Generic Research: Textual Analysis

Hozier - Take Me To Church

Frame	Language techniques/ camera work	Representation
	Fire acts as a motif and using a closeup both establishes this and the unconventional colour palette.  Greyscale being, modernly, associated with darker or more violent stories such as ‘schindler's list’ and ‘sin city’ although both use the colour red in addition.	n/a
	Midshot with focus on character rather than the setting, however the setting displays a rural setting, invoking both an idyllic, conservative and isolated imagery. The ambiguity is later resolved in the next scene.	Guys not represented as stereotypical camp gay  narravitve needs to show the guys as a gay couple and being an openly, but also sucled gay couple in order to recive
	Closeup displaying masked male. Pulling a mask over the mouth suggests to the viewer that he is a criminal, but the militaristic way then men are dressed similarly suggests this is an organised attack. This shot focusing on the same guy is repeated three additional times throughout the video suggesting to the viewer that the gay couple is being stalked.	Uses stereotyping of hetronormative and ‘white’ culture to invoke characteristics such as homophobia and bigotry from a brief shot.
	Closeups, within short succession, pan from the feet to the torso of the prey then the  predator, showing both the desperation within the sprint of the prey and the methodical and menacing march of the predators. These panning shots are therefore supposed to mirror each other, whilst acting as a race sequence more than a chase	Institutionalised bigotry is represented by the use of a white supremecist radicals emphasising the power of groupthink.
	Shot builds on the panning shot from feet to torso, only showing the feet of the attackers. This is reminiscent of witch trials where the accused would be dragged to a fire. The symbol of a flame is repeated with the flare, with strong links to emotions such as anger.	Showing the victim only at waist level of the attackers insinuates the supremacists bigotry, by putting him beneath them.
	Again brings up the motif of fire whilst referencing the opening shot, this time the fire has a purpose to destroy the box which has been a focus within the story. The cyclic destruction of homophobia pairs nicely with the way fire burns if it's kept being fed. The box presents an enigma and so does the shot, as we currently do not know what is happening with the man who was dragged in the previous shot.	n/a
	Over the shoulder shot showing the brutality of the situation, whilst answering the enigma previously presented. It also ties all the characters together in one scene, with the motif of fire appearing for the last time, behind the homophobes, representing anger.	Homosexual men, in this shot, are represented as powerless, but also a victim of society, backed by instiutionalised bigotry.

Wolf Alice - Space and Time

Frame	Language techniques/ camera work	Representation
	Initially this shot is used to create an introduction to a song which starts abruptly, however this introduction also introduces the enigmas of why is Ellie (the singer and focus of the song) in a wedding dress and why is she running before the music starts, implying some importance of narrative to the audience.	The female focus is represented as a victim, but not a captive. Her running away suggests she has been done wrong, however her running away can be seen as an act of defiance and independence.
	Varying shots of Ellie running throughout multiple settings are used to create a greater sense of both movement and the enigma of why she is running. The wedding dress implies that she is running from something rather than to something, which is further reflected in the title and repeated phrase of space and time, suggesting a break of wedding may have occurred.	Wedding dress may symbolise captivity of women within a hetronormative hegemony. Running in this dress, therefore, represents our female lead as rejecting these norms and, more broadly, gender performance.
	This is the first time Ellie breaks throughout her run, doing so in accordance with the bridge of the song reflecting the lul in tempo and dynamics of the song. A closeup shot shows the strain on our lead and has a more self reflective mood than the rest of the song.	Ellie’s armpits aren’t shaved in this video, this is a commonly associated with the feminist rejection of male constructed beauty standards and conformance thereof.
	In this scene our focus stops running and hitchhikes, this can be interpreted as a parody of a married couple driving off together with a just married sign, but instead of a just married sign Ellie throws away her veil, showing her as finally free. Again a closeup is used to put the focus on self reflection as a part of another break from running and leading into the end part of the video.	The female lead is represented as strong and in control of her future however, not fully in control of life, represented by riding in the back of someone else’s truck.
	Song ends with Ellie reaching her destination, with her reaching her destination subverting the presumptions that she was running from something. The camera pans out into a wide shot with our lead standing out from the setting but still being in awe of it, suggesting our lead is now looking at the big picture. This almost ethereal end visuals matches well with Wolf Alice’s ‘dream pop’ style of music.	Ellie is represented as free as she is in nature, but a product of the man-made world as she is still in her dress.

Childish Gambino

Frame	Language techniques/ camera work	Representation
	The video abruptly starts with the sound of horns and Donald Glover jolting up and seeing the noose around his neck. This shot utilises a closeup shot in addition to dark lighting and imagery such as blood and a noose to immediately conform to the horror genre in a short form format.	n/a
	Midshot of people in the distance of Donalds vision, creating intertextuality to both a traditional ‘scary campfire’ story and more potently Friday the 13th. The visuals of a campfire tie to the title of the track Bonfire, where lyrics have yet been reflected in the visuals. The video does not conform to the genre expectations of a Hip-Hop video by being a horror video, but rather uses this format to showcase the controversy within the son	Although not Gambino himself, the storyteller at the camp may still represent Donald Glover rather than the role he is playing as Childish Gambino, creating an outward look on his work and alter egos.
	Relief of seeing these people in the distance creates the horror and general film trope of a clam before the storm.	n/a
	Introduction of the antagonist, utilises a shift of focus of the camera from the camp to the antagonist to show a shift in Donalds focus. Closeup of the antagonists legs puts the focus on a nooser referencing the opening shot, suggesting he is the villain, as he is also uninjured and in a better condition than Donald, whilst creating another enigma surrounding the antagonists identity.	Initially there is not a lot to say about representation within this shot, however on repeat viewing, the antagonist is a threat and supposed to represent competition within the music industry.
	Instead of the horror trope of running away Donal runs into danger giving us the opportunity for an aerial wide shot showing the setting and isolation for the first time, whilst adding perspective for movement.	Represents Gambino as an active character rather than passive. This can be interpreted to insinuate that he is actively part of the media that he is apart of, adding his own ideas in his writing, acting and music.
	Subverts genre expectations and becomes postmodern by showing a menacing guy as a prank, whilst also mirroring Donald’s character by wearing the same clothes, holding a noose and holding a knife. The t-shirts, now more clearly on display, are also meta with the phrase ‘Camp Gambino’ on them, which fits within the context of the video but is also the name of the album the track is on proceeded by part of Donald Glover's stage name ‘Childish Gamino’.	Gambino is not able to interact with people within the camp, representing the alter ego of Childish Gambino as disconnected and not actually a physical thing.
	Ending the video, the opening scene mimics the first, creating a postmodern cyclic structure, whilst adding to the horror idea that he is trapped within a nightmare.	The cyclic structure insinuates shows that Gambino exists as a media product which can be replayed and repeated without real consequence.