Observations: Did you follow, develop or challenge? f so, how? llustrative e!amples from the video with time codes Other e!amples to compare and contrast "arrative #isual $esponse %ac& of 'alance (artial of )ragmented "arrative Dis*ointed +tructure ,hat Drives the #ideo )orward? -heme or .ontage? We are given a partial narrative because several things arent placed into context for us. Firstly, we are not told why there appears to be a state of martial law, with army platoons circulating the streets. The music very much drives the narrative forward, as the song climaxes so does the video with a quick tempo scene of one of the friends being beaten up. t !"#$, when the mischievous kids are about to load their %% guns they are shown behind a fence that seems to circle around their neighborhood. t #"&& we are shown the army patrolling the streets stopping anyone who may be walking or driving, telling us there is a state of martial law or that the neighborhood is unsafe. 'n this video, we are not shown the artists of the song but instead the actors that make the narrative. This is uncommon in most genres of music but is something we see in lternative rock music videos on occasion like 'magine (ragons )adioactive. (i**ee )ascals +ove this Town is also very narrative heavy. /diting Does it .atch the 'eat of the .usic? 0se or gnorance of Continuity /diting )ast (ace of /diting 0se of lac& of 0se of -ransitions /diting .ay 'ecome 1)oregrounded2 The editing doesnt match the beat of the music perfectly, but transitions indicating a time leap are made on a beat. The video uses invisible editing and doesnt really draw our attention to it. The focus is on the narrative. n example of the continuity,invisible editing is at !"#- till !"&.. 'nvisible editing like this is intended not to draw our attention and thus the editing is not foregrounded. t /"## an important transition indicating a 0ump in time, is made to a beat. The invisible editing in this video is similar to that in 1ohn +egends ll of 2e, where the editing isnt suppose to take away from the narrative. 'ts important because the narrative and song go hand in hand. #ernallis 3nalysis Chart Camera .ovement 4 )raming /!treme +hots 5ow /ach +hot is )ramed Does the Camera .ove in time to the music? Does the Camera .ove in time to the lyrics? $e6occurring +hots .aster +hots are )re7uently Close6ups 3amera movement matches the music and nearer to the end, as the music speeds up, the camera movement becomes somewhat pedantic. shot that reoccurs is the one showing the teenager with the long hair with his girlfriend, 4rmly establishing the relationship between them. lso, there are frequent close ups of the t ."!5 we are shown a close up of one of the boys faces 6something that is quite frequent in the video7. t !".$ we are shown the close up of the couple which is a shot that reoccurs,8we see them together several times. The camera does move in time with the music, when the kids are running at /"#& the camera movement quickens. The close ups in this music video follow the standard music video convention. lmost every music video has a close up of the artist. 'n this case, we have a close up of the actors like that in )adioactive by 'magine (ragons. Diegesis .ay be $evealed +lowly 3ctions are "ot "ecessarily Completed Characters .ay .ove to the .usic -here .ay be .any $epetitions +ome )rames .ay be .ore mportant -han Others The diegesis is revealed slowly. We start o9 with a bunch of teenagers being mischievous in a typical suburban setting. The video ends with one of the friends being beaten up for engaging in a relationship he perhaps shouldnt have. There is a lovely shot near the end at /".- where the friends are at the diner, and we see an eye line match accompanied with a look of trepidation suggesting to us that something big is about to happen. This video contradicts a lot of :ernalliss points. ;aty <errys )oar ,for example, the video is very much a visual response to the music, a key idea in :ernallis theory. #ernallis 3nalysis Chart