Contextual Research - Case Study 2 - Vampire Weekend

 This Life - Vampire Weekend

Director: Emmet Malloy

    Emmet and his brother (publicly known as the Malloy Brothers), both work together in directing a range of products from adverts to music videos and documentaries.

The brothers are self taught and never went to film school. This could be a signifier as to why their work (although changing to fit their clients needs) uses intimate camera work to create a sense of community, engagement and shared experience - they aim to create meaningfulness in their projects.

Notable works: Adverts for Nike, The NBA and Samsung. Music Videos for Vampire Weekend, The white Stripes and Blink-182. Features/Documentaries for Biggie Smalls, Shaun White and Oasis.

The brother's website: http://malloybrothers.com/

Artist: Vampire Weekend (VW)

The band is characterised as an alternative/indie rock band.

The song is from the bands fourth album - Father of the Bride. The grammy award winning album comes after the bands 6 year hiatus, and is a story of the relatability of life in all its ups and downs.

The bands style is ever changing (being a distinctive style each album) and FOTB uses lots of experimentation. They blend many styles incorporating african influences with layering, harmony and technological almost electronic sounds  

The band were originally perceived as preppy schoolboys fuelled by trust funds but the band have moved on from this persona with fans understanding their irony in their songs and image becoming cult classics.

The song blends humour with sincerity detailing the acceptance to mistakes but saying it doesn't matter much in the grand scheme of things. This accurate portrayal of life is relatable to audiences drawing interest to the song and maintains the bands brand identity with their often ironic messages.

Narrative:

The videos narrative follows a driver (Wade) picking up people (in a sort of taxi-like way) taking them to a dinner.

Video features celebrities many of which are jewish and many of which played a role in the creation of the FOTB album.

Malloy starts the video with an introduction to the driver (arguably the main character if the video), Wade. He uses diegetic sound of camera clicks and speech to instantly create an intimate, documentary style feel. The speech instantly states the meaning of the song "I'm a people person". The audience are given an understanding that the songs message is to be about friendship and community - positive messages.

Two passengers get into the car (Danielle Haim from the alternative pop/rock group HAIM, who is credited on a few of the songs on the album). The car starts and the text 'Vampire Weekend presents" enters the screen. The shot followed is a close up of Wade turning up his stereo as the crisp guitar starts. The songs title is spread across the screen. The mix of audio and visual codes connote to the audience that the song is meant to be turned up loudly to spread the joy of the music. (Goodwin)

The video also features performance sections - Ezra playing guitar and singing to camera as the frontrunner of the band with the other band members paying their instruments. This enables the band to show their joy in performing reflecting how the song is aiming to make people feel - happy and care free reflecting the lyrics about bittersweet acceptance - 'you've been cheating on me, i've been cheating on you, but we've been cheating through this life'.

The video ends with friends (picked up along the way) at dinner detailing the idea of shared joy and shared experience of people. Furthermore, Wade being at the dinner adds to the intended messages of friendship and community.

Mise-en-scène:

The use of black and white lighting presents a simplicity to the video. Malloy uses light and dark to highlight the video creating an intimate atmosphere for the audience. The natural light of the narrative video contrasts the studio lights of the band performative sections clearly separating the two.

        Malloy uses many almost photographic shots, this coupled with the calmness of black and white brings a beauty to the video suggesting time and care. The shots done on film add to this idea as well as the timeless documentary style feel.

The mise-en-scène creates a feel of happiness and group enjoyment through the use of many different eclectic shots. The mix of shots all follow the videos conventions (black and white and intimate) whether of the narrative or one the band.

The video creates a feeling of happiness for audiences, almost nostalgic joy. Through a mix of eclectic shots like a hand tapping on the car, turning up the radio, laughing and smiling close ups, running through gardens and waving hands in the air. This reflects into the audience and portrays the positive, friendly messages of the song. Wade crying at the end adds to the sense of nostalgia and the mix of emotion  people feel - love, joy, gratitude etc - reflecting the songs ideas of out of control acceptance of hardship.

The video uses text and lyrics throughout. In terms of the lyrics in this video, they are small and understated as not to draw too much attention away from the beautiful shots of the video. 

