Treatment (My ideas)

Song title: “Say it isn’t so ”
Genre: Alternative rock

Lyrics

Say it isn’t so
Oh how you love to come to me
Never let it go
Take it all away from me

I see you
And I feel you

Say it isn’t so
Oh how you love to make me cry
Gonna go and leave this
I’m not even gonna say goodbye

I see you
I miss you

Say it isn’t so
You can let me go

I smell you on my clothes
I feel you on my skin
I see you where I go
I see you from within

Say it isn’t so (x4)

Ideas/concepts

In my opinion the lyrics (as seen above) of my chosen song are somewhat ambiguous and therefore open to interpretation. I perceive the song to be about a destroyed relationship where the speaker is expressing his emotions towards a lover who has betrayed him.

It is evident that the speaker is in denial as highlighted in the undisclosed rhetorical question: “Say it isn’t so”. I believe that the speaker is tormented by his memories of his lover as connoted in the lines: “Oh how you love to come to me”, “I see you”, “I smell you on my clothes”, “I feel you on my skin” and “I see you within from within”. Although, the speaker gives the impression that he does not desire to be haunted by his lover (“You can let me go”), in my opinion , the use of the word “can” gives his lover the power to choose whether to free him from his psychological turmoil. This is very revealing as the speaker could have simply commanded his lover to “let” him “go” – perhaps the speaker may not want to be completely freed from his memories as they are all he has.

In my music video, I plan to incorporate the suggested connotations of psychological conflict that are embedded in the lyrics of my chosen song. I hope to achieve this by utilising flashbacks in the narrative of my music video, where, I will purposely create contrasting atmospheres by juxtaposing the speakers past memories that occur before he is betrayed (happy) and the speaker’s current emotions of anguish, frustration and emptiness. In my music video, the ambiguous betrayal will take the form of the speaker’s lover cheating on him - the ultimate betrayal. This provocative narrative component as well as the psychological conflict alluded to in the lyrics of the song, will aide me in creating a gritty and emotionally captivating music video - fulfilling my artistic vision as highlighted in my brief.

I may also incorporate a dream sequence at the beginning of my music video which will depict the speaker (protagonist) and his lover being separated, with his lover ultimately abandoning him for someone else (a figure who resembles the person that his lover had an affair with in reality). This powerful structural device where the protagonist’s metaphoric dream mirrors his reality will add a symbolic dimension to my music video. I believe the inclusion of the described dream sequence (see above) will simultaneously allow me to address two key concerns identified in my audience research. The first of which was a criticism of alternative rock music videos, where approximately 33% of my respondents (see graph 4 in my “Graphs denoting the results of my questionnaire....” post) felt that music videos rooted in this genre were not depth filled enough to warrant multiple viewings. The second issue raised by my audience research related to my audience’s preferences where approximately 17% of my respondents stated that they had an expectation regarding the presence of symbolism (see graph 7) in an alternative rock music video.

Furthermore, I feel that the dream sequence will not only add symbolism and hence depth to my music video, but the surreal aspect of the dream sequence will highlight my protagonist’s psychological conflict. In summary, the inclusion of a dream sequence will allow me to address my audience’s concerns (as already discussed) and fulfil my brief by dramatising my protagonist’s turmoil, thus ensuring my music video is emotionally captivating (a key aim identified in my brief).

My mood board

The most prominent themes that my music video will focus on include: past happiness, the present loneliness/ isolation and the subsequent psychological turmoil resulting in anger, pain and anguish. I feel these themes are embedded in my mood board (see below). Please note that it is possible to enlare my moodboard by a simple mouse click.



Other Inspirational influences

Edgar Wright





I find Wight’s innovative, refreshing and unconventional approach to filmmaking very inspiring. Wight’s defined style juxtaposes contrasting genres and elements in order to create a unique brand of hybrid films. In the same vein, I hope to juxtapose traditional conventions found in alternative rock music videos with the unconventional surreal elements which I plan to incorporate in my symbolic dream sequence.

I will draw particular inspiration from specific scenes in Wright’s 2010 film: “Scott Pilgrim Vs the World”, where the character of Romana Flowers is portrayed through a metaphoric entity in various dream sequences. The vibrant eye popping colours used in the dream sequences firstly, established that these dream sequences are not part of the “reality” of the film and secondly, enforced the narrative element that this girl is literally the girl of his dreams. Similarly, I will try to use my dream sequence to emphasise the fact that the speaker’s lover has abandoned him (a key narrative component). I believe that the use of vibrant colour in the dream sequence (at the beginning of my music video) will instantly capture my audience’s attention.

