The rewind and fast-forward motions used in this scene were inspired by Dannii Minogue's music video for 'You Won't Forget About Me', as shown below. I was inspired by this technique because of the sense of rapid pace it created, as well as applying an interesting perspective to what would otherwise be a simple motion of walking-making the shot more dynamic and exciting.
The eye-catching, strange motion found in this scene, as well as the red cone imagery and body composition, were inspired by the artist Steven Klein and Madonna's 2003 collaboration, 'X-STaTIC PRO=CeSS'. The art installation originally ran as a set of 5 minute clips of different scenes, using quick interchanging shots that would repeat themselves and run backwards and forwards. A compilation of these scenes titled 'The Beast Within' was later used as an introduction to Madonna's Re-Invention Tour, as shown below. I was inspired by this avant-garde piece because of its ability to shock and unsettle the viewer using very little imagery, and relying on repetitive editing techniques to create an atmosphere-as well as being highly unusual and thought-provoking.
This shot used at the beginning and later in the video was inspired by an editing technique used in many films and videos: slow-motion. An example is the new Sophie Ellis-Bextor video for 'Bitterwseet', as shown below. I found this movement technique very effective, as it creates a strong sense of tension, and builds a mysterious environment for the audience.
The programs I used to create the website are Adobe Dreamweaver CS2 and Adobe Fireworks CS2. I created most of the website using Dreamweaver, due to its convenient html properties. I have experience in html, so this proved to be beneficial. I used Fireworks to create the buttons displayed on the page.
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Using this method, I imported all of the buttons successfully. My next intention was to organise the buttons neatly. So, I used the Table feature, available at the top of the page. Then a box opens (shown to the left), and I created the table to match the number of buttons, as well as the trailer video. I also included credits and links to connected sites such as Incompetech and Myspace, to increase the authenticity and convergence of the page. My website appeared to be finished.
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A DV tape. Unfortunately, the DV tape that had been provided already had footage on it, so we had to 'Black Out' the tape before we could proceed to film. Blacking Out the tape requires putting the tape into a camera, placing a cap over the cover of the lense so that its black, rewinding the tape to the beginning, and filming the cover of the camera until the tape is fully recorded. Then, we rewinded to the beginning, and began filming.
A Canon DM-XL2 Mini DV Camcorder. Lana and I had prior experience with this same model of camera in the past, filming our preliminary tasks and our AS Level Media coursework. This gave us a head start with our understanding on how to use the camera and its capabilities, but when filming, we learned more-such as the ability to change the brightness of the footage, using the round dial on the left side of the camera, located beneath the viewing hole.
A Mini DV player. This player allowed us to insert the DV tape, and then transfer the videos on the tape over onto the computer, using the Capture function in Adobe Premiere.
A redhead. This bright light enabled us to film most of the scenes with the swaying lights, such as the needle eye shot. The panels at the front allow us to shape how precise the direction of the light is, which helped to make the angles of lighting more effective. An issue I had with this piece of equipment is that it heated up very fast, and I had to be careful to not break the bulb.
The opening scene is a mid-closeup shot that displays the model pushing forwards towards the camera, with a look of pure anguish on her face. The red cone implements the presence of fashion. The credits give details to the viewer, so if they are interested, they know whom to look for, what album its from and so on. The music is another Kevin MacLeod track, and is ominous and haunting, creating an unsettled environment for the viewer along with the upsetting imagery-heavily influenced by German Expressionism conventions. This is the first costume we see.
The next shot is a closeup of the model's foot as she puts on a shoe, shot from a gap in the railing of the staircase. This establishes that the character is preparing for something, and the dark lighting and 'spotlight', created using the torch worn by the model later on, enforces a dramatic tension. The imagery is very similar to film noir, which too was influenced by German Expressionism.
