CB: Technical Analysis

We Cant Stop (Miley Cyrus, 2013)




Conceptual Focus

• In doing this activity, I will be able to focus on the conceptual shots in the video and get an idea of how they are framed, how long they are shown for and what sort of objects feature in them. 
• From analysing the shots, I found that the majority only last for 1-2 seconds maximum, with some shots being displayed for 30 seconds - just enough time to establish what's being shown before it moves on to the next shot.
• This therefore conforms to the conventional technique used within pop music videos of a fast cutting rate, which provides visceral pleasure to an audience.  
• Although I would have thought each shot would be within the rule of thirds, seen as audiences eyes tend to look at the corners of the frame, some shots were either centre frame or slightly to one side. This is something I thought was unusual and could look to include within my music video, in order to provide it with a unique twist.
• Many camera angles were to be seen throughout the conceptual shots, ranging from MLS to high angles however, the most commonly used camera angle I found was a MCU. In my opinion, this is because in order for the objects to be effective, audiences need to be aware of what they are and so need a near to full image of it.
• I also learnt that many conceptual shots are repeated in latter stages of the song, sometimes just in a different angle or framing.

Shot Number	Duration (seconds)	Camera Techniques	Mise-en-Scene
2	0.02 - 0.07	Slightly shakey handicam shot placing the object in centre frame - which can be seen as unconventional, as the majority of framing used in pop music videos positions objects within the rule of thirds. This locates them either side of the frame (to the left or right) where the human eye tends to divert to. Therefore, this shot can be argued as interesting as it is breaking stereotypical conventions.	The saturated bed sheet consisting of dull white, grey and pink colours acts in contrast to the bright red colour of the speakers, making them stand out. Due to the time in which the video was released (2013), the incorporation of the speakers was an attempt to promote them as they were a new Dr. Dre product.
7	0.17 - 0.18	MLS placing the actor within the rule of thirds to the right hand side of the frame.	Low key lighting is established within the shot creating a shadow behind the actor, contrasting the black silhouette to the white wall. The actor is also wearing dark black clothing and smokey eye shadow which connote a sense of fading into the background and not wanting to be seen.  Alternatively, the addition of smoke and her facial expression symbolise rebellion and a possible motif to be deviant.
10	0.21 - 0.22	MCU positioning the object slightly off centre to the left.	The brightness of the candles contrasts to the plain white wall in the background, making them seem as if they should appear out of the frame. The addition of marshmallows provides a childish incentive to the video, as toasting them on a fire is commonly associated with childhood memories of camping.
13	0.26 – 0.27	MCU of boy eating money.	The use of clothing such as the denim jacket and snapback help to identify youth within the actor, whilst other features such as the nose ring and tattoos contribute to a youthful rebellious motif. This could be a reason why he is eating the money, in order to communicate how youth waste money or consume lots of expensive products available to them.
14	0.28 – 0.29	CU handicam shot which is very shakey, highlighting instability of the youth culture perhaps or representing someone who has been drinking alcohol.	The brightness of the red again contrasts with the plain white table.
17	0.33 – 0.34	CU of a skulls head made out of chips which is positioned slightly off centre to the right.	The concept of using what looks like McDonalds chips to create a skulls head is very creative and unique, although still illustrates rebellion in that skulls are associated with pirates who are known to rebel against society.
19	0.36	MCU of the side of actors face.	By drawing a pair of lips on the side of the actors face, a little to the left, it creates the illusion that we are looking at her face on which produces a distorted look.
20	0.37	MLS of actor jumping in the air.	The sky blue shirt contrasts with the dark background and smoke being set off, conjuring a pure image with the subtle shade of colour. However, the use of the actor simply wearing only a long shirt and nothing else forms a sexually active demeanour related to teenagers.
21	0.38	MCU an actor with two tongues.	Low key lighting is used again in this shot to create a shadow of the actor, with a flash light being shone on his face to make it visible to the audience. The abnormity of two tongues reinforces creativity but could also suggest that everyone is different in their own way.
26	0.43 - 0.44	MLS of main artist and actor.	Projected food images are present within this shot which is situated within the kitchen, linking the images and location together.
37	1.00 - 1.04	CU shot of actor’s hand which is positioned within the rule of thirds to the left hand side of the frame.	The use of pink coloured ‘blood’ helps separate reality from the world of the music video, as we do not take the act of cutting her fingers off seriously which adds humour and childishness to youths actions.
38	1.05 - 1.06	LS of actors dancing with big teddy bears on their backs.	A black and white theme is apparent which keeps the video plain and simple for an audience to look at. The concept of the teddy bears further emphasises the focus on youths with teenage girls especially having one for comfort.
43 48	1.14 - 1.15, 1.20 - 1.21	CGI of a white masked face miming the lyrics of the song.	Black and white contrast creating a cinematic feel and intertextual reference to the two theatre masks (one laughing and one sad).
51	1.26 – 1.27	CU shot of spoon containing spaghetti letters.	The word which is spelt out on the spoon (twerk) is a colloquial term adopted by youths which has been designed by Miley herself. Therefore, by including it in the video, it acts as an individual trait and possible USP for her.
58	1.37	Rising high angle of stuffed animals.	As the animals have been placed in front of multiple mirrors, it creates the illusion that there are more of them than there actually are. This again creates a distorted image which is both fun and quirky for an audience to view.
59	1.38	CU shot of stuffed animal wearing plastic glasses.	This constructs an abstract image which is unusual to an audience, generating repeatability of the video with them trying to ‘make sense of’ the image being conveyed. The fur coat being worn by the actor carrying the stuffed animal contradicts the idea of it being dead, by communicating how they die for human’s selfish intent.
60	1.39	MCU of stuffed animal wearing gold chains around its neck.	This again creates an abstract image as Miley is treating the animals as pets when they are meant to be woodland animals. This highlights her as extraordinary with her possessing creatures that normal people cannot.
63	1.44	MLS of Miley and a Barbie doll positioned to the left of the frame.	In this shot she compares herself to Barbie and dresses the doll in a similar outfit to what she is wearing.  With this, it is addressing an intertextual reference between the child’s doll and her sense of style.