Leftfield ft. Afrika Bambaataa - Afrika Shox (Narrative theory)

Track: Afrika Shox

Artist: Leftfield ft. Afrika Bambaataa

Genre: Electronic/ Acid House

Release: 6th September 1999

Music Video Director: Chris Cunningham

Chris Cunningham's interpretation of "Afrika Shox" engulfs us in a dystopian world that appears to be a metaphor for the need of social change; the swift cinematography and darkly lit mise-en-scene not only complement the rather underground, electronic genre of the track, but also Afrika Bambaataa's lyrics. For example, "Are you ready for the new age, they are setting the stage, for the renegades, to control your mind". These lyrics, referring to how the outlaws in society are being prepared for a new age of control; the outlaw being portrayed by the African American veteran "zombie", whereas, the control is most likely to come from the likes of corporate fat cats and government officials. The video therefore amplifies the lyrics, creating an interesting relationship between the music and visuals as it supports and expands on the point the lyrics are trying to make. Therefore, supporting Goodwin's analysis. However, I will go on to expand this point within my analysis, but it's an interesting idea to highlight now; one which Chris Cunningham seems to have grasped and used to shock us about real truths in American society. 

The video begins with an establishing shot of a large corporate building, essentially welcoming us in to this dystopian city by giving us a firm idea of where the power lies. Furthermore, the low angle helps further enforce this as it gives the building a form of subjugation; whereby, it's as if the city is constantly being looked over and judged from above. Additionally, the camera movement supports this idea in the way that it slowly pans down from the building, creating a sense of opposition between this corrupt, corporate dystopia and the citizens of the city; a great example of binary opposition, which follows well with in Claude Levis Strauss' narrative theory. The dystopia being portrayed within "Afrika Shox" bares similar reference to psychological thriller, "Pi". Whereby, a mathematical theorist cracks the worlds natural numerical pattern and soon becomes under threat from corporate or other governed power to hand over the digits for their own greed i.e. in stoke analysing. The paranoid protagonist is often compared to an ant, belittled in a large world riddled with corruption. This music video was created for the soundtrack using clips from the film, it showcases a few of the ideas mentioned.

                   

Furthermore, the idea of a subjugated dystopia is being reinforced through the use of editing, sound and mise-en-scene. This is as the video cuts from the towering building to a police car and then citizens walking to a shot of a security guard; further promoting the closely watched area of control. Additionally, the shot of the police car featuring diegetic sounds of the siren connotes progressing trouble; as if to symbolize and cement ideas of criminal activity in dystopian New York. Moreover, the three progressing shots are framed very tightly in the mise-en-scene, especially the shot of the civilians walking. This again indicates how trapped they are in such a controlled and corrupt society, with little room for free expression. Moreover, notice how the sequence of shots go from the images on the left (police > civilians > security), sandwiching the public in between authorities.

The following sequence of shots are interesting, the camera pans from a low-angle shot looking in to the sunlight to a shot of a man clinging to a fence in a car park. This could be connoting the idea of being trapped from the light, the light of course representing true freedom and goodness; Cunningham could have been suggesting through this panning shot that we are imprisoned (represented by the gripping of the fence), trapped to go out and make a difference in the world as this is decided for us by the individuals with the power to make an actual difference. It seems the dystopia in which Cunningham has created doesn't allow for free speech, and ultimately it comes back to control over opinions and actions from a higher power. Additionally, the camerawork and sound seem to connote the idea of de-evolution. For example, in films like Kubrick's "2001:A Space Odyssey" shots pan up with the overlay of classical music in order to illustrate ideas of evolution. In contrast, Afrika Shox pans down from the light with the accompaniment of rather menacing underground sounds. This contrast shows how perhaps Cunningham is trying to portray how as a race, we are beginning to evolve backwards; we are digressing back to the stage of apes, as we can no longer speak freely when we want to, fighting over objects for our own personal gain. i.e. oil, in comparison to apes, foods.


Unfortunately, the classical music can't be heard is it begins just after the video cuts, but 
this scene shows the leap in evolution; the discovery of weapons to kill -> reaching and inhabiting outer space. 

Still from "Essex Boys", depicting light bars as
a connotation for prison.

Furthermore, the lighting and colour grade also add to the idea of dystopia; grey colour tone, and rather dull bars of light are similar schemes of mise-en-scene to films such as "The Matrix" and "Essex Boys", films which also take place in a dystopian world. Additionally, although released after "Afrika Shox", "Essex Boys" gives similar connotations using the reflections of light bars. For example, in "Essex Boys" the light bars represent prison, which is what is also being portrayed through mise-en-scene in "Afrika Shox".

Still illustrating contrast between protagonist
and bagged trash

We are then introduced to the protagonist of the music video as the camera glides down a gloomy
alleyway, here, it seems that the individual is being compared to trash, as if this is how blends in with the dystopic society. Considering the character is black, this particular shot and the comparison of trash seems to connote the idea that white people have used the black person for their own good, taking from them and eventually throwing them out when they're not needed anymore.

