First draft and feeback

strengths

• effective cuts to the beat in early shots
• 00.23, 00.26, 02.06, 02.28 are beautiful shots

weaknesses/need to be changed

• add our names etc to the title card
• 00.32-doorstep shot- could be straightened so the door step is level - would provide more symmetry and balance
• do the jump cuts at 00.45-00.48 work? we could avoid these and just use a dip to black at the end to indicate the change in time to the Pottergate underpass shot
• 01.33 is very bright compared to 01.35- can you adjust brightness levels?01.47 and 01.48 have the same problem
• we need a prop/object in the girl sections to keep audience interest
• we need to put the cork board in
• we could cut the song at 03.28 ish, which would mean 90 seconds lss footage needed and would be tighter 

How does the video “Bachelorette” by Bjork use a structure of anticipation and closure? (updated)

This video can be understood using a structuralist perspective, using a Todorovian narrative analysis we can see that there is a three act structure. The first act is when she finds the book and gets the publishing deal, she seems to seek and enjoy the fame, so this is the equilibrium. Act two consists of her putting on a play of her story to fame, within the play when the publisher looks at her book and red lighting appears, inciting a warning to the disequilibrium, then we see the play repeat itself- a play within a play. The new equilibrium comes into action quite late, the actors and audience turn into trees right at the end, this brings us back to the begin of when she starts in a forest, and Bjork’s happy again J, her struggle has been resolved. This conventional three act structure drives the audience’s anticipation and our desire to watch the end, because mainstream audiences universally always seek ideological closure and a happy resolution. The returning back to a forest setting makes it have a circular narrative, this gives the audience closure because she is happy again like in the beginning.

Wider intertextual narratives can also help us understand the video. The video builds upon films to do with American Hollywood and exploitation (King Kong, Fight club etc.); films where books are pivotal in the story line (Harry Potter, The Da Vinci Code etc.); films involving broken/destructive relationships (The Shining, Gone Girl etc.); films where unknown ordinary people get discovered as a star in Hollwood (Slumdog Millionaire, The Hollywood Complex et.). Enabling the audience to interpret and respond to the Todorovian narrative and the journey Bjork goes on, because they can reference for example the over extravagant American Hollywood with e.g King Kong, they could prefigure her downfall.

Prefiguring is one of Barther’s (another structuralist) concepts of narrative devices, it enables the audience to foreshadow/anticipate the closure they expect, or give them surprising/unexpected closure and keep them gripped to find out this out. Another method used is symbolic devices, the book is one of the most obvious of these. As her story develops and she gains more fame, the book increases in size, this could symbolise her ego or alternatively her fame. Therefore this intertwines with the narrative strand of American Hollywood discovering unknown talent, when she’s unknown her ego is small, when she has fame her ego is bigger. Moreover this book is also an enigma code that the audience want to see an answer to, because of the fast paced editing accompanied by the ludicrousness of its size, connoting distress and her becoming overwhelmed, the audience start to anticipate her downfall and want to see closure to this. Moreover camera shots transition from many point of view shots to wider handheld shots, this also helps the idea of Hollwood changing her suggesting she’s becoming consumed by it. Trains/transport and black and white filters are used to incite ellipsis and a sense of movement, these symbolic devices drive the story forward and construct narrative movement. Once the black and white and the trains/cars are no longer seen it is suggesting that we are now in real time, whereas previously she was telling us a flashback, this could be when anticipation is at its climax because the audience feel that they will soon get closure/an ending and have all these enigma and proairetic codes they want answers to.

