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Music Video Analysis'

 

 

 

Nina Nesbitt- The Hardest Part- ANALYSIS 1

‘The Hardest Part’ is part of Scottish Singer Songwriter Nina Nesbitt’s debut album ‘Peroxide’ which was released on 17th February 2014. Nina Nesbitt is a 20 year old Singer Songwriter from Scotland that is mainly popular for her indie and acoustic music but also writes and performs pop like music. The album was produced by Nina herself alongside Jake Gosling (Paloma Faith, Ed Sheeran, One Direction) and Iain Archer (Example, Snow Patrol and Jake Bugg). All her songs including ‘The Hardest Part’ have been released in both a physical and digital format which makes it available to a variety of music buyers. The song on Itunes is listed at 4:02 minutes but the official video on Youtube lists it at 4:12 minutes which indicates there is the use of both diegetic and non-diegetic sound used within the video that has been edited out of the official Itunes version or intervals of long instrumental or empty space.

 

 

Previous to featuring this song on her debut album, Nina had also released singles such as ‘Stay Out’, ‘Way in the World’ and ‘Selfies’ which has allowed her to establish and build upon her fan base. Her music is played on a variety of music channels and radio stations which means her and her music has been exposed on various media platforms in order to build upon her reputation and make her popular and established within the music industry; this is currently important as she’s still relatively new to the music industry and is still trying to create her star persona and present herself and her music in a way that will allow her to gain star status within her genre; for example like former flame Ed Sheeran. Nina Nesbitt is an artist that appeals to a target demographic of mainly teenage girls and young adults ranging from 13-21  but could also link to Laura Mulvey's theory in that the secondary target demographic to an extent could be young boys that are attracted to Nina in regards to her appearance. The fact the video mainly uses close-up and mid shots allows the target audience to feel connected to her and for teenage girls they may also be able to relate to her on a personal level that could then potentially link to Dyer's paradoxes of being ordinary and extradordinary as well as absent and present.

 

The video takes the form of a conceptual mixed with elements of performance as the video doesn’t reflect the lyrics being sung and she is in a random place; however, you see the raw talent and emotion behind the song that allows her to connect to the audience on a personal level. The random and isolated location does however support the typical convention of singer songwriters in that they usually choose to shoot the video in a location that has sentimental meaning behind it and a place in which they can reflect upon the past. Nina revealed she filmed this video in her favourite place in London as it had meaning to her and allowed her to truly reflect and look back upon past events in which she is singing about. The lyrics tell the story of a broken relationship and reflecting on how it used to be, how much she misses them and how even in despite of all these aspects maybe it wasn’t the right time for them to be together in the past. There was speculation that this song was inspired by ‘Ed Sheeran’ as himself and Nina when she was 16 and he was 19 had a brief relationship that didn’t end well and wasn’t right for either of them at the time.

 

The story within the lyrics allows this video to be applied to the uses and gratification theory in that it fulfils the 4 elements of personal identity in that the audience can connect and relate to Nina’s lyrics and the way she is feeling and personal relationships in that Nina wants to build a connection to her fans by relating to them via an emotional song that allows them to get to know her on a personal level. It also forms as a diversion for some people by allowing them to get away from their own break ups or bad relationships that haven’t been right at the time or have lasted for a long time and now ended. Dyer’s theory can also be applied to Nina and this song/video in regards to the paradox of being ‘simultaneously extraordinary and ordinary’ as she’s a beautiful 20 year old music artist and former model yet ordinary in that she experiences and goes through the same events as a normal teenager and young woman such as a breakup/relationship issues.

 

Nina and the lyrics in which she is displaying true deep emotions are the main focus of the video so that the audience can see the sentimentality and meaning it has to her personally as although she’s the main focus the way she is shot and the way that she mainly gazes in to the distance, down at her guitar or out the window represents her as ‘true’ and indicates she doesn’t want to fake her emotions and make constant and repetitive eye contact with the camera in order to make the song sell. This supports the typical conventions of acoustic singer songwriters in that they care more so about their music and their reactions to it rather than selling themselves to the camera or using extravagant locations or costumes in a desperate attempt to get noticed. I think by looking at this music video we can gain a lot of ideas and use some of the conventions Nina has used in her music video as it’s simplistic yet effective and the song we have chosen by Christian Smith is on similar lines in regards to a break up and bad relationship between two people; however, we want to create a narrative for our video but I think during the intervals that showcases Christian we should have him much like Nina in a location that has symbolism or potential meaning and let him display his raw talent in regards to his voice and guitar skills.

 

The camera work within this music video is very repetitive as it uses a sequence of the same shots; it mainly uses close-ups and extreme close-ups of Nina’s face and guitar and then uses mid shots and long shots to show her sitting against the window and showcase her vulnerability and hurt and then also uses medium shots from the outside perspective as if she’s now looking out from the inside in regards to her ex as she’s now no longer part of his life. The music video starts with a close-up of Nina’s face as she looks down and even though she isn’t making direct eye contact, the audience can feel and see the emotion she is portraying. In this beginning shot Nina is only taking up roughly a third of the screen with the other two thirds showing the window as she looks out. The camera then pans down to the guitar which reinforces the convention of acoustic singer songwriters being able to play a guitar to a high level which allows them to display their raw talent and musical skills. It then cuts to medium shots and back to close-ups repetitively. At one point it cuts to an extreme close-up which shows her heavy eye makeup in which some has smudged under her eyes as if she’s previously been crying or trying to hold back tears which reinforces the emotion of the song. Camera work is mainly steady throughout the video but there are intervals in which they choose to pan and shoot shots of Nina using a hand held technique which I feel is effective in making the video more personal not only for the artist but for the audience as well; it also reinforces the idea that artists like Nina Nesbitt are more interested and put much of the emphasis on their music not on having a clean cut music video.

 

Editing is used a lot throughout this music video and can primarily be seen in that the entire video is shot in a black and white filter which not only gives the video an authentic image but is also a representation of pathetic fallacy in that the black and white connotes and is a reflection of the mood of not only the song but the artist as well. This allows the audience to either feel sympathetic for her or connect to her on a personal level if they too have experienced the same emotions during some point of their lives. Direct straight cuts are used throughout the entire video which shows the seriousness of the situation and the abruptness of how quick they start and stop (fast paced) could be a representation of the relationship she is referring to within the song. At the beginning a close-up is used of her face and at the beat of the guitar strum cuts to a black background which has her iconic hand written font in white saying Nina Nesbitt; it then uses a straight cut to show the camera panning the guitar followed by another direct cut to a black background with the song title also written in her iconic font style. Her unique font style allows Nina to be unique and have a USP in that the writing will always be associated with her and her albums; this allows her fans to associate her with an iconic trademark and make her known. In addition to these editing techniques the frequent straight cuts are frequent and often cut between the sequence of extreme close-ups, close-ups, medium shots and panning shots. Furthermore, in the middle section of the song editing is used to give the impression of lighting by white spotlights dancing across the screen as if seeing her through the light or as a reflection; there are also occasional frames within the video mainly in those that are a medium shot capturing Nina on the window ledge that are blurred and unfocused as if it were through the eyes of someone that was crying; although, it could also be a representation of how the past relationship she was referring to was and that it’s now becoming hazy. I really liked the blur and out of focus frames as it fit well within the video and could be depicted in regards to why it was used and the effect it had; I think this would be a good aspect to include within our video if possible and if it works with our concept. If we were to do this it would also allow us to practice using the editing software even more so in order to achieve an effective result and not just disorientate the audience which may be a possibility if the effect we put on is too strong or for a long time period.

