Evaluation

Textual Analysis Of 3 Lostprophets Music Videos

"Burn Burn" (Start Something)

This music video is entirely performance based. Long shots of the crowd and band with hands in the the foreground of the shot, as well as quick editing and fluid camera movements give a sense of a live band performance  by Lostprophets, and the atmosphere or scene associated.

The video and nature of the song is aggressive in style, and this is portrayed in the fast cuts, mise-en-scene and camera shots. The single location conveys the idea of underground performance, connoting rebellion against conforming, linking with the lyrics and overall message of the song itself. The majority of shots are overflowing with people, either in the background or dominating the shot. Exceptions to this are band shots and various and continuous shots of the lead vocalist, Ian Watkins. Distortion of shots add  to the idea of chaos as the melody of the song suggests. 

In order to suit the sense of an underground live performance, floodlights are used and emphasis are drawn to them throughout the video. This use of lighting also creates epic shadows, used to add drama as well as link with the rock genre. The floodlights also occasionally create a filter effect and accompany the distorted, jumpy shots of the crowd. Sound in this music video is diegetic, and only the song itself. 

Mise-en-scene is used effectively in this video, and codes of the rock genre are shown through the use of props (skateboards, motorbikes, BMX bikes, guitars, drums, keyboard etc) to present images associated with the rock genre as well as the type of scenes you would expect to see at an underground live performance. Similarly, costume and accessories are typical of Lostprophets in style but also of the rock genre, and Ian Watkins' costume is used to make him stand out from other people in the video, as well as from other band members.

"Last Summer" (Start Something)

This music video uses the theme of memory and flashback to compare society from past decades to present day. (1974, 1985 and 2004). Effective use of editing and camerawork makes known the differences, as a structurally repeated ordering of shots are used three times, once for each different time period. Examples of this are: the close up shot from Ian Watkins' perspective through the windscreen looking at the man washing it, (often used to switch from one decade to the next respectively), the medium shot of the couples, the close up shot looking through the window of three cars, and the close up shots of the banner saying "Class Of..."

1974

1974

1974

1974

1974

1985

1985

1985

1985

1985

2004

2004

2004

2004

2004

This music video is narrative and performance based, and fittingly with the song title, the location of the band is on a beach with a sky, sun and sea background. Before the first chorus, a transitional shot looking up at the sky as a plane flies past is used. In addition, in terms of lighting the sun's glow is used on close up shots of Ian Watkins and other band members. This music video is upbeat in style. Ian Watkins is used as an observer in the narrative sequences.

A slight filter is used on the shots from 1974 to give a nostalgia feel. The theme of skateboarding is shown in all three decades, and shows how it has changed in style over time. Diegetic sound in terms of dialogue of the man washing Ian Watkins' windscreen and how his language has adapted and altered over time also adds to the theme of memory and change. Mise-en-scene is essential in this music video, to display images typical of the decade in each of the three sequences, connoting the society and in order to paint an accurate image of the time. Mise-en-scene is used effectively in this music video to capture the essence of the time.

1974

1985

2004

"4am Forever" (Liberation Transmission)

Similar to "Last Summer," this music video also has the theme of memory and makes use of flashback to remember what used to be. This music video is a deeply emotional song, and the mise-en-scene, camerawork and editing maintain this. 

Like all other Lostprophets music videos, close up shots of the guitar as well as individual shots of band members are shown. As expected, there are many close up shots of the lead guitarist and different parts of the guitar as he is playing the solo. These shots are done possibly handheld, as the shots are shaky for added dramatic effect. Close up shots of Ian Watkins are used to convey emotion of the narrative and storyline. In addition, close up shots of Ian Watkins' hands are used for a similar effect. Shots at varying angles (such as low angles) are used to show dominance over the camera. Mise-en-scene and a key use of black is used, typical of the rock genre. Focus is also used effectively in this video. Lighting is a key feature of this music video in establishing the dark emotional. In the band performance parts of the music video, the shots are dark with lighting drawing focus to the band member in the shot; an example of this being the shots of the lead guitarist, who is placed in the centre of the frame. 

A filter is used to highlight the shots of the girl as a memory or flashback, and shots are slow in pace, suiting with the idea of remembrance and the depressive nature of the song. Use of layering is effective in this video, both for the use of distortion in the flashback sequences, much like a memory fading itself, but also for the dramatic vocals by Ian Watkins. The positioning of Ian Watkins on the stairs sitting down makes him appear vulnerable, in-keeping with the emotion of the song.

Record Company

Lostprophets are signed to Visible Noise Records, but as part of Sony Music. This allows them to have a creative input in terms of music video, songs, and other aspects of production.

4am Forever Music Video

Richard Dyer's theory: the four notions of represenation. (1997)

The four notions are:

1 - What sense do representations make of the world? What are they representing to us and how?

This first notion questions how we have reprsented our own video through different aspects. The representations in our music video are aimed to link with the story told in the lyrics and the tone created in the song itself, through the use of vocals and diegetic guitar to add to the drama and intense emotion. Consequently, in our own music video we have tried to present these factors through mise-en-scene, camerawork and editing, in order to connect with the single soundtrack of the song "4am Forever." Therefore, use of all these features of production is essential to portray the correct tone demonstrated in the song. Costume has been used effectively to maintain the conventions of the rock genre; i.e. dark clothing, black eye-make-up, dark coloured accessories such as gloves, as well as props; for example guitars. The theme of memory and flashbacks are used in the "dream-like" sequences (highlighted through an applied filter effect) featuring the female protagonist are used in the narrative to contrast and draw comparisons with the present, a concept familiar to most. A variety of close ups, medium shots and long shots at various angles are used in our music videos, accompanied with effective editing in order to represent the narrative and the video in a suiting matter to the nature and style of the song.

2 - What are the typical representations of groups in society?

      This second notion involves the types of people who would listen to Lostprophets. From research, it is evident that they have a widespread appeal, and are not simply associated with one particular social group. This is due to a compilation of various styles in each of their albums, ranging from aggressive songs such as "Everyday Combat" and "Shinobi vs. Dragon", to emotional songs such as "4am Forever" and "Always All Ways", to upbeat songs such as "Can't Stop, Gotta Date With Hate" and "Can't Catch Tomorrow."

3 - Who is speaking for whom?

      This third notion of the theory is in reference to whom produces the music video and in this case, it is Visible Noise Records.

4 - What does their example represent to me? What does it mean to others who see it?

This final notions asks the significance of Lostprophets' music for their audience. As the audience ranges in age, the meaning of their music may differ depending on the style, theme, or the message portrayed in a certain song, along with how someone interprets a song and how they individually relate to it.

Blumler and Katz  ‘Uses and Gratifications’ theory (1974)

Four broad needs fulfilled by viewers watching television:

Diversion- a form of escape or emotional release from everyday pressures;

Personal relationships- companionship via television personalities and characters, sociability through discussion about television with other people;

Personal identity- the ability to compare one’s own life with the characters and situations within the programmes, and hence explore personal problems and perspectives;

 Surveillance- a regular supply of information about ‘what’s going on’ in the world.

Lostprophets' music provide an escape from the everyday pressures of life, as well as allowing the audience to emotionally relate to the story being told through the lyrics or the emotion presented in the song. Through the use of narrative in a number of their videos, the audience could compare their own lives with those shown in the narrative according to a situation. Similarly, the message conveyed by the lyrics have the potential to adapt or change a person's mindset or view of a scenario in their own lives, thus altering their perspective on the matter. Modern attitudes are developed in such narrative videos as "For He's A Jolly Good Felon." However in the sense of surveillance, the music video for the song "Last Summer," uses the structure of comparison from three separate decades, deciphering how society has changed over time.

Stuart Hall  ‘Encoding/Decoding’ Model (1980)

Stuart Hall model identifies three types of audience decoding:

     A dominant hegemonic position- established when the audience takes the full preferred meaning offered by the text.

     A negotiated position- established when there is a mixture of adaption and opposition to the dominant codes.

    An oppositional position- established when the preferred reading is understood but rejected, drawing on alternative valves and attitudes.

Lostprophets fit into a dominant hegemonic position, as the music video is specifically structured to display the typical Lostprophets style in terms of mise-en-scene (costume, props, lighting etc.), camerawork and editing, paying particular attention to conventions of the rock genre itself. However, the interpretation of the narrative can never fully be in a dominant position, as the individual audience may differ in relation to the story, making it a somewhat negotiated position. Predominantly however, the audience are in a dominant, hegemonic position.

Storyboards