The clear 4/4 beat drives the music, and the regularity of the beat creates a cadence that builds our expectation of closure, the regularity of the beat creates a cadence that promotes audiences anticipation. By synchronising many of the cuts to the beat of the song, the music video reinforces the pivotal and central nature of the musical cadence, further building anticipation. At the same time, the song structure and lyrics/rhyme play with the audience’s expectation: the song follows a structure of verse-verse-chorus-verse-verse-chorus-verse. The absence of a middle eighth surprises the audience, because audiences anticipate a particular structure, the final singular verse which refutes the other expected structure which would usually have two verses and the removal of the middle eighth adds surprise and a lack of closure. This structure therefore is a proairetic code that the audience don’t get to see closure to, propagating Bjork’s motif of going against the norm/mainstream and being arty/different. This is perpetuated by the absence of repetition of many choruses, which pop songs have to get a lot of anticipation and therefore a lot of catchy parts the audience can sing along to, which is one reason why they are popular because they are easy to remember. However the two choruses we do hear contain ostinato and clear repetition (Leave me now, return tonight) so are still built upon anticipation and closure which drives the song forward. The lyrics use an alternative rhyme scheme which forms anticipation because the audience expect a rhyme at a certain place, therefore this closure of the rhyme is anticipated and providing a periodic sense of return. But the use of half rhymes and internal rhymes oddly placed contradict the sense of anticipation because there’s no clear and conventional pattern used with them. The repeated refrains and choruses make up for this because these then reinforce the anticipation and closure again.

The music video also utilizes the use of different narrative units to build anticipation and closure, these are revisited through the text, building a complex structure. The narrative builds a cumulative sense fame becoming too much for her leading to her downfall, this is implied throughout the video (The book and its increasing size; big extravagant city; her increase in popularity and the presence of people surrounding her; the play within a play). The variety of narrative threads (nature; relationships; theatre; Hollywood; the book) are woven throughout the text and intertwine with each other. These are small narrative units that change and develop across the video, in many ways the narrative units are symbolic of the story and its outcome, the only unit which spans across the whole video is the concept of nature and presence of trees. This connotes a struggle of natural balances therefore making the audience foreshadow her downfall, because all the other narrative units are building up to her downfall and indicating her becoming overwhelmed, for example her love interest is all good in the beginning but the they beak up later on. Therefore these narrative units are pushing the story forward and acting as a proairetic code that the audience want to see closure to. Also this is critiquing the celebrity/fame/ the labyrinth and confusion of the modern music industry and the losing of one's sense of self because not only is the video implying that fame etc leads to her downfall. All these narrative units come to an abrupt end at some point in the video, this could be suggesting Bjorks mid life crisis, as it is implying that all the good things in her life have ended therefore for she lacks a sense of purpose and meaning. This could also imply the ’15 mintes of fame’ reality of Hollwood and celebrity life.

Annotated lyrics and how they demonstrate cadence

‘Bachelorette’ by Bjork

(Verse)

I'm a fountain of blood

In the shape of a girl

You're the bird on the brim

Hypnotized by the Whirl

(Verse)

Drink me, make me feel real

Wet your beak in the stream life                                             internal rhyme

Game we're playing is                                                            Alternative rhyme

Love is a two way dream                                                        Assonance/half rhymes

(Chorus)

Leave me now, return tonight

Tide will show you the way

If you forget my name

You will go astray

Like a killer whale

Trapped in a bay

(Verse)

I'm a path of cinders

Burning under your feet

You're the one who walks me

I'm your one way street

(Verse)

I'm a whisper in water

Secret for you to hear

You are the one who grows distant

When I beckon you near

(Chorus)

Leave me now, return tonight

The tide will show you the way

If you forget my name

You will go astray

Like a killer whale

Trapped in a bay

(Verse)

I'm a tree that grows hearts

One for each that you take

You're the intruder hand

I'm the branch that you break

Hum-yeah!

Different Narrative strands visually demonstrated

Discuss narrative devices and the structure in Radiohead’s “Just"

Radiohead 'Just' from Tony Kearns on Vimeo.

The music video for ‘Just’ by Radiohead uses a linear narrative which can be examined using Todorov’s concept for narrative. It uses a linear 3 act structure, act 1 the equilibrium is where the main character takes a bath then sets off for his walk, and we are introduced to the bands performance. This is followed by a disruption and an enigma code, when the character lays on the pavement in the street and people start crowding round him wanting to find out why, this is the disequilibrium. Act three the new equilibrium comes into play as the rest of the characters join the main character on the floor. This is a subtle resolution to the problem as it is not a clear resolution, yet all the characters become calm in comparison to the previous act meaning that the problem is solved for the characters but not the audience. This conventional linear narrative and anticipation by using an enigma code provides a way of understanding the narrative structure of the video, because it drives the storyline, encouraging the audience to want to see the ending. I would argue that the ambiguous ending challenges ideological closure, we don’t find out what the main character said and why they are all laying on the pavement. Therefore the closure is disrupted and the artists are establishing their brand as mysterious and arty for their audience, and rebelling against the norm, differentiating themselves from other similar artists and constructing the bands motif.   