 

In regards to sound, non-diegetic is limited in that the only non-diegetic sound piece heard is at the beginning which either sounds like wind or breath which could represent the emptiness and coldness Nina is feeling. However, the diegetic sound of the lyrics being sung are the main focus of the video and it’s as if this has been prioritised in that the artist and the producer didn’t want any other sounds within the video that may cause a distraction from Nina’s voice. The guitar is visibly being played on screen by Nina and her lip synching is matched up incredibly well to the music track; the rhythm, pace and sound of the guitar adds a calming yet sad effect in order to fit the motion and tempo of the song. Even though it could be said as being diegetic in that it can visibly be seen and heard the singing could also be categorised as non-diegetic as it would have been recorded separately to the video and then overlaid with the video footage. The accuracy and precision of the lip synching has made me think how much more precision me and my group need to take when matching up the sound so that the video look authentic and realistic. Even throughout all the close-up shots for example at 1:04 when she’s singing “I’d give anything to just be with you again, but it’s not the right time” the camera is extremely close-up of Nina’s face and there is a particular emphasis on her mouth and lips in order to see the accuracy of the lyrics being sung.

 

Mise-en scene is the final important element within this video; this includes lighting, location and costumes. Despite being in black and white the lighting used throughout is mainly natural lighting in a portrayal of showing Nina as pure and innocent and in some sense like the popular girl next door sitting on her windowsill which further supports Dyer’s paradox of being extraordinary and ordinary at the same. The lighting isn’t harsh or particularly dark as if the lighting were to be low key on top of the black and white effect already used the video would look extremely dark and harsh and perhaps even unpleasant to the eye. In regards to Nina’s outfit choice in this video, throughout the entire video we seen no lower than her top; however, it can be seen she is wearing a black three quarter length sleeve top and has heavy eye makeup and long wavy blonde hair which even though it’s unintentional as the video is meant to convey sadness could be said to support Mulvey’s theory in that Nina is desirable as she’s a naturally attractive woman and like previously said within this video portrays the image of a normal teenage girl that is realistic, achievable and reliable. Furthermore, the location supports the typical conventions of singer song writers in that it’s isolated but also has sentimentality and meaning as Nina said it’s a place in London that has an importance to her personally. The building looks old and empty with its hard stone walls and cross hatched windows as if she’s caged in on herself and forever looking out to the world in her time of sadness and reflection.

 

I think the way Nina has been portrayed in this music video is extremely effective and even though she is the main focus and isn’t used as a cameo by displaying raw emotions and not making eye contact throughout the video it allows the main focus to be placed on the lyrics and the meaning of the song to her and to her audience and not on the fact she’s a famous singer.

 

 

Mumford and Sons- Little Lion Man- ANALYSIS 2

 

Little Lion Man is the debut single by London folk rock quartet Mumford and Sons and this particular song was released from their debut album, Sign No More on the 11th August 2009. Mumford and Sons is made up of 4 members: Marcus Mumford (lead vocals, guitar, drums, mandolin), Ben Lovett (vocals, keyboard, accordion and drums), Winston Marshall (vocals, banjo, guitar, resonator guitar and dobro) and Ted Dwane (vocals, string bass, drums and guitar). The band were formed in 2007 and emerged on to the music scene from West London alongside other well-known artists such as Johnny Flynn and Noah and the Whale. Their album ‘Sign No More’ which features the song ‘Little Lion Man’ was produced by Markus Dravs in collaboration with the band themselves; Mumford and Sons record labels include Universal Music Group, Island Records, Glassnote Records and Universal Music Australia. Unlike Nina Nesbitt’s song ‘The Hardest Part’, Little Lion Man is 4:16 in length on both itunes and Youtube which indicates they haven’t added additional non-diegetic or diegetic sound or if they had this is part of the song that they want fully included and not cut out. One of the iconic and USP of Mumford and Sons is not only their vocals but long instrumentals that include various instruments.

Due to ‘Sign No More’ being their debut studio album this meant that Mumford and Sons had a limited fan bases as prior to their major breakthrough they played at various small events and gigs. However, with the release of their album and the single ‘Little Lion Man’, Mumford and Sons have become continuously successful and have since released a further album with many more hit selling songs. Mumford and Sons are currently in a position in the music industry where they have established their target demographic and fan base and have been able to increase upon this via their exposure on different media platforms. Their music is played on a variety of radio stations, music channels, on tv programmes/adverts and they also play an active role in making themselves known by partaking in interviews and performing at various events/gigs. I personally felt that Mumford and Sons primary targert demographic was young females aged 15-25 followed by males but found out that NME which is a well-known music magazine that is renowned for the Indie Folk genre in which Mumford and Sons is reviewed to be a band that has a male dominated target demographic of 68% male and 32% female of an estimated age of 24.

 

I think the official music video for ‘Little Lion Man’ is a hybrid of conceptual and performance as the band are displayed on a stage singing and displaying their raw talent and musical skills but yet there is no audience or crowd and the way that the video has been created also makes it conceptual as it’s not fully a performance video yet the lyrics being sung aren’t being reflected within what’s occurring on screen. However, the fact they are performing on stage shows they care more so about their music and showcasing their talent which is a typical convention of acoustic singer songwriters/acoustic folk/rock than creating an over the top video that derives attention away from the music and the band; however, their isolation also shows that they’re not in it purely for the fame and limelight and it also allows the band to connect to the individual that is watching the music video than having to connect to an audience if it were to be a complete performance video as well as the camera. The stage isn’t a particularly major stage in regards to size, décor or their range of technical effects which is shown via the flickering light bulbs and the fairy lights; however, shooting their video in a small event venue on a small stage may have a sentiment meaning to it similarly to Nina Nesbitt and the typical conventions of acoustic singer songwriters which links to Swales and 'family resemblances' as this may be their representation of showing where they came from and what they’re used to as gigging at small event venues is where they initially started out and it’s by doing this that they are now able to perform on major stages like Wembley and the O2; this is a further aspect that allows their audience to connect to them as they haven’t let fame get to their heads, they still remember their roots and haven’t forgotten where they initially came from.

