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