A key characteristic of Wight’s style is his use of both fast cuts and jump cuts which may prove useful as an editing style; especially during the breakdown in my chosen song, where the instrumentation becomes fast paced, in which an electric guitar is overwhelmingly prominent. In my opinion, the combination of fast cuts and jump cuts in conjunction with the overwhelming presence of an electric guitar (during the breakdown of my song) will allow me to provide my audience an insight into the psychological turmoil of my protagonist.

Furthermore, the experimental style of Wright’s artistic approach is not dictated by commercial expectations. Likewise, my music video will also not be shaped by mainstream attitudes as suggested by my method of distribution (online) meaning that my artists and I can create a music video with a good degree of artistic freedom.

Tim Burton




I am also influenced by the dark, morbid and haunting imagery employed by Tim Burton. I plan to draw inspiration from Burton’s provocative style in order to fully capture the loneliness, isolation, anguish and desperation of my protagonist.

I feel my music video’s use of “Wright-like” elements (vibrant eye popping colour) and “Burton-like” elements (dark and provocative imagery) will create a contrast thus fulfilling Levi Straus’ theory of “Binary Opposition”. This contrast will further highlight my protagonist’s psychological dichotomy.

Michael Jackson



I believe that Michael Jackson was the most innovative force that the music industry has ever witnessed in relation to music video production. Jackson is synonymous with elaborate and depth filled music videos which were not only driven by complex narratives, but were also intertwined with symbolism. Jackson’s employment of sophisticated narrative elements meant that his music videos could be classified as short films. I plan to draw inspiration from Jackson’s narrative approach to music videos by including a symbolic dream sequence (as already mentioned) as well as flashbacks in order to effectively communicate my intended narrative.

John Keats



One could argue that my interpretation of my chosen song (a tortured lover who is haunted by the memories of his lover, who has betrayed him) has many parallels with Keat’s 1819 poem “La Belle Dame Sans Merci” (the beautiful lady without mercy). I believe that keat’s poems is very multilayered and ambiguous, where although many readers adopt an anti-feminist approach, leading them to interrupt the poem’s narrative to detail a knight who has been seduced and abandoned by a temptress , I feel that a psychoanalytical reading is equally as valid. When applying a psychoanalytical perspective, one could interrupt the “La Belle Dame” (the beautiful woman) of the poem to actually be an extended metaphor examining the human imagination – a key Romantic concern. If one adopts this approach, the knight’s obsession with the “lady” in the poem, becomes an obsession with an imagined experience, a lady who is essentially a symbol of the knight’s perception of perfect a love. The fact that the speaker describes the lady as a “faery child”, combined with Keat’s use the of supernatural imagery (“elfin grot” and “faery's song”), as well as the fact that once the speaker wakes up (after being “lulled” into a sleep by the lady), only to find that the lady is gone, suggests that the knight’s encounter with the beautiful woman in the poem was an imagined experience (a dream) and not reality.

In a similar manner, I want my music video to be multilayered, where many different readings are equally plausible. I also plan to explore the Romantic concern of the human imagination through my incorporation of flashbacks and a dream sequence (as previously discussed). I believe this would add to the psychological nature of my music video, where one could argue that my protagonist (who I am planning to represent as an alcoholic) cannot be relied on to provide an accurate account of his failed relationship. One could further develop the idea of the protagonist being unreliable by suggesting that perhaps his relationship is a product of his drunken imagination and that it never existed at all. I hope the various interpretations behind the multilayered concept of my music video will add depth and ultimately warrant multiple viewing – lack of depth was a key concern highlighted in my audience research.

What will I need?

Actors

I will need three actors:

• Two male actors (the protagonist and the character with whom the female has cheated with)
  



• A female actress (the protagonist’s lover who cheats on him)
  

I have already engaged in discussions with possible actors. I am confident that these individuals are both enthusiastic and reliable and as a result should not cause me any major problems during the filming of my music video.

Props

The props I may need are as follows:

• Past Photos of the protagonist and his lover that I will use as a mis en scene element (I plan to prepare these photos with my actors before the shoot)
  



• A smoke machine that I plan to use during the dream sequence in order to enhance the surreal nature of this sequence (one of my actor’s possess a smoke machine and should be able to bring it for the shoot.
  



• A guitar that will be used as a mis en scene element (I will try and borrow an electric guitar from one of my friends)
  



• Posters will be used as a mis en scene elements which will serve as intertextual references (I will have to source/buy these before the shoot.
  