 

The isolation of the band in this video can also be linked to the meaning of the song as this holds a lot of sentimentality in particular to Marcus Mumford who has previously stated “It's a very personal story, so I won't elaborate upon too much. Suffice to say, it was a situation in my life I wasn't very happy with or proud of... and sometimes when you can't describe a feeling with your own words, it's almost easier to express in a song”.

Similarly to Nina Nesbitt, Mumford and Sons are also prime examples of Richard Dyer’s star theory and his paradoxes in that the members of Mumford and Son are ‘simultaneously extraordinary and ordinary’ in that they were and still are in terms of their attitude and how they act regular people yet they’re also award winning and hit selling song writers and performers. Marcus Mumford said that this song is extremely personal to him and when listening to the lyrics has negative connotations which allows the audience to further relate to the artist and is further evidence in terms of Dyer and his paradoxes as it shows that even famous bands and the members within the band can go through bad times in their lives and situations that everyone experiences and still feel the same emotions.

 

The simplicity of this song showcases the band’s talent yet also displays them in the limelight; their isolation means they are able to connect to the audience via eye contact with the camera and close-ups of each member. However, the main emphasis is playing their instruments and singing as the song holds a lot of emotion and they don’t want this to be perceived as fake. This supports the typical conventions of acoustic singer songwriters in that they care more so about their music and their reactions to it rather than selling themselves to the camera or using extravagant locations or costumes in a desperate attempt to get noticed that links to the remixing technique of pastiche with other similar videos within the same genre.

 

The video opens with a medium/long shot of a dark run down stage with flickering light bulbs above it which can be looked upon as untypical for a famous band but Mumford and Sons as I previously mentioned want to show their true roots and the kind of stages they were used to performing on before making it big within the industry in which sometimes they had a very small audience; this music video is focused on the music and the band and shows no audience watching them perform which supports the conventions of acoustic singer songwriters/acoustic folk rock (family resemblances) in that they don’t want to derive the attention away from their music and the meaning behind the lyrics and the actual talent that the band has by having a video that just shows their fame and popularity. The instrumental is long but the camera zooms gradually out as the music starts and the light bulbs get brighter and flicker. The camera shots used within the music video are fairly repetitive and they often use the same throughout. After the gradual zoom, a close-up of someone playing a guitar is shown which then cuts to a close-up of one of the band members on a side profile as a dark shadow playing the guitar; however, the fact they chose to use a close-up of an instrument before showing one of the band members also supports the typical conventions of acoustic singer songwriters and folk rock as they put a major emphasis on their instruments and music rather on selling themselves via their image. A mid shot is then used showing a different band member under a flickering bulb as he looks down at his instrument which is a further element that supports the emphasis on the music. It then cuts back to some of the shots that have previously been used such as the close-up of the guitar and close-up of a dark side profile of a band member. As the start of the lyrics get nearer, a medium shot is used of all the band member’s feet as they stamp their feet in unison to the time and beat of the music and a long panning shot is then used behind the band which shows the light bulbs and fairy lights but also the empty audience/crowd which indicates their isolation but shows their true love for the music and not purely the fame. Prior to the lyrics beginning a close-up of the variety of instruments is shown which displays the band’s variety and different musical talents as all the instruments are different. As the lyrics begin at 30 seconds in to the music video after the long instrumental, a long shot is used of the band from a front looking perspective as the lead singer begins singing and the other band member’s play their instruments in unison of one another. The camera then cuts back to close-ups of the instruments and all of the band member’s shadowed faces. The fact that the band’s faces are shown but they are shadowed and dark shows that they don’t want themselves as individuals to be seen but only want to be represented as a band altogether which is then shown via a long shot of the band in high key lighting that allows the audience to view the band altogether. The repetitive shots of panning behind the band and close-up of the lead singer is then used which still shows them performing and putting all their effort in to the song and performance yet no crowd viewing them; the lead singer is presented as the frontman of the group which is why the video seems to contain a lot more shots of him than the other band members especially as he sings the majority of the song as well. A shot is used of the lead singer looking down upon the stage, which is used in the rest of the song as their performance platform which could be a representation of him looking down on where they did come from and reflecting on how far they’ve come not only as a band but individuals as well. Furthermore, as the music quickens and becomes more fast paced, the camera shows the lights getting brighter and close-ups of the band playing their instruments a lot quicker and more furiously; the music video then ends with close-ups of the band which then cuts to a behind shot of the band which is used often in the video that then pans up to the ceiling of the venue as the screen gradually fades to black.

 

This music video is quite minimalistic and simple in regards to its mise-en scene; the first shot shows a dark run down wooden stage in which the darkness is further emphasised via the low key lighting used which is primarily used throughout the entire video and flickering light bulbs and fairy lights are used which indicates this isn’t a venue with high levels of technology in which the band is now used to performing on. However, a spotlight is created at the beginning to create a focal point for the audience to look at as this focal point is the spot where the band would be situated and performing for the rest of the video. The video doesn’t particularly show a lot of the venue in which they are performing at in great detail but the shots shown show it to be extremely run down with dark, peeling walls and wooden floors and simplistic in regards to the décor and viewing platforms which links to the theory of having 'instances of repetition and differences'. The behind high angle shot of the lead singer looking down upon the stage shows how deserted and derelict the place is yet they seem to bring the stage alive via their music as even the flickering light bulbs and fairy lights get brighter and more effective as the song continues; this indicates that the band knows that via their talent and music they can bring any sort of stage alive regardless of the state it is in. As previously mentioned low key lighting is used throughout but a spotlight is created to highlight and put the primary emphasis on the band. In regards to costumes they are all dressed smart/vintage yet casual as even though they’re wearing shirts, jackets/blazers and waistcoats they’ve made it casual in that for example the lead singer has his sleeves rolled up and is wearing different sort of clothes to the other members of the band which displays him as the main focus point in terms of band members. The main item used in terms of props are the musical instruments and guitars used as the sound of the different instruments makes up the entire tone and pace of the song and this song in particular has long sections of instrumental music which supports the typical conventions of this genre.

 

In terms of sound, despite the video being 4:16 in length this is entirely made up of the song lyrics and the sound of the instruments both of which are diegetic and no other type of sound diegetic or non-diegetic has been added; however, I personally think this is effective for this video as it would take the attention away from what the band are trying to show and achieve through this video and would distract from their talent of being able to pull off long instrumentals using different instruments and what they are able to achieve through their voices; furthermore due to the video being conceptual and performance based when looking at it from the performance perspective it is unconventional to have added sound effects or speech if wanting to create the effect of a live performance/gig.

