This is my contribution - it's the beginning.
This is Natasha's part.
This is Hazel's part.
This is our shooting script so far.
Thursday 24 October 2019
Wednesday 23 October 2019
P1 - Music Video Pitch
This is our pitch for the music video to 'Claws' by Plicketts Mahoo.
https://docs.google.com/presentation/d/e/2PACX-1vSBek-bOJ_S-oEf8W_fviWtN_FceI_ahrWkbes5mtvh0eOqKe5uEw2ZoI_w6mYAd4Bjuebn-2aRai9L/pub?start=false&loop=false&delayms=10000
SYMBOLISM in Claws
By me
We've decided that, in our resulting video, we'd like our main focus to be a person wearing an animal mask. This represents a separation from reality and the solitude that the lyrics imply. There is finality and certainty in lines such as, "they'll betray you" and, "they'll find your weakness".
We chose a rabbit because, in common culture, they represent innocence and curiosity. There is generally always a link that can be made to Alice in Wonderland when white rabbits are involved. It can be taken to represent a transition from a known place to somewhere bizarre and uncomfortable.
Another thing that would be interesting to explore would be symbolism relating to death - perhaps the transition between the living and the dead. My initial idea for the Rabbit character was a theoretical being, existing in limbo between the two states. The lyrics do mention rebirth, which is interesting to consider on the topic of life and death. Whether this is obvious or just something left up to interpretation, they will definitely be curious about human culture and nature.
COLOURS AND TONE in Claws
By Hazel
In our pitch, we referenced our tone and the colours that we wished to portray within the video but I am going to explain it a little more explicitly and thoroughly. Our video fits firmly into the indie/rock genres specifically, which are contrasting within their colour schemes. Indie tends to be more vibrant and full of colour, focusing on nature and greens to be the main colour motifs. Rock, however, is rather dull in vibrant colours, making the stylistic decision to focus on the monochromatic side. To balance these in our video, we are aiming to stick to a quite bleak colour scheme, only choosing out one or two distinct colours to have as motifs through our video. We are going to use these colours to mostly show the colours of flowers as they are quite striking and also suggest connotations of innocence and vulnerability which our rabbit character will be shown as. This would appeal to our target audience because it won't look boring or uninteresting, it will have a flair and own iconography which will set this video out from the rest as videos in this genre tend not to focus on one striking colour on its own. In my opinion, this might attract a strong audience who like the style of the video as it is memorable. There are many films where just colours and objects alone will remind you of that film such as the red balloon in 'It'. With our curious rabbit character and the bold colours, it is sure to make it different and hopefully create a loyal fanbase who love the music and style as much as we do.
MISE EN SCENE
By Natasha
https://docs.google.com/presentation/d/e/2PACX-1vSBek-bOJ_S-oEf8W_fviWtN_FceI_ahrWkbes5mtvh0eOqKe5uEw2ZoI_w6mYAd4Bjuebn-2aRai9L/pub?start=false&loop=false&delayms=10000
SYMBOLISM in Claws
By me
We've decided that, in our resulting video, we'd like our main focus to be a person wearing an animal mask. This represents a separation from reality and the solitude that the lyrics imply. There is finality and certainty in lines such as, "they'll betray you" and, "they'll find your weakness".
We chose a rabbit because, in common culture, they represent innocence and curiosity. There is generally always a link that can be made to Alice in Wonderland when white rabbits are involved. It can be taken to represent a transition from a known place to somewhere bizarre and uncomfortable.
Another thing that would be interesting to explore would be symbolism relating to death - perhaps the transition between the living and the dead. My initial idea for the Rabbit character was a theoretical being, existing in limbo between the two states. The lyrics do mention rebirth, which is interesting to consider on the topic of life and death. Whether this is obvious or just something left up to interpretation, they will definitely be curious about human culture and nature.