Furthermore, although white people are depicted as trapped by this oppressive dystopia, black people are even more controlled within this fictional society; this is seen through the white man grasping to a fence in a rather open space, contrasting with the black character within the very confined alleyway. This again, reinforces Claude Levi-Strauss' theory of constant conflict, it also supports the idea of comparing black people to trash within the dystopia; in this creation of conflict, it's as if white people are the trash that is left to the streets, they are disregarded and in a sense controlled. However, the black people are representative of the bagged rubbish, they are even so more confined and subjugated within Cunningham's representation of dystopic New York.

Camerawork and movement depict the confusion of the protagonist, indicating his anxiety and signifying the chaos around him. For example, tight close-ups on the protagonist are performed out of focus to perhaps indicate that the character is out of touch with reality, he's distant from the world he is surrounded by and the focus again perhaps suggests he is not accepted by it. Additionally, handheld camera movement suggests confusion and panic inflicted by the protagonists surroundings.


This sequence gives a solid visual representation of binary opposition between ethnic groups, further demonstrating the divide between white and black people within the dystopic society. We see the protagonist reach out for help from the white business man once they exchange eye contact , the business man simply ignores the black character and continues reading his paper. Moreover, shot-reverse-shot is used to highlight this binary opposition between races; creating conflict by flipping between the two opposing characters. This opposition supports Claude Levis Strauss' theory conceptually and visually, editing creates visual conflict between the two characters; whereas, the different ethnicity of each character drives the conceptual ideas of conflict. In a metaphorical sense, this sequence could be connoting how African-American's are looking for help to get their culture back from the white man; as if their identity is deteriorating as the white man is taking literally everything from them (this idea is supported again further on in the video).

Additionally, we see the protagonist being introduced as a sort of fragile zombie at this point; this is as whilst reaching out for help his arm is knocked off by a passer by, who is also interestingly a white business man. Moreover, the visual portrayal of the protagonist's arm literally shattering off on to the pavement could perhaps be a connotation of how society is hard on it's black population, literally crumbling it's citizens. For example, it is no secret that black people are twice as likely to be stopped and searched, even harassed by the police as opposed to other ethnic groups. Furthermore, the protagonist is also wearing dog tags, giving us an indication that he has been to war, in particular Vietnam; many soldiers returning from the war were disrespected and shamed within society, a fair few being subject to being spat on by the public. This neglect for those fighting for their country is another aspect of representation of specific groups that Cunningham could be portraying within "Afrika Shox".

The link below supports ideas of disrespect and neglect for soldiers fighting in Vietnam. 
http://www.startribune.com/opinion/commentaries/160444095.html

Furthermore, we reach a part in the video where the protagonist encounters three white males breakdancing; this is interesting as breakdancing originated from black and puerto-rican youths in New York city during the early 1970's. Therefore, Strauss' ideas about constant creation of conflict are re-enforced  once we reach this sequence as the white males seem to essentially be robbing the protagonist of his culture. Additionally, breakdancing originated from New York and as the video takes place in New York it could be conveying a dystopia, whereby, black people have had their histories robbed from them; in this dystopia, African-American's seem to serve no place in the world, as the white population has adopted every cultural marker in black history for their own.

 In terms of mise-en-scene, chiaroscuro lighting is used during this scene, this is indicated by the light reflections off of the wet road; moreover, paying homage to noir films, such as "Once Upon A Time In America" and "The Third Man". Additionally, the setting of this sequence is very reflective of the music; the underground car park holds connotations to underground music i.e. genres of music that operate outside of mainstream culture, in this case the electronic genre. Furthermore, one of the white break-dancers ends up destroying the protagonists leg with no remorse; this crumbling of body parts references earlier when his hand was destroyed by a white business man, also showing no remorse. This again supports the idea that our white society is literally crumbling black citizens, and each loss of the protagonist's limb is a sign of ignorance towards their culture.

The music video reaches a point where the protagonist is left broken, limbs shattered on the floor; he is approached by the only other black character in the video (Afrika Bambaataa). Ironically, this character is the only to offer help, let alone acknowledge the protagonist and he is from the same ethnic group. Cunningham is perhaps showing within this dystopia that ethnic groups only look out for their own members, not caring for anyone different to themselves; in a way, portraying the inequality that is still present today in a more exaggerated manner.

Additionally, the low-angle shot of Afrika Bambaataa gives his character a sense of power; perhaps connoting the idea that he is the only one who can help and so in the protagonist's eyes, Afrika Bambaataa is mighty in his intentions. On the other hand, Bambaataa's character is reminiscent of a wise man, in a rather tribal way; metaphorically, this could be a reflection of how people need to regain touch of their own spiritual and moral roots and if not they become hollow and empty inside, destroyed by the soullessness of the urban environment i.e. concrete jungle of New York. This is shown through the protagonist's empty body and ease of destruction.

"Afrika Shox" ends with the protagonist being hit by a taxi and crumbling into cloud of debris, leaving the audience with an un-resolved conflict. As this conflict is not resolved, the music video seems to follow Barthes' code in regards to open texts, this is where the audience is able to create their own meaning and formulate different interpretations. Cunningham could be showing us that we are gradually wearing down our black citizens, and there becomes a breaking point; once we pass that breaking point there is no going back to pick up the pieces. Moreover, the reason we are going down this path is because our society is hard on African-Carribean citizens, and the music video could essentially be a representation of the loss of faith in our society from these citizens; sooner or later, all faith will be lost is what may be communicated here.