 

In regards to editing, the music video uses straight cuts between each shots throughout the entire video and the transitions are extremely fast paced which reflects well alongside the pace/tempo of the music. Although, lighting equipment would have been used to create the low key effect it’s also likely that when it came to the editing process they also altered the brightness and contrast of a lot of shots. In addition, the close-up shots of the band members and the instruments in particular had a blurred/unfocused background which indicates the fact they want the emphasis to be in the individual or the instrument which are essentially the most important as they are the ones with the skills and talent. Furthermore, jump cuts are also used of the main vocalist when singing and it is also used at one point on the guy that plays the keyboard/piano as it show him singing and his hands playing the keyboard and then jump cuts to a close-up of him playing the instrument; the use of a jump cut allows the audience to view it from a different perspective and can be an extremely effective form of editing.

 

The main thing I like about this video is how minimalistic and simple it is as I think this does allow the band and the song to take centre stage but the minimalism also adds to the effectiveness of the music video and the power of the song. I think considering minimalistic and simple ideas are extremely important and I will keep this in mind when producing our music video especially as these kind of ideas can be more important and effective than extravagant ideas and are a key aspect when it comes to the typical conventions of our genre. I think this video also could link to the theory by Kaplan and Stacey in that is the 'male gaze' put forward by Mulvey always adopted by male spectators as I think in regards to Mumford and Sons this theory is applicable in that females may be the spectator in terms of the 'gaze' as they're all relatively attractive men and it isn't just women that are sexually objectified or portrayed in a desirable way.

 

 

 

 

 

The Lumineers- 'Ho Hey'- ANALYSIS 3

The Lumineers are a folk rock band, based in Denver, Colorado. The two founding members and songwriters of the Lumineers are Wesley Schultz (lead vocals, guitar) and Jeremiah Fraites (drums, percussion). Neyla Pekarek (cello, vocals) joined the band in 2010 and then Stelth Ulvang (piano), and Ben Wahamaki (bass), joined the band as full-time members in 2012.

 

The band's self-titled debut album was released on Dualtone Records on April 3, 2012 and ‘Ho Hey’ was released on June 4th 2012 as their lead single from their album; the music video for ‘Ho Hey’ was released on March 11, 2012. ‘Ho Hey’ is quite short in length for a music video at roughly 2:40 on Youtube but on Itunes is 2:35 which indicates there is extra sound used in the music video that is cut out of the available track on Itunes. The song was written by Wesley Schultz and Jeremy Fraites and produced by Ryan Hadlock; it was initially released in a digital download format.

The target audience for The Lumineers I would say is the young population of 16-25 and most predominatly female fans.

The video for ‘Ho Hey’ is conceptual as a lot of the shots and the overall concept of the video don’t link to the song lyrics at all and could be classed as quite random. However, the video uses a lot of shots of the band walking down a hall which purely shows them singing and playing instruments which similarly to Mumford and Sons allows them to display their raw talent and musical skills. Although The Lumineers song isn’t as simplistic or minimalistic as Nina Nesbitt’s and Mumford and Sons they have still been able to create the same effect and achieve the same result of ensuring that their music and their talent is the main emphasis of the video and not the background events; this video gets busier and has more things going on as it progresses that allows the audience something else to look at but the attention is never particularly diverted away from the band itself. The video starts with a single band member and as the song develops the other band members join him however the video starts simply and as it develops more people come on screen and the background events and the overall look and décor of the surroundings becomes better which could be a representation of their journey in that at the beginning they were on their own but as they made the steps and went along the journey they are now to the stage where they have a lot of people surrounding them and millions of fans that travel across the world to see them live.

 

It’s never been fully proven as to the meaning and sentiment behind this song but there has been a lot of speculation that it’s to do with a past relationship that a band member had and lost and ideas that it’s about a relationship he’s never had but one he wanted and longed for yet just had to observe; other ideas diminish the idea of it being about relationships but believe it to be about when the band member moved, however when analysing and listening to the lyrics I do believe this has a lot of sentimentality due to it being about a past relationship especially via the lyrics of ‘I belong with you, you belong with me you’re my sweetheart’ and ‘I don’t think you’re right for him, think of what it might have been’. This could then link to Dyer's theory  and his paradoxes of being ordinary and extraordinary in that it allows the audience to interact with the band and the lyrics and identify with them.

 

This video is different to previous Nina Nesbitt and Mumford and Sons in that they have other people within their video besides themselves (instances of repetition and differences); however, the band are still within the limelight and despite the busyness nearer the end, the main emphasis within the video is playing their instruments and singing as the song does hold a lot of emotion and they don’t want this to be perceived as fake. This supports the typical conventions of acoustic singer songwriters in that they care more so about their music and their reactions to it rather than selling themselves to the camera or using extravagant locations or costumes in a desperate attempt to get noticed.

 

The video starts with a medium shot of a wall with an old looking photograph in a frame in the centre and then two netted frames either side, this then transitions in to a pan across the rest of the wall which contains pictures, mirrors and light bulbs/fairy lights across the entire length of the wall. The lights used and the effect they’re aiming for is similar to the video ‘Little Lion Man’ by Mumford and Sons which links to intertextuality with another text; it then pans quickly in to a longshot of the lead member as he walks out of a room playing a guitar; this then gradually zooms in to create a mid-shot as he walks towards the camera. His interaction with the camera means he wants to connect with the audience and be able to directly connect to them via eye contact and making them feel involved in the events of the video. However, this shot is very brief and then cuts to a mid-shot but on a side profile which then tracks him as he walks down the corridor. This music video contains a lot of close-up camera shots of various scenes; a close-up is used of the flashing lights and of the band’s feet stamping in unison in time to the music which can be seen at 0:37 seconds in to the video which could be interpreted as an intertextual link to Mumford and Sons as they too not only used light bulbs and lights but also used the stamping the feet in unison in time to the song; because The Lumineers became popular and got together after Mumford and Sons and due to ‘Ho Hey’ being their first single they may model themselves after bands like Mumford and Sons due to being in the same genre of music.

 

The music initially starts with the lead singer walking out of a room but it’s not long until the second male band member joins him which is shown after the close-up of the feet via a medium shot as they walk alongside each other down the corridor until the third and final (female) member joins. A close-up of each member is then used to establish who is in the band to the audience and shows them all singing or playing an instrument. By having a mix of genders within the band it allows the audience to remain active in terms of being able to relate to either/or gender. Further close-ups of members of the band are then used followed by a foot smashing a light bulb which could be a representation of how they want to smash within the music industry with their music. The video then begins to get busier as a medium-shot showing the female band member running down the hall playing an instrument with a crowd of people is shown which then continues to a mid-shot of the band in the middle of a massive crowd as the camera circles around them. However, it continuously cuts back to the band on their own walking down the corridors that was shown at the beginning and then back to the crowd and the band; other camera shots such as medium shots of the lights and close-ups of the lead singer’s face is also used and various shots were used that were then timed to fit the pace and tempo of the beat. The fact it cuts back to them being on their own to them being surrounded by people could link to the idea of fame and popularity and also Claus Levi-Strauss and the idea of binary oppostion of the old and the new the bad and the good etc. The fact that the camera focuses on the faces and actions of the band members further supports the conventions of the genre in that the primary focus is the band and the song and not the other events of the video. As the video comes near to the end a close-up of the female member is used as she plays the guitar which then cuts to close-ups of confetti thrown up by the crowd. Medium shots are used between the crowd and the hallway which have then been cut and edited to fit the pace and transition in unison with the music as the video then ends with a final close-up of the confetti and the ceiling as the crowd looks up as if celebrating The Lumineers success and break through in to the Industry.