COLOURS AND TONE in Claws
By Hazel
In our pitch, we referenced our tone and the colours that we wished to portray within the video but I am going to explain it a little more explicitly and thoroughly. Our video fits firmly into the indie/rock genres specifically, which are contrasting within their colour schemes. Indie tends to be more vibrant and full of colour, focusing on nature and greens to be the main colour motifs. Rock, however, is rather dull in vibrant colours, making the stylistic decision to focus on the monochromatic side. To balance these in our video, we are aiming to stick to a quite bleak colour scheme, only choosing out one or two distinct colours to have as motifs through our video. We are going to use these colours to mostly show the colours of flowers as they are quite striking and also suggest connotations of innocence and vulnerability which our rabbit character will be shown as. This would appeal to our target audience because it won't look boring or uninteresting, it will have a flair and own iconography which will set this video out from the rest as videos in this genre tend not to focus on one striking colour on its own. In my opinion, this might attract a strong audience who like the style of the video as it is memorable. There are many films where just colours and objects alone will remind you of that film such as the red balloon in 'It'. With our curious rabbit character and the bold colours, it is sure to make it different and hopefully create a loyal fanbase who love the music and style as much as we do.
MISE EN SCENE
By Natasha
Our song starts with
organ sounds so we have decided to start with footage of a church yard. Then
the lyrics start and we show the artist lip-syncing when the word whisper is
sung. We then show the character walking through a graveyard which
links to the lyrics of I am reborn. When the
lyrics A new dawn is sung we will shoot footage of sunrises
and the character looking at them. There is more instrumental afterwards
where the character will be walking around and looking into cameras. Then, the
character picks flowers and petals off the flowers. We then cut to people
telling secrets which links to the lyrics bare your soul. We
will then have a shot of someone dropping something such as a stone. We will
then have the character looking surprised or startled by something out of shot
or people arguing. Our music video is mostly concept with a little performance
and our concept is mainly linked metaphorically to the lyrics.
Tuesday 22 October 2019
P1 - Final Proposal
This is our updated proposal with our feedback addressed.
OUR FEEDBACK FROM SHOWBIE:
"The first page is full of relevant information, however it needs to be spread over more pages and elaborated upon further. Keep the first page as a summary, them give me a page with more detail about the song and what it is about exactly. Then add a page called Treatment and explicitly state if your video will be performance, narrative, concept or a mixture. Then explain the vision behind each strand. Give me a sense of lighting, colour and mood. Your three act structure is really good, but would benefit from pictures on the page to visualise the concept and detail about the meaning behind your visual choices. On the inspirations page, be more specific about what elements you would like to borrow from these music videos. Add screen shots to visually justify your points."
Wednesday 9 October 2019
P1 - First Proposal
I'm working with Natasha Greenwood (https://natashagreenwoodmedia.blogspot.com/) and Hazel Potter (https://hazelpottermediablog.blogspot.com/).
Here is a link to the proposal in a better resolution:
Here is a link to the proposal in a better resolution:
Thursday 3 October 2019
Genre research
The song our group has chosen to work with is 'Claws' by a new artist called Plicketts Mahoo. It fits into the Indie/Rock genre and so, in this post, I'm going to be taking more of an in-depth look it and its conventions using other videos in the genre.
A BRIEF HISTORY
The term 'indie-rock' is derived from 'independent rock', the shorthand for music produced by small and generally low-budget companies. These companies were seen to be less restricting on bands' creativity than others, hence the independence, and therefore artists would be free to explore and experiment with sound.
This kind of music was less aimed at a mainstream audience and instead at niches in the market; it is for this reason that there is extremely diverse variation in the sounds you get from indie music.
1977 is sometimes pinpointed as the beginning of 'indie-rock' as we know it today. A Manchester band called Buzzcocks' self-publicised EP is argued by the BBC to have kickstarted the movement because of its independent label, despite the band's general classification as Punk. Others argue that it truly began in the early 1990s when Nirvana and others like them broke into the mainstream and the term 'indie' became representative of a certain sound, rather than just the independence of a band's label.
The Smiths were a band from Manchester, making music from 1982-1987. Often regarded as one of the most important bands to come from the 1980s British indie-rock scene, The Smiths are the perfect example of the alternative style we're looking for.
The video we're looking at here, for the 1985 song 'How Soon Is Now', was directed by Paula Graif with a budget of about $5000. Despite its prominence as one of their most popular songs, many don't consider it to be representative of the band's usual style. The nature of the video is perhaps reflective of this. It was commissioned by Sire, one of the band's record labels, unauthorised. The reaction from the band was overwhelmingly negative, Morrissey even going on to call it a "degrading video". There is, however, no denying that it aided their elevation to fame in the United States and provided heavy exposure on college radio.
As for the video itself - it starts with white text
on a black background. It's a simple beginning, one that would be very manageable with Final Cut Pro. It fades into monochrome shots of large industrial chimneys and then a girl walking. She makes eye-contact with the camera before the next cut.