DJ Shadow: Live from the Shadowsphere

Artist: DJ Shadow
Genre: Trip-hop
Concert Venue: UEA LCR, Norwich
Concert Date: Thursday 23rd June 2011

Information:
Back in June 2011, I went to see DJ Shadow at the UEA LCR; this concert was different from any I have been to before and since as it was more about the immersive visuals from the artists proclaimed "Shadowsphere", where as, his music acted as a sort of soundtrack to illustrate these interesting short films.






Audience:

During the concert, I noticed some distinct factors about the audience that has now given me a better idea of the type of person/people who appreciate the trip-hop genre; it is first useful to note that DJ Shadow aka Joshua Davis is an American born music producer and DJ. Firstly, the majority of the audience at the concert were male, this could be explained by the origins of trip-hop that I touched on in a previous blog post; whereby, groups of predominately male soundsystems were kick-starters of the hip-hop and furthermore trip-hop genre. e.g. DJ Kool Herc, Grandmaster Flash and later on The Wild Bunch or Massive Attack. In terms of age, other than me and the friend I went with the most part of the audience appeared to be aged in their mid 20's and above, ranging up to late 50's; this could indicate trip-hop's maturity as a genre, it's not generic pop that uses the same similar riffs and beats in order to satisfy a more focused teen audience. Instead, and particularly in DJ Shadow's case, tracks are created from samples of old and usually unheard of records synched with newly crafted beats or rhythms in order to construct sounds that are rather alternative in their nature.

DJ Shadow, wearing a baseball cap.

Furthermore, the main ethnic backgrounds of the audience were caucasian and african-carribean; this is interesting as trip-hop was created through the primary influence of hip-hop and adapted in bristol, hip-hop's primary founders were of african-carribean ethnicity; whereas, the trip-hop genre evolved via individuals of caucasian ethnicty, as well as african-carribean. Therefore, this could be an indication that trip-hop is a genre that has been formed by and can be fully appreciated by these two different ethnic groups. Additionally, a fashion accessory that was common amongst the audience was a baseball cap, this type of cap is perhaps a signifier of the genre as well as the artist himself; the baseball cap originated from Brooklyn in the 1860's when the local baseball team adapted it as part of their kit when playing. Moreover, by the 1900's this style of hat became very popular and from then on in became a everyday piece of fashion; interestingly, hip-hop originated from the Bronx, an area very close to Brooklyn and so it seems that as a result this type of hat became an iconic fashion symbol of the hip-hop genre. Again, as trip-hop was formed through the primary influence of this genre, so was the fashion, which could explain it's prevalence in the audience. On the other hand, DJ Shadow consistently wears a baseball cap and so audience prevalence could be explained by the influence on fan base in terms of fashion.

I would say that the type of person who attended this concert had a strong appreciation for the arts, this is as the concert was gripping visually as well as in auditory essence.

What does this concert about the trip-hop genre?

DJ Shadow's Live from the Shadowsphere seems to indicate the importance of strong visuals or narrative in the accompaniment to tracks within the trip-hop genre, it's as if this music acts as more of soundtrack than anything else. This was highly reflective within the concert through the use of many short films and visual effects in order to keep the audience captivated; it was less about seeing the artist live, but more about the atmosphere of this new visual experience, whilst appreciating his music. In contrast, when I went to see an indie-rock band (Arctic Monkeys) a few weeks back, it was more about the stage presence of front man Alex Turner and singing along with the band to all of their songs; also, getting involved in moving about with the crowd. Whereby, DJ Shadow was about kicking back and appreciating what was being seen and heard, in a sense giving it a cinematic aesthetic. These two contrasting genres and concerts lay down the same format for music videos as well, indie-rock music videos often feature stage performance or the lead singer as the protagonist. Whereas, trip-hop videos are more about how well the music plays out to a visual narrative.

Shooting Schedule

Date: Tuesday 1st October 2013
Time: 11:45am - 12:30pm
Location: The Forum, Norwich
Equipment: Canon 550D DSLR (w/ 18-55mm and 28-125mm lenses), tripod.
Crew: Myself and my other group partner (Hamish), we took turns operating the camera and     navigating shot types.

This shoot was planned based around the strike occurring on the stated day; our music video involves the illustration of political inequality between the corporate bankers or government officials and the everyday working class citizen. Therefore, this day was dedicated to getting pick up shots of the National Union Teacher's strike in order to portray binary opposition against the pick up shots we planned to get of bankers in the docklands. Furthermore, me and the other member of my group met at the forum half and hour prior to the beginning of the strike in order to set up equipment and position ourselves for the first shots we were going to get. Moreover, the benefits of being able to record this strike is that it means we have more realistic pick-ups of the actions currently being taken against the government, allowing us to portray a more impacting visual narrative.

Date: Tuesday 8th October 2013
Time: 10:00am - 8:00pm
Locations: London - American Embassy, Docklands and St Paul's tube station.
Equipment: Canon 550D DSLR (w/ 18-55mm, 28-125mm and 75-300mm lenses), Canon EOS 5 35mm SLR, tripod, dolly.
Props:  Briefcase and cardboard sign.
Crew: Myself and my other group partner (Hamish), we took turns operating the camera and     navigating shot types.
Cast: Robbie Morris, a fellow classmate, brought in to portray both characters on each side of our split-screen narrative.

