CK: Digipak and Print Analysis

HB: Digipak and Print Analysis - Mumford and Sons

Digipak and Print Analysis 

Mumford and Sons - Sigh No More

                             

CK: Technical Analysis - Ditmas, Mumford and Sons

• To summarise I would say:
• It is interesting to note the difference in the proportion of narrative shots to performance shots, I have highlighted the performance shots for comparison. At the start of the track there is a greater number of performance based shots, however to the end of the sequence that I analysed it shifted so that there were more narrative based tracks, this is largely due to the development of the story in the song, and so it was necessary to have more narrative based shots in order to drive the story forwards. This is something we could think about in our production.
• The use of different camera techniques in the narrative based shots and the performance based shots is very effective in helping to differentiate between the two. The steadicam in the narrative shots helps to give a sense of immediacy to the piece, and reflects the action on screen, whereas the fast tracking shots in the performance based sequences reflects the upbeat tempo of the song and the band's passion for performance. It is interesting to note that the camera was moving at all times, which reflects the energy of the song, we will try to emulate this movement in our final production. 
• The cutting rate of the sequence is very useful to note, although this song has a much faster tempo than the song used in our production, it is still relevant to our track to note the speed of the cuts. The majority of the cuts in this song last no more than two seconds, which means we will have to get a lot of footage in order to have enough for the number of cuts we will have to make.

Stills

This screenshot shows the opening shot of the piece, which conforms to the folk rock genre with the mise en scene of a field and a horse.

This too conforms to the trademarks of the genre, with the ECU of this man's eye's accentuating his wisdom and power. He looks determined, and the juxtaposition between this shot and the shot of the horse in the field show's the horse as the target.

This screenshot shows the band all facing each other in almost a 'band practice' like fashion. This gives the piece a sense of intimacy and legitimacy, and it would be interesting to experiment with this in our final production.

Marcus Mumford is given prevalence in the performance based clips as he is the lead singer.

Whenever there is a drum fill in the piece, shots of the drummer are shown so that we associate the sound with the drummer's playing, we could experiment with this kind of thing in our final production.

Close ups of the artists playing their instruments accentuate their talent, which is part of Dyer's star image.

HB: Technical Analysis - The Paper Kites

Technical Analysis

The Paper Kites - Bloom

• This video was both narrative and performance based which is the same style my group want to emulate in our own video. This has been very helpful to see the cutting rate of each part and ideas on how to inter-cut the two together. 
• The cutting rate was fast although there was one longer shot of the artists. However, the camera was continuously moving throughout this (stedicam shot) which kept the video moving forward with the song.
• Furthermore, there were no completely still shots throughout the whole video, even if they didn't pan or track, for example,  the camera was always moving slightly.
• The colour of the video is also similar to the effect we hope to achieve, I noticed yellows and greens were prominent tones throughout. 
• The costumes were also typical to the genre (flannel shirts/simple colours)
• The instruments played a key role to the video (iconography), there were many close ups of just the instruments being played, this is something we will be able to take forward into our video but it is crucial to ensure we get musicians to play them to maintain authenticity. 
• The performance aspect of the video was also done in a way we may be able to consider since we don't have a budget or any access to a stage etc. This was filmed outside with the musicians sat round a tree together. This creates a sense of intimacy and also highlights the rural location which is typical of the folk genre.

Stills

Iconography - Typical folk instrument (Banjo). It is interesting that this has been framed as a close up of only an instrument as I had previously only pictured long and mid shots of a full band playing to this is something different to consider.

 

I like the colour of this shot, greens and yellows are the colours I have noticed most throughout the video. This is something I will keep in mind when experimenting with filters on our footage.

There's use of the rule of thirds in this shot to keep the narrative clear. The string, which is an integral element of the narrative, occupies all of the thirds and in order to draw the same amount of attention to her, the girl remains in the centre.

 

 

This shot has also followed the rule of thirds where the musician occupies the left third and the instrument is in the centre. This reinforces the iconography of the instruments and by having this and the artist lip sync the lyrics it creates a clear difference between the narrative and performance aspects of the video.

These stills show how the musicians were positioned round a tree where the camera stedicamed around it. This showed how even though it was a long cut (19 seconds) the camera was constantly moving. I have also noticed that there are different amounts of lighting used for the performance and narrative aspects. This further reinforces the difference between the two, however, due to the location being the same they intercut together very smoothly. Moreover, Dyers paradox of being simultaneously present an absent can be applied here as there is never more than one member of the band breaking the 4th wall by use of first person mode of address at one time.