This mid-shot uses the 'Mirror' effect available in Adobe Premiere. By changing the degrees of the direction at which the mirror should be placed, I created this effect. The shot establishes the character continuing to prepare, putting on a scarf in what seems to be a mirror, implying shes in a changing room. The 'Mirror' effect enhances what could otherwise be dull imagery, whilst giving it more of an alternative edge. This is the first costume change, establishing the fashion based essence of video.
This tracking shot begins to build the tension of the video. The model hurriedly walks to the door of the changing room, and the audience begins to wonder where she is going.
This is a match-on-action shot to the previous shot, as she walks through the door and comes out in this shot. This shot again uses the 'Mirror' effect, stylising the image of the model walking to her destination. The tension is still being built, especially through the music.
The scene then cuts to a different period of time, which is apparent due to her different clothing and hairstyle, as well as the establishing shot of the scenery. This tracking shot further implies the tension of the video, and as the haunting instrumental fades into our song, Perfect Circle, the model hides to the side of the home. This is the second costume change, further establishing the theme of differentiating fashion. The dark color scheme, mixed with the red coloring (applied via the brightness settings on the camera), continue to enforce the film noir prospect.
This mid-shot/tracking shot invites the viewer onto the empty concert stage, where the model takes a seat and prepares for the song. We repeated the opening instrumental by 'Cutting' and 'Copying' the audio on the Timeline in Adobe Premiere, using the audio effect 'Fade Into' so that the audio flows smoothly. I contacted a lighting specialist to help us make this shot more thorough with different colored lights, but the lighting technician failed to show, so the single spotlight was controlled by the male actor, whilst the blue lights were turned on once by the model.
To create the rewind/play motion of this mid-shot required changing the 'Speed/Duration' settings in Adobe Premiere. To do this, I would cut one section of the video, and then copy it twice. I would then put them together, and right-click the 2nd video, and selecting 'Speed/Duration'. I then check the box titled 'Reverse Speed'. This way, the video plays Daniella walking forwards, backwards, then forwards again. This was heavily inspired by research I made into the electro-pop video 'You Won't Forget About Me' by Danii Minogue, as shown below:
This quick, dramatic closeup kicks off the beginning of the vocal part of the song. The lighting is incredibly mysterious and the angle of the face is seemingly inhuman-further enhancing the unsettled atmosphere rooted from German Expressionism.
This long shot begins the vocal section of the song. It also fully establishes the light-clip attached to Daniella's chest, acting as the brightest light in the shot, with enough time for the viewer to study the image to decide on what the light is/could be. This lack of clarity gives the viewer more to think about, which may attract them closer to the video.
The next few shots are a variety of shots detailing the model's walk down a hill towards a bridge. These rapid shots, such as this silhouetted long shot, strengthen the tension of the video. Daniella puts on a hard face, showing anger-and the following silhouette shows the almost menacing nature of the character. These dark themes are presented in an avant-garde manner, what with the alternative imagery, such as the light-clip being the only visible light on the hand-on-hip confident silhouette surrounded by blood-red shades, establishing the malice within the character.
These two quick closeup shots, presented in accordance to the beat, invite the viewer into yet another look for Daniella. Although the images flash quickly, the brightness of the image contrasts the dark imagery shown previously, which will hopefully create an impression on the viewer's mind.
The viewer will recognise the previous images in the projection, but will also be invited into watching Daniella sing the song whilst performing in this mid-long shot. The projection itself shows the research made into Andy Warhol's Exploding Plastic Inevitable, and his use of projections within. It also shows evidence of post-modernism, as the use of the projection blends reality with a mediated representation.
This collection of birds-eye view shots were edited in a way that's similar to the 'Mirror' technique, but instead of being in the same shot, we instead used the 'Horizontal' effect on the images, so that the image cuts back and forward between the different sides of the reflection. The shadow was originally accidental as I lent in front of the light, but proved to be effective, so I filmed it with my shadow covering one of her eyes. The stance is also very provocative, applying to my research into the 'Sex Sells' theory.