Once we had come to a conclusion about the plan of our music video, we ended up debating over the locations; Norwich is a great place for filming the most part of our music video, however, there were just some shots that needed to be done in metropolitan city in order to best represent the business man character in our production. Therefore, we decided that London would be the best place to give a sense of a corporate environment, perfect for scenes of the business man and shots that may contrast the protest.

Once all was planned out, we got on the train at about 10:00am to London; however, due to delays at a station on route we ended up getting to London a little later than expected (about 12:30pm). Then, we got the tube from London Liverpool Street to the American Embassy, here we were able to get a few pick-up shots, contrasting narrative for the businessman and protestor and also some possible images for our print production. Unfortunately, we were stopped and detailed by the police during our filming due to "suspicious" activity linking to ideas of terrorism, however, after we had been checked out the police had no problem of our continuation but warned us that the embassy may call the police again. Furthermore, we travelled to the Docklands in order to capture shots of the business man character; additionally, gaining pick-up shots of the corporate world surrounding us. This location was perfect for the use of a tracking shot, allowing us to give our music video some more fluidity, so we brought out the dolly in order to this. Again, we were stopped on several occasions by security guards for filming in a public place, luckily I had my school lanyard and so was able to prove that we were shooting for a student project. Moving on, we then headed down in to Canary wharf tube station in order to get a time-lapse for the businessman; to our fortune, many business like individuals had just finished work and so we were able to capture this within the shot, giving a strong sense of Robbie's character. In addition, on our way back to London Liverpool Street we stopped at St Paul's tube station which was perfect for the matching time-lapse of the protester, as it was quite desolate and bland.

Date: Tuesday 29th October 2013
Time: 11:45am - 12:15pm
Location: Derelict Building, Bracondale Mill Gate, Norwich.
Equipment: Canon 550D DSLR (w/ 18-55mm lens), tripod.
Crew: Myself and my other group partner (Hamish), we took turns operating the camera and     navigating shot types.

As the actor we were using wasn't available on this day, me and Hamish decided to go out and film the time-lapse that would oppose the large corporate building time-lapse we filmed in London. From our sixth form, we cycled to a derelict building at Bracondale Mill Gate with our equipment, with ease we were able to get the shot due to the open space and little public. However, we had the contact of the landlords had any problems arisen.

Date: Saturday 5th November 2013
Time: 3:00pm - 7:00pm
Locations: Hamish's house and Robbie's house (actor)
Equipment: Canon 550D DSLR (w/ 18-55mm and 28-125mm lenses), tripod.
Crew: Myself and my other group partner (Hamish), we took turns operating the camera and     navigating shot types.
Cast: Robbie Morris, a fellow classmate, brought in to portray both characters on each side of our split-screen narrative.

Because the daylight was fading, we used this day to film the interior shots that would make up our opening sequence for the music video. Firstly, Hamish's house was used for the business man characters morning routine, this is as he had a modern room that looked as it belonged to someone with a comfortable lifestyle, also, the kitchen in his house was very modern and fitted well with the character. On the other hand, for the protestor, we used Robbie's (our actors) house in order to create opposition. Using Robbie's living room and kitchen we were able to create the impression that he was not wealthy, nor poor.

Date: Monday 11th November 2013
Time: 2:00pm - 4:00pm
Locations: City centre/ Starbucks
Equipment: Canon 550D DSLR (w/ 18-55mm and 28-125mm lenses), tripod.
Crew: Myself and my other group partner (Hamish), we took turns operating the camera and     navigating shot types.
Cast: Robbie Morris, a fellow classmate, brought in to portray both characters on each side of our split-screen narrative.

We used this time to shoot the scenes focusing on the contrast in lifestyle and interest between characters, specifically focusing on consumerism and self-image. The reason for shooting at Starbucks is that it indicated consumerism and so linked well with the business man persona; additionally, we shot a sequence at Moss to show the business man's materialistic interest in suits and in contrast, Oxfam, to show that protestor character is not too concerned about expensive brands or consumerism, but more for how he can help others.

Clock Opera - "Lesson No.7" (Goodwin's music video analysis)

Track: Lesson No.7
Artist: Clock Opera
Genre: Indie rock
Release: 3rd October 2011

Music Video Director: Aoife McArdell













Clock Opera are an indie rock band based in London. They were formed in 2009 by singer, guitarist and sampler Guy Connelly, the band members are as follows; Andy West on bass and guitar, Che Albrighton on drums and Dan Armstrong on keyboard and vocals. Although they are labelled as indie rock, their music seems to contain some elements of electro; used euphorically like bands such as Metronomy, whilst they additional operate in similar vein to Coldplay.



Music videos demonstrate genre characteristics:

A common characteristic of English indie-rock is to establish the Britishness within the music video, an example would be the use of a council estate as a primary location in the music video for "The View From The Afternoon"- Arctic Monkeys. This is as is council housing is primarily situated within the UK, and is easily signified by tower blocks often showing signs of urban decay. Furthermore, Aoife McArdell establishes British society through the use of council estates as a location, much like in "A View From The Afternoon". Additionally, BBC news footage is used as another establishment used to characterise the genre through the indication of Britishness, as well as injecting the video with an authentic, documentary type style.