In this still the camera is positioned behind the actor which gives the video a more voyeuristic feel.

Group: Brighton Stills

CK: Brighton - Reflection

• I would say that overall we used our time spent in Brighton very well
• Although we were not planning on using Brighton as one of our locations for the final production, it was extremely useful to practice many of the techniques that will be necessary in our final production.
• Firstly, we were able to use the track and dolly very effectively, and we found that shots involving camera movement were much more effective that shots in which we used the tripod, which will be useful in our final production
• Also, we were able to try our hand at some lip syncing, which turned out to be a lot harder than we first anticipated. Our problem was that the performer in our video wasn't belting it out enough, therefore it was blatantly obvious that he wasn't actually singing. For our final production we will have to make sure that we are putting 100% effort into our lip syncing.
• As well as this, it was useful to practice the timing of the cuts in post production. We found that it was extremely effective to make cuts on the beat of the song, which was quite difficult in places as we hadn't thought about this in the filming process. This means that when we next film we will be able to bear this in mind and plan ahead during filming.
• It was also interesting to experiment with colour grading in post production, as we were aiming to give a folky/ vintage look to our piece, however we found that this was extremely difficult, if not impossible using the software which we usually use to edit our production. Therefore we asked our media technician for advice and he suggested a different piece of software, which will be extremely useful in our final production. 

Group: Brighton - Music Video Practice

HB: Brighton - Reflection

Brighton Reflection 

• On the 17th of September we took a trip to Brighton to experiment with our ideas and try to develop our concepts further.

• I would say that we managed to gain more inspiration for our video as this was the first time we had listened to the track while thinking of particular shots for certain clips of the song, rather than just brainstorming a general narrative. 
• We came up with an effective shot using the track and dolly which involved the actor remaining in one position with the camera tracking past them. This differs to how we have used it in previous projects as we normally utilised it to follow characters walking. 
• This day has also been helpful as we now have footage to experiment with in post production to try and achieve the vintage tine we want to emulate to fully convey the indie folk aesthetic.  
• Furthermore, we managed to film some successful shots which demonstrated an amplified relationship between the lyrics and video which we would like to do in our final production. 
• We also had a chance to experiment with lip syncing and found this is best done when the actor actually sings as this looks most natural and the sound is cut out of the footage anyway so this doesn't cause a problem.

• To improve I think we could have gotten some more footage and experimented with some different angles/techniques to get a better range of ideas. It may be a good idea to try and practice some more of these within school to try and develop a better skill set prior to shooting the actual production. 
• I think the water shots we took were effective, however, I don't think we will use the sea for our video as it didn't have the feel we wanted. Water is a theme for the opening of the video so we will perhaps use a lake or even a tap for this shot instead. 
• We also could have tried using an interior location, although, it may be better to try this when we can set up the ambient lighting we want to create to get a better idea of what the shot will look like.

• Overall I think the day was a good practice for us, especially for trying out some post production techniques, and beneficial for developing our concept further 

Group: Production Log - Brighton

Production Log - Brighton 

CK: Promo Pack Analysis

• The mise-en-scene of the subjects in the photo reflect the style of the music and the way of life that this band follow. The clothes worn, the horse, the flying flags and the old house show the folk rock genre and the meaning behind the music.
• The photographer has used a hard focus which keeps the band members in focus in the foreground, whilst what appears to be a party occurs in the background, out of focus. This connotes fast movement and joyous emotions, which are heavy themes in the album.
• The hairstyles and the clothes worn by the band show their expression of not wanting to follow modern trends and that they would rather try to find their own identity through their music, which relates to the star value of originality.
• The colours and the busy nature of this album cover work as an advantage for the marketing promotion of the new album and also help to act as a representation for folk music which is often overlooked by the mass market.
• The script style font used for the title of the album makes the viewer feel as though this band belong in another time, and that this handwritten style of font has come from a vintage lifestyle from possible medieval ages.

• In this screenshot, the artist is shown as being both ordinary and extraordinary.
• They are shown as being ordinary through their clothing, which is very plain and ordinary, perhaps a bit indie which reflects their unique and indie star image, which helps to form their meta narrative.
• They are shown as being extraordinary as the banjo player in the background has been edited in twice, giving them an image of being more than ordinary people. As well as this the location of a ruined building and the desaturation of the footage again makes the band seem like more than the norm, and helps to create reinforce their creative and original star image.