This set of closeup shots are the beginning of the end, as the impending themes of anger and insanity in the video become more and more apparent, as the imagery begins to speed up in the cutting process. This continues to align with the concept of German Expressionism, where insanity and madness were looked into thoroughly, and were presented in a stylised manner.
This fast-paced closeup shot of Daniella blinking was amplified by right clicking on the clip in Adobe Premiere, selecting 'Speed/Duration', and turning the speed up notably. This continues to heighten the pace of the video, and the image itself is very effective and dramatic. I intend to use an incredibly slowed down version of this shot as the backdrop of the DVD menu.
To create the flashing effect in this mid-shot, Lana turned the lights on and off rapidly. This continued to help raise the sense of rising speed and craziness in the video. It also shows more references to the 'Sex Sells' theory, with Daniella's cleavage being moderately visible.
This long-shot of the light was actually filmed by accident-I was trying to turn the camera to Daniella, and my male actor, Jonathan Cobbing, had turned the light to face in my direction as a joke. Whilst editing I found the shot, and was pleased to find that it was very effective, and proved to be a match-on-action shot with the next shot, creating a continuous flow.
I edited this mid-shot and cut it so that as the light-clip faced the camera, the video would begin. Therefore, the previous shot of the spotlight becomes a match-on-action shot into this shot, as the bright lights blend into each other and flow via the cut. This shot also presents a new location-a lamp-post which Daniella 'pole dances' on, enticing the viewer.
This mid-shot takes us back to the outfit from the opening of the video. The outfit is notably revealing, as we placed the straps below her shoulders. I purposely filmed the shot whilst shaking the camera, then edited the speed of the shot in the 'Speed/Duration' menu, making it faster. The blue background is in fact a chroma key, designed to present other images via editing-but I instead used it as a stylistic background, which enhanced the image of the red cone.
This scene details a hooded figure going behind the stage, and shutting the concert down via a panel, shocking the singer. The man then goes on to kick her out, establishing himself as a member of authoritative staff, as he has a card that opens the door to leave, from which he throws her out. This collection of shots are all in fact an intertextual reference. Whilst they are all synced to the beat (save for the brief sequence when the music stops, as Daniella is removed from the stage), it is in fact a reference to the first few minutes of Lonesome Cowboys by Andy Warhol, in which the characters awkwardly cut to different places, although not in sync to the dialogue.
This closeup shot finally sets off the last 'explosion' of experimental imagery, implying the avant-garde feel. The irregular increase in speed (edited in the Speed/Duration menu) instills the feeling of unease and the essential madness of the video, further referencing German Expressionism. To make the swaying light, Lana held a large spotlight, and swung it side to side. The dramatic presence of needles so close to Daniella's eyes also project a sense of horror-whilst at the same time appearing alternative and 'fierce', which is a commonly desired image in the electro-pop industry. Lady GaGa is a clear example, when she wears glasses containing razorblades that point directly towards her eyes, at the start of her 'Bad Romance' video:
This mid-closeup shot is truly the beacon of German Expressionistic insanity in the video. With the irregular image of Daniella swaying back and forward rapidly with a painful look on her face, which then speeds up and rotates backwards and forward, losing all control. This shot presents the loss of control over the character's feelings, and sets her anger over the canceled concert in motion. This leads the viewer to believe there is more to the person that canceled the concert than what was let on. The shot then leads on to a shot of Daniella shaking her head in pain, reaching the 'peak' of her anger, as a menacingly anxious image of her can be seen blended into the background. I created this shot by cutting the shot several times and using the 3-video rewind/play forward process on several occasions, and then swapping the order twice. This movement is heavily influenced by Steven Klein's and Madonna's 'X-STaTIC Pro=CeSS' exhibition, as shown in previous posts.