On the other hand, "Lesson No. 7" seems to be contradictory of a common indie-rock characteristic; this is the lack of incorporation of the band playing the track within the music video. Furthermore, it is common to cut to shots of the band whilst they are playing their instruments even if it is in between narrative or perhaps experimentally done. An example would be the music video for "Song 2" - Blur, whereby flashing lights, wind generators and stunt ropes are used within the performance of the band to convey a sense of the powerful riffs and drum beats. However, "Lesson No. 7" relies purely on narrative and doesn't feature and band performance, giving a slight contradiction to Goodwin's theory relating to genre conventions.





Furthermore, as indie-rock is a genre that progresses from the stand alone rock genre, we can associate some of these genre characteristics to "Lesson No . 7"; rock draws affiliation with rebellion and political activism. An example of rock rebellion would be bands smashing up their instruments at the end of their gigs. In relation to "Lesson No. 7", it appears Aofie McArdell has illustrated and modernised this classic characteristic of rock stage performance within his music video for Clock Opera. The way in which we see the protagonist smash up the car within the video draws a divine similarity to how performers such as Pete Townshend smashed up their guitars, particularly with the car resembling an amp. Moreover, perhaps illustrating how violence in rock has progressed from a stage of entertainment to genuine destruction. In addition, and as mentioned before the rock genre also draws association with political activism; songs such as "Fortunate Son" by Creedence Clearwater Revival criticise jingoism and supporters of the use of military force who don't have to face the consequences of it, particularly relevant as of it's release during The Vietnam War. This therefore showing how rock music is a symbolism of protest against larger world issues i.e. War. Furthermore, "Lesson No. 7" relates to this in the way that it deals with issues that are specifically relatable to Britain i.e. The riots influence on youth crime; therefore, the music video could perhaps be illustrating the significance of genre on how issues are dealt with e.g. Rock = larger world issues, indie-rock = locally significant issues. Moreover, this is supported by the term independent that is used to describe this sub-genre of rock, meaning that bands of this caliber aren't supported or influenced enough by any big record labels to make protest against larger mediums, instead going for smaller and more relatable topics to base their lyrics on. Overall, this shows how "Lesson No. 7" demonstrates genre characteristics of indie-rock through illustration and in some places contradiction via the music video.



 
There is a link between lyrics and visuals (either illustrative, amplifying, contradicting).

Using Goodwin's music video analysis of the connection between lyrics and visuals, it seems that the video for "Lesson No.7" is mainly illustrative and sometimes amplifying of Clock Opera's lyrics. Firstly, after being introduced to the protagonist there is a high angle shot of a group of five adolescents (wearing tracksuits and smoking), this then cuts to a mid-shot of the protagonist looking down at them through a wire fence; the lyrics that accompany this sequence are "You're crouched like a hunter, seconds from a kill". Moreover, use of camera angles and editing compare the protagonist to a hunter; a being that gains powerful advantage over naive creatures by stalking its prey, the prey in this case being the adolescents in the car park. Therefore, the visuals are illustrating the lyrics by using the protagonist as a metaphor for the hunter, ready to strike upon the group within the car park. Additionally, the fact that the protagonist is grasping the wire fence as he looks down upon the gang shows that his moves are restricted, as if he is unable to take action against them yet.

Furthermore, the second line of lyrics is "You're still an empty vessel, impossible to fill"; interestingly enough, in behavioural psychology, "empty vessel" is a term describing how an individual ends up with worthless outcomes when they are trying to please everyone. This links in with the Goodwin's theory about the amplification of lyrics, as, it essentially foreshadows the latter part of the music video; whereby, the protagonists actions don't solve anything but instead create more of the same violence. 

Moving on, the video continues to illustrate the lyrics in a rather metaphorical way that can only really be understood once the context behind the video is known; "Lesson No. 7" uses the London riots as a backdrop to showcase the disturbing, anarchic shift in our society. Getting back to the point, the lyrics at the end of the first verse go on to say "One foot in the future, one foot in the past, shitting on the present, as you're lashed to the mast". In contrast, the visuals cut from a low- angle shot of a women shouting at the gang, to a medium close-up of one of the gang members as he tussles with the others and eventually to the protagonist drinking some milk from the fridge. Interestingly, the cuts in this sequence are made between "future", "past" and "present" within the lyrics, giving each shot significant meaning. Firstly, we see an older women shouting at the gang from above as the lyrics talk about "future", signifying that the younger generation need to be better disciplined in the future in order to prevent outbreaks of misbehaviour and violence, such as the London riots. Secondly, when "past" is highlighted in the lyrics, the gang tussle that is being visualised is an indicator of how these young adolescents still feel that they are in control because of that previous event; they're stuck in a moment of past action that is yet to be broken. Finally, the symbolism of the protagonist drinking milk whilst we hear "shitting on the present" is that we aren't doing anything to take action against our broken society, we're wasting time by not making things right, only allowing matters to get worse.   

   

The track then reaches it's first chorus; however, I feel that it is more appropriately linked to the visuals within the second and third repeat. Nevertheless, one particular line seems to be relevant to mise-en-scene within the first hearing of this chorus; specifically the notion of weakness at the beginning of the character's growth. When we hear "One rule for the weak" we see the protagonist get up on the word "weak", as if this term applies to his calling. Therefore, giving us an indication of how we should see the character as now, and how he see's himself; again, linking with the illustration of Clock Opera's lyrics with the visuals of McArdell's video.