However outside of this linear narrative, there are indications of a parallel/interweaving narrative of the performance side versus the narrative story. A framing device that is a window connects these because the performers occasionally look out of this and watch the man on the pavement, interweaving the performance and narrative story together, even though they don’t actually interact with each other.

Devices used like the enigma code previously mentioned capture the audience’s attention because they want to see why the man is on the floor, a conclusion to this action code. This acts as a catalyst and gets perpetuated when the ideological closure is disrupted by everyone else joining the main character on the floor and the camera pans out so we can fully see, followed by the ending of the video. This proairetic code makes the audience want to see the ending but we don’t get any closure, the audience are also unable to prefigure what would happen next because of the little context given about the situation. As I have previously mentioned this creates a mysterious and arty brand for the artists. Additionally another narrative device used is that it’s in real time and that it’s in chronological order, this adds to the anticipation that the enigma code uses because the audience feel like something important could and should happen at any time, however much to the audiences’ disappointment we don’t have any closure.

The framing device of a window separates the performers and the characters, alongside the fact that the performers are several floors up on a building looking out of this window. Creating a slight conflict/binary opposition between the artists and the characters. When people start crowding round the man on the floor we see that the band have stopped performing and are all looking out the window, which evokes the notion of looking for the audience.  Reinforcing the bands motif I previously talked about because the audience are encouraged to look down at the characters. These characters are all dressed in business suits, have respect for the law/hierarchy because of their polite interactions with the police officer, and the location is a modern urban area. So characters could act as symbolic codes for capitalist western ideologies. So to reinforce the artist’s rebellion, the audience are positioned with them to look at the characters on floor and think of how silly and stupid they are behaving, while they are juxtaposed in a grungy looking room, and their costumes are more casual and less luxurious. Therefore this framing device could be used to present to the audience the artists ideologies and despise for capitalist western cultures, and get the audience to also feel this.

Genre- shared codes and characteristics (updated)

The genre for our chosen song is acoustic pop/folk, this genre has many codes and characteristics within it for the target audience to identify it. One of the most prominent characteristic I saw when analysing music videos of similar genres was that they all use scenic and natural locations. Ben Howard's music video for Only Love involves many different locations which are a perfect example of this (A), natural forests, cliffs and waters were used. Other videos also do this however it may be subtler, for example Let Her Go by Passanger, where there is a massive picture in the background of the stage depicting a sunrise over a forest (B). This still connotes the natural and scenic setting even in a performance music video which would be harder portray this characteristic, as most stages performance videos are made on are inside. Moreover, Hey Ho by the Lumineers also develops this convention by although performing through a dark building, having flowers hanging from the ceiling (I), this again connotes a natural and scenic setting. Similarly, Mumford & Sons song I Will Wait is performed in a massive stage where you cannot see outside, but they still manage to keep to this generic convention by having it in the prelude (C), so we assume that this is the location of the performance. The use of natural imagery is intended to construct connotations of the music as natural, organic, authentic, real. The natural imagery is promoting an ideology of acoustic pop/folk as pure and wholesome.

Another common characteristic I have identified is the genres use of lighting, it is often very delicate/'pretty' and used in an aesthetically pleasing way. In Passanger's Let Her Go fairy lights are used throughout the video, and especially in the big picture I mentioned that was on stage, because this made it more picturesque. More performance music videos of the same genre that does this is both Mumford & Sons (D), and the Lumineers songs (E), which both again use fairy lights, as I said earlier the settings are often natural and scenic, and that it’s difficult to have a performance music video outside. So these 'pretty' lights are used to consolidate this, as fairy lights construct connotations of stars, the natural and scenic connotations are still present without having to actually be outside in a rural location. By constructing connotations of magic, wonder, cuteness, etc, and appeal to the younger Instagram audience.