• In this screenshot, the artist is shown as being both present and absent.
• He is shown as being present through the use of breaking the fourth wall and addressing the viewer, which helps to establish an emotional link between the viewer and the artist, making them relatable and real.
• On the other hand the absence of the artist is shown when he breaks away from this first person mode of address and goes back to passionately playing his instrument, which reminds the listener of the talent of the artist, which contributes to his star image and metanarrative.

Group: Project Ideas Discussion

Group Discussion

• Today in class we had a discussion as a group based on a reflection of our moodboard task
• We found this very beneficial for coming up with more concepts for our video
• We also gained a better understanding of the key characteristics which appear within the indie folk genre
• We have a far broader knowledge of our chosen artists, Mumford and Sons, meta-narrative by looking at their print work and videos. This has helped us decide key aspects we feel must be incorporated and also what not to include.

Indie Folk - Genre

Music videos:

• A mix of narrative and performance base
• Usually a rural location or a barn style setting
• Ambient lighting
• Vintage colour

Print work:

• Vintage/warm colours
• simple designs 

Instruments:

• Many unconventional e.g. banjo and ukulele 
• Incorporates folk and alternative rock

Appearance:

• Facial hair 
• Understated vintage clothing 
• Natural 
• Matches setting

Mumford and Sons

Sound:

• Typical folk instruments
• Use of banjo - bluegrassy timbre - off the wall

Appearance:

• Old fashioned - vintage 
• Waistcoats and blazers

How has this moved our concept forward?

• We have decided that the use of ambient lighting is very effective and is something which is often used within folk videos so we may try to emulate this
• We also came up with a possible ending for the video using the aspects of a village atmosphere and narrative concept. Our current idea is a man (whom we intend to be the protagonist throughout) sat at a bench on the top of a hill with a girl standing next to him. The girl will then walk away leaving the man alone as the song ends. - This has a amplified relationship between the lyrics and the video which, from our research, we found is the most common within folk videos as they focus heavily on the narrative aspect.
• We also gained a better understanding of the instruments used within the genre a feel that including a performance aspect would also be suitable in our video

CK: Mumford and Sons Moodboard

JH : Indie Folk - Moodboard

Group: Initial Ideas - Mindmap

We had a group discussion in class about possible track ideas we had found over the summer and any inspiring music videos we may be able to emulate parts of and collated our best ideas on to a mindmap.

HB: Indie Folk - Moodboard

Indie Folk - Moodboard

HB: Promo Pack Analysis - Mumford and Sons

Mumford and Sons - Lover Of The Light

• Our group has chosen to use a Mumford and Sons track for our music video so I have chosen to use a video from their second album Babel - Lover Of The Light
• This will help me gain a better understanding of the conventions used within a narrative video and using this research together with my other group members we should be able to gain a far better understanding of the bands meta narrative and come up with more ideas for our video.
  
  
• Applying Goodwin's theory one of his key aspects is immediately notable and that is the narrative basis for the video. This is helpful to our group as we intend for much of our video to be narrative based, however, we are considering including a performance aspect also which this video does not. 
• Since there isn't a performance aspect in this video not all the conventions of the folk genre are present, such as the instruments and clothing, however, the location moves to the woods and nature seems to be a continuously used theme within their music videos. 
• The narrative of the video has an amplified relationship between itself and the lyrics. It displays a man who has recently lost his wife and is meant to be attending her funeral but instead he changes his mind and plans on throwing himself off the cliff - running towards 'the light' to be with his wife. 
• Although the band themselves do not physically appear in this video this can still help construct their meta narrative as, applying Goodwin's theory, the narrative aspect of this video helps to establish them as story tellers causing the audience to associate them with having meaningful songs. 
• Goodwin's theory has shown me that an amplified relationship between the lyrics and video is important to the indie folk genre as the story and meaning of the songs are key to the genre.
  
  
• Barthes enigma/hermeneutic code can be applied to this concept as it is never shown that this is what happened but linking it to the lyrics and signs within the video, such as the black suit, making to breakfasts when it's just him, helps the viewer to build a fuller picture. 
• Another key symbol within the video is the man's cane. The significance of the cane is highlighted by the length of time the focus is on it. I think that this is to symbolise his realization that his wife is no longer with him to act as a 'seeing eye' and this is the turning point for the narrative of the video.
  