This shot could be illustrative of how
his stronger more aggressive side is seen
as another part of him, using shadows to
portray this side of the protagonist as dark.

Furthermore, the lyrics in the next verse are "I wanna be persuaded, I wanna be talked down, I wanna be won over, and I want to be brought round, but you only talk in capitals, all-conquering truths, Lesson No.7 is an irrelevance to you". Firstly,  the "wanna"/"want to" lyrics link with the visuals in the way that they seem to be the protagonist's inner thoughts; it's as if he doesn't want to go out and be the one to put some sense in to the other characters. The visual link being the tracking shots of the protagonist psyching himself up, cutting to a close-up of him looking in worry over a bridge. However, his aggressiveness is driving him towards this outcome, illustrated via the cuts between him and the barking dog. Secondly, the last line of this verse "Lesson No. 7 is an irrelevance to you" could be suggesting that "Lesson No. 7" is the softer way of dealing with violent young criminals, such as the gang portrayed in the video; therefore, by stating it's use as irrelevant it seems that it's effective in reforming criminals, and instead fighting fire with fire is believed to be the key idea in the protagonist's eyes.

POV shot from protagonists view; shaky movement, spit
on the camera and a taunting gang member. 

McArdell uses the second chorus as the strongest out of the three to compose a solid link between lyrics and visuals; the lyrics "Belief and seeing are both often wrong" are accompanied by mid-shots of the protagonist being hassled by the gang, quickly cutting back and fourth between POV shots of them spitting on the camera. Ultimately, McArdell has created this in order to amplify the lyrics; he's trying to show that as an individual, you may hear or see how these gangs are portrayed in the media, but you really have to experience it to understand the true terror of it. Therefore, showing a relation to Goodwin's theory as McArdell has taken the basic meaning of the lyrics, applied it to a certain subject and created a context of which the lyrics can be associated with; essentially heightening their connotations.

Secondly, the lyrics and visuals firmly link in order to show how the protagonist's modification of identity enhances his mental and physical persona. For example, the lyric "strong" is accompanied by a medium close-up of the protagonist in a mask pulling out a weapon (baseball bat); the drawing of the weapon comes exactly on this lyric, as well as the first shot of him in the properly secured mask. Therefore, indicating to us how the character feels stronger through using a mask to modify his identity; it's giving him the power to fight back as he can't be seen as the individual responsible. In contrast, when the first chorus is heard the protagonists movements are synched with the word "weak", showing the progression this mask gives him in terms of releasing his true emotions towards the gang. (perhaps this could be a metaphor for our society, would we fight back if our identity was hidden?) Nevertheless, this particular example is very illustrative of Goodwin's theory, literally pointing out to us the characters physical and emotional strength as the track advances.

Moving on, the next verse portrays a rather weak link between lyrics and visuals, however it is still an illustrative link at that; "Every part of the heartbeat is the closing of the door, to keep the blood flowing, it can't come back anymore, hear the people calling, calling out for you, but it's just your head they're ever after, and they want it cold and blue. In context to the video, these lyrics seem to connote the idea that however pleasurable the high one gets from rebelling and reacting to the circumstance (i.e. the gang), ultimately this is short lived, and in the long run just creates more of the same (i.e. gang violence). In terms of the visuals during this sequence, we see cuts between close-ups of the protagonist in the car, tracking shots of natural greenland and a medium close-up of the cars rear-view mirror, reflecting the protagonist taking his mask off.

The third and final chorus of the song seems to link the protagonist to his most violent stage of growth, this being the physical assault of other human beings. Furthermore, this final link of lyrics confirms to us that each chorus is a sign of character progression and growth, seen within visuals. Moreover, the line "belief and seeing are both often wrong" is a particularly strong link between all three; in the first chorus the protagonist has only seen how gangs have had an effect on society, via the news and observing them out of his window. Secondly, the protagonist actually experiences gang torment through simply walking past them; finally, we see him actually tormenting other individuals himself. Therefore, showing how McArdell has created a progressive relationship between lyrics and visuals within the tracks chorus'; firstly illustrative, then amplifying and finally contradicting. The reason the last is contradicting is that it places the protagonist as the wrongdoer, instead of allowing his actions to follow based on justified sights or experience.

There is a relationship between music and visuals (either illustrative, amplifying, contradicting).
 
Relationships between the music and visuals within "Lesson No. 7" seem to follow a mainly illustrative pattern; cutting between shots follows the general pace of the instruments, as well as their changing chords and patterns. For example, the beginning of the song features a guitar as the only instrument played during the first verse and chorus; as a result, this allows for prolonged shots to begin the music video replicating the slow place set by the introductory guitar. Furthermore, the guitar switches between two primary notes and this creates cutting points upon the change between chords, the music video abides by this through the use of these points to switch between various shots whilst maintaing a steady montage. Additionally, when a rather reluctant bass drum pattern in introduced during the first chorus we see an amplification of the visuals via the music. For example, with every beat we see a rather strong character movement, such as the protagonist getting up from his sofa on the 3rd beat of the drum.