Furthermore, the costumes of the performers are very simplistic and plain (F), this is a key signifier to the genre. Because for example in the Hip-Hop genre the artists costume and their outfits are always extravagant and flashy so the artist can show off their money. However, in the acoustic pop/folk genre artist’s costumes are less flashy and humbler, so the attention can be drawn to the music and artist(s) and the emotion and talent in the songs. This can be seen in all 4 example music videos I have used. Therefore, again depicting the genre as pure and wholesome, because it doesn’t need other excessive aspects like the performers costumes for it to be entertaining. Also, this helps the audience relate to the artist more because they look more “everyday” and like them, therefore perpetuating the audience’s aspiration to be like the artists, because through their normal/plain clothes they can see this is more achievable, instead of the unachievable style/conventions for example other genres like Hip-Hop have.

The camera usually focuses on the main artist involved in the song- the singer, and usually the singer plays the acoustic guitar, therefore this places a lot importance on this artist and the audience should focus on the artist’s raw talent rather than anything else. Because nearly all bands/artists within the genre involve an acoustic guitar, it is a massive signifier to the genre so is commonly used. For example in The Lumineers Hey Ho, Passanger's Let Her Go and Mumford & Sons I Will Wait there are many varying types of shots of the artist holding their guitar and performing (G). Even in Ben Howard's concept music video he still dominates the screen time so the focus is on him. This helps the artist (again) a focus on authenticity, and how this is real music (as opposed to the superficial, artificial process culture of mainstream pop etc).

There is also a specific style that the crowd within the music videos dance like (H), this mean that the target audience can identify and relate to this because they probably will have danced like that at a similar gig within the genre. Likewise, it will again add to the authenticity and realism of the video to fit its conventions.

These characteristics, codes and conventions serve a purpose, Gunther Kress said that "Genre is 'a kind of text that derives its form from the structure of a (frequently repeated) social occasion, with its characteristic participants and their purposes'". This is implying that a genre is established and identified through repeating of certain characteristics, there are repeated characteristics within the setting, lighting, costume and dancing, therefore the music and music video is firmly placed within the genre for the audience to identify it.

Christine Gledhill said that "Genres permit the creation and maintenance of a loyal audience which becomes used to seeing programmes within a genre", so once the boundaries are set on a genre it can be seen if those specific characteristics to the genre are successful. If the genre is successful a loyal audience is created, and they create a demand for the genre. This links in to what Nicholas Abercrombie said, "Economic factors may account for the continuation of a profitable genre. 'Television producers set out to exploit genre conventions... It... makes sound economic sense. Sets, properties and costumes can be used over and over again. Teams of stars, writers, directors and technicians can be built up, giving economies of scale". When it is established that consumers have a demand for a genre, because they enjoy its characteristics, producers can then exploit this to get as much money and success as possible.

D

E

F

A

A

A

A

G

I

C

B & F & G

Updated more detailed premise

- Start off with a wide shot of the cork-board filled with photos. There is just dietetic sound and the camera is slightly zooming in/ out.
- The boys hand comes in, not revealing his identity, and unpins a photo from the board. Due to the side on camera angle, the audience do not see what photo it is.
- The boy sits on the bed, looking at the photo. The boy is sitting on the bed in between the window and the camera. The lighting is dark and the windows natural light creates a silhouette of the boy looking at the photo.
-We see shots around the room of the boy sitting on the bed and looking at the photo, throughout this, his identity is revealed.
- At 0;15, when the chord shifts, the boy will stand up, put the photo in his pocket and get up to leave.
- Then at 0:23, as the drums kick in, he slams the door with purpose as he leaves.
- He leaves the house and turns right out of the gate. Walking down the street there are montage shots, that importantly wont break his 180-degree rule (he's always walking right)
- Fade to black

- cuts to a girl in her room, combing her hair etc..
- See's a 'Happy Anniversary' card, that the audience assumes is from the boy. She looks at it before tossing it away.
- At 0:45, she gets up and leaves her house, turning left out of her front door,
- Here, we plan to implement another montage like sequence of the girl walking along the pavement.
- Along her way, we plan to use some special affects to portray her sending a text to the boy.
- She reaches a bus stop and

- We  cut back to the boy walking outside the entrance to a restaurant/ cafe. Then, in a flashback, the audience will see the two holding hands and walking in.
- Another montage of the boy walking where he will receive the text but nevertheless ignore it and carry on walking.
- Eventually, he will come off the urban street and transition into a more natural location. We have several ideas for locations in mind.

