Monday, 30 June 2014

Textual Analysis: Human by Christina Perri Music Video






The official music video for ‘Human’ premiered on January 3, 2014 and was uploaded to Perri’s YouTube account the following day. The video was directed by Elliot Sellers and features Perri as a robot sitting in the white room, with close-ups of the mechanics working inside of her body. As Perri begins to move, various body parts are shown to be bionic. Towards the end of the video, Perri begins to transform from a machine into a human as sparks fall behind her; her tattoos reappear as a symbol of her individuality and her robotic heart begins to pump fluid around.  


Perri’s music video opens with shows some sort of machinery, perhaps mirroring a human heart, spluttering sparks. This could be interpreted as the imperfections in perfection; the use of robotic elements contains stereotypes of perfection but with this heart-like feature spluttering sparks portrays a lacking in robotic features. The music involved in this creates a crescendo that abruptly stops as the next scene features Perri herself. The use in such abruptness portrays the sudden turn off of a machine system that could occur in an instant with the mere press of a button.

In these shots, the instrumental of the song moves in sync to the lightening and the enlargement of the screen. Perri sits in the centre of the room on some sort of round table; the lighting has altered between these two screen shots of the video. One consists of less lighting, enveloping Perri in a silhouette form, while the other spotlight’s Perri’s features completely.  The use of lighting here, is largely effective solely due to the exposure of something alternative to mundane, to the viewers. For instance when we come across the silhouette Perri, we see her in exactly the same position as before, but with a slight alteration. Viewers come across some sort of robotic wiring in the back of her thighs and stomach. These show complementariness to the lyrics for this song as they desire some sort of perfectionist from the singer hence putting her in a robotic state.

The use of a closeup shot in this particular shot has the purpose of two reasons: Firstly, conforming to Goodwin’s theory of the demand in close ups of the artist for viewers to easily recognise the artist and secondly to display the unusual eyes that Perri has. Her irises have some sort of mechanical or artificial light around the edges, creating an unusual and inhuman effect. Again, this conforms to Goodwin’s theory as the use of these eyes is amplifying to the lyrics of the song. At this point of the song, the artist has already started to sing. However, in the music video Perri doesn’t sing along with it. This is again something that can be considered as associative to the lyrics because viewers are expectant of her to sing, but she doesn’t. Although, later on in the music video she does begin to sing along with the song, but at the moment it is hard to depict whether this is a performance-based music video or narrative based. This confusion could be considered as something the video emits, an attempt to display Perri’s confusion, whether she is  human or a robot.  


The camera displays a brief movement, highlighting Perri’s features. From the above screenshot, to this, the camera develops a swift panning movement which connects to these shots maintaining constancy in the sequence and thus music video. Again, the highlighting of these features and camera movements associate to the song, display a close up of Perri’s features and perhaps question the stillness and perfection in her posture suggests inhuman physical characteristics.



 All through the first verse of the song , we come across quick cuts to moving mechanical devices. Throughout the first verse of the song, we also come across different angles and camera movements of Perri fixed in the same position. The idea behind this could be that the constancy in these mechanical devices carrying out the same task repeatedly could be similar to the repetitive demands asked of Perri. Her fixed position is complementary to the fixed tasks these mechanical devices are programmed to do, almost portraying her programmed to sit in that position. However, it can also be considered that these mechanical movements are perhaps internal models in Perri that are preparing for Perri to move, suggesting cyborg qualities.

The build up to the chorus features shots of Perri beginning to slowly move in sync to the song. This could a crosslink to the lyrics as during the chorus she highlights the humanity in her and outcomes Humans would likely come across if they were to come across such impossible tasks. As well as Perri’s change in position, changing in lighting also becomes evident. The room suddenly becomes brighter and clearer, highlighting and exposing the appearance of Perri and lightly pulsing to the keys of the piano, almost as if it were mimicking a pulse. As opposed to the contrast of dark and light evident during the first verse as the room constantly changes in brightness to the tune of the song, perhaps mimicking a functional robot. These two techniques in terms of the lighting remain this way through the whole music video, amplifying the contrast between perfection to a state where a person develops robotic features or human qualities in while a person makes mistakes.


