RESEARCH

Conform to the expectations of the genre- the audience you expect and what is expected of the video

Key elements: 

• Music composed specifically to facilitate or accompany dancing
• Fast cut shots in time with the dance beat
• Themes such as love/relationships and dancing/having fun that young people can relate to 
• Typically clubbing scenes, women wearing minimal clothing, jumping/dancing, pools/parties, UV paint, drugs and drinking.
• Typically wild and crazy atmosphere - clubs with a DJ performing
• Artist of the song tends not to feature in the video, as the narratives are usually random and don't fit with the lyrics.
• Staged performance sometimes pictured with audience and crowds
• Multiple locations, repetitive arrangements 
• Time spent on choreography - some impressive skills and talents shown off (flips, complex dance moves)
• Unique forms of the dance video genre can be created- e.g. single shot, takes time and planning
• Groups of people doing freestyle moves or showcasing talent
• Recognisable dance routines that inspire young audiences to want to dance
• Upbeat videos that are dominated by party lifestyles
• Sometimes different outfits/costumes for dances in different locations
• Bright colours, feel-good feel

Misterwives - Our Own House

This Music Video is set in an ordinary main setting for the most part, showing a narrative that involves dance in a way that doesn't seem out of place or random. This style, involving casual dance alongside an interesting and visual narrative, is a good example of how I would like my own music video to work. 

cinematography: quick shots, changing to different perspectives and locations

editing: continual, flowing shots

sound: quick paced music with a beat the dancers can follow

mise-en-scene: different outfits for different locations- diner uniform, dance clothes, punk clothes, easy to tell the difference between characters. Colourful palette- dance party set at night with bright lights. Improvised dancing from the audience surrounding main dancers.

Paramore - Hard Times

This is an example of the colour scheme I would like to create, alongside the focus on the artist amongst these colours.

cinematography: Mix between short and long shots that focus on the artist, editing mixes film and animation, giving a crowded and hectic look.

editing: graffiti like animations and text empathizing movements

sound: Repetitive lyrics and beat, good to dance to.

mise-en-scene: very colourful, mix between primary colour bold daytime look and darker club-like lights. Face paint  used to blend the people in with the colours.

1 - Down by the River

This video stands out because of its 'Lost Boy' theme, featuring an artsy style using paint and childhood objects in a forest. This is something viewers can recognize and interpret as they like as the meaning of the original song isn't revealed. It represents children in a playful way and focuses on the outdoors, giving an aesthetic to the video that is charming and happy.

2 - Firebird

Firebird appears to have a deeper meaning and representative, and intrigues the viewer with this uncommon theme. As a tribute to women in South America, and dedicated to the writer's daughter, the video captures Bolivia in an artistic and interesting fashion - focusing on small details to give the viewer an experience of the country and its traditions, which are both interesting and subversive.

3 - Doing Good 

This video is the most visually pleasing- choosing certain images of a city and creating a lively and colourful outlook to the video with a mix of random objects, a focus on the colour red, water, skylines and abstract text. The quick switches from one frame to the other keeps the video interesting with its alternative aesthetic. 

[ https://www.uktribes.com/tribe/leading-edge ]

''Perfect Audience Member' Tribe': Creatives/DIYers

uktribes.com description: "DIYers are creative, tech savvy self-starters that bring culture to life for Tribes today – they produce music, promote club nights, start indie brands and create festival stages. Many are also Creatives, but DIYers are set apart by their aspirations to ‘make it’, create events and actively influence culture in their area. DIYers used to be focused more in London, but in 2015 all major cities have a strong DIY scene."

• young adults from the age of 16

• A culturally sophisticated, 16-25 class AB demographic 

My music video would attract audience members from this demographic because it will feature aspects that may appeal to them such as being an independently produced video that has an artistic look and idea that may help inspire or interest them. ''Milky Chance" as a band is already fairly alternative and therefore the song may attract listeners of this Tribe, alongside the music video itself.

Audience Member profile; (clothes, food, lifestyle, music they listen to)

STOLEN DANCE - BY MILKY CHANCE (DIMMI REMIX VER.) - TRIM TO 3 MINUTES

An auteur music video Director

A music video director is the head of music video production in the process of creating a music video. The director devises a plan or idea in creating the music video for the artist- making it artistic or dramatic. The director considers the roles of the technical crew, actors, models and dancers. 