  
  
  
  
  
• Todorov's narrative theory can also be applied to this video. The stable equilibrium is present at the start of the video where the man is lying in bed and everything is calm.
  
  
  
  
  
• This is followed by the disruption evidenced by the man's conflict with the cane.
  
• Next the disruption is recognised when he is running through the woods frantically
  
  
  
  
• Then the deer, which could be seen as his wife's spirit is seen halting and the man comes to realise that his wife will always be with him - acting against the disruption
  
  
  
  
• Finally, a new state of equilibrium is formed when the man screams out at the edge of the cliff as he is releasing his anger and sadness
  
  
  

Analysis of album artwork - Babel

                                

Group: How does a music video provide a platform for an artist to reinvent himself/herself to a target audience?

How does a music video provide a platform for an artist to reinvent themselves to a target audience?

Justin Bieber - Where Are Ü Now

• This video is in collaboration with Skrillex and Diplo, this means that prior to watching the video the audience is already aligning this artist with other more mature artists.
• Goodwin argued that a common theme present within music videos is the notion of looking present. This can be seen in the opening of this video where there are many frames of the same still of the artist on a wall. This draws the focus of the video to him immediately and allows the audience to begin to take in his new image already.
• Dyer's present/absent paradox can be applied to the beginning of the video where there is a long shot of the artist so that he can be clearly viewed by the audience making him appear present, however, the darkness and intact 4th wall cause him to appear absent creating an incoherence. 

 

• As suggested by Archer, there are also many meat shots and close ups of the artist which, not only focus on the emotion of the artist but the close ups of his face draws attention to his new hair style which has been seen as  a major part of his new image within the media. This is to make it clear that he is breaking away from his previously iconic bangs. Furthermore, this emphasises how the video is able to reinforce subsiduary media. 
• Dyer's star theory suggests a set of star qualities which as star must conform to in order to create their image; a range of these are evident within this video, such as rebellion and creativity. This is evidenced by the use of profanities within the graphic overlays in the video.

• The video is mainly concept based and has an inter-textual reference to high art. This is a very mature theme for a video and definitely differs from his previous ones. Dyer's theory can suggest that this means he is aiming for a more mature audience die to the content of his video.
• There is use of the ordinary extraordinary paradox explained by Dyer, as he himself is just in casual clothing with no extravagant background but the use of graphics are very effective and stand out as bold and creative. This incoherence leads to repeated consumption by the audience so that they can attempt to form a full image for this artist.
• There are also very powerful images within the video which can be viewed by pausing the video throughout the graphics. This again reinforces the repeated consumption but also shows how this is a very creative and innovative video and is clearly a good springboard for reinventing his image.  

 

 

Goodwin’s critical framework

• Pop genre- A typical convention of pop videos which is present in this video is the rave/party scene at the end, as the themes of partying and youthfulness are often present in pop videos.
• Links between the visuals and the lyrics could be the link between ‘What do you mean?’ and the confusion and conflict in the video. The masks and hoods are very enigmatic, and there is a general lack of clarity of intentions in the video.
• Links between the music and the visuals could be the fact that this is predominantly a dance track, and this is reinforced by the partying and dancing at the end of the video.
• There are a very large amount of close ups in this video. Most of them are meat shots of the artists which are used to give him a sense of importance in the video, however there are also voyeuristic close ups which show the artist passionately clutching his girlfriend’s leg
• In this video the visual motif of Bieber’s hoodie symbolises rebellion and enigma, both of which are important for his meta narrative and star image
• This video is extremely voyeuristic in nature, which both the artist and the girlfriend being objectified in order to appeal to both males and females. Sexual desire is also an important part of Bieber’s star image
• There is evidence of intertextual references, particularly at the beginning, where the style of the piece is reminiscent of a crime film, what with the mise en scene of the spider tattoo, the money and the dark, almost noir feel to the scene.
• The video is mainly narrative based, however there is an element of performance at the end where Bieber addresses the crowd.

Dyer’s Theory

The star qualities expressed in this video are:

• Rebellion- through the hoodie and the idea of an illicit deal going down
• Youthfulness- through the ideas of sex and parties
• Talent- Bieber shows himself to be a proficient actor and dancer in this piece
• Sexual magnetism- through shots of the artist with his shirt off
   

• The artist is shown as being present through a series of meatshots which see Bieber use a first person mode of address on the viewer, creating a link between artist and viewer.
• He is shown as being absent as his attention keeps going to the girl, which distances him from the audience.
• He is shown as being ordinary through the mise en scene of average clothing in a fairly average apartment.
• He is shown as being extraordinary through his fight with the ‘bad guys’ and the party scene at the end which sees him perform for a crowd of onlookers.