Again, different angles of the same behaviour (which in this case is Perri walking) has portrayed, one of which involves a shadow of Perri walking. This idea is simple, yet holds curiosity in the video hooking viewers in. Cuts throughout the music video take a slow pace, as if viewers are required to take in Perri. The setting itself is bathed in white with flickering lights, it can be considered that the white room Perri is in may be some sort of prison or perhaps a stereotype of a white room where the mentally ill are locked. The main purpose of this is to show entrapment and captivity that the demand in perfection is causing off Perri.



During this bridge, the pace begins to quicken as we come across quick cuts and flickering. This is in correspondence to the crescendo of the song and its bridge. This complements Andrew Goodwin’s theory as during the bridge of the song, the shots complement to the crescendo, creating a montage of the sparks flying from her internal system and flashes of Perri singing. Also during the flashes to wear Perri sings we also come across a flickering effect, much like the flickering effect I casted on my flashback scenes in my movie opening. However, these effects displayed sparks emitting off the screen.





The utilisation of Perri’s tattoos revealed to the viewer’s suggests a sense of individuality, a common trait humans share. The sparks raining upon Perri and the shot of her robotic heart pumping blood suggests Perri’s transformation from robot to human. This is revealed through the close up shots of her tattoos on her forearm and the close up shot of her arm drawing in blood as well as the wide shot displaying falling sparks are illustrative of her robot features disappearing, and in its place forming a human. The shot of the robot heart drawing in blood is again evidence of this transformation and conveys another point conforming to Andrew Goodwin and the association between lyrics and visual effects.




Watching Behind The Scenes of Perri's Human music video was an interesting experience. having first hand views on the music video by the director and Perri. As well as the bases to these different unique shots used in the video, I learned the basis to the song and why it was so simplistic which was because a dramatic song like this did not require a story line to the video.

Sunday, 29 June 2014

Textual Analysis:Demi Lovato Made in the USA Music Video




The music video was released on July 17, 2013. The video was directed by Ryan Pallota and Demi Lovato. The video marks a directorial debut of Lovato, where she is co-directed. Lovato explained the video as a couple "who meet at a carnival and they fall head over heels in love".



The video begins when Lovato visits a carnival and performs the opening of the song. Soon, the focus switches to follow the love story of a young American couple. Initially, the video shows the pair throughout their dating phase. One day, the boy must leave, and it is revealed that he is a soldier being deployed in the middle of war. He promises to return, and meanwhile, the girl is left alone at home. The two attempts to stay in contact by writing letters to one another, and the girl anxiously await his correspondence. The next scene shows a flashback to the carnival from the beginning of the video, where the girl hangs out with her friends until she sees the boy for the first time, working at the carnival. As the boy follows her around the carnival, Lovato performs the song. The climax of the story portrays a chaotic scene with the boy in a battlefield, shots ringing all around him. Simultaneously, the girl begins to shut herself in her room, worried about her boyfriend, and it seems as if he will die. In the end, the boy returns and reunites with his girlfriend. The video ends with Lovato smiling at the camera.
Lovato’s music video opens with shots accompanied by the sound of wind blowing; with the slow pace created by slow motion and the use wind blowing allows the music video to feature memories and thoughts that these two characters- presumably boyfriend and girlfriend- share., setting up the narrative. It creates a sense of isolation, which leads to the reminiscence of memories. This creates enigma through the slight insight in their story, illustrated through these shots, which is later revealed as the music video proceeds.
As the video continues, we come across fragments of sound gradually accompanying these shots. Layer upon layer, different sounds are added to the clip, for instance the second sound to the wind blowing can be considered as some sort of static sound foreshadowing some sort of parting and inability to contact between the two characters, the third sound added on top of this is of people talking in a rushed manner a memory from war which is complemented from a few gunshot sounds added, the fourth sound added mocks a carnival atmosphere perceived as another memory or how their story started. 
The sounds fade, alongside 180 degrees shot rotation shot, starting from behind Lovato’s head and ending at the camera facing Lovato. The video pauses in silence for a second or two before Lovato starts singing and the beat kicks in. The use of utter silence after the slight crescendo in different layers of sound on top of each other creates an element of suspense, but also brings viewers the excitement of having the chance to be exposed to their story.
The use of a carnival concept shapes the whole music video and connotes the fact that this music video is aimed for younger people who usually go out to the carnival, perhaps with their friends, producing a casual setting. Carnivals are usually held in the summer, due to warmer nights and hence the idea summer love is presented. Lovato being a young female and the two characters also being of a similar age suggests the aim of this video directed towards young girls. This is because the video presents romantic relationship between these two characters and creates ideologies in the audience such as love at first sight much like fairy tales which young girls want and admire.
The use of dirt flying as the girl writes and the same dirt flying near the boy’s feet creates some sort of communicational field between the two characters. The dirt flying, begins as the girl writes her letter and ends near the boys feet as he stares at her picture, this  seems as if letter is automatically received by him and mimics a clever way of the letter being sent to the boy.



