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SlideShare utilise les cookies pour améliorer les fonctionnalités et les performances, et également pour vous montrer des publicités pertinentes. Si vous continuez à naviguer sur ce site, vous acceptez l’utilisation de cookies. Consultez notre Politique de confidentialité et nos Conditions d’utilisation pour en savoir plus.
The video begins with numerous close-ups of the signer showing her expression as she sings. The camera switches to long shots of of the boy in her garden to illustrate who and what the singer is looking at and referring to in her lyrics. The use of zooming and slow motionThe Video switches between shots when focusing on thethe narrative story which the boy, emphasizing the singersartist performs, and images of obvious attraction to him.the artist and her bandperforming in her garage. Technical Aspects
This video illustrates all the conventions of a classic Pop video, it begins with multiple close-upsthat ‘sell’ the artists brand and displays her ‘lip-synching’ throughout the majority of thevideo, even during the narrative story. The story itself seems conventional of a Pop video at first glance, the artist finds the boy in the video attractive, trying to act provocatively and performing for him with her band. However the end of the video displays the male love interest giving his phone number to one of the male band members, instead of the artist. This defies the traditional Pop convention of the two love interests getting together. Convention/Genre/MeaningThe use of comedy appears when the singer falls off hercar, gets caught staring at her half-nakedneighbor, imagining them as a couple on a bookcover and finally being rejected for another man.This creates a comic effect not often found inPop videos, which usually focus of the sexualAppeal of the artist. This unconventional use ofcomedy suggests the artist wants the video tobe more memorable than other standard Popvideos.
CarlssonUsing Carlsson’stheory of modernmythic embodimentwe can see that thevideo is, for themajority, an exampleof a commercialexhibitionist. This isshown throughmultiple shots of theartist, both long andclose-up, selling herbrand image to thepublic. It also has elements of the televised bard, with the narrative lyrics relating to the visuals on screen about the artist’s failed love attempt.
The video whilst telling a story, is not particularlydeep or meaning full, as it only relates to the artist Shorewanting a boy to call her, illustrating Shore’s viewof Surface without Substance. The video also illustrates strongly Shore’s idea of Image and Style Scavengers, as the artist performs in the convention Pop video manner, singing with her band and for the camera. This is also seen in the shot of the artist trying to provocatively wash her car to impress the boy, as first seen in Jessica Simpson’s video ‘These Boots are Made for Walking’. Finally, the video illustrates classic story- telling motifs and clichéd imagery. The story of a rejected crush is a common idea for many music videos and films, as is the widely-seen image of the attractive female singer performing with her back up band.
Goodwin In relation of the lyrics to the visuals, this video can be seen to illustrate the meaning of the lyrics fairly well. The artists attraction and feelings for the boy in the video are easily recognized, as seen when the camera uses a over-the-shoulder shot illustrating how the artist is watching the boy in her garden. The idea that that the artists wants the boy to call her is repeated thoroughly, connecting to the visual images on screen. This use of obvious lyrics and visuals also amplifies the meaning for the audience to easily understand.