 

In regards to mise-en scene some of the elements used within this video like previously mentioned are similar to Mumford and Sons like the lights and light bulbs; they also mainly use low key lighting especially at the beginning and then the lighting begins to seem clearer and brighter as the song progresses; similarly to Mumford and Sons, The Lumineers also use a lot of shadowed effects; the regular similarities lead me to believe that The Lumineers do use intertextual references to Mumford and Sons seeing as they're a renowned band that they want to model themselves after but also follow the theory of using both instances of repetition and difference in order create a USP and established fan base. In this video a variety of props are used; this includes the dull old photographs, frames and mirrors at the beginning to the junk in the messy rooms and to the most important props of all the band’s instruments which allows them to showcase their talents and adds to the climax created for the song. Further props include flowers hanging from the ceiling and confetti which is thrown by the crowd at the end and adds an element of fun to a sentimental song. The location used seems minimalistic and simple like Mumford and Sons video and initially seems quite old, although, it seems that the background and the props get more up to date and recent as the video goes on; the location used looks extremely big in size as they use various rooms and hallways and also a massive hall where the crowd and band then perform in a closed space. Furthermore, in terms of costumes the band have remained casual with the female member choosing to wear a cream dress and heels, the male member a whit top and braces and black hat and the lead singer wearing a dark top, dark jacket and black hat which yet again presents him as different and perhaps slightly more important being the lead singer of the band. The casual style of their costumes indicate that despite being what Dyer would label them to be in terms of a construct and both ordinary and extraordinary they want to fit in with others choosing not to wear extravagent outfits in their music video instead allowing themselves to fit in with others within the video and easily connect to the audience.

 

In terms of sound, it is mainly diegetic in that the majority of the song is the sound of the instruments and the singing; however, they also use an over-lay of non-diegetic sound at regular intervals that is relevant to the song and says words like ‘Hey’, ‘Ho’ and ‘1,2,3’. The video starts dramatically with a loud strum of a guitar that grabs the audience’s attention and the overlay sound of ‘Hey’; the actual lyrics of the song begin 16 seconds in to the video.

 

In addition, in terms of editing, not only have they used low key lighting within their mise-en scene but it also seems like they have altered the brightness and contrast settings of the shots which allows the scenes to look effective in terms of the overall effectiveness of the video. The transitions between the different scenes are straight cuts and jump cuts throughout which fits the directness and drama of the song; they often use shots in which the transitions fit the beat and pace of the song. They also use a shot in which the lights are timed to flash in rhythm with the time of music which is another aspect that Mumford and Sons had previously used. However, nearer the end the transitions used are still straight cuts in which they use the flash of the lights as a cover up to the change of scene which makes the change noticeable and drastic and looks effective when done in unison to the beat of the music. In addition, when close-ups of the band are shot the background is very often blurred and unfocused which emphasises the importance of the band and ensures they are the main focus point of the audience’s gaze. Furthermore, there is a scene within the video in which a band member is stamping and smashing a light bulb which looks more effective and dramatic via the editing in which the event has been slowed down which emphasises the action and drama.

 

 

 

 

Ryan O'Shaughnessy- No Name- ANALYSIS 4

 

‘No Name’ is the first hit single written by young Irish singer songwriter- Ryan O’Shaughnessy which was released in 2012 after his Britain’s Got Talent debut in which he finished in 5th place and made the final. He was 19 at the time of appearing on Britain’s Got Talent although he is now 22; he made the headlines after his first audition in which he sung and performed his own song ‘No Name’ that he explained was about a friend of his that he had feelings for yet declined the questions of who she was and anything more to do with the mystery girl. This gained him a lot of publicity about the inspiration to this song and who the mystery girl was; however, the publicity helped him to progress in the competition and allowed ‘No Name’ when it was released via his record labels: Syco, Sony Music Entertainment and RCA Records to become a hit. Britain’s Got Talent also allowed him to establish a strong fan base that would be support him even if he didn’t win the competition; this positively benefited him as the fans he made via BGT then made the journey with Ryan and supported him when producing and creating his new album which is vital as a new artist. He has since released an entire album containing his own songs which was produced by Jonas Westling and himself and hit single ‘No Name’ is available in a CD and digital format; the featured length of ‘No Name’ on Youtube is 2:50.

 

‘No Name’ is mainly a conceptual video with some aspects of narrative as the events occurring in the video don’t reflect or represent the lyrics he’s singing; however, there are certain points within the video in which it shows shots of a girl whilst Ryan is singing about her and even though the events don’t directly link or reflect the song they are loosely linked. Similarly to the previous videos I have analysed it features a constant acoustic sound although there are times where it’s non-diegetic and times where it’s diegetic; this showcases Ryan’s additional musical talent in that not only can he sing but he can also fluently play the guitar. The fact that Ryan is isolated on his own allows him to reflect upon the lyrics and the relationship he is referring to in the song; the sentimentality of the song is stereotypical of the acoustic singer songwriter genre. The emotion of the song allows it to be linked to the uses and gratification theory in that the audience can connect to Ryan on a personal level if they have felt the same way, been in the same situation or are going through the same emotions as them (personal identity) and personal relationships as Ryan also wants to connect to his fans and share with them his story and an aspect of his life that allows his fans a personal insight. It also serves as a form of diversion if someone is going through the same situation as it lets them know others go through it but that you can turn it in to something positive. Much like some of the other videos Dyer can be particularly applied to Ryan and the paradox of being ‘simultaneously extraordinary and ordinary’ as he’s a good looking ordinary boy before going on Britain’s Got Talent that goes through the same emotions and events as every teen/young man yet he’s extraordinary in that despite being a regular guy from Ireland he has an amazing voice that allowed him to do extremely well in one of the most well-known talent competitions in the world to the point where he is now signed to a record label and has produced and created an album and is slowly becoming more famous in the music industry.

‘No Name’ has a lot of emotions and sentimentality which is the main focus in the video and a lot of the shots are of Ryan as he reflects upon his feelings, tries to progress with his life and better himself.