The background of this mid-shot was one of the shots that I made at the spur of the moment. Whilst waiting for Daniella and Jonathan to arrive on the set, I found a glitter dome in my brother's room. I sat the camera in front of it and zoomed in so that the dome filled the shot. I then shot the glitter, changing the focus so that different distances could be seen. Then, I reversed the speed in the 'Speed/Duration' menu to give it more of an ethereal quality as the glitter flies upwards, and on the time line in Premiere, placed it above the shot of Daniella sitting. I then decreased the Opacity of the shot, so that both the shot of Daniella and the glitter could be seen, creating an intriguing effect.
This quick succession of close-up shots that interchange between the glittery mid-shots present the constant sense of speed, so that the video does not slow down after the previous red cone scenes.
This mid-closeup shot is the last shot that is inspired by Danii Minogue's 'You Won't Forget About Me' music video. The scene is a German Expressionist-based avant-garde scenario, in which the artist is in a completely nonsensical situation, wearing a royal crown and climbing through what appears to be the interior of a bed, with the cover being held up by Lana in the process. The mise-en-scรจne for this scene was inspired by Pixie Lott's 'Mama Do (Uh Oh Uh Oh)' music video, another electro-pop artist I researched into:
This is the last shot that uses the 'Mirror' technique. This time, I changed the degrees of the angle so that it was a complete 180 flip, and I placed the image further into the centre, so that it was a complete reflection-giving the appearance that she is talking to herself. This scene shows that the video is coming to an end, as she is finally crossing the bridge she was heading towards. The quote 'I'll cross that bridge when I get to it' provided inspiration for this part of the plot.
This closeup shot is heavily abstract, and its alien appearance is almost frightening. To create this effect, I used the 'Echo' feature, and amplified it so that it appears she is moving in a daze. I also used the 'Brightness' feature, and elevated it-this contrasted the image, and surprisingly made it look more sinister and inhuman-opposed to the idea of darkening the image instead.
This collection of shots was shot by Lana on the sofa. Lana actually filmed only one shot of Daniella lying on the sofa. Whilst editing, we felt the shot was too still, so we used the 'Zoom' feature and cut the video separately, cutting to different closeup shots of her body to the beat, and then cutting to the full long-shot. The 'Zoom' feature allowed us to again present the theory of 'Sex Sells' as well as selling the fashion aspect of the video, zooming on on her shoes and her buttocks.
Much like the other shots containing Jonathan, I intentionally made it difficult to see his face. This will hopefully ensure that the viewer's attention will not be entirely strayed from the artist's. To hide Jonathan in this tracking shot, I moved the camera whilst shaking, making it difficult to concentrate on his face. Jonathan then goes into the house we saw Daniella hide next to earlier on, implying to the audience that the first time we saw the house actually took place after the concert.
As mentioned in the Fashion post, this close-up shot is an intertextual reference to Luis Bunuel's French film 'Un Chien Andalou', referencing the opening scene in which a woman has her eye sliced with a razor/knife. It is also a continuation of the scene in which she was climbing through the bed, as the viewer can see from the bed she is lying on.
As the story comes to a close, we see the artist's now-signature light hidden alone against the pitch black backdrop in a long-shot. This tells the audience that the artist hid there after the concert, and due to the dark nature of both the shot and the film, it is clear it is a for a negative and menacing purpose. The previous shot of the knife also nods towards possible things to come.
Instead of what could have been a presumed murder, the shot cuts back to the artist knocking on the door, and the door is answered. She slaps the man on the last lyrics, 'you'll come around', flaunting her confidence and concluding the video-although as the camera trails off, the viewer is left to imagine what happens after.
Although, this final closeup shot of a glass of wine being pored shows a sign of success, and whilst accompanied by the mysterious lighting, may refer to the final outcome of the events of the video. Whilst the credits appear again, conveniently shaped to not block the imagery, the viewer is left to decide on how the plot would end. I have had prior experience dealing with open-ended films, since my AS Level production was a horror story with an open ending, allowing the viewer to decide on what happened based on stylised imagery.