 

In what way can the CD cover design contribute to this process?

• The cover titled "What Do You Mean" in itself is a rhetorical question which interests the audience right from the start.
• The image suggests his attitude has matured from the immature teenage boy that most people associate with him previously into a much more mature and respectable person.
• He is dressed very simply which makes us associate him with the audience whilst still remembering who he is. His attire shows him having changed a great amount and is now barely recognisable compared to the young Bieber often associated with hoodies and skinny jeans.
• This makes him more appealing to the older audiences of the world. The simply black and white cover suggests simplicity but still connotes a deep meaning of being separate from the world we know.
• The font used connotes authenticity and makes the audience feel like Bieber hand wrote the sign himself giving us a connection to him as an artist. His body ink stands are greatly against the plain background and shows how creative he is.

 

• The other album cover titled "Where R U Now" is also posed as a rhetorical question.
• The “text talk” spelling of the title connotes possible rebellion and a lack of care for the proper English language.
• The cover features a collage of images which could possibly link to his past memories or past experiences. It is a very mature cover compared to a lot of Bieber earlier and often boyish  album covers. This reinforces the mature and changed look that Bieber is trying to present for himself.
• On top of this linking himself to other artists like Skrillex and Diplo also opens him up to a much older audience who perhaps would not have listened to the song otherwise.  

HB: Track Ideas

Initial Track Ideas

The Script - Flares

• Could open with a guy playing the piano – opening to the song starting with him sat at the piano, back facing the camera which slowly moves towards him and moves to a side view of him playing
• Lip syncing
• Couple sat at a fire place, the girl could fade out leaving the boy alone ‘there’s no one there’
• Guy going through old photos of him and the girl, screws one up
• Walking down a dark ally in a woods, sees a flare go off in the distance – walks towards it
• Tracking shots – close ups
• Some illustrative relationship between lyrics and video but mainly amplified
• Flashbacks of memories
• 2.23 – reach the source of the flares Girl setting them off
• The couple run back through the woods together as the pace quickens and end up sat back in front of the fire
• Rewind back through the video at a fast speed and end back on the guy playing the piano at the start for the ending

Taylor Swift - I Wish You Would 

• Inter-textual reference to film – the classic 90s movie – a boy and girl break up and the boy always ends up showing up in the early hours of the morning at the end
• Montage of flashbacks, a break up and present day
• Difference made clear by filters and transitions
• Car speeding down a street with a boy and girl in it and the clock on the dashboard shows 2am - illustrative
• Argument outside house
• Boy drives off
• Every now and then cut to the boy turning around and driving back
• 1.59 – boy gets out car – the beats of him getting out the car then closing the door behind him match the breaks in the song lyrics - illustrative relationship between music and video 
• As song approaches the end the guy is seen knocking and it ends with the girl answering the door.

Blitz Kids - Pinnacle 

• Could include a band playing and cut between that and the line of narrative
• The track itself has a slow pace so the cuts should have an amplified relationship
• Since the song is slow paced portraying an argument may be challenging so if it’s presented as a flashback it could show a memory at a slower speed as someone is looking back and reliving it
• On again off again relationship
• ‘Shoulder to shoulder’ – laying down next to each other 

HB: Inspirational Music Videos

Inspirational Music Videos

Taylor Swift - Wildest Dreams

• Intertextual reference to film - Relates to her other videos for this album
  
• Amplified relationship between the lyrics and video - the video is mostly narrative based, focused on a couple who are separated and when they see each other again the boy is in another relationship so can only remember his previous one 'in his wildest dreams'
  
• Set up like a movie set although we can't use this technical a location we could emulate the idea of a film Inter-textual reference and this is something that makes a narrative clear and the video is therefore gripping to an audience 

• There is a very fast cutting rate, however, this does alter to have an amplified relationship with the music

• Lip syncing can be simply emulated 

• There's a slight illustrative relationship between the lyrics and video, for example,  'red lips' 'sunset' 

• Close ups of star often - typical convention of a pop video 

Slaves - Running Through the !6! With My Soul 

• The video does not change much in terms of location but uses light bulbs and possibly a purple tinted filter to create an effective colour. This is something which could be easily emulated as it would mean finding suitable locations would not be a barrier