The use of letters showering the girl suggests a high level of communication being kept by both parties. This conveys the want and need to be with each other and hence portrays their unconditional love the two have. Another key factor is, that she kept the letters again highlights on her missing him and the want to be near him which she does through the use of letters.




· Night time suggests closure and an end to the day.
· Portrayed behind bars suggests that they are held back, providing this is a memory from when she is alone while he serves in war.
· Rain could connote teardrops.
  • Again she’s in the same room.
  • Slight evidence of bars suggesting trapped with the emotion of worrying and missing her boyfriend.
  • She stands alone looking out suggest longing and isolation.




  • The boy is in army wear suggesting he is at war.
  • He stands alone, suggesting isolation.
  • The heavy load of army wear could perhaps suggest the heavy weight of returning home to his girlfriend safe and sound as well as surviving.





  • Wide shot used to display the location, perhaps juxtaposing the two characters location.      
  • Mise en scene portrays the destruction through the use of smoke and fire and the danger surrounding the man.
  • Sympathy is gained for the two characters as they are far from each other’s reach.

  • The light shining on the boy represents hope.
  • We cannot see his face which suggest hope cascades his face.
  • Half of the frame is taken up by the light. 





  • She is in the dark which suggests her light belongs to the boy.
  • Mise En Scene depicts sadness with the use of dull colours, dark shots and make up.
  • Majority of the frame is taken up by the window, leaving only little space for the girl. This displays her as small and in need for her boyfriend.
  • Longing for her boyfriend.

  • The use of red connotes danger and fear as she sits alone.
  • The shadow of lines could be interpreted as bars in which she is imprisoned with the emotions closing in on her.





  • The reddish mist could be considered like the previous screenshot as a use of warning/danger.
  • The close up shot allows viewers to see the emotion painted fear on his face.
  •  His eyes are wide and his eyebrows are slightly knit together shows the bodily response of worry.


A series of montages between the past (which is the couple’s time spent together) and present day (which is the girl in constant distress with the parting of her boyfriend and shots of the war zone the boy is faced with) is accompanied with a speed up in pace. The use of quick cuts and more shots evident from the bridge to the end of the song speed up in time to the crescendo of the music, occasionally including Lovato performing herself, shows a build-up in suspense  by creating the rhetorical question of ‘Will they be together in the end?’ in the viewer’s mind.

  • The fireworks and bombs stop, as shown in the Mise En Scene.
  • A bright light shines through the window causing a calm after the storm.
  • The bright light can also suggest and elevation of hope.





  • The camera trails the boy from foot to head, gradually revealing the boy.
  • The use of high angles light suggests he is coming down from heaven, putting angelic features on the boy.
  • The room brightens, suggesting the girl is whole again with the arrival of her boyfriend.





Wednesday, 11 June 2014

Dancing, Illustrating and Andrew Goodwin

We were shown five music videos that made the UK top charts. While watching these music videos with an analytical approach, we jotted down key features displayed in the music video.

Some of these included:

  • Iconography
  • Dance routines
  • Typical party scenes for music videos of certain genres
  • Quick cuts
  • Laura Mulvey's male gaze

Andrew Goodwin is a theorist, in his book, Dancing in the Distraction Factory, he identified the following features of music video:
  • Music videos demonstrate genre characteristics (eg stage performance in metal video, dance routine for boy/girl band).
  • There is a relationship between lyrics and visuals (either illustrative, amplifying, contradicting).
  • There is a relationship between music and visuals (either illustrative, amplifying, contradicting).
  • The demands of the record label will include the need for lots of close ups of the artist and the artist may develop motifs which recur across their work (visual style).
  • There is frequent reference to the notion of looking (screens within screens, telescopes, etc) and particular voyeuristic treatment of the female body.
  • There is often inter textual reference (to films, TV programmes, other music videos, etc).
There are also different ways of music video construction, which can be done trough:
  • Primarily performance-based 
  • Narrative-based
  • Concept-based