Moving on, the introduction of the consistent open high hat and heavier guitar rift are allowing the track to begin it's build up to the first climatic point of the song (and video); this is again illustrated by the editing, movement and shot variety within the visuals. For example, we see the protagonist walking along the bridge cut together with a variety of angles and different shots of the environment, all quickly shifting in-between each other in order to notify the tracks building pace. Additionally, the protagonist's movements become more active and energetic i.e. punching, which also informs the progressing tempo.

The track then reaches it's first climatic point, creating a more "manic" montage of visuals formed through editing; seemingly portraying an illustration of release from the songs build up, as well as an amplification of the newly introduced heavy drum rhythms. For example, cuts between the protagonist's bat making contact with the car are edited together franticly, in a montage that could be seen as a continuous sequence of jump cuts, illustrating the powerful guitar riffs and drum patterns. In addition, the hits of the bat match up with some of the drum strikes, giving a great amplification of the percussion via the smashing car windows. Moreover, as this first climatic point ends, shots begin to become more prolonged and there is less variety between the different shot types used.

Again, as the track builds up again and reaches it's climatic point we see the same pattern emerge within the editing and movement of the visuals as before. The shots types become more varied, cuts begin to quicken with the pace of the song and interestingly enough the violent punches thrown by the protagonist are again an amplification of the drum hits. Overall, "Lesson No. 7" links to Goodwin's ideas about the relationship between music and visuals in an illustrative way yet again, and at some points an amplification of the track.

The demands of the record label will include the need for lots of close ups of the artist and the artist may develop motifs which recur across their work (a visual style).

Clock Opera are a band that don't often feature in their own music videos, and so I would say that Goodwin's point about close-ups of the artist as a requirement of the record label isn't entirely applicable to their music videos. However, "Lesson No. 7" is a great example of the unique visual style that recurs across Clock Opera's music videography. This is as Clock Opera produce music videos that are more suited to being short films, they focus on telling a story and addressing a wider point to the audience; illustrating this narrative also via the use of rather masterful cinematography in order to give visually aesthetic appeal as well. For example, "Lesson No. 7" is in essence a short film that illustrates how trying to fight fire with fire can end up with worthless outcomes, and that some people can't be taught. Moreover, the track itself acts as a soundtrack to this short film, eliminating the need for dialogue as the film is explained in the lyrics; this seems to be a motif that has developed throughout Clock Opera's music videos. However, "Lesson No.7" is also an example of how Clock Opera don't abide by genre characteristics, the music video doesn't feature any band members or cuts to stage performance. The reason for this may be that, independent record labels are more focused upon allowing bands to stand out through having a more unique style amongst their music videos as means of getting notability from a wider audience. For example, the impressive cinematography may appeal to filmmakers or photographers, who perhaps come to appreciate the music through the video itself. On the other hand, if the record label set out to abide by genre specific characteristics in Clock Opera's music videos they may gain less recognition as stage performance and artist close-ups are featured in such a wide variety of other music videos that it perhaps becomes a bit monotonous.

There is frequently reference to notion of looking (screens within screens, telescopes, etc) and particularly voyeuristic treatment of the female body. 

Again, "Lesson No. 7" doesn't abide by Goodwin's theory entirely; there is not any real sense of voyeuristic treatment throughout the entirety of the music video. However, there are strong links to the frequent reference of notion of looking, this is a point that is vicariously reinforced throughout the cinematography of the video. For example, the first shot of the music video features the protagonist staring out of his window in a rather prolonged shot; reflections of the tower blocks can be seen overlaying him in a sort of natural double exposure, he is also depicted on the other side of a curtain and so his features are partially blurred. Moreover, referencing the notion of looking as we are not only viewing the character looking out, but are able to make out what he is looking at through use of reflections.

Interestingly enough, there is a shot at 1:40 within the video again using windows to reflect the council estate whilst a couple are shouting at the protagonist; this gives me the impression that shots capturing disillusioned expressions of the protagonist  and the rowdiness of the couple were set up so that reflections could be utilised, as a way of metaphorically mirroring the stereotypical characteristics of life on a council estate. Additionally, these shots seem to be influenced and portray essence of Lee Friedlander's photography; Friedlander consistently used reflections in order to capture ironic portrayals of America, this style of photography became widely recognised as capturing the"social landscape". In this sense, Aoife McArdell has utilised reflections in this style to represent Britain's social and urban landscape, homaging Friedlander's ideas and techniques. Ultimately, linking back to Goodwin's notion of looking through reflections as a sort of screen within a screen.

"Mount Rushmore, South Dakota", 1969 - Lee Friedlander.
Friedlander's depiction of tourism in America, utilised via reflections of this
famous American monument.

Additionally, the majority of shots where the protagonist is frequently referenced to looking seem to include transparent or in one case, opaque barriers between us and the protagonist. For example, the first shot contains a curtain in front of the protagonist, a latter the notion of him looking through and grappling a wire fence, frequent featuring of windows and shots including the protagonist referenced gazing in a mask. This could be conveying how the protagonist is distant or at least distancing himself from the world around him, it is as if he is constantly fearing letting his world and the outside society collide. However, theres something in him that wants to take action and this is where the mask comes in to play; he seems to go out in order to try to make the world around him a place that he doesn't need to restrict himself from, the use of the mask may be to diminish himself from the broken society and others whilst he is out there. Therefore, these barriers are perhaps used to represent the protagonist's fear, as a sort of metaphorical defence mechanism to represent the characters own armour against society.  