 

Similarly to the previous videos I analysed Ryan O’Shaughnessy uses repetitive camera shots throughout his entire video; however, they all piece together well and create an effective video overall. The video starts with a close up of stacks of records and another close-up of a record player which already establishes the focus of music and the artist’s passion for it. It then shows a close-up of Ryan sitting at a table writing and looking out the window reflectively which establishes the artist and then shows another close-up of a tape player. The camera then cuts to a close-up of Ryan laying on the floor with his hands behind him back with a cup of tea as if he’s in deep thought or reflection as he looks away and doesn’t make direct eye contact with the camera. This particular shot reinforces Dyer and the idea of being ordinary as it presents himself as a regular guy at home getting over a heartbreak which also reinforces the uses and gratification theory in that it allows the audience to personally identify with the artist if they to have been in a similar situation.

The camerawork then repetitively jumps from various shots of Ryan from a long shot to him sitting at the table to a jump cut close-up looking out the window and then another jump cut is used to show him from a side profile as the music begins to kick in and he is writing a letter or lyrics on a piece of paper. A mid-shot is used to show him reflectively looking out the window; all these shots primarily used at the beginning establish the sentimentality and meaning behind the song as the artist is emotionally involved in what he is singing which supports the typical conventions of acoustic singer song writers. However, it then shows Ryan being productive and putting the emotion he is feeling in to a song; this is shown via a long behind shot in low key lighting and unfocused as he sits in his personal home studio playing guitar, recording and singing. Within this scene it then uses various close-up shots of Ryan himself, the guitar, the mic, Ryan singing and a cut back to a medium shot of him sitting at the table looking out the window. If it wasn’t already clear, a clear indicator as to what or who the song is about it revealed as an extreme close-up of a pretty girl is made out despite being unfocused and in disorientating lighting. It then cuts to a long shot of Ryan slumped against a wall throwing a ball as if he has nothing better to do and has just given up; this element relates heavily to the song and links nicely to the next shot of an extreme close-up of his eyes that look extremely sad and lost. However, the concept of this video is good in that it’s not purely Ryan sitting in his studio singing and playing guitar and does instead have a variety of shots and scenes in which he is truly connecting to the song as a person that allows the audience to connect to him on a personal level. The video then shows a close-up of Ryan playing guitar again so the musical talent and skills is always apparent. It then cuts back to the sentimental shots via a close-up laying on the floor, a close-up of his lips as he sings and a mid-shot as he lays on the floor followed by a close-up of Ryan singing. The song then goes on to progress to a medium shot again looking out the window reflectively and a long shot at the table. It then cuts to a bathroom shot and an over the shoulder shot as Ryan looks at his reflection in the mirror perhaps looking at himself and thinking why doesn’t the girl he likes like him too? It then shows another extreme close-up of the girl that links to the idea of them being or not being a perfect match as the case may be. It then has a medium reflection shot of looking out the window, a close-up of him singing and a long shot of Ryan sitting at what appears to be a different table spinning and watching a coin in which perhaps he is using the coin in order to make a decision.

At this point within the video it then cuts between the extreme close-ups and close-ups as he looks out the window and medium shots of him laying on the ground, close-ups of Ryan singing and long behind shots of him in his studio recording, singing and playing guitar. It also shows close-ups of various musical technical objects such as amps which reinforces his genuine care for his work and then cuts back between shots of Ryan at the table and laying on the floor to extreme close-ups of the desirable girl that he is thinking about and fell hard for. As the ending nears, an extreme close-up is used showing Ryan’s lips and of him playing the piano/keyboard, writing at the table and other mid shots of him in his studio; this also includes close-up shots of a piano and other instruments in the background, close-ups of the technical equipment and close-ups of Ryan’s face. The song ends with another extreme close-up of the girl, a close-up of Ryan, a mid-shot in the studio and an extreme close-up of Ryan watching the coin as it nearly comes to a halt, a further extreme close-up of Ryan and then it finally ends with a close-up of the coin as it wobbles and finally falls on one side that ultimately is an indication to Ryan as to what he should do. The camera shots and the overall idea of the video is clever in that it links extremely well to the song and is different to the other videos I have analysed within this genre as although the shots are repetitive they are forever changing and the video doesn’t display him as constantly singing in each scene which I personally think worked well with this song as this was a situation he was in and by having him displayed purely as a person without singing or his guitar it showed his vulnerability to the audience.

 

In regards to mise-en scene everything is rather natural in the video as natural looking lighting is used throughout which conveys normality and links well to the normality of using his flat as the main location which is full of things like plants, a sofa, dartboard and tables. The flat seems nice yet simplistic and the primary props which links well to the genre and the emphasis on the music is the shots of the records, record player, cassettes, guitar, piano, amps, mic and other instruments. In addition, although this song is about liking someone and them not feeling the same way, the fact that this budding musician that is being portrayed in the video has turned this situation around to benefit him by even setting up his own personal studio in his flat shows his true passion for music. When in the studio, low key lighting is used which is effective as the natural lighting from the window then makes Ryan look shadow like as he plays his guitar, records and sings. In terms of costumes, this is also rather casual as Ryan keeps the same outfit throughout and this happens to be a plain t-shirt, a blue pair of jeans and black slip on shoes. There’s also shots throughout the video in which he uses a paper and pen to write down lyrics as he looks out the window and also uses a coin nearing the end of the video which symbolises his decision and what he is going to do.

 

In terms of sound, this is kept simplistic at the beginning of the song, we hear the sound of a loud dramatic guitar is yet this can’t be seen on screen at this point making it non-diegetic, however, Ryan also plays a lot of guitar in time and beat to the music which makes it diegetic; this means the sound of the guitar changes at intervals from one to the other. This could also be said for the lyrics as at some points Ryan is singing the lyrics yet at other points there are shots of him in which he is either looking reflectively out the window or laying on the ground and the lyrics are overlaid on top of the shot. However, I believe switching the lyrics and guitar at intervals makes the video in a way more effective and interesting as it isn’t a video that purely shows Ryan sitting in an isolated location constantly singing and playing guitar.