Camerawork:

Malloy uses a combination of still shots with shaky camera shots. This blend create a tone of art with familiarity. Precision and detail. This combination crates a feeling of sincerity and vulnerableness - slight 'imperfections' (use of a handheld camera to film Ezra and shots on old film) can create audience inclusion - some shots are as if a friend is filming the video for fun.

During the performative sections of the songs with the lead member of the band, Ezra, the camera constantly moves around him. This suggests that he is not constrained, he is freely enjoying and expressing the way the the song makes him feel.

The mix of close up shots with full body shots creates an intimacy to the video. It is almost documentary style (in keeping with Malloys style). For example, the growing closeness of shots on the mans face for him to eventually smile creates a warm friendly tone to the video. This added to a shot of him and Wade dancing round garden slightly hidden behind trees creates the feel of pure joy as if the audience are being given an insight into peoples lives. 

Representation/brand identity: 

The end of the video gathers friends round a table for traditional Jewish passover meal - Seder. Ezra (the main lead of the band) and many of the artists featured in the video are Jewish or have Jewish heritage - Danielle Haim (backing vocals), Mark Ronson and Ariel Rechtshaid. The video acts as representation for an under represented group in the media. The use of intimate shots of Ronson laying the table and lighting candles connotes care and respect. Furthermore, the shots of the band setting up their instruments adds to the idea of time and care - creative precision and pride.

The use of celebrities (Danielle Haim and Kyle Field of Little Wing) acts as celebrity endorsement but all people featured in the video had a part to play in the making of the FOTB album. In this way the song acts as a celebratory song for the group - the success and happiness of the bands creation of the album can be seen in the video and shared with the audience.

The video also keeps to VW's brand identity. The video resembles the video for 'Step' from their second album. The use of black and white photographic shots keeps the continuity of beauty and simplicity in the everyday
. The text used for the introductions in this video is the same font used on the bands album covers as well as their music videos. The font is bold and visible - easy to read for audiences and can be identified as Vampire Weekend. 

The video ends with the image of VW's logo for the new album. The final image stays in the audiences mind and act as promotion for the band. The image of a hand in a hand summarises the videos feelings of friendship, care, and peace (it could be a reference to the Hamsa - an eye in the hand as a defence to the evil eye (in Buddhism) - support will help you). This coupled with the closing speech by Wade, "I'm kind of a loner but i'm also sort of a people person" summarises the video perfectly. (The logo is also somewhat blurry in keeping with the conventions of the video).

Overall 

• Use of camera angles - cohesive mix of documentary style and artistic, photographic shots 
• Contrast of "action" shots (such as waving hands in the air) to still shot of people looking at the camera creates an understanding of pride people have taken in their work 
• also allows for the audience to feel included - they are acknowledged with a direct mode of address 

Guidance - Andrew Goodwin

Andrew Goodwin and music video theory 

Goodwin believes there are frequently used, main, aspects of music videos: 

1. Links between music and visuals 
• Visuals matching with the music and the beat either amplifying, illustrating or contradicting each other.
2. Links between lyrics and visuals 
• Visuals match up with lyrics either amplifying, illustrating or contradicting each other.
3. Star representations 
• Bring an appeal to the video 
• Jenkins Fandom theory 
• Aspirational aspects 
4. Intertextual references
• Audience enjoyment 
• Value transference - reflect messages and feelings from other media texts onto another media text 
5. Genre characteristics
• Different traits of different musical genres which will reflect into varied mise-en-scenes' in music videos
6. The notion of looking
• Interesting, voyeuristic 
• Voyeurism with the female body
7. Demands of the record label 
• Lots of close-up's of the artist - creates a selling point 
• Create motifs that can then appear across the artists work

Contextual Research - Case Study 1 - Sunflower (ROC)

Rex Orange County - Sunflower 

Director: Mikey Alfred - Founder of illegal Civ (IC) in 2008 - A skateboarding company, movie studio and brand. Sign professional skateboarders and crate you tube videos as well as boards and a clothing line.

Produced Mid 90s and directed the 2022 film North Hollywood 

Producer: Illegal Civilisation

The music video includes many popular skateboarders that skate for IC such as Na-kel smith, Ryder McLaughlin and Aramis hudson.