-  Cuts to a shot of the girl on bus, looking out of window.
- Girl who is steps off the bus. She see's the boy is ignoring her so she sends another text.
- The girl continues walking until she comes to a  statue/ sculpture (a location for this in mind) and similar to the boys flashback, we cut to a photo of the boy in front of the sculpture.
- She pauses, then continues to walk onto a bridleway.

- Montage shots of the boy walking in the woods, not breaking the 180-degree rule - this ensures he is always viewed by the audience as walking in one direction.
- he receives another text but again ignores it.
- During this montage, we will  experiment with colour correction filters, slow mo and close ups to consolidate the genre of our production.
- As well as shots of the boy, there will be shots of his surroundings and the natural location.

- Then a similar montage of the girl walking along the bridleway
- Again we will feature close ups of the girl as well as generic shots of the location.
- Once again, she maintains a consistent 180' rule so she's always walking in a certain direction.

- After they've both had a montage sequence of them in their individual locations, we are going to implement shot-reverse-shot between them in time with the changes in the lyrics

- Cuts to the boy sitting on a bench along the woodland path he has been walking along
- he pulls the photo out of his photo and stares at it but again the audience don't see what it is of.
- He gets up and puts the photo in his pocket and continues walking.

- Cuts to the girl similarly sitting on a bench along her path.
- A couple holding hands walks passed her and she follows them with her eyes.
- She then gets up and carries on walking

- Boys comes out of the woods and makes his way onto the beach
- Various shots from behind him, giving the sense of travel/ the audience following him.
- We will also use establishing shots of the beach, probably wide angels.
- When he's on the beach, at the climax of the song at 2:38, the boy turns and see's that the girl is also on the beach.
- Used varied shots to emphasis the significance and emotion during of this scene. E.g. wide, shot reverse shot, close ups.
- This is the most important section of the song.
- they stare at each other before hugging each other
- As the chorus/ gospel section repeats, the boy pulls the photo out of his pocket, revealing it for the first time to the audience.
- it is a photo of the girl/ both of them at the beach location - perhaps on a bench/ railing/ shop front/ landmark. Together they turn and look at the location the photo was taken.

- When the gospel section fades out at 3:09, there will be a rather long, fade to black, lasting perhaps until the lyrics come back in or maybe earlier.
- After the fade to black, it fades in and we are back in the boys bedroom. The narrative starts and ends in a very similar way, just like the song and the lyrics.
- He sits on the bed and pulls out a new/ the old photo (not fully confirmed yet).
- he looks at it smiling, shot in a very similar way to how it was shot at the start of the video
- He slowly looks up over the camera and the photo and smiles as if the girl has just walked in.

- Fade to black.

Although this will provide a detailed structure to further plan our project, these narrative points are not final and we still have many crucial decisions to discuss and finalise.

Next Steps: Now we have a general narrative, we have agreed the next important step in planning is to sit down with the track and produce a timeline of when each plot event occurs. This will give us a coherent structure upon which to storyboard our music video. This will also prevent us from shooting our footage and begin editing only to find we haven't got enough footage to last the entire 4:00 song. We will give each narrative section a start and end point coinciding with the track and the changes in the song.

Narrative timeline planning

Mood board (updated)

Moodboard from ellasaund6

Moodboard

Moodboard from ellasaund6

Initial Concept

Two characters, a boy and a girl, are walking in two different natural locations. These are likely to be 1) The woods and 2) A Field/bridleway.
- Throughout the music video, we will cross-cut between the two to establish a narrative  for each character.

- There will also be a third location cut to throughout the video. This will be in a house. Throughout the video we will very slowly pan across a cork board that has a collage of photos of these two characters together. This will give an inclination that the two characters were in a relationship and the separation implies they have potentially broken up. There will be generic photos of the couple as well specific images prompted by the characters visiting certain locations individually. For instance, the girl may walk over a bridge which we will then cut to the cork board where the audience can see a photo of the two holding hands on the same bridge. This is just an example that demonstrates what we aim to achieve by cross cutting to this third location.

