EC: Technical Analysis

Shot Number	Start time	Camera	Mise-en-scene
1	0:00	Static Object focus	Alarm clock prevalent in foreground. Shows early time. Shows lack of sleep – connotes loneliness and deep thought Furniture out of focus establishes indoor living location
2	0:04	Static into track	Title overlay – brings focus to artist by taking up a large sector of the screen. Moves on a different plane to background – shows importance. Background establishes location as a single bedroom, shown to be a motel room by neon sign – connotes loneliness and isolation from real life
3	0:10	Fades from previous track into new track into static MS	His face is the focal point of this shot, highlighting his negative emotions and seeming deep thought. This connotes that he has been through a harsh experience, and is an emotional person
4	0:23	Static MLS	Shows artist in semi foetal position, connoting helplessness and vulnerability, humanising the artist
5	0:27	Static MS to track	This shows MNEK moving about in bed, connoting restlessness
6	0:31	LS track	The camera moves through the hotel room, showing two different characters with body language connoting restlessness and deep thought, the characters are not in the room together as they fade in at different times, showing that they are apart, and lonely because of it. This amplifies the lyrics “At night I think about you”
7, 8	0:40	MS track	These focus on the artist’s face and performance, showing his emotions and developing him as an emotional character
9, 10, 11	0:50	LS track	The camera tracks across the room in the same way it did in shot number 6. It uses editing to show MNEK and an actress in different locations in the room, again connoting loneliness and longing for someone
12	1:08	LS track	The same track path of the room is taken, but it is sped up as the tempo of the song rises, and it climaxes. This puts the focus back onto the song by taking it away from the performance
13	1:10	LS Shaky camera	This shows the same actors that were seen as depressed and sad dancing erratically in the hotel room. Editing cuts between their dancing, showing they are doing the same routine, connoting community and group recovery, adding a complexity to the narrative of the video and increasing repeatability
14	1:20	LS track	An actress is seen to be laying on the bed in a similar fashion to the earlier shots, but then she is shown dancing in the same room, and it cuts between her an MNEK dancing, showing the contrast between happiness and sadness
15	1:29	MS track	This is focused on MNEK, and his performance. It tracks across in a similar fashion to the earlier shots, and again highlights MNEK’s emotion in his performance, adding an emotional complexity to his star image
16, 17	1:44	LS track	This shows the actors dancing again, connoting happiness as the song climaxes
18	2:01	CU track	This again highlights MNEK’s emotion and performance, strengthening his star image
23 25	2:40 2:51	Static MCU	As the vocals become prevalent in the song, and the tempo falls, the camera movement stops to focus on MNEK. He is using arm actions and facial expressions to connote passion in his music, connoting him as a committed artist
31	3:47	Static MCU	The music cuts and the camera focuses on MNEK, showing his determined expression, showing the effort he has just put into the performance. This depicts him again to be a committed artist, and further strengthens his star image
32	3:50	Static object focus	This shows the clock shown in the first shot. It is on the exact same time, and it changes to the next minute. This suggests that the events of the music video were not real, suggesting that they took place in someone’s mind – suggestively MNEK’s. This connotes emotional complexity of the artist

10 stills mnek at night from EdChambersTWGSB

Still 1
The orange colour of the lamps contrasts with the blue colour grading of the video. This draws attention to the background and establishes location. This also creates a reading path to the overlayed title, which is central, drawing attention and creating focus towards the artist.

Still 2
The MCU draws attention to the artist's body position and face. This helps convey emotion and the connotations of these emotions. Also, the contrasting lighting can be used to set an emotional tone.

Still 3
The brightly lit window contrasts the bright room, making the viewer focus on the window, which has a sign in it to establish the internal location fully, and creating an idea as to the external location.

Still 4
The frame is split into two halves. This is done by the contrast in lighting. The warm yellow lighting on the left makes that side of the room seem inviting and safe, whilst the cold blue lighting on the right side of the room makes it seem cold and hostile.

Still 5
The scrolling between frames makes the audience analyse the same image multiple times, allowing them to read into the connotations of the image, enabling the use of subtle indicators in the video. This increases repeatability.

Still 6
The lighting makes the artist and the bed he is on seem seperate from the room due to the contrasting colours. This can be used to isolate a character and strengthen a narrative of a video, increasing repeatability.

Still 7
The fade transition of the actor against the constant background is a good method of showing that time has passed, without having to overlay text and disrupt the flow of the music video.