Artist: Alexander O'Connor (Rex Orange County (ROC)) - english musician

 The band is classed as alternative/indie 

The bands main demographic is teens and young adults 

The song is about longing and love for his girlfriend - cant think of anything else. She's so beautiful and a ray of light (a sunflower) that he realises theres no need to feel down. To spread infectious happiness  

Mise-en-scene: 

The music video is a mix of narrative and performance. It centres the lead singer of Rex Orange County (Alex 0'Connor) as the lead character as well as the centre in all performative shots to camera.

Alfred starts the video with still (almost establishing) shots of idyllic streets and houses as use if the songs introduction. The slow pace of the song at the start matches the shots and also allows for the video to be introduced: The band name, the song name, the location and the producers. Still, simplistic shots are an occurring theme throughout the video - they reflect the calmness of his life and the melancholy story being told through the lyrics. (Goodwin)

The use of a performative and narrative style is able to reflect the lead feeling outcast and vulnerable although still surrounded by loved ones and support. He still plays pool with them and in shots like the image to the right, they all appear to have his back and support him through the heartache he is singing about. (Goodwin)

Camera work/shots:

The video is cyclical. There are reoccurring shots from the start and the end but they are all slightly changed (as pictured above) to show the happiness the lead is now feeling, being able to be present and in the moment. For example, the legs dangling over the pool were still at the start and are swinging happily at the end and the shot of a group of friends hula hooping is later followed up by a full body shot but the camera is much closer as if to show how the lead feels more included and present. Furthermore, adding to the idea of the shots reflecting the message of the song (Goodwin), the shots of the lead pulling off on his bike show how ROC wants the song to make you feel happier and carry on even when your sad.

The shots in the performative side of the video are mainly medium or medium full shots - allowing for the style and tone of the lead and actors to be shown reflecting onto the video and the branding of both IC and ROC.

The zoom at the start of the video are shows of Alfred being new to directing - trying out new ideas and techniques. Similarly seen in the juxtaposition of still, photographic shots and the section of shaky camera shots - the feel of the music video and what Alfred can do is being discovered. Alfred's use of colour can also be seen - the light is all natural mainly bright and sunny, and such shots as the one by the swimming pool show the use of colours - from the bright water and the leads red clothes to the towels lined up on the wall behind.

Branding/Marketing:

The video serves as promotion for the band, having the leader of ROC as the lead makes the video more enjoyable for audience and promotes Alex as an artist and personality - the same one he creates as part of his online presence - promoting himself and his personality. 

The video is not only promotion for ROC, it also acts as promotion and an important project for IC to raise their fan base and please their existing fans. The companies pride shines through, for example, they state that the video was 'filmed on location in North Hollywood', where they are based. The yellow text and font maintains their brand identity and texts such as 'thanks for watching' at the end of the video maintain the friendly perception of both IC and ROC.

The music video is directed my Mikey Alfred and produced by his company Illegal Civilisation (IC). They are a skateboarding and lifestyle brand and began by making home videos of their group of friends skateboarding through North Hollywood. Their style is completely reflected in this video. The video is able to show its imperfections giving it its laid back, relaxed style. IC pride themselves on being authentic and having a sense of community and friendship which is clearly seen. Even by casting members of IC in the video. Their energy as a group is reflected in the video as seen in the final shots of the lead dancing with his friends. The video reflects the laid back, youthful, nostalgic style of IC.

All these positive messages reflect well on both ROC and IC making the video more successful and present how ROC wants the song to make his audience feel - joy.

Planning - Annotating Song Lyrics

Rich Girl - Hall and Oates 

All My Friends Are Falling In Love - The Vaccines 

Harmony Hall - Vampire Weekend 

Town Called Malice - The Jam 

WALKING ON SUNSHINE - KATRINA AND THE WAVES 

 These are my top possible song selections. I have annotated the song lyrics getting down my initial ideas for each song - general ideas, what i vision when i listen to the song and any further thoughts.

An important aspect i have included in my annotations are the timings within the songs - some songs are over the three minute mark so will need to be cut down. 