• A red rose which I may use as a symbol of the protagonists dying love (which I will have to buy the day before the shoot)
  



• I may possibly need bed/bedding depending on the final decision regarding the locations I may chose (I will source these if needed)
  



• I will most likely use empty beer cans/ bottles as mis en scene elements which depict the extent of my character’s desperation to escape his reality (I will raid the local recycling bins)
  



• I will most likely need general rubbish/clutter as a mis en scene element that will reflect the confused state of mind of my protagonist (I will have to source this rubbish but will probably be able to use some material from my household)
  
  

Other decisions that I need to make

• Where I am going to film my music video (filming locations)
  




• What clothing my characters are going to wear (costumes)

What will be the challenges and how I will overcome them?

One of the main challenges I will face stems from trying to capture my artistic vision. I realise that my inspirations (Edgar Wight, Tim Burton and Michael Jackson) are all experienced professionals who are giants in their respective industries, whose budgets are not as painfully limited as mine (a humble media students). As a result, I may not be able to create the lighting effects I fully desire; although I will try my best to create my desired lighting by looking for affordable alternatives.

However, I may be able to employ post production effects whilst editing my music video in order to achieve my desired atmospheric lighting. On the other hand, this would pose its own challenges, as although, I am using a more sophisticated editing software package this year (“Final Cut Express”), I will still need to further develop my editing skills, in order to construct the various different aspects of my music video (the dream sequence, flashbacks, dark atmosphere and the visual representation of my protagonist’s psychological turmoil).
Notably, my concept for my music video is ambitious in its complex nature and therefore will demand precision in planning and organisation in order to fulfil my artistic vision.

Justification (theory)

Levi Straus’ narrative theory of “Binary Opposition”

I plan to use Levi Straus’ narrative theory of “Binary Opposition” as a fundamental device in reinforcing the narrative of my music video. My music video will fulfil this narrative theory by aiming to establish a contrast between the speaker’s past memories (conveyed through the use of flash backs) which were filled with happiness and his current feelings of loneliness and despair.
I will further build on this contrasting dynamic by utilising bright vibrant colours (during flash-backs) and dark lighting (when depicting the present). I believe this will powerfully reflect my protagonist’s spectrum of emotions during the different times in his life, thus giving my audience a valuable insight into the extent of my protagonist’s psychological torment – he is desperate to forget his past but is unable to do so.

I may also decide to manipulate the shots of my protagonist so that they are presented as black and white images. I feel this absence of colour would effectively highlight my protagonist’s bleak situation, which I believe can only truly be appreciated when compared to the surreal colours present in the dream sequence (at the beginning of my music video). Notably, if I did decide to manipulate the images of the protagonists (into black and white images), it would allow me to establish a sharper contrast, where the juxtaposing elements of my music video would consist of vibrant colours and an absence of colour instead of vibrant colours and a lifeless colour palette (blacks and blues).This would also conveniently solve some of my lighting concerns (as mentioned above).

Laura Mulvey’s theory of the “Male Gaze”

In my music video, my representation of the protagonist’s lover would somewhat conform to Laura Mulvey’s theory of the “Male Gaze”. The fact that the female protagonist has used her sexuality to mislead the male protagonist means she could be classified as a sexual temptress – a key characteristic which would fulfil the role of the “whore” as identified in Mulvey’s theory.

However, I will not conform to the stereotypical external appearances (provocative clothing, sustained use of the colour red) of the “whore” as suggested by Mulvey’s theory. I believe such representations are not necessary as they are outdated, cliché and sexually objectify women. As a result, I believe this representation would needlessly alienate potential female viewers as it is not relevant in the context of my music video.

Goodwin’s key principles regarding music videos

My alternative rock music video will have a strong relationship between its visuals and the corresponding lyrics of my chosen song – one of the principles of Goodwin’s ideology regarding music videos. As I previously mentioned the lyrics in my song evoke connotations of a psychological dichotomy where although, the protagonist is tormented by his past, he is incapable of moving on. I plan to illustrate the speaker’s obsession with his past by employing continuous flashbacks throughout my music video. I will further amplify the psychological conflict alluded to in the lyrics visually by using atmospheric lighting and post production effects (as discussed above).

I am also planning to illustrate a meaningful relationship between the music of the song and the corresponding visuals in my music video – another feature identified by Goodwin.
I will achieve this by adopting an editing style which reflects the compositions of my song. For example, during the breakdown in my chosen song, where the instrumentation becomes fast paced, I will increase the pace of my editing by employing a combination of fast cuts and jump cuts (as discussed above).

I may also incorporate intertextual references in to my music video via posters and possibly some dialogue (I have yet to reach a decision on how to do this). Notably, intertextual references will give my music video more depth and would subsequently increase the likelihood of my music video being deemed worthy of multiple viewings (a criticism highlighted in my audience research).