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.