Still 8
MNEK is off-center in this frame, however the background is not the main focus of the frame, and is a background the audience has seen before, so MNEK is still the desired focal point of the frame. The outcome of this framing is that the audience shift their attention away from MNEK momentarily, ensuring the video is not repeating itself and 'boring'.

Still 9
The continuous tracking of the same room combined with the dancing of MNEK fits with the climaxing of the song, and builds tension.

Still 10
The central MCU of MNEK is the last shot of the music video, and so will be what ius imprinted on the audience's mind, raising awareness of MNEK, and improving his star image.

DC- Technical Analysis

Notes:

-Each cut to the artists signifies a progression in time

-The artists emotional expressions/actions matched the content of the narrative/ as the narrative reached its climax the artists became more animated/ engaged with the song

Shot number	Time	Camera	Mise-en-scene
1	1-3 seconds	Mid-shot	Establishes artist early on through a mid shot with a relatively bland background
2	4-6 seconds	Mid-shot	Similar to the first shot with the songs co-artist
3	8-11 seconds	Mid-shot, track then zoom	Shot tracks across a doorway before zooming into a room, the room is stereotypically represented as a little girls bedroom, represented through the use of colours associated with the gender
4	13-16 seconds	Zoom	Shows a girl is sleeping in the bed, zooms in on the girls face, shows her opening her eyes on beat as the song begins
5	21-22	Close Up	Close up of girls face represents her body language, her sad expression connotes the girl is sad (later to be revealed as loneliness)
6	24-27	Panning Shot	Shot pans across artist in surreal location. This forms a link between the narrative of the little girl and the singer/ lyrical content
7	32-33	Tracking shot	Cuts back to girl walking down her road, tracks her as she walks. The fact that she is walking alone in a large city (in the early morning) represents her loneliness. The fact that the girl is walking down the road in her pyjamas is both a signifier of Childlike innocence, and contributes to the surreal aspect of the video
8	34-35	Extreme Long shot	Extreme Long shot of a mountain in the surreal location (in which the singer is located), this connotes that the little girl is travelling to where the singer is
9/10	36-38 38-39	Mid Shot Long shot	Once again cuts back to the Singer in the surreal location. It then cuts to the girl in a similar location, indicating that she has travelled away from her home and is now where the singer is
11	42-44	Over Shoulder shot	The shot gives the audience an insight on the surreal location, through the character of the monster. This anchors the fact that the girl has travelled away from the comfort of her home to a surreal/ unknown place
12	49-50	Mid-Shot	This shot shows the girl waving to the monster. This is a stereotypically childish action, anchored by her oversized jacket with the sleeves covering her hands. All of this signifies childlike innocence. However the fact that the child is waving to the monster rather than running away from it (a stereotypically childlike response), contributes to the surreal aspect of the video
13	55-56	Close Up	This close up of the girl sticking her tongue out at the monster, followed by a large smile once again signifies childhood. This also contrasts her sad facial expression when she was at home, implying that she is more comfortable in the surreal location with the monster
14	1.05-1.06	Close Up	This close up of the girls hand holding the Monsters large hand represents the relationship between them, the main theme throughout the videos narrative
15/16/17	1.07-1.09 1.09-1.10 1.10-1.11	Mid Shot Mid Shot Low Angle Mid shot	These shots form a strong link between the video and the content of the song. The song portrays both of the artists dancing, before forming the link to the songs narrative features, by showing the girl dancing on her bed. Slow motion is also used here to contrast the songs fast cutting rate/ BPM
18/19	1.24-1.25 1.28-1.30	Mid Shot Close Up	Despite the girls increase in age, these two shots aim to represent her childlike qualities. 18 shows the girl playing ‘peek-a-boo’ with the monster, a game that is highly associated with childhood, and often the relationship between a parent and their child. 19 Is a close up of the girl laughing, a technique to represent her happiness/ friendship with the monster
20	1.37-1.38	Long Shot	This dramatic Long shot shows the artist standing on an elevated rock. The artist is in a location very similar to the location shown at this point in the narrative, representing a link between the songs content and the narrative events.
21	1.39-42	Close up	This shot once again relates to the theme of childhood innocence- showing the girl lying asleep on the back of the monster. This represents the girl as complete vulnerable, with the monster protecting her
22	1.50-1.52	Close Up	This shot juxtaposes a bright flower against the dark fur of the monster, this anchors the monster’s scary appearance as it is contrasted against something synonymous with happiness, a flower. However this only anchors the theme that despite the monsters appearance, he is the girl friend.
23	2.07-2.09	Mid Shot	This shot shows the monster coming up behind the girl and hugging her. This clearly indicates her physical changes as she’s grown older as the monster is now interacting with her differently than when she was a little girl, e.g. no longer picking her up etc.. It also once again represents a positive progression in their relationship as the action connotes a strong friendship
24	2.21-2.25	Long shot	This long shot relates to a shot earlier on in the video when the girl first took the monsters hand. This shot represents the girls physical changes as she can now hold the monsters whole hand, rather than just one of his claws. The framing of this shot connotes the bond between the two as they are both holding hands, looking out into the distance
25	2.26-2.29	Long Shot	This shot shows the artist once again, however for the first time she is located in an urban location (on a road) This once again signifies the little girl getting older/ moving on with life as she moves away from the surreal location.
26	2.33-2.36	High Angle Close up	This shows the monster and the girl stargazing together, an activity that is often associated with friendship/ very strong relationships
27	2.36-2.40	Mid Shot	This shot is very important for the videos narrative. We see a new character (the man driving the car), indicating that the girl has gotten on with her life while spending time with the monster. The girls facial expression when she looks out of the cars window is reminiscent of her sad facial expression at the beginning of the video, connoting that she is once again sad/unsatisfied with her life. This is anchored by the lyrical content ‘things fall apart’, and the man slamming his hands on the steering wheel.
27/28/29	2.45-2.47 2.47-2.49 2.49-2.52	Long shot Close Up Long Shot	This shot shows the girl returning to the monster, shot 28 is a close up of her happy facial expression, directly contrasting the sad facial expression shown in the shot in the car. This represents that she is still only happy when she is with the monster despite the fact that she has grown older.
30/31	2.54-2.57 2.57-3.00	Mid Shots	These two shots once again show the artists, becoming more and more animated as the songs narrative progresses, their involvement in the video increases gradually as the narrative comes to a close
32	3.00-3.03	Long Shot	This shot uses framing of the cave to outline the silhouettes of the girl and the monster with the surreal coastline behind them. We are familiar with this location throughout the video, therefore it signifies the pairs relationship.
33/34	3.03-3.04 3.04-3.07	Shot Reverse Shot- Close UPs	This cuts from a shot of the girls face, smiling but clearly concerned, to the monster’s face. The monsters pained expression/ dull movements connotes that he is growing older along with the woman
35	3.16-3.17	Long shot	This shows shows the woman and the monster sitting down, the contrast between this and the earlier shots of the two running around together connotes their increase in age.
36	3.18-3.19	Close Up	This shot is the woman bringing her hand up and stroking the monsters face. This anchors the lyrical content, ‘til the day I die’, connoting that she is still by his side even though they have been together for so long. The monsters happy expression as he turns anchors this at is shows she is comforting him
37	3.27-3.29	Close Up	This is a close up of the teddy bear lying in the monster’s arms. The fact that the audience haven’t seen this prop since the woman was a little girl reminds the audience of the beginning of the relationship/ the relationship as a whole
38	3.29-3.31	Over Shoulder Shot	The aim of this shot is to show the woman’s new short hairstyle, a hairstyle that is commonly associated with old age. This shows that the narrative has jumped forward in time yet again, and the girl is now an old woman. The fact that she is still beside the monster represents the strength of their relationship.
39	3.32-3.36	Close Up	This is a close up of the woman’s pained facial expression, showing that she is now in pain/ suffering from her old age. This contrasts her comforting the monster in the previous shots. The woman slowly closing her eyes also connotes death/ old age
40	3.37-3.40	Mid Shot	Shows the woman leaning against the monsters arm. He carefully lifts up his arm and wraps it around her, anchoring his friendship with her/ love towards her. This connotes that the woman has died or is dying, and the monster is holding her in his arms, a conventional dramatic event shown in film.
41	3.44-3.47	Extreme Close up	This extreme close up shows the monster closing his eyes as he sits with his arms wrapped around the women. This connotes that the monster has too died, sitting next to the woman, anchored by the lyric, ‘til the day I die’ sung as he closes his eyes
42	3.51-3.57	Long Shot	This long shot shows a flashback to the monster walking with the girl when she was little. This signals to the audience that they have watched the full duration of their relationship/ the narrative has reached its equilibrium