• There is also use of overlay so that the singer is on screen twice - this conforms to Goodwin's notion of looking present 

• Lip syncing and band playing - The video is mainly performance based. I feel that this is a good element to include but when we come to make our video it should perhaps be a mix of performance and narrative 

• There is a fast cutting rate so that the music has an amplified relationship with the video

• Dark coloured video - matches the style of music - typical conventions are met, conforming to Goodwin
  
• This is also the case for the outfits - grunge kind of look 

Catfish and the Bottlemen - Cacoon 

• Inter-textual reference to film shown through the narrative and style of filming

• Mid shots and close ups 

• Narrative based video - relationship with lyrics and video is amplified
  
• A couple in what they consider a near perfect relationship- they are each other's 'cocoons' because they help each other grow. People around them disagree with the relationship so the girl conforms to what she feels is wanted of her and not the relationship. The boy tries to win her back by trying to relive their memories which is shown in the video by flashbacks also. But in the end he is the one who has to change.
  
• This is a clever way to have a video which relates perfectly to the song without being illustrative and if we were to emulate something like this it would require careful planning and creativity. 

• Lead singer cameos - 1.19 and does not feature throughout the video - there is no performance based element

• Choice of camera techniques work well - two shots of couple - long shots of the many of the patients - close ups of the two protagonists

• Parts of the video repeated at the end - shows the narrative coming to a close - turning point

• Two lines of narrative at the end - creates sense of chaos and urgency which matches the song 

CK: Inspirational Music Videos

• Hopeless Wanderer – Mumford and Sons

The mise en scene in this music video heavily exaggerates the folk genre of the piece. The locations of a field and a barn, along with the inclusion of typical acoustic folk instruments. I particularly liked the idea of a live performance which was present throughout. There is a surprising lack of first person address in this video which could be due to the fact that this is more of a comedic piece than a video designed to give an artist a meta narrative.

• Swimming Pools – Kendrick Lamar 

In this piece I particularly found the use of contrasts between black and white to be very effective, as it helped to convey the meaning of the song to the audience. Dance is also used in this piece to accentuate its status as a ‘pop’ song. The artists meta narrative is very clearly conveyed in this video through the story telling of the song which is supported by footage.

• Rabbit’s Foot – Turbowolf

The use of an abandoned office in this piece along with the idea of voodoo and the use of masks accentuates this band’s star image as an edgy, off the wall metal band. It is very unsettling for the viewer which I found very interesting and I would like to experiment with this for my music video.

CK: Comparison of Two Music Videos

 Barthes narrative codes:

• Enigma code is portrayed in Everlong through the mystery behind the kidnapping of the woman. Who is she? Why is she being kidnapped? Who are the kidnappers? In Burn the enigma comes from the location of the music video, which includes an airport, a forest, and some kind of field. I believe that all these symbolise the freedom of youth, and anticipation of the future. Enigma is also created through the shots at the beginning of the video, which are all generally short and give very little away. For example the close up of the girl’s feet in the field, which leads the viewer to question who this girl is, and why she is in a field.
• The action or proairetic code is portrayed through the tension of the fight scenes in the Foo Fighters’ piece, which are both comically entertaining and exciting. In Burn the tension is built at the beginning of the song through a series of close ups and medium close ups which introduce all the characters in the video. The duration of these shots is reasonably long for a music video which helps raise the tension and anticipation that something big is about to happen.
• I believe that the semic code in these videos is also fairly clear. The Foo Fighter’s video represents childlike fantasies of being a hero and saving a damsel in distress type figure, whereas Burn represents the freedom of youthfulness and rebellion.

Dyer’s Two Key Paradoxes:

• In Burn the artist (Ellie Goulding) is shown to be present through her meatshots which are close ups in which she breaks the fourth wall and addresses the viewer using a first person mode of address. She is then shown to be absent when she rides away on the truck.
•  In Everlong the presence and absence is less obvious, this is largely due to the video being highly unconventional, however the idea of being ordinary and extraordinary is clear through the narrative. For example, at the beginning of the video, the main artist (Dave Grohl) is presented as being a normal, everyday person, wearing average clothes and living in a standard house, however, during what appears to be a dream like sequence, Grohl’s hair style and clothing change, making him seem more and more extraordinary. Then at the end of the video we see him playing guitar with the rest of his band, which further emphasises how extraordinary is, and also works to make him seem absent to the audience.