- Just to clarify, we have three characters/ locations we will cross-cut between. These are 1) The boy in the woods, 2) the girl walking through a field/ along a footpath and 3) the cork board in the house.

- At the end of the music video, the two characters will make their way to a beach and meet up together. We chose to reunite their pair because the lyrics to the song often include the phrase "a call for your pardon", implying forgiveness and reconciliation.

Annotated lyrics

Genre- shared codes and characteristics

The genre for our chosen song is acoustic pop/folk, this genre has many codes and characteristics within it in order for the target audience to identify it. One of the most prominent characteristic I saw when analysing music videos of similar genres was that they all use scenic and natural locations. Ben Howard's music video for Only Love involves many different locations which are a perfect example of this (A), natural forests, cliffs and waters were used. Other videos also do this however it may be more subtle, for example Let Her Go by Passanger, where there is a massive picture in the background of the stage depicting a sunrise over a forest (B). This still connotes the natural and scenic setting even in a performance music video which would be harder portray this characteristics, as most stages performance videos are made on are inside. Moreover Hey Ho by the Lumineers also develops this convention by although performing through a dark building, having flowers hanging from the ceiling (I), this again connotes a natural and scenic setting. Similarly Mumford & Sons song I Will Wait is performed in a massive stage where you cannot see outside, but they still manage to keep to this generic convention by having it in the prelude (C), so we assume that this is the location of the performance.
Another common characteristic I have identified is the genres use of lighting, it is often very delicate/'pretty' and used in a aesthetically pleasing way. In Passanger's Let Her Go fairy lights are used throughout the video, and especially in the big picture I mentioned that was on stage, because this made it more picturesque. More performance music videos of the same genre that does this is both Mumford & Sons (D), and the Lumineers songs (E), which both again use fairy lights, as I said earlier the settings are often natural and scenic, and that its difficult to have a performance music video outside. So these 'pretty' lights are used to consolidate this, as fairy lights construct connotations of stars, the natural and scenic connotations are still present without having to actually be outside in a rural location.
Furthermore the costumes of the performers are very simplistic and plain (F), this is a key signifier to the genre. Because for example in the Hip Hop genre the artists costume and their outfits are always extravagant and flashy so the artist can show off their money. However in the acoustic pop/folk genre artists costumes are less flashy and more humble, so the attention can be drawn to the music and artist(s) and the emotion in the songs. This can be seen in all 4 example music videos I have used.
The camera usually focuses on the main artist involved in the song- the singer, and usually the singer plays the acoustic guitar, therefore this places a lot importance on this artist and the audience should focus on the artists raw talent rather than anything else. Because nearly all bands/artists within the genre involve a acoustic guitar, it is a massive signifier to the genre so is commonly used. For example in The Lumineers Hey Ho, Passanger's Let Her Go and Mumford & Sons I Will Wait there are many varying types of shots of the artist holding their guitar and performing (G). Even in Ben Howard's concept music video he still dominates the screen time so the focus is on him.
There is also a specific style that the crowd within the music videos dance like (H), this mean that the target audience can identify and relate to this because they probably will have danced like that at a similar gig within the genre.
All of these characteristics, codes and conventions serve a purpose, Gunther Kress said that "Genre is 'a kind of text that derives its form from the structure of a (frequently repeated) social occasion, with its characteristic participants and their purposes'". This is implying that a genre is established and identified through repeating of certain characteristics, there are repeated characteristics within the setting, lighting, costume and dancing, therefore the music and music video is firmly placed within the genre for the audience to identify it. 
Christine Gledhill said that "Genres permit the creation and maintenance of a loyal audience which becomes used to seeing programmes within a genre", so once the boundaries are set on a genre it can be seen if those specific characteristics to the genre are successful. If the genre is successful a loyal audience is created, and they create a demand for the genre. This links in to what Nicholas Abercrombie said, "Economic factors may account for the continuation of a profitable genre. 'Television producers set out to exploit genre conventions... It... makes sound economic sense. Sets, properties and costumes can be used over and over again. Teams of stars, writers, directors and technicians can be built up, giving economies of scale". When it is established that consumers have a demand for a genre, because they enjoy its characteristics, producers can then exploit this to get as much money and success as possible.

