Evaluation Question 1

This is our establishing shot for our MV which shows the star image walking into camera followed by the star image's name as well as the name of the song. This adheres to the convention of a music video.

We used continuity editing here and we used a wide angle mirror shot of the couple walking towards each other. This can adhere one of Barthes codes of five as the scenery can create a possible foreshadow of the relationship as it is overcast. This breaks conventions of the genre as Indie-Rock MV would show a more urban environment and we deliberately did this to challenge the convention.

We then cut on the beat, which is a convention of a MV. Here we have a close up shot from Morgan's POV and this gives a clear indication of Brookes mood. The Mise En Scene in this shot is Brooke wearing dark clothes to represent her mood as well as the genre of Indie Rock.

When then cut on the beat to a close up of Morgan from Brooke's POV. This shot can apply to Goodwin as it shows the star image singing into camera, which adheres to the MV convention of the artist singing into camera.

We then used the Luma and Chroma technique as we had Morgan pretend to be firing a gun, which applies to Goodwin with visuals matching lyrics with 'Barrel of a gun and it goes off'. It then cuts on the beat. We used Morgan in a dark backdrop with the green-screen as it indicates that he is angry and keeps with the tempo of the song.

We then had a wide shot of the couple in the dining room to develop a mature representation. Morgan's star image is then enhanced as a romantic young man, however the use of the symbolic sign of the red tablecloth, which applies to Barthe, is polysemous and develops multiple meanings: Love but also danger.

We used Luma and Chroma of Morgan with the backdrop of balloons going up as the song lyrics are 'Up, Up and away'. This can apply to Goodwin as Morgan is singing into camera and the relationship between visuals and lyrics.




This is then edited with a cut to elide time and the plates appearing further away indicates this; At this point Brooke has become a 'Mardy Bum' and there is a representation of discontentment in the relationship which can apply to Todorov as this creates disequilibrium.

This shot shows that Brooke is shown as happy and isn't a 'Mardy Bum' as she is seen hugging Morgan, with the lyrics of 'Cuddles in the kitchen'. This can apply to Propp as Brooke is seen as the hero by trying to make the relationship and that the couple have been happy before.

Here we have a shot of the couple on a sofa. The lyrics match the visuals as they are 'You've got that face on'. This is seen as Brooke looks unhappy within the relationship because she is annoyed at Morgan, this creates disequilibrium within the scene.

These shots are of Morgan trying to make it up to Brooke by giving her a gift of a teddy bear but Brooke rejects the gift and throws it which can apply to Barthes' codes as Morgan is trying to create a solution to the issue and Brooke is creating an enigma by rejecting it.

This was a shot reverse shot of both calendars of Brooke and Morgan and it is clear that more effort is put in by Brooke than Morgan as she has marked their anniversary whereas Morgan has a football match the same day. This shows the priorities of both genders and can represent the stereotypes of males being more bothered about mates and females being more loving and caring, this can apply to Perkin's theory of stereotypes.

These two images are a before and after shot of the Ken Burns technique we used as we wanted to show the text message and also the representation of a modern relationships as they have mobile phones.

In this image we had the model wearing dark, modern clothes. This was to represent a modern female in today's society as modern audiences are wearing black clothes, which also represent the TA.

Here we used a shot reverse shot (SVS) of Morgan and Brooke when he was late as the lyrics are 'Sorry I was late'.

This is a shot which represents the strong independent female as she is strong enough to walk away. We used this shot to show that Morgan has made mistakes within the relationship and this could be lead to Brooke being fed up with him.

Here we used a montage shot, to keep up with the pace of the audio, between Brooke and Morgan. Brooke is seen being let down which shows Morgan as the villain, which applies to Propp. This was to show that Morgan has made mistakes which could have made Brooke a upset with the relationship. This creates a relationship between music and visuals as the song is quite faced paced at this point so we matched it with fast cuts of shots.

This is a wide angle shot of Morgan arriving just as Brooke is leaving due to being fed up of his tardiness. This matches the lyrics of 'I missed the train and traffic was a state'. This can be seen as a train timetable can be seen in the background to represent the lyrics.

This was an over the shoulder shot of Brooke driving away from Morgan. We used this shot as it shows Brooke as an independent, mature individual as she can drive. This was to represent the modern female in today's society.

In this image we used a the Vignette technique as it shows a softer image but we also didn't colour the sides to represent the ending of the happiness within the relationship and this is also shown by the use of over-cranking. Goodwin can be applied here as the visuals match the lyrics by 'Cuddles in the kitchen'.

These shots have Vignettes around them to signify a possible reality of the couple being happy and Brooke excepting the gift Morgan has given her. This can apply Cameron's theory of 'Forking Paths' as it was a possible outcome that could have happened.

This is the ending shot to the MV and this can apply to Barthes theory of symbolic signs as by the extinguishing of the candle, it could represent the ending of the relationship.  We also decided to have the the diegetic sound of the candles being blown out still within the MV, this was to create the feel of the narrative being true.