The next shots, of the band, are bathed in blue lighting. The performance aspect of the alternative rock genre generally has the artist in harsh coloured lighting that contrasts with dark surroundings. From this point, we can begin to make a judgement about the elements that make up this music video - we definitely have the performance. There is also an element of concept to this video with the girl walking and the factory shots. The video continues to crosscut between her and the band, interspersed with these industrial chimneys.
"Who is she?"
"What's her relationship with the band?"
This concept raises questions that are left unanswered, perhaps elevating the intrigue for viewers. Indeed, to this day people wonder who the actress was. In this way the video is effectively promoting the band - it created mystery, something people love to talk about.
The video is relatively unvaried from these shots. It uses three locations, a staple for directors of music videos, to keep things simple and not confuse the viewer - this technique is also used to reduce filming time and keep the process of creating a video concise. In this video, I don't believe it is a technique used particularly well. Whilst it fits the criteria for a concept rather than a storyline, the visuals aren't massively engaging and there is no progression of story throughout.
Graif does use a variety of transitions when crosscutting between the band and the actress, such as dissolves (right). The lethargic dissolving effect used in this way alludes to a wistful feeling, perhaps looking back on memories. Dissolves are sometimes used in montages to show the passage of time - it adds to the mystery of the video. Some looping of certain clips is used.
This music video was directed by Nabil Elderkin. It's an example of a storyline being used to illustrate a song as well as a performance.
The video opens on a 'parental advisory - explicit content' label. This is a technique used by Elderkin that I haven't seen too much recently; it warns that the contents of the video is inappropriate for children, providing it with an air of exclusivity and taboo that might attract certain viewers. It piques curiosity. We then fade from black into the video.
Our first location is a warmly lit bar - in the foreground of the scene a man plays snooker and there are a number of people milling about. The main subject of the video, singer Alex Miller, is singled out within the scene despite the people around him. The camera focuses on and moves closer to him, making him the focal point of the scene. This is likely done to give the impression of singularity and isolation from his peers.
He takes out his phone and we get an effect overlaid on the video, showing his texts over the top of the main action. It progresses the storyline with a clear visual without having to awkwardly focus the camera on the phone screen and waste time. We get a close up of Miller's reaction, now focused on his face whilst the people in the background are blurred and hazy. This rules them as unimportant and shows their distance from Miller.
Another visual effect is used to show the extreme passage of time. The clock on the wall contorts and its hands form an unsettling grin. It's uncanny and serves to allude to the viewer that all is not right. The title of the song refers to drugs and so this effect could be a representation of the distortion of time that being high would cause.
Miller interacts briefly with whom we can assume are friends an then we get a very blatant visual shorthand; he walks through a doorway lit with vivid red lighting. Red holds the implication of danger and could imply that Miller is making a mistake. With the rest of the visual effects in mind, I wouldn't dismiss the idea that this was purposeful.
He looks at himself in the mirror, in the toilets, and his reflection distorts. This feeds into the motif of the distortion of Miller's surroundings, likely in reference to drugs. When Miller moves, a faint impression is left like a ghost in the mirror. This could imply that he's been here before and show the passage of time. These could be considered jump cuts because the ghosts appear in different places with the same framing.
A few seconds later we get more jump cuts as Miller takes shots. It could be implying that this has happened before or simply to speed up a monotonous process. He breathes out blue flame, contrasting with the warm lighting of the bar he's in. We then get a lot of cutting on action as the camera sways to emulate the feeling of being drunk. It has an immersive effect. The clock, when he looks back, distorts an seems to melt, frowning this time. It's uncanny and also seems to be a warning. It might be foreshadowing Miller's regret later on. There does seem to be a theme of regret and perhaps accusation.
The camera sways as he walks and it's dark outside as he stumbles out of the bar. He passes some men that seem aggressive - perhaps because we are seeing through the distorted lens of a drunk man. He receives another few texts, overlaid on the screen as he keeps walking past odd and intimidating people. Things begin to fade and become wispy, such as a man that falls from the top of the screen and runs across the road. His phone also fades. We're moving past the realm of reality and see that there is something wrong. A street sign changes its text and startles him, he falls.
The video ends with Miller on somebody's front porch, as if none of the previous had happened.
This video, the second for Mr Brightside, was
directed by Sophie Miller. It was created with a US audience in mind after the UK original had been released to spread the band's image further.