D

E

 

F

A

A

A

A

G

I

C

B & F & G

Applying Andrew Goodwin's theory

Applying Andrew Goodwins theory from ellasaund6

Conformation to use the song by the artist

Final song choice

Possible songs

 Strengths

The tempo has a structure, it is smooth and layered, like at 0.22 when the guitar gets louder and drums are added, so we could have a good narrative music video that has a story, in which we could put more visuals/add to the the story which mirror the layers within the music, also the clear beginning, middle and end, like the music fading in at the beginning, and fading out at the end. The music is of a high quality, and the are lyrics and clear and easy to understand, along with the clear structure like a chorus. this will make our video will look more professional.

Weaknesses

The chorus can be repetitive, however we could use this to our advantage when making our music video, by keep going back to a main theme or use it in another creative way. Its also 4 minutes long, which would mean to make a good quality and professionally looking music video, we would have to shoot a lot of footage and do a lot of editing. However to get around this we could fade the music out earlier as there are opportunitys to do so at around 3.20 till the end.

Strengths

There are many layers to this song, like at 0.34 backing vocals are added, or at 0.48 a violin is added, these especially happen at the beginning. This means we could have a clear introduction into our music video, adding more visuals as the layers come in, this clear synchronisation would make our video more complex and professional looking. Additionally the lyrics and melody set a clear slightly depressing tone in the beginning, but it then becomes more optimistic towards the end, therefore we would have a clear structure and story line to follow if we were to choose this for our music video. Also this song is one of our shortest out of the other possibilities, which means we probably wouldn't run the risk of running out of footage or ideas when planning

Weaknesses

This song stays at a slow pace throughout, without many dramatic changes, and without clear sections to it, this could make it difficult to convey an interesting and visually pleasing music video while also going at the same pace as it. Moreover the fact it has no clear sections means that it could be difficult to make definitive sections/chapters to our music video, which means it could look messy and unprofessional when it comes to editing it.

Strengths
The song has different moods and tones in its structure, like at the start its just  slow and mellow vocals and a guitar, whereas in the chorus she sings in a higher pitch, at a faster pace and a drum is added, which we could mirror in our video making it complex and visually pleasing because we would also change visual styles like the music does. Additionally the song its self has little components in it, of just vocals, a guitar and some drums, this simplicity could mean more attention would go to our visuals, meaning we could make it again more complex and have more subtle components in the visuals fr the viewer to pick up on. There is also a clear theme to the song that is love/heartbreak, the lyrics and tone easily identify this, it also sounds high quality, meaning the audience will quickly pick up on this so they will clearly know, what our mirrored visuals would represent.  

Weaknesses
The songs theme about love constricts us to most likely making a narrative video, because of the simplicity of the song a performance video could be more difficult to make because it could be boring and repetitive consisting of shots of just the singer, guitarist and drummer, making it not visually pleasing for the viewer, and meaning we couldn't creatively explore all ideas for a music video.

Strengths

The song has many different tones, paces and moods to it, like at 1.09 there is just deep vocals, but then it goes straight into a happy and faster paced ukulele melody, this means that we could make a very complex music video and explore many different locations, actors and props with it. This aslo means that there is a structure to follow. Furthermore the song itself is very stylised, you can clearly depict that the artists have a northern accent in the lyrics, therefore we could incorporate this and make our music video in their style, maybe use a well known location for the north of England, or find a different cultural signifier, this will make our music video more suited and pair with this band.

Weaknesses

The different tones, paces and moods could end up meaning that the song is too complex, especially when it comes to editing, and by that point we would have shot all our footage and it will be too late and our video would look unprofessional.

 Strengths 

This song has a catchy and memorable riff so would make it more pleasing for the audience when watching the video, also its themes including politics and the refugee crisis which is a current affair, this means we could make a music video about this theme, which would make it more memorable because people would be reminded about it in things like the news. Moreover if we were to do this our video would have a message to do with the refugee crisis, therefore would be more impacting compared to the other options for a music video. Furthermore this song has variety throughout and clear sections, which means that editing it would be easier.