the frame than the black and white flooring. One
may argue that the significance of the black and white tiles may represent
Calvi's other thoughts whereas the red carpet connotes this one desire or thought
taking over everything else she used to think about.
Next, it cuts to
another high angle shot but of a statue surrounded by the red carpet. One could
argue that this further illustrates how here desire has now taken over her
thoughts since before we saw a divide between the red carpet and the
checkerboard but now this carpet encompasses most of the frame.
It then cuts to a
mid shot of Calvi performing. The shot creates a sense of voyeurism (goodwin
93) as if seems as that a different entity is watching; the shot is
composed more like a POV shot which can be evidenced by how blurry and shaky
the shot is. In relation to lyrics Calvi mentions "The devil that's
taking my hand to the fire" perhaps this could suggest that this
watcher is the devil or temptation about to consume her.
Finally, at 1:22 we hear Calvi finishes the line
"The devil that's taking my hand to the fire" and we see a close
up shot of a door closing. Behind the door, one can see blurred bright orange
lights. One may argue that the use of said visual has been employed to
illustrate how Calvi has no gone so far down this journey towards her desire
that there's no going back; theses emotions have completely consumed her.
Furthermore the link between the lyric to visual suggests more that in fact her
desire has taken her to a place full of suffering; the fire meaning hell or
pain this has been depicted via the use of the bright orange lights to convey a
sense of burning.
In addition, another religious intertextual
reference can be seen within the shot as on the doors one can see the Fleur De
Lis printed on the door. It is said that the flower that said symbol originates
from sprung from the tears shed by Eve as she left the Garden of Eden. Perhaps
this has been used to draw parallels to Calvi's desire and Eve's desire as Eve
was tempted by the devil to give in to the desire of eating the forbidden apple,
which caused Eve to be punished, one may argue that the same is being shown
here but with Calvi in place. This shot may suggest Calvi giving into these desires
and getting punished for it.
I wanna go to the sun
Hold my life like I've never done
But it's just the devil in me
The devil that's calling as I come undone
The sky is getting dark tonight
Darker than the fear that's gonna pull us apart
The beating is the sound of love
The sound of love is beating like a fevered heart
And it's the fire, the fire, the fire
It's heavenly, heavenly
Desire, desire
Desire, desire
I wanna lay in the dust
The dust is gonna fall here when I lie
God knows it's just the devil in me
The devil that's taking my hand to the fire
I never wanna leave you now
Leave you like the sun is gonna disappear
But it's just believing now
Believing in my heart is what I've come to fear
And it's the fire, the fire, the fire
It's heavenly, heavenly
Desire, desire
Desire, desire
I've got desire, desire
I've got desire, desire
And only the lonely
Only the lonely fall
Only the lonely
Only the lonely fall
Fall
Oh, and I go to the fire
But God knows it's the sound of, it's the sound of love
It's the beat of my heart that you
Finally beating, it's coming, coming, coming for you
And it's just the devil in me
It's just a door to the devil gathered in disguise
Taking me by the hand
And leading me, leading me off to the fire
And it's the fire, the fire, the fire
It's heavenly, heavenly
Desire, desire
Desire, desire
You don't have to be lost
(Desire, desire)
You don't have to be lost
(Desire, desire)
You don't have to be lost
(Desire, desire)