The auteur theory holds that a video reflects the directors personal creative vision or what the music video may mean to them.

   "A true film auteur is someone who brings something genuinely personal to his subject instead of just producing a tasteful and accurate but lifeless rendering of the original material".

1) mise-en-scene: all the means available to a director to express their attitude towards the character- pacing, camera movement, cuts, content of the shots act,
2. the pattern of thematic motifs across the author's entire work.

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 The first frame shows the camera moving in over a museum scene (The Natural History Museum in London), well-lit and empty with the focus on the large skeleton hanging from the ceiling. In the center of the screen, aligned with a statue behind her is one of the dancers Shala Sarah Haruko Iwasko, standing out in a bright yellow coat among the neutral tones that the museum presents. The camera angle gives the viewer a sense of being the onlooker to the scene. 

This frame presents a direct close up of Iwaskow, who acts as if waking up in a robotic manner and then moves to reveal dancer Shaadow Sefiroth on the stairs behind her, who didn't appear to be there in the previous frame. He and the background are blurred out, keeping the focus on Iwaskow and her facial expression. Both dancers are wearing warmer toned colours that fit with the themed colours of the museum in the background but are also bright so they stand out on their own. Shala is of Japanese decent, and Shaadow Ethiopian-French, diversifying the representation of the couple of dancers in the video. 

The duration of this shot is very short, with the editing becoming quicker as the dancing starts. Both dancers slowly and simultaneously start their dance as Shaadow comes into focus on the stairs. The camera has the same focus as the previous shot, but is further out, showing the dancers in their full height. The frame focuses on the symmetry of the shot as well as how they have the Natural History Museum all to themselves. Shaadow begins dancing as the male voice starts singing in 'Breathe', making the dance tie in with the song.

The camera in this frame is more to Shala's side, moving in the direction of her spinning movement. It also loses focus on the dancers faces, showing more of their clothes and movements. Yellow and orange are typically 'happy' colours, suiting the upbeat song. Being in a public location yet it being empty gives it a dream-like feel, as if the two characters are dancing as a metaphor for their relationship that is open to interpretation rather than deciding to dance in a public space. The pace is quick and the colours reflect the energetic nature of the dance.

This frame moves to the opposite angle, facing away from the stairs and from Shaadow's side compared to Shala's from the previous shot, linking the dancers together as a pair. The angle is lower, moving from an onlooking view to lower than the dancer's eye level. The camera is positioned again to avoid capturing the dancers' faces, but their movements as they dance, and the focus of the shot is on Shaadow's red 'Supreme' bag, adding to their warm yellow and orange attire and their fashionable streetwear. As Shaadow moves, there is a small flash of light from the entrance that catches the camera, adding to the warmth of the lit up museum.

This frame returns to a similar angle to the third frame, showing both dancers in their full height, with Shaadow still by the stairs. Both are doing their own, very different dances that fit together with the song. Neither dancer appears to be the main 'protagonist' of the dance, so it could be from either perspective, which fits considering that the song has a male and female singer. The dancing becomes more complex at this point, though still paced and slow.

Shala is the only dancer present in this frame, crouched down as the camera pans from one side of the staircase to the other. Her dancing follows the song, mainly using arm movements, and from this shot we can see that her character is wearing comfortable dance-appropriate clothes- joggers and trainers, which subverts what women are usually seen wearing in mainstream music video- revealing clothes such as swimwear or heels.

Frame 8 also follows Shala, with Shaadow out of focus and hardly shown in the background. It continues her movement from the previous shot, yet she is now upright, and her hand movement highlights the lyric 'skin' as it is sung. The camera is constantly moving, moving around and in on her facial expression and then out again. This frame is very short again, picking up the pace of the music video alongside the music.

Facing the stairs again, this frame links the two dancers together, as their dance moves start to co-ordinate with one another. The shot again focuses on symmetry, with each dancer either side of the staircase, and the warm orange-yellow lights of the museum. The dancing in this frame and frame 10 suggests Shaadow's character being able to control Shala, with empathsis on the lyric 'hooked' as the frame transitions into the next.

This frame is very short, concentrating almost completely on Shala's action of being 'reeled' in by Shaadow, and their dance to act out this lyric. The dancing clearly follows the lyrics of the song, helping the narrative of the music video.