For our music video, many narrative theories have to be applied to ensure the purpose and meaning of the video is portrayed through the shots.
Our video will follow the genre caterogory of amplification. This is because we will cut between both performance and narrative but these will not directly illustrate the denotations of the lyrics but also unusual ideas, such as our homage to the 'Living Dead' icons of today such as Marilyn Monroe or Judy Garland. Whereas at some shots we will interpret the lyrics exactly, such as by using a 'black balloon' prop in a shot and edit it alongside the lyric of the same relevance i.e. 'Sucked into a black balloon'.
The Musical Synaesthesia is relevant to our music video as the elements of the song will determine the progress and pace of the shots and the time it takes to change them. For example, the dominant musical arrangement of the strong bassline in our chosen song 'Living Dead' is key as it varies from a slow pace to a faster pace at the chorus. Therefore, we will interpret this dominant beat by changing shots simultaneously to the beat. This will be more evident in the chorus, as the beat speeds up to the repetitive lines such as 'Dead, dead, dead'. We have decided to change the shot at each bass and word change so that it adds to fast up-beat song and the action shots will entertain the audience.
The conventions of a Performance Video for a solo artist can also be applied as only one individual will feature throughout the entire video. It is therefore important to promote and emphasise the image of our artist. As we are not incorporating dance routines, we will enhance the 'repeatability' of our artist by the person engaging the viewer with close up shots of the face with frequent eye contact shots which will feature rolling and provocative gesturing with the eyes. We will also follow a hybrid form by cutting between performance of vocalisation of singing to other narrative actions that do not feature any vocalisation, such as with walking or posing toward the camera.
The Star Image is important as the artist's personality and style have to be promoted but continually adapted and changed to meet audience needs and preferences. So for example, by adopting our 50s style mise-en-scene this manipulates the artist's image with the new single to broaden the appeal to new fan bases by adopting a new style that they may like more than their previous music video images.
Again, the Audio-Visual Technical Codes are again relevant due to the changing pace of the bass within the song and the extended vowels and consonants of long lines in comparison to the shorter chorus lines. The camera shots therefore during the chorus feature more close ups and extreme close-ups especially during the lines which require vocalisation. Whereas the verses contain longer seconds during each shots and shots that are further away such as long shot or extreme long shot that do not require any vocalisation so it is not as important to focus on the mouth. The camera movements follow more active actions during the chorus such as twirling of the dresses or fast poses of the star with hand-held action shots; whereas during the verses the camera movement is more stable with a tripod or more controlled hand-held shots.
Straus's Theory of Narrative can be applied to our music video as we will use the binary opposites of both location and the style of our star. For example, in terms of location we will switch between outside shots and inside shots to meet our genre category of amplification but also portray our 50s theme better. In terms of mise-en-scene we will change from a bright pink dress in the indoor scenes to a black dress and a white faux when our star is outside. This contrast will be effective for our amplifcation narrative.
Todorov's Theory of Narrative could also be applied to the cut between the performance and narrative. This is because as the video progresses from the location of the bedroom to a perfect 'equilibrium' state of mind to a disequilibrium that is formed as the star becomes more frustrated with her apparent 'lonely' lifestyle which would later be evident in the diner as she sits alone. However, the leave interpretation and stick the conventions of the genre category of amplification a new equilibrium will not be formed but will instead return back to shots in the room in the final chorus where the previous equilibrium began.
Therefore this can also relate to Barthe's Theory of Narrative by using the Enigma Code which will leave the audience questioning the artist's life at the end of the video and how, if ever, her lonely state would be resolved. Also, the Semantic Code could also be applied as we will use different mise-en-scene to represent different emotions or foreshadowing. For example, red lipstick and clothing that will be used may reflect her sexuality and obsession with fame but may also suggests that this will lead to her death - such as with other icons like Marilyn Monroe.
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