2. Overall Representation:
The female gender within ‘Way in the World’ is
represented as very youthful and adventurous. Whilst
still being portrayed as a ‘natural beauty’ which is
stereotypical of acoustic music videos, the artist is
represented as very much happy, comfortable and
confident, as oppose to the expected fair, vulnerable
woman.
3. Opening Shot and Initial Representations.
The shot below immediately suggests the music video
location of a beach. This is through a close up and faint
indication of gravel and the sea within the focus pull.
Combined with the visual of ‘Nina Nesbitt’, this shot
represents the artist as natural, as well as adventurous.
This is due to the natural location and the campervan
also; symbolic of travels. This representation is also
confirmed by the shot immediately after; the artist
opens the doors of the camper van and steps outside,
implying a sense of curiosity whilst also revealing her
‘natural beauty’.
The focus pull in particular also suggests that Nina is
‘soft’ and feminine; as visually appealing as the shot.
Both the choice in location and prop are also extremely
nostalgic. This is because beaches are often associated
with family outings, and campervans associated with
‘retro’ travels with friends. This therefore suggests that
the artist too has ‘unique’ and retro qualities which will
derive a sense of nostalgia from the audience.
4. Character, Costume and Make up:
The artist is very pretty; with a fair complexion, large eyes and flowing, blonde hair.
This features connote a sense of innocence, especially through the fair complexion and
large eyes. This innocence is a common theme within the representation of women in
acoustic music videos. This is because they are perceived to be as wholesome and
‘organic’ as their music.
Nina’s make up is very subtle and ‘natural’ , with exception to the red lips in certain
shots. Enhanced by the soft, natural back lighting, the artist is represented as a
‘natural beauty’; the back lighting further supporting her angelic and ‘innocent’
portrayal.
The focus pull not only separates Nina from her surroundings, making her the main
focus and arguably, ‘selling point’, the camera technique also reflects her soft and
delicate features.
In terms of costume, the artist has one primary outfit of a t-shirt and shorts, which
she varies by adding a jumper and jacket. The initial bright coloured jumper connotes
that she as an artist, ‘stands out’; she is musically unique. The material itself is also
very soft, implying that the artist is a very welcoming and comforting person, just like
her music.
The red t-shirt and lips are also very bold, further suggesting that she is unique and a
‘stand out’ artist against other female acoustic musicians. The shot of the lips in
particular creates emphasis upon the lyrics and the importance of them as well as
arguably representing the artist as desired by the audience. This is because the colour
red is symbolic of romance and lust. However, the red could also imply bold energy
due to the brightness of the colour.
5. Costume Continued…
Although the outfits are very casual, representing the
artist as down to earth and approachable the shorts,
which connote summer and youth, could also be argued
as somewhat voyeuristic. This is because the camera
pans up and lingers upon her legs and shorts, as well as
various shot types (ranging from close up to extreme
long) showing off her figure.
The importance of fashion for the artist is supported by
long shot of Nina standing outside a clothes store. The
shop itself, as well as the clothes inside, look very retro.
This therefore reinforces the unique identity; similar to
Gabrielle’s with her high heels and socks.
The hair being tied up in a ribbon is also nostalgic,
youthful and playful.
6. ‘Danger Keep Off’:
This shot in particular supports Nina’s ‘adventurous’ representation;
rather unconventional as females within acoustic videos are
stereotypically innocent and delicate, rather than rebellious. This
action of being somewhere which is dangerous contrasts her image.
However, like Gabrielle Aplin, many acoustic females are
represented as having a sense of a journey, longing or progression, to
which this justifies that concept.
In particular, the literal movement of the campervan represents the
artist as very driven; musically and emotionally, the artist explains
herself within the lyrics that she is still ‘finding’ her ‘way in the world’.
This is similar again to Gabrielle, who was presented as determined
in making it into the ‘music world’.
This sense of progression is also supported through the mise-enscene. For example, the placement of a dream catcher within the
camper van implies that the artist is an ambitious woman with many
dreams.
7. Camera Angles, Shot Type and Editing:
Alongside the focus pulls, there are also various obscure and
shaky/blurred shots. This deliberate technique expresses a ‘home
made’ feel, linking nicely to the artist’s travels within the
campervan, as moments are often caught on video camera when
you are travelling.
When the artist is playing the guitar, these shots are often close
up, focusing upon her hands physically playing the guitar. Whilst
this represents the importance of the music to both the audience
and artist (as supported through other analysed acoustic music
videos), these close up shots also represent Nina as a talented
female musician because we physically see her playing an
instrument, therefore gaining a ‘respected’ name and image
within the music industry.
The over the shoulder shots somewhat involve the audience and
include them within the adventure, reinforcing the artist’s
welcoming representation.
In terms of editing, a sense of energy is represented through the
fast cuts on the beat, almost replicating the ‘bounce’ in the
artist’s step, as well as her youth.
8. Action:
In comparison to Gabrielle Aplin, Nina Nesbitt sings directly
to camera, representing her as a very confident and
connecting young woman from the very beginning of the
music video (In contrast to Gabrielle who is represented as
delicate and vulnerable by avoiding eye contact with the
audience), as she is directly addressing the audience.
This particular representation links to Andrew Goodwin’s
theory of ‘The demands of the record label will include
the need for lots of close ups or the artist and the artist
may develop motifs which recur across their work’;
these motifs being the artist singing to the camera, her red
shorts and ‘nostalgic’ references such as the slot machines and
dream catchers.
This confidence is also suggested through the constant
interaction between the artist and other people; her friends.
