Album:
Inside In/Inside Out
Label:
Virgin UK
Director:
Charles Mehling
Released:
2006
The opening scene demonstrates the culture differences between the English and the French included in this music video. The opening location is set in what looks like a cheesy French talk show, the band significantly stand out as the band are dressed in dark clothing contrasting against the light blue lighting of the set. As well as this the chat show host is dressed neatly, juxtaposing the two fashion sense but also distinguishing the bands genre of indie – ‘individual’. Furthermore by the hosts enthusiastic approach to the band and the lead singers response being ‘what’ – spoke clearly in a southern English accent.
As the song begins to play shots are then shot in black n white. As the male band member is introduced it is clear to notice the style influencing the band and genre, including him being topless, rosary beads round his neck, drain pipes and scrappy hair – stereotypical of the indie genre. Not only is this, an attractive female marginalised behind him whilst the male is in the foreground centralised, enhancing his importance.
Shortly after this there are shots of the lead singer in front of the Eiffel tower, iconic of Paris, helping the audience recognise the location. The genre is further distinguished as throughout the band members are wearing vintage styled clothing such as, winkle pickers, drainpipes, sunglasses, leather jackets and Tilbury hats.
When the lyrics ‘there's money to be made, beauty is a card that must get payed, by organisations’ are played, we discover that the male at the beginning is actually at a photo shoot and circles are drawn round the certain shot, representing that it’s the winning shot to gain money. To further enhance this, a flower is placed next to it as flowers represent beauty and happiness.
The vintage feel to the video is also enhanced by the mise en scene used. The male and female enter a vintage classic car beetle, again enhancing the genre and style of the video. Further on, new shots are introduced of a beautiful, elegant French girl is riding her vintage ladies bicycle round Paris wearing stripes and a beret styled hat, iconic of the French. Different shot angles are used to show the girl riding her bicycle, during the middle section of the video, her time on shot increases.
However, this comes to an end as her shot is edited to frazzle out, leaving the word ‘fin’ – French for finish. Suggesting she may have been in a accident as the next shot zooms out of her bicycle left on the road with the wheel spinning.Florence + the machine: Rabbit heart
Director: Tom Beard
The beginning starts with an unusual close up shot of a veil and the singer’s mouth, reflecting on the lyrics ‘shiny and new’, as the sequinned veil is glistening. The editing of the shots appears light and almost dream like, this is further intensified by the movement of the dancers and singer, the choice of location also enhances this. The people on shot are dressed in unusual clothing, however the singer has a bizarre head pieced on made out of gems and pearls, signifying wealth and elegance.The dreams like aspect is continued as a harp player is introduced, close ups are used to show the elegance of the instrument. People are also shot dancing with long draped white dresses, signifying purity and innocence. Whilst this happens an old man is centralised in a full stripy suit, tie and hat, all matching whilst reading a book, creating an odd situation again enhancing the dream like aspect. As the chorus is introduced, the pace of the editing increases and a variety of long shots and close ups are used. However the long shots are very short, enhancing the confusion of the video as new fairytale like characters are introduced. During the chorus the singer is constantly centralised whilst performing a dance routine with the girls in the white dresses.
During the second verse the narrative of the story becomes clearer as a male fairytale like characters are trying to feed the singer a feast, showing her importance. Close ups of the singer and long shots of the new location are used. The fairytale characters are seated at a long white table, full of vibrant coloured fruit and pig heads. The characters become more clear as close ups and mid shots are used, creating an Alice in Wonderland effect. The characters from the first verse and chorus are positioned behind the table, including the harp player, suggesting they are following her on her adventure, or they and inferior to the characters sat at the table.
Similar to the first chorus, the pace of the editing increases and a dance routine is performed. However there is a twist to the narrative as the white table becomes a coffin for the singer and is lanced onto the lake with beautiful surrounding. A faded layer of the singers face is over the last shot, representing the end of her life in the narrative as it’s the end of the song.
Silversun pickups – lazy eye
Director - Suzie Vlcek
The opening begins with a close up of the lead singer, immediately introducing the audience to the band. Straight cuts of the rest of the band are used whilst introducing the narrative location of the bar and the mixture of male and females at the club. It is clear to notice the difference of lighting used, the bar and dance floor are all low key lighting, whilst the band are in spot lights, differing them to everyone else in the video, showing the bands importance. Shots are used showing the people in the club awkwardly dancing to the alternative indie rock band, establishing their genre.
The main character is soon introduced using close ups and midshots to establish her importance throughout the narrative of the video. They have also been used to show her clothing style which is edgy and different, making her stand out as the other females have stereotypical long pretty hair.
A male is shortly introduced being constantly centralised whilst the director uses shot reverse shot of the boy to the girl, suggesting a love interest, creating a build up.
As the song reaches the crescendo, the pace of the editing increases, representing the disappointment of the male as the girl doesn’t smile back at him. Close ups of the singer and other band members are used of them aggressively playing their instruments and singing, also reflecting on the situation of the narrative.
The video ends with the boy and girl finally talking after she chases him outside, the shots become natural lighting representing the happy ending of the song as it happens on screen whilst the lyrics ‘ I’ve been waiting for this moment’ play.
Sigur ros – Hoppipolla
The video beings with a close up of wellington boots on dead leaves, which appears to be very childish along with close ups of someone spray painting onto a wall. However, as the piano becomes louder, the director pans the camera upwards to introduce the characters – 4 elderly people, all of which are dressed for winter.
Close ups are used to show their aged skin and grey hair. However these shots are juxtaposed as they explode a young person’s bike and run off.
This behaviour is continued throughout as they do rebellious actions like ringing someone’s door bell and running away before they get caught whilst close ups are used to show the elderly peoples happy facial expressions.
Soon after this, shots are introduced of the group playing and splashing in puddles, jumping and play fighting with each other. However even though the characters actions are youthful, the colour of the editing and the pace of the editing represent their real age. The colouring is very old fashioned, as if it had been filmed with a vintage camera and the pace is constantly in slow motion, the action on screen and mise en scene completely juxtapose with the pace and sound of the music.
Fiest -1234
Director: Patrick Daughters
The extract begins with a long shot of what looks like a warehouse with bright coloured walls. The singer is introduced by her walking towards the camera, leading into a close up without any cuts. The singer is dressed in dark blue sequinned jumpsuit making her stand out in the shot and whilst she walks towards the camera she walks in time with the beginning guitar intro. 
As she becomes close to the camera the director follows her movement and centralises her, then distinguishing the other coloured panels behind her. With the development of more instruments and the lyric ‘Oh’, synchronised dancers appear from either side of the shot all dressed in bright block coloured clothing. The camera appears not to cut at any time but instead constantly follows the singer’s movement incorporating a variety of shots using a crane. 
Clever chorography is also used to make the dancing seem playful and happy – for example when the director shoots from bird’s eye down onto the artist pretending to shoot the rest of the dancers. The playful aspect is further increased by the cheering of the dancers as they circle the singer, whilst the surrounded bright colours of the dancers intensify the joy of the video - for example when the camera spins round creating a dizzy yet fun effect.
