Ben Howard: Keep Your Head Up
Genre: Indie Acoustic
Origin: London, England
Similarities to The Oh Hellos: Primarily, the genre.
Concepts and theories:
- 'We derive pleasure from observing how the conventions of a genre are manipulated'
- 'Genres permit the creation and maintenance of a loyal audience'
- 'Genre is in a constant process of negotiation and change'
Andrew Goodwin's theory of conventions which apply to this particular music video:
- Music videos demonstrate genre characteristics
- There is a relationship between lyrics and visuals
- There is a relationship between music and visuals
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The music video begins with an immediate focus pull to create a close up of bubbles floating across a field. This shot choice arguably establishes the genre characteristic of acoustic videos being aesthetically pretty. This is supported by the deep oranges in terms of colour, as well as the soft, natural lighting. The colour saturation (of the oranges) creates a very warm, welcoming and relaxed feel, almost hinting a sense of intimacy between the artist and the audience from the very start.
As well as establishing visual appeal, the opening shot also establishes location, reflecting the natural, 'organic' musical style of acoustic; therefore creating a link between music and visuals (the movement of the bubbles could also reflect the movement of the guitar). Specifically at 0.30-0.34, the relationship between music and visuals is highlighted, to which there is a focus pull upon a bubble to the sound of the music.
Whilst bubbles are aesthetically delicate, somewhat symbolic of delicate guitars and voices within acoustic music, the placement of the bubbles within the first shot also intrigues the audience from the very start. This is because the bubbles are so out of place from their natural surroundings, creating almost an enigma code for the audience; why are the bubbles there? Where have they come from? This evident contrast within the mise-en-scene therefore links to the concept that genre is a constant process of change, to which we as an audience derive our pleasure.
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Throughout, there are a mixture of shots ranging from extreme long to close ups. However, the focus of these shots are more to do with the natural location(s) and the action, rather than of the artist (close ups, singing to the camera etc) himself. Similar to the analysis of Half Moon Run, the artist takes more of a 'casual' approach in terms of marketing the music video. For exmaple the artist is contributing more towards the storyline and action, (such as walking past or chucking hay bales) rather than visually, being the mian focus and marketing appeal. Combined with the use of casual, clothing and rather prominent, eye catching props such as hay bales and buckets, the audience begin to understand that this video will be based around a strong storyline narrative. This conforms to the conventions of the genre, because acoustic music videos are represented as having a high importance on the music itself, rather than the artist. This is emphasised by the editting, particularly at 1.07-1.10; quick, simple cuts in time with the drum beat reflect the music structurally.
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| Here we can see that Andrew Goodwin's theory of having close ups of the artist is considered. However, this convention is manipulated in the sense that these shots in particular are very obscure, representing a sense of intimacy with the audience, rather than 'selling' the image of the artist. Whilst also dressing similar to the other characters within the music video, the only identification of him as the protagonist/singer are potentially the establishing shots of him at the start of his journey. Therefore it could argued that this particular music video permits a loyal audience due to the fact that the audience would have to personally recognise and identify the singer. |
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With specific reference to the artist travelling and walking to a certain destination within the shots, suggests a journey; an aspect conventional to acoustic music videos. This is possibly, not only an emotional journey for the audience in terms of visuals, but also a journey through the songs bridges and chorus, which, is established of high importance (the music) within the genre of acoustic. A sense of longing and found identity (which is attained on the slide, highlighted through the artists happy facial expressions) links to the lyrics 'all I was searching for was me'.
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Evidently, there is a lack of performance within this music video. This is rather unconventional of the genre, considering how the music is of high importance. Therefore visual evidence of the artist/band playing the instruments and singing the song creates a respected image as their talent is clearly being showcased, as well as their love for their music; their and the audience's passion. A performance element also links to this sense of rawness and 'organic'; everything is played and written by the artists themselves.
However, whilst performance does create movement, this has been manipulated and potentially justified by the movement of the 'journey' and also the slide; it visually and physically drives the storyline forward. There are also plenty of tracking and panning shots, linking to this sense of journey and accompaniment. By using the camera movement of tracking, we as an audience are constantly alongside the artist, contributing towards the intimacy of acoustic music. The use of a hand held camera also creates movement as evidently, it is less steady, adding to the 'rawness' and authenticity of acoustic music and the videos
The use of slow motion also supports this, as well as creating a sense of nostalgia. This is because, by slowing down the action at such a crucial point within the music video as 2.29, implies a sense of reflection upon the audience (also supported by the shots of water). This therefore enables the audience to reflect upon their own personal and emotional journeys; all of which triggered from the artist's. However, referring to the relationship between music and visuals, the slow motion could also suggest that time is meant to slow down when listening to this song, representing the artist having influential and musical impact.
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| Reference to the notion of looking within music videos is highlighted through the use of water, which is not only fitting for the natural, woodland location, but also creates a link between the bubbles and the water slide. A sense of reflection (literal and emotion) is also supported through the use of water. |
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| As referred to previously, a lot of the shots somewhat obscure when focusing upon the artist. For example, there are many shots positioned on the ground, suggesting that the artist is very grounded, with an 'earthly' tone of music. Further enhanced by shots of bare feet, the artists is physically earthed and connected to his surroundings, just like he is to his music. This shot also represents the little care into appearances for the artist. |
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| With his 'friends' also having bare feet, they are almost symbolic of the audience, to which we too, are meant to be/feel very relaxed and 'grounded' when watching the video and listening to the artist's songs. |
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The end of the music video see's the artist and his two friends jump into a lake, submersing themselves in water. The camera soon follows, jumping into the water also. This confirms the sense audience participation throughout the video; this was an intimate journey to which we as an audience were part of all the way, highlighting the conventional, 'intimate' feel between the audience and protagonist.
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Influences upon our music video:
Aspects we shall take into consideration when planning and shooting our own music video include:
Aspects we shall take into consideration when planning and shooting our own music video include:
- The lighting; soft, flaring and natural, this is the exact effect that we would like to achieve within our own music video.
- Natural locations; the location of woods is also a location choice for the majority of our music video, there the way this location was shot, in terms of panning, tracking and focus pulls has been very helpful and influential in order for us to achieve the same, aesthetic effect.
- The 'journey'; the focus upon storyline is very similar to our own music video, therefore we shall take into consideration the use of an enigma code (to which ours will potentially be an action code of a photograph) in order to maintain the audience full attention.