Furthermore, Goodwin's theory is again referenced at 0:48 and 4:00, whereby mirrors are used in order to capture the protagonist. These shots also seem to link in with each other, and they give us an understanding of how the protagonist see's himself at two different stages; the first mirrored shot depicts the character slouching and smoking on a sofa, where as in the second we see him taking of his mask in the car. Therefore, showing how he has evolved from seeing himself as a rather restricted and pathetic individual to him removing his mask and embracing the world for what it is. Moreover, this change could be explained through Mikhail Bakhtin's view on identity; whereby, the self is un-finalised and identity progresses dependently on who and what is encountered.

Finally, the notion of screens within screens is again referenced at 2:50 when the protagonist gives his camera to a child character and instructs him to film the car being smashed up. This makes an interesting link to a previous shot, whereby, the protagonist is watching a news report and footage of the London Riots is played; it's as if he's trying to make the point that he's watched the destruction caused by individuals like the gang in the video and so now they should watch his. However, it could also be illustrating the idea that the protagonist is no better than the rioters, this is by showing him behind the screen as a comparison point to the rioters behind the screen within the news footage. Ultimately, reference to looking is an idea that is very strongly depicted in "Lesson No.7", linking the music video to Goodwin's theory quite succinctly.



There are often intertextual references (to Films, TV programmes, other music videos).

The themes and aesthetic of "Lesson No. 7" create strong intertextual links to the novel "A Clockwork
Orange", as well as the film. Firstly, the author of the novel (Anthony Burgess), was partially inspired to write the novel after returning to Britain after a rather long period of travelling. On return, he observed a horrible rise in youth violence and a change in culture that he found rather despicable i.e. the introduction of tower blocks as means of council housing, as well as the rapid shift in fashion and trends. Therefore, he wanted to portray this in a futuristic manner as a way of showing where we would end up if things remained to change in the way they were at that time. This is referenced in the music video through the similar themes of rise in youth violence, the characteristics of tower blocks and the notion of acting on a problem that only creates a worse outcome. In addition to this, the film is referenced via the constant establishment of the decrepitly bland and unsightly tower blocks, which are the homes to both the gang in the video as well as Alex and his "droogs" from "A Clockwork Orange". This link could have been made to illustrate how Anthony Burgess wasn't far off with his predications of the future, showcasing the gang activity that these council estates encourage. Interestingly enough, "Lesson No. 7" and "A Clockwork Orange" were also filmed on the same estate (Thamesmead) which gives even more reason to draw links between the two.

Shots from "A Clockwork Orange" (left) and "Lesson No. 7" (right),
showcasing the same location i.e. Thamesmead estate.

Furthermore, the mask the protagonist dons bears similarity to Richard's gas mask in "Dead Man's Shoes" and therefore provides a loose intertextual reference to the character. "Dead Man's Shoes" is about a soldier returning to his hometown in order to get revenge on the bullies who drove his mentally challenged brother to suicide. Moreover, Richard wears his gas mask in the film in order to frighten the bullies of his brother, haunting them as he begins to pick each one off, one by one. In contrast, the use of the similar gas mask in "Lesson No. 7" could be an illustration of how when used to taunt the youths of todays society, it is an ineffective method; as if to say that some anti-socially behaved youths today have evolved to a point that they are no longer as fearful or lack true empathy.

The character of Simon or "Superhoodie", in "Misfits".

Moving on, another TV series that was also filmed on Thamesmead estate is "Misfits", a drama involving young adults in a community service programme being struck by a storm and gaining powers; this seems to be an intertextually referenced by "Lesson No. 7" not only through location, but themes and character as well. For example, "Misfits" features a character named Simon, of whom, creates an alternative persona who wants to be a hero; he wears a black hoody and mask, trying to save the day but not always to his success. These character attributes and costume are very similar to that of the protagonist's in "Lesson No. 7"; he wants to save the day and make society right, but it's a losing battle.

Still from "Stress" (top), influenced
still from "Lesson No. 7" (below).

In terms of making intertextual reference to other music videos, "Lesson No. 7" evidently takes a lot of influence from French music video "Stress" by Justice, directed by Romain Gavras. For example, the cinematography and editing during scenes of violence and destruction is very similarly compose i.e. shaky camera movement, jump cuts and cold colour; as well as, some shot's being homaged. Moreover, "Stress" focuses on gang violence throughout the music video, portraying young males causing havoc and destruction within the council estate and amongst the wider community. On the other hand, "Lesson No. 7" focuses on what would happen is someone tried to teach these gangs a lesson using the same multitude of violence and destruction that they, themselves cause.


Consequently, the above indicates how "Lesson No. 7" links closely to Goodwin's theory with a wide variety of characteristics fitting in with his points about music video analysis. Additionally, "Lesson No. 7" is rich with intertextuality, again presenting it with an even stronger link to Goodwin. However, there are a few parts that don't link to this music video, such as voyeuristic treatment of the female body and demands for close-ups of the artists by the record label.