Generic Research - Contextual Analysis

 ADELE - OH MY GOD (2022)

• This video presents a diverse and creative mise-en-scene
• Parts can also serve as an intertextual reference to Adele's music video for 'Rolling in the Deep'
• The artist is the main focus of the video 

KHALID - LAST CALL (2022)

• The artist is the main focus of the video 
• It follows a clear narrative 
• It presents an almost nostalgic feel reflecting the chill-pop song type
• Intertextual references can also be seen throughout the video to Khalid's past albums 
• There is a key use of lighting as well as artistic shots 

ABBA - TAKE A CHANCE ON ME (1977)

• ABBA are signed to Epic records who are owned by Sony so give further ideas of how artists related to them are represented 
• Being an old video it can be seen how Sony and its conglomerates present their artists over time (recurring themes can be seen is the videos of the past still continuing now)
• The group is the focus of the video 
• Due to emerging technology (1970s) there is new editing styles in the video (the four squares featuring throughout)
• The video is a blend of a band performance and a performative video 
• The women are not sexualised but they are the main focus on the video 

Industrial Context - The Brand - Sony Music

Sony Music Entertainment founded in 1929 is the second most popular record label today. It is classed in the top "big three" records labels with Universal music Group and Warner Music Group. They offer a diverse range of artists, genres,  playlists and podcasts. They have produced some of the most prominent artists currently such as Adele and Beyonce. 

The originally called American Record Corporation acquired Columbia Records in 1934. They joined with CBS in 1968 becoming CBS/Sony Records and by 1988 they owned the entire company. In 2004 they took on the name Sony Music Entertainment. The label are based in over 60 countries today. The company makes money by selling records, when an album is played on the radio or in a film or TV show and when streamed on a music streaming platform such as Spotify. 

Sony Music Entertainment say they offer a "diverse roster of international superstars, developing and independent artists, and visionary creators". 

Sony Music Entertainment labels:

• Columbia Records 
• RCA Records 
• Ministry of sound
• Epic Records
• By owning these record labels Sony Music is able to promote an even larger range of artists and please a wider audience.

Signed Artists:

• Beyonce 
• Adele 
• David Bowie
• Electric Light Orchestra 
• Travis Scott

When going on the Sony Music website they are promoting their current artists and those who are in the news at the moment. They have sections for podcasts and playlists to interest and cater to their audiences. They also have a section for new releases as their main purpose is to promote the artists signed to them. 

Industrial Context - History

 1940/50s 

• Music videos based on soundies technology - 16mm film clips with a magnetic soundtrack shown in a specially designed jukebox 
• shown at nightclubs, bars and restaurants 

1960s

• Music videos were being used as promotional tools
• They were usually videos showing a bands live performance 
• The Beatles
• The Beatles fell into the conventions of live performances but they started to develop the music video genre 
• The band had feature length films made such as 'A Hard Days Night' promoting their new album 
• They began to use animation as part of their visual story telling in 'Yellow Submarine'
• The Band members were still heavily featured in the videos (as themselves or as caricatures) as to promote the band.
• Bob Dylan's 'Subterranean Homesick Blues' is often called the first music video with Dylan holding up cars with the songs lyrics. It was simple in structure but subverted the common expectations of music videos

1970s

• Technical advances allowed for more graphics to be used in music videos 
• Such things as green screens allowing for more visually dramatic and impressive videos such as Queen's 'Bohemian Rhapsody'.
• Shows such as Top of the Pops began with artists singing "live"
• Producers were beginning to see the power of music videos and their advertising potential so started to invest more money in them 

1980s

• MTV (Music Television) began in 1981 and was a platform for artists to show their music videos. 
• The first video shown in the service was 'Video Killed the Radio Star' by The Buggles
• Large scale videos such as Michael Jackson's 'Thriller' increased views of MTV again increased the popularity of music videos. 
• The video cost $500K, was thirteen minutes long and when released in 1983, was played 3 - 5 times a day
• Videos began being used as art forms using claymation, pixilation and stop motion animation 

1990s onwards

• There became a rise in music video directors such as Mark Rannek and Machael Gondry 
• In a more modern society, the spread of information has become fast and prolific with platforms converging into one 
• This can be seen with streaming services such as Spotify and brand such as Apple, Amazon and YouTube expanding their service to include music and music videos.
• Videos began promoting desired lifestyles of being young, wealthy and fun as well as sometimes using a bands large audience reach to raise awareness of problems such as Hozier's 'Cherry Wine' focussing on domestic abuse.