 

‘No Name’ uses repetitive editing techniques and the majority of the shots have a clear focus and focus pull choosing to blur and unfocus the background. For example, when a close-up is used to show Ryan writing lyrics the background is blurred but there is a focus on what he’s writing; this is also the case for when he’s in the studio as it’s not only unfocuses and blurred with a focus on Ryan but there has also been alterations with the contrast settings as it looks like there is an overlay of white which is meant to be caused by the effect of low key lighting clashing with the natural lighting. The focus pull and blur is frequently used which shows a clear indication of the most relevant aspect of the frame and draws the audience’s eye to the element that is clear. This editing technique is also used in the studio when there is a close-up of Ryan’s guitar and when there is a close-up of the mic; these shots further emphasise his passion for music and that Ryan as the artist and his instruments should remain the main focus throughout the entire video. In addition, during the extreme close-up of ‘the girl’ he is referring to, there has been further alterations with the contrast as much like the studio but in a heavier context it looks as if there has been a white overlay put on it which gives the effect of high key lighting or sunlight but also creates an enigma as the image is unclear and makes the identity of the girl remain hidden. Furthermore, the blur effect is also used during an extreme close-up of Ryan’s eye which look sad and provokes sympathy from the viewer. In regards to transitions, the video uses straight cuts throughout which makes the shots follow on from each other better and makes the storyline more direct. At the beginning there is a straight cut to a scene of a record player and Ryan laying in the background; however, Ryan is blurred and unfocused. Jump cuts and cross cutting are heavily used throughout the video as it cross cuts back to already seen scenes but equally jump cuts are used when there is a long shot in the video which then jumps to a close-up; as the video ends, there is a close-up of the swirling coin as Ryan waits for it to land however only the coin is clear and in focus as this is the aspect that Ryan will ultimately make his decision upon.

Ed Sheeran- Sing- ANALYSIS 5

Ed Sheeran born on 17th February 1991 is an English singer songwriter and musician He was born in West Yorkshire and raised in Suffolk however he loved to London in 2008 to pursue a musical career. In early life Sheeran was even believed to be homeless and busking on the street for money and to showcase his talent to the public; it was in 2011 that Sheeran released an independent extended play No.5 Collaborations Project which caught the attention of Elton John and Jamie Foxx and it was after this he then signed to Asylum Records. His debut album, +, containing singles such as ‘The A-Team’ and ‘Lego House’ which to this day are some of the most iconic tracks of the century which were certified quintuple platinum in the UK. It was also mainly on the basis of these two tracks that led to Ed Sheeran winning two Brit Awards in 2012 as well as ‘A-Team’ winning the Ivor Novello Award. As a result of further albums and successful singles Sheeran has also been nominated for Best New Artist in 2014 as well as many other awards. Sheeran is not only a singer but can also play guitar, percussion, piano and violin which presents him as extraordinary in terms of Dyer’s theory yet the image he creates for himself and the struggles he has faced within his life present him as ordinary which links to the two paradoxes.

 

As now one of the top selling artists of this century and worth millions, Ed Sheeran’s songs and albums have been released in both a physical and digital format which makes it available to a variety of music buyers and allows him to broaden his demographic. On Youtube ‘Sing’ which is another popular track of Sheeran’s and the one I will be analysing is 4:29 in length yet the album track listing states it to be 3:55 length which indicates there is the use of both diegetic and non-diegetic sound used within the video that has been edited out of the actual track; this may be intervals of instrumental or speech. ‘Sing’ was released in 2014 and is part of one of Ed Sheeran’s relatively new albums X and was written by both himself and Pharrell Williams both of which star in the video.

 

In regards to the type of video for ‘Sing’ I depict it to be conceptual based in that the events don’t particularly match the song and it’s usual in that the artist himself isn’t the central focus and that they in fact choose to use a replicate of the artist in the form of a puppet. However, I also think there’s aspects of narrative within the video in that it does tell the story in a logical order in regards to his night out and some lyrics of the song matches to what is happening on screen although this is only on the rare occasion.

 

The storyline and focus of this video is on a puppet version of Ed Sheeran himself on a night out within various clubs, bars, strip clubs and even just out on the street. The majority of the lip synching is done by the puppet Ed Sheeran although within the shots of the real Ed Sheeran and Pharrell it’s Ed Sheeran doing the lip synching whilst Pharrell occasionally sings along to the chorus. I like the meaning behind this video in that Ed Sheeran is showing he’s not a puppet within the music and media industry in that he can be controlled and he is in fact free to do what he wants and that the most important thing to him is why he became part of the industry initially- to sing; this can loosely link to Dyer's theory of stars being constructed images in that being ordinary, Sheeran doesn't want to become superficial or a constructed image like other stars which also links to a postmodernist theory (Principle) of style over substance.

 

In regards to the camerawork of Sing they use a variety of different shots and angles throughout the video to emphasise its desired effect and the quick pace of shots distorts the audience as if they too are on a night out. The video starts with a fast paced close up panning shot of a car out of control as it then cuts to a long shot of some stacked boxes and back to the car before again cutting back to a long shot of the car crashing through which could be a representation of Ed Sheeran himself crashing through the music industry. An extreme close-up is used initially which makes you think Ed Sheeran himself is getting out the car yet a normal close-up reveals it to be a puppet version of the star which surprises the audience especially when he begins to lip synch in time to the song as if he is the real Ed Sheeran. It then uses a long shot to show the puppet Ed Sheeran walking down the street followed by an over the shoulder shot to signify the journey he is going to make that night and this could link to Ed Sheeran’s real life and his current journey within the music industry. It then started the story of his night first starting with a mid-shot of him at a bar and then a shot reverse shot between him and an attractive female behind the bar; however, it then cuts to a medium shot of a group of Chinese men having a meeting dressed in suits singing in time to the song via karaoke. It then cuts back to puppet Ed back at the bar and uses various shots that include a front mid shot, a side shot and over the shoulder shot of him as if to cover all perspectives. It then cuts back to the karaoke and this is the point when the puppet becomes even more like Ed Sheeran by taking centre stage as he sings to the lyrics of the song as the camera circles around him before cutting to a completely different shot of the puppet via a long shot of him hanging his head out of the window of a limo. It then shows a medium shot of a group of attractive woman as they walk down the street and cuts back repetitively between close-ups of the singer and the women as they eventually get in the limo. At this part of the video it also shows the real human Ed Sheeran in front of a blue spiral screen to create a hypnotic effect as he plays his acoustic guitar and sings. At this point it then cuts back between puppet Ed in the limo, on the street and the real Ed Sheeran; an extreme close-up is also used to show Beats headphones which is referred to as product placement. It also uses a high angle mid shot of the puppet in a strip club and uses a shot reverse shot between the puppet looking up and the strippers looking down at him seductively. The end part of the video is more focused on the real Ed Sheeran as well as the puppet with various close-ups and mid shots of him playing guitar and Pharrell Williams having a good time. It shows the puppet finish his night with a woman and then a close-up being sick however, it then shows him travelling and an over the shoulder shot is then used to reveal him looking upon the set in which Ed and Pharrell are filming and are in front of the screen. It then cuts to a mid front shot as the puppet joins the real Ed and Pharrell and then reflects back upon the night using various shots and then has close-ups of all of them driving in a car and mid shots dancing. A mid shot is also used when puppet Ed is arrested and his mug shot taken and it then cuts to a close-up of the real Ed the morning after on a bed looking confused which either implies he has a hangover or does in fact find himself in a false sense of reality as he clearly has no indication as to where he is. A point of view shot and over the shoulder shot is also used from puppet Ed’s perspective as if trying to piece whether last night was real or all just a dream. Could this link to the feelings of Ed Sheeran himself? Does he just feel as if his successful life it only a dream?