It features a performance and also an element of storyline in the same location - a burlesque show. Everyone is dressed extravagantly and the lighting is warm, intimate. It may even feel a bit uncomfortable and claustrophobic.
The audience in the video appears bored with the band, effectively pushing the band into the background. This actually gives the band more interest than if they had been the centre of attention - the storyline takes the theoretical stage. It gives a strong sense of iconography that many bands after them have emulated in a similar way, to a similar effect.
There is voyeurism in that the singer, Brendan Flowers, is watching the storyline happen. A man throws a waxed red apple to the woman with white hair and we have a close up shot of him watching it. This action is repeated throughout the video. The song has references to voyeurism and watching significant things happen from a place of insignificance.
The woman with the apple stands and pulls someone else along to dance. We get lots of close shots of people being intimate and close, along with Flowers singing to show his distance from this. The band is still being, for the most part, ignored.
This woman appears to be the centre of attention in this video. We follow her around the place and see people's reactions to her antics. The man that throws the apples seems to be upset when she runs away with another ma. The action in this video is quite childish and pantomime-like. Everything is emphasised to increase the novelty and interest of the video.
The singer gets involved with the storyline about half way through and appears to be in a relationship with the lady. At the very end of the video the apple metaphor is revisited as the man who'd thrown the apples before takes a bite of a green apple.
This video is slightly different to the others we've looked at in the indie-rock genre. It is described more as a promotional video than as a 'music video' and features shots of the band working with producer Paul Epworth interspersed with shots of Welch performing. It shows the process of producing the song and works to let the audience get to know the band, improving their image.
Welch has had very strong iconography throughout her career, being described as "hauntingly gorgeous".
Mirroring is used on the shots of Welch performing the song in white as she makes swirly hand gestures. As it is a promo rather than a conceptual video, there is no storyline exactly; these shots serve to 'show her off' and allow the viewer to marvel at her ethereal image.
The other part of the video shows the band and director during the making of the song - it advertises them as down to earth and shows the process they go through. We see them singing and playing their instruments in the studio, laughing and creating. It's a very good idea for an established artist to create a promotion like this.
This music video was directed by Honey (Laura Kelly and Nicholas Brooks). It showcases a lot of the conventions of the indie-rock genre and works as a perfect example of a band expressing themselves independently.
I would say that this video is a conceptual performance. It doesn't follow any particular storyline and only uses a few locations, as per the rule. It generally follows a grungy, monochromatic colour scheme, Hayley Williams' red hair being a pop of colour to help her stand out. It is in colour, however, and not completely monochromatic.
This video makes use of a certain prop - the lightbulb. Williams wields it throughout the video, shining it at the viewer and her bandmates. This is one of my favourite uses of props in a music video - it could imply some sort of accusation. Light often represents innocence and hope; the song is an extended accusation of sorts and it works with its harsh, angry nature.
Fast cuts are used to keep up with the energy of the song. There is a lot of cutting on action to really convey the emotion and anger of the song. I think this is effective. The shots in the small room could be a metaphor for the claustrophobic feelings expressed in the song and the whole video alludes to the feeling of being trapped.
More colour is used in the portion of the performance with Williams alone. This makes the scene stand out from the others and the blue may symbolise sorrow or solitude (considering she appears to be trapped).
IN CONCLUSION
Indie rock seems to be very focused on the iconography of the artist and the creation of a character or persona for the artist.
Our ideas subvert a lot of the genre's conventions but we are thinking of building more of a mysterious iconography that works in place of a clear image of our artist. His image is hazy and that's the point - he only appears in the video for a few seconds.
A BRIEF HISTORY
The term 'indie-rock' is derived from 'independent rock', the shorthand for music produced by small and generally low-budget companies. These companies were seen to be less restricting on bands' creativity than others, hence the independence, and therefore artists would be free to explore and experiment with sound.
This kind of music was less aimed at a mainstream audience and instead at niches in the market; it is for this reason that there is extremely diverse variation in the sounds you get from indie music.
1977 is sometimes pinpointed as the beginning of 'indie-rock' as we know it today. A Manchester band called Buzzcocks' self-publicised EP is argued by the BBC to have kickstarted the movement because of its independent label, despite the band's general classification as Punk. Others argue that it truly began in the early 1990s when Nirvana and others like them broke into the mainstream and the term 'indie' became representative of a certain sound, rather than just the independence of a band's label.
HOW SOON IS NOW - THE SMITHS
The Smiths were a band from Manchester, making music from 1982-1987. Often regarded as one of the most important bands to come from the 1980s British indie-rock scene, The Smiths are the perfect example of the alternative style we're looking for.
The video we're looking at here, for the 1985 song 'How Soon Is Now', was directed by Paula Graif with a budget of about $5000. Despite its prominence as one of their most popular songs, many don't consider it to be representative of the band's usual style. The nature of the video is perhaps reflective of this. It was commissioned by Sire, one of the band's record labels, unauthorised. The reaction from the band was overwhelmingly negative, Morrissey even going on to call it a "degrading video". There is, however, no denying that it aided their elevation to fame in the United States and provided heavy exposure on college radio.
As for the video itself - it starts with white text
on a black background. It's a simple beginning, one that would be very manageable with Final Cut Pro. It fades into monochrome shots of large industrial chimneys and then a girl walking. She makes eye-contact with the camera before the next cut.
The next shots, of the band, are bathed in blue lighting. The performance aspect of the alternative rock genre generally has the artist in harsh coloured lighting that contrasts with dark surroundings. From this point, we can begin to make a judgement about the elements that make up this music video - we definitely have the performance. There is also an element of concept to this video with the girl walking and the factory shots. The video continues to crosscut between her and the band, interspersed with these industrial chimneys.
"Who is she?"
"What's her relationship with the band?"
This concept raises questions that are left unanswered, perhaps elevating the intrigue for viewers. Indeed, to this day people wonder who the actress was. In this way the video is effectively promoting the band - it created mystery, something people love to talk about.
The video is relatively unvaried from these shots. It uses three locations, a staple for directors of music videos, to keep things simple and not confuse the viewer - this technique is also used to reduce filming time and keep the process of creating a video concise. In this video, I don't believe it is a technique used particularly well. Whilst it fits the criteria for a concept rather than a storyline, the visuals aren't massively engaging and there is no progression of story throughout.
Graif does use a variety of transitions when crosscutting between the band and the actress, such as dissolves (right). The lethargic dissolving effect used in this way alludes to a wistful feeling, perhaps looking back on memories. Dissolves are sometimes used in montages to show the passage of time - it adds to the mystery of the video. Some looping of certain clips is used.
WHY'D YOU ONLY CALL ME WHEN YOU'RE HIGH - ARCTIC MONKEYS
This music video was directed by Nabil Elderkin. It's an example of a storyline being used to illustrate a song as well as a performance.
The video opens on a 'parental advisory - explicit content' label. This is a technique used by Elderkin that I haven't seen too much recently; it warns that the contents of the video is inappropriate for children, providing it with an air of exclusivity and taboo that might attract certain viewers. It piques curiosity. We then fade from black into the video.
Our first location is a warmly lit bar - in the foreground of the scene a man plays snooker and there are a number of people milling about. The main subject of the video, singer Alex Miller, is singled out within the scene despite the people around him. The camera focuses on and moves closer to him, making him the focal point of the scene. This is likely done to give the impression of singularity and isolation from his peers.
He takes out his phone and we get an effect overlaid on the video, showing his texts over the top of the main action. It progresses the storyline with a clear visual without having to awkwardly focus the camera on the phone screen and waste time. We get a close up of Miller's reaction, now focused on his face whilst the people in the background are blurred and hazy. This rules them as unimportant and shows their distance from Miller.
Miller interacts briefly with whom we can assume are friends an then we get a very blatant visual shorthand; he walks through a doorway lit with vivid red lighting. Red holds the implication of danger and could imply that Miller is making a mistake. With the rest of the visual effects in mind, I wouldn't dismiss the idea that this was purposeful.
He looks at himself in the mirror, in the toilets, and his reflection distorts. This feeds into the motif of the distortion of Miller's surroundings, likely in reference to drugs. When Miller moves, a faint impression is left like a ghost in the mirror. This could imply that he's been here before and show the passage of time. These could be considered jump cuts because the ghosts appear in different places with the same framing.
A few seconds later we get more jump cuts as Miller takes shots. It could be implying that this has happened before or simply to speed up a monotonous process. He breathes out blue flame, contrasting with the warm lighting of the bar he's in. We then get a lot of cutting on action as the camera sways to emulate the feeling of being drunk. It has an immersive effect. The clock, when he looks back, distorts an seems to melt, frowning this time. It's uncanny and also seems to be a warning. It might be foreshadowing Miller's regret later on. There does seem to be a theme of regret and perhaps accusation.
The camera sways as he walks and it's dark outside as he stumbles out of the bar. He passes some men that seem aggressive - perhaps because we are seeing through the distorted lens of a drunk man. He receives another few texts, overlaid on the screen as he keeps walking past odd and intimidating people. Things begin to fade and become wispy, such as a man that falls from the top of the screen and runs across the road. His phone also fades. We're moving past the realm of reality and see that there is something wrong. A street sign changes its text and startles him, he falls.
The video ends with Miller on somebody's front porch, as if none of the previous had happened.
MR BRIGHTSIDE - THE KILLERS (US VER.)
This video, the second for Mr Brightside, was
directed by Sophie Miller. It was created with a US audience in mind after the UK original had been released to spread the band's image further.
It features a performance and also an element of storyline in the same location - a burlesque show. Everyone is dressed extravagantly and the lighting is warm, intimate. It may even feel a bit uncomfortable and claustrophobic.
The audience in the video appears bored with the band, effectively pushing the band into the background. This actually gives the band more interest than if they had been the centre of attention - the storyline takes the theoretical stage. It gives a strong sense of iconography that many bands after them have emulated in a similar way, to a similar effect.
There is voyeurism in that the singer, Brendan Flowers, is watching the storyline happen. A man throws a waxed red apple to the woman with white hair and we have a close up shot of him watching it. This action is repeated throughout the video. The song has references to voyeurism and watching significant things happen from a place of insignificance.
The woman with the apple stands and pulls someone else along to dance. We get lots of close shots of people being intimate and close, along with Flowers singing to show his distance from this. The band is still being, for the most part, ignored.
This woman appears to be the centre of attention in this video. We follow her around the place and see people's reactions to her antics. The man that throws the apples seems to be upset when she runs away with another ma. The action in this video is quite childish and pantomime-like. Everything is emphasised to increase the novelty and interest of the video.
The singer gets involved with the storyline about half way through and appears to be in a relationship with the lady. At the very end of the video the apple metaphor is revisited as the man who'd thrown the apples before takes a bite of a green apple.
WHAT THE WATER GAVE ME - FLORENCE AND THE MACHINE
This video is slightly different to the others we've looked at in the indie-rock genre. It is described more as a promotional video than as a 'music video' and features shots of the band working with producer Paul Epworth interspersed with shots of Welch performing. It shows the process of producing the song and works to let the audience get to know the band, improving their image.
Welch has had very strong iconography throughout her career, being described as "hauntingly gorgeous".
Mirroring is used on the shots of Welch performing the song in white as she makes swirly hand gestures. As it is a promo rather than a conceptual video, there is no storyline exactly; these shots serve to 'show her off' and allow the viewer to marvel at her ethereal image.
The other part of the video shows the band and director during the making of the song - it advertises them as down to earth and shows the process they go through. We see them singing and playing their instruments in the studio, laughing and creating. It's a very good idea for an established artist to create a promotion like this.
IGNORANCE - PARAMORE
This music video was directed by Honey (Laura Kelly and Nicholas Brooks). It showcases a lot of the conventions of the indie-rock genre and works as a perfect example of a band expressing themselves independently.
I would say that this video is a conceptual performance. It doesn't follow any particular storyline and only uses a few locations, as per the rule. It generally follows a grungy, monochromatic colour scheme, Hayley Williams' red hair being a pop of colour to help her stand out. It is in colour, however, and not completely monochromatic.
This video makes use of a certain prop - the lightbulb. Williams wields it throughout the video, shining it at the viewer and her bandmates. This is one of my favourite uses of props in a music video - it could imply some sort of accusation. Light often represents innocence and hope; the song is an extended accusation of sorts and it works with its harsh, angry nature.
More colour is used in the portion of the performance with Williams alone. This makes the scene stand out from the others and the blue may symbolise sorrow or solitude (considering she appears to be trapped).
IN CONCLUSION
Indie rock seems to be very focused on the iconography of the artist and the creation of a character or persona for the artist.
Our ideas subvert a lot of the genre's conventions but we are thinking of building more of a mysterious iconography that works in place of a clear image of our artist. His image is hazy and that's the point - he only appears in the video for a few seconds.
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