(I'd just like to mention that there are flashes where light passes through trees, or where the editing features fast white transitions, just incase the viewer suffers from epilepsy of sorts, though the flashing is fairly natural and not particularly startling or frequent).
I attempted to follow some of Goodwin's proposed music video conventions, where applicable, with my filming and editing. One of these being the idea that actions or movements are synchronised well with the music; I ensured that with each beat or pulse or rise and fall in the song was met with a response visually, so for example a shake of the entire video, a quick pulse (zoom in and out rapidly), a flash of black or white for the transition to a memory or blackout, such as in the bath scene where black is sued instead of white to represent a sense of dark memory, the character not thinking positively, the idea of fading to black rapidly representing ideas of loss of conciousness, despair, blinking and generally not experiencing anything 'angelic' or safe (3:20 roughly, is the bath scene for example, where the vision of the protagonist flashes black), unlike white transitions (the character experiences coloured transitions on occasion based on location or state essentially). In general, my editing is nearly always cutting away to new shots, jump shots, continuity edits etc. based on the music, so in fast paced areas the editing is fast paced, and in slow moments the video reflects this with the editing. Essentially, the pace of the editing and filming is controlled by the music itself. Many of the edits used were not complicated, and were conveyed with emotion, the character almost being controlled by the music in places, such as when he falls over (1:50) and the camera shakes and glitches (due to the Genre being Glitch-Hop as well as Indie, matching the beat and effects of the song at these points). This idea (the idea of the character having an almost perfect attunement and synchronisation with the song), as well as the fact that it is shot in the first-person entirely, creates a heightened sense of emotion, empathy and generally an ability to associate with the protagonist and feel, see, touch, experience and read the narrative in the same way that he does. This idea (Goodwin) is conveyed, I believe, in the idea of lyrics relating to song, as well as with the visuals.
I have also decided from feedback that I will re-film or reconsider the shot nearer to the end involving going to bed, as well as the falling scene, as it seems very lengthened and awkward with no narrative purpose halfway through the shot, a well as the shot afterwards whereby he staggers for far too long with the camera shaking inappropriately.
Using Joan Lynch's idea of the three types of music video, I concluded that mine is essentially a Narrative Music video, though it does have elements of Conceptuality within it's structure, though it definitely ignores the intentions of a Performance music video, which would be, as described by Jon Gow, as an anti-performance piece. In terms of Jon Gow, I think that this is all it can be defined as, because it does not feature many special effects, nor does it have dancing, nor does it show the production process; the video is literally realism in the first person showing a semi-simple narrative with editing and transitions being the only true effects, though this does not overshadow the video itself enough (or at all) to be considered a special-effects extravaganza.
I attempted to follow some of Goodwin's proposed music video conventions, where applicable, with my filming and editing. One of these being the idea that actions or movements are synchronised well with the music; I ensured that with each beat or pulse or rise and fall in the song was met with a response visually, so for example a shake of the entire video, a quick pulse (zoom in and out rapidly), a flash of black or white for the transition to a memory or blackout, such as in the bath scene where black is sued instead of white to represent a sense of dark memory, the character not thinking positively, the idea of fading to black rapidly representing ideas of loss of conciousness, despair, blinking and generally not experiencing anything 'angelic' or safe (3:20 roughly, is the bath scene for example, where the vision of the protagonist flashes black), unlike white transitions (the character experiences coloured transitions on occasion based on location or state essentially). In general, my editing is nearly always cutting away to new shots, jump shots, continuity edits etc. based on the music, so in fast paced areas the editing is fast paced, and in slow moments the video reflects this with the editing. Essentially, the pace of the editing and filming is controlled by the music itself. Many of the edits used were not complicated, and were conveyed with emotion, the character almost being controlled by the music in places, such as when he falls over (1:50) and the camera shakes and glitches (due to the Genre being Glitch-Hop as well as Indie, matching the beat and effects of the song at these points). This idea (the idea of the character having an almost perfect attunement and synchronisation with the song), as well as the fact that it is shot in the first-person entirely, creates a heightened sense of emotion, empathy and generally an ability to associate with the protagonist and feel, see, touch, experience and read the narrative in the same way that he does. This idea (Goodwin) is conveyed, I believe, in the idea of lyrics relating to song, as well as with the visuals.
I have also decided from feedback that I will re-film or reconsider the shot nearer to the end involving going to bed, as well as the falling scene, as it seems very lengthened and awkward with no narrative purpose halfway through the shot, a well as the shot afterwards whereby he staggers for far too long with the camera shaking inappropriately.
Using Joan Lynch's idea of the three types of music video, I concluded that mine is essentially a Narrative Music video, though it does have elements of Conceptuality within it's structure, though it definitely ignores the intentions of a Performance music video, which would be, as described by Jon Gow, as an anti-performance piece. In terms of Jon Gow, I think that this is all it can be defined as, because it does not feature many special effects, nor does it have dancing, nor does it show the production process; the video is literally realism in the first person showing a semi-simple narrative with editing and transitions being the only true effects, though this does not overshadow the video itself enough (or at all) to be considered a special-effects extravaganza.
No comments:
Post a Comment