 

In regards to editing and what is used within Ed Sheeran’s song ‘Sing’ he uses straight cuts throughout to keep it dramatic, effective and fit the fast pace of the song and lyrics. Editing is also used to insert an overlay of text which is green in colour which is the signature trademark of Ed Sheeran and is written over the top of the background in frame. This is also done slightly later with the name of the song- ‘Sing’ written in a thin green font with the S and I on one line and the N and G separated on a separate line. Throughout the video a blur has also been done at times on the background in order to keep the character or main event on the screen in the line of vision and as the central focus. A blur is used in various shots such as Puppet Ed in the street, in the bar and even when he first got out of the car initially at the beginning of the video. Although it’s mainly straight cuts that are used in the video there is the odd occasion in which a fade is used if suitable such as at the end when it fades from a black frame shot to the morning after as real Ed and puppet Ed wake up and look confused about the night’s events. It also uses frame overlays in which a future frame is actually on top of another; there’s even an interval in which the puppet has been edited on top of the background location dancing. They also use cross cutting and jump cuts as effective techniques as this matches the fast pace of the song and the short shots. The puppet Ed in general would have been edited in order to make it look effective as it would have been being controlled. They also use a green screen when Pharrell and Ed Sheeran are in front of the blue spiral background and also when it appears that the puppet is driving the car to create a dramatic effect and make something that isn’t usually possible look real. In comparison to the fast paced short shots the close-up of the beat headphones is extended and lingers on this shot to emphasise the promotion of the brand.

 

In terms of sound in this video it’s kept simplistic in that the emphasis has been put on the track itself and the lyrics because other than the sound of the track which is non-diegetic we only hear a diegetic sound of tyres screeching at the beginning and beeping of a horn and although it could be argued that Ed Sheeran playing the guitar and singing could be diegetic it’s in time to the sound of the non-diegetic music put over the top. However, having Ed Sheeran playing guitar and lip synching makes the track look effective and interesting and the changes between the puppet singing and Ed and the events within the night make the video unique and puts the emphasis on the sound of the track.

 

In regards to the mise-en scene within the music video there is a vast amount of different settings, props, costumes, make-up and lighting used to intrigue the audience and keep the video interesting and appealing. The main settings used is a derelict isolated location in what appears to be a deserted and graffiti part of town at the beginning which puppet Ed comes crashing through and an establishing shot is used of a city to show this will be the basis for the video. This again reinforces the theory of Ed Sheeran being ordinary in that he purposefully choose not to feature an extravagent location. The video consists of a night out which consists of settings such as being in the street, clubs, bars and strip clubs; however, it also uses a studio setting for the shots of real Ed and Pharrell and a bedroom to represent the morning after and then waking up in a dazed state. As a young male it could be said these settings are a representation of a night out in the perspective of Ed Sheeran himself and the fame means he can potentially go out to all these different places. The lighting used throughout the video is mainly low key to emphasise the impression of night although high key lighting is used as a contrast during the shots of real Ed and Pharrell which shows a comparison between his profession and social life. In regards to costumes and hair and make-up, everything has been kept simple in that the puppet is an imitation of Ed Sheeran who is known for his casual look so the puppet is simply wearing trainers, black jeans, black leather jacket and a white top with Ed Sheeran’s signature messy hair and facial hair whilst the real Ed Sheeran is wearing a black top with dark jeans and a similar hairstyle. Pharrell who also features in the video is wearing simply a blue jumper, gold chain, white top and blue jeans and the Chinese businessmen who are shown regularly are wearing smart looking suits to show a comparison between Ed Sheeran within the music industry compared to those in a corporate world. Both Ed Sheeran and Pharrell are wearing casual clothing and Ed Sheeran is known for his casual look often choosing to wear t-shirts to award cermonies. This again reinforces Dyer's theory of a constructed image in that he wants to obtain his personality and doesn't want to get caught up in the fame and loose himself or what he got in to the industry for in the first place which supports Dyer's paradox of being ordinary and extraordinary and also links to his audience being able to identify with him. The women within the video wear very little with the woman behind the bar wearing a black crop top and skimpy shorts with heavy make-up and hair to one side with the other women such as the ones in the limo wearing yet again very little opting for crop tops, bralets and skirts. For props they uses the boxes and truck for driving throughout the video and a limo to show their star status. Lights are featured in the town to make the shots lighter and more interesting and money is also thrown around within the strip club yet again to emphasise Ed Sheeran’s wealth and power. There is also the use of beat headphones via product placement which serves as an excellent form of promotion for the company in that it implies stars like Ed Sheeran use and love this brand and product. However, the most important prop used is the acoustic guitar by Ed Sheeran which brings the audience back to reality and the most important factor- the singer, the music and what he is best known for. The puppet is supposably meant to be a representation of him yet it will always lead back to the most important thing- the music and nearer the end of the video we see the string of the puppet which implies its use as a prop and may imply that Ed Sheeran himself occasionally feels like a puppet being played. Furthermore, a green screen is also used for the driving car scenes with the puppet, real Ed and Pharrell and the blue spiral screen and for the mug shots of the puppet’s arrest near the end which highlights it's construction linking to Dyer's theory.

 

‘Sing’ is an interesting video by Ed Sheeran in that it shows two aspects of the limelight (Dyer) and fame in that a lot of celebrities go out and get drunk and have a good time but ultimately it should be about the initial factor and what made the star famous in the first place the most significant factor and Ed Sheeran is an artist that appreciates this and always tries to display it within his videos. Ed Sheeran’s video’s all either have a theme or storyline/narrative however, the emphasis is always placed upon the track and the song itself and even if it’s just occasionally Ed Sheeran does feature in the majority of his videos most often than not with his guitar which displays his pure and organic talent which is an aspect within the music industry that often gets overshadowed by other things in the modern day.

The target audience for Ryan O'Shaughnessy is mainly teenage girls from the ages of 12-19 and he attracts this target audience in accordance with Kaplan and Stacey's theory of the view of the male gaze not always being a male spectator but could also be female. Ryan O'Shaugnessy established and developed his fan base by featuring on the hit show Britain's Got Talent that allowed him to gain the support of young girls across the nation which transitions in to his solo career.

Ed Sheeran is an artist that has promoted himself and his music effectively that he is able to obtain a broad demographic in regards to his fans; Ed Sheeran's primary demographic is both males and females of a relatively young age of 15-25 but also has a secondary target audience of 30+. The main theory applicable to Ed Sheeran in general is Dyer and the idea of being both oridinary and extraordinary as he used to busk for money on the streets and not be known and via hard work and motivation now finds himself to be one of the most well-known and popular artists of the era.

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