TEXTUAL ANALYSIS Ashes to Ashes - David Bowie
Although not of the genre we are intending to base our music video in, Ashes to Ashes is a video from the 1980s, and is a prime example of the editing techniques, lighting, Mis en Scene, and cinematography that was used in that period. I analysed this in the hope that we would be able to apply those techniques into our video, as we are hoping to achieve a retro style.
The video achieves a disconcerting feel within the audience through its use of ambiguity. The mis en scene of the piece is extremely ambigious and appears to be random. Bowie is seen dressed as a clown for much of the video, followed round by Egyptian looking women and a digger. These seemingly unconnected elements create a disconcerting feeling within the viewer, which is further enