Shot 1
The introductory shot shows a close-up of the lead singer of the band, Chris. The lighting is bright, the scene could be set in the day with good weather. Of course, there must be some sort of supporting light source from the filming crew, but apart from that, the colours are bright and light. As soon as the music video starts, the soundtrack begins and Chris starts singing in sync with the soundtrack. The close up was created by a zoomed-in function, and with this shot the camera gradually zooms out.
Shot 2
Between shot one and two, there is a fade in to the second. There is still a continuous zoom occurring during this scene.
Shot 3
At this point in the music video, the audience realises that this video is edited in reverse. The entre music video has a narrative that is being presented backwards. We see Chris getting up from the mattress which if it wasn't in reverse, Chris would have been seen to collapse onto the mattress - meaning the first shot of the music video is technically the last if it was played in the chronological order. Also, in the background there is a teenager riding a BMX - he is also shot in reverse. Everything but Chris miming to the soundtrack is shot in reverse. Chris seems to be around a derelict area, which could be mean he is in some trouble - more connotations with the mattress, such as sleeping rough, does he have anywhere to live?
Shot 4
There is next a arc shot where the camera is capturing nearly a full circle of Chris. He continues to mime the lyrics of the soundtrack, again with the shot being presented in reverse.
Shot 5
In this long shot, we see a BMX rider but shot in reverse. There is a side tracking movement of the camera. Mise en scene shows a stereotypical teenager in baggy jeans, a hoodie, contemporary trainers and of course, a BMX. Furthermore, there is graffiti on the building which could suggest this stereotypical teenager would be associated with the vandalism shown.
Shot 6
Chris is next jumping over a wall, continuing to show the audience a story of him traveling away from somewhere that we will later see in the music video.
Shot 7
There is a tracking shot where Chris looks very serious as he walks down (or back) a train track, with the tracks symbolising his journey possibly. The lightning on Chris is much darker in this shot. He is covered by a bridge over the train track. The dull lighting adds to the melancholy look.
Shot 8
This extreme high angle, long shot shows the many train tracks with Chris walking backwards over them.
Shot 9
There is another extreme long shot where it captures Chris walking joyfully around the trees (backwards of course).
Shot 10
Here, the lighting is bright on Chris' face due to the scene being filmed at night. He is in the woods still and it creates an eerie feel. The audience are about to discover what is the climax of the narrative in the music video.
Shot 11
There is a straight cut from shot 10 to this shot. This mid shot captures leafs from the trees surrounding him ascending from the ground - special effects have been added to create this effect.
Shot 12
In this long shot, Chris is shot in reverse still and we see him throw his coat, but evidently it looks like he is
Shot 13
This mid shot focuses in on the woman laying on the floor, whilst simultaneously unfocuses on Chris in the background - he continues to walk across the shot (in reverse) as the camera remains stationary.
Shot 14
This long shot of the car shows that Chris has got out of the car and heads in the direction of the train tracks, of which he ignored the girl that was on the floor. It looks as if the windscreen is smashed? The camera movements in this shot involve an arc shot, of which starts left to right and captures the exterior of the car, whilst Chris is stationary in the car.
Shot 15
The pace of the editing gets faster as it shows the woman (in reverse), this happens to due to the narrative becoming more tense and is probably the climax of the story to the music video.
Shot 16
In this shot, the audience sees the a high-angle wide shot of the car that has just crashed - we see smoke and the car (in reverse) move up and down with the suspension as if it has just landed.
Shot 17
A wide shot captures the woman falling out of the windscreen, but in reverse, conforming to the theme of the music video being in reverse.
Shot 18
The audience sees the car in the air and land in the field. The low angle wide shot gives the audience the impression that the couple has had a car accident.
Shot 19
Despite every single shot being shot in reverse, the audience see that the car has fallen down a hill or some form of cliff. There is a gradual tilt up from the camera as the car is shown to be rolling down the hill in reverse.
Shot 20
In this long shot, the car is shown to have crashed into the barricades of a road as reverse shots show the wood being put back together and the car going back onto the road. The camera remains stationary throughout this shot.
Shot 21
This point-of-view/over-the-shoulder shot shows the car that Chris is in swerve against the other oncoming car - finally showing why the car rolled down the hill and crashed. The lightning remains dull.
Shot 22
This two shot shows the couple (Chris and the girl) together in the car, happy, joking and laughing. Stereotypically, the shot could show they are together as traditionally a girl and boy, a heterosexual relationship to be the norm.
Shot 23
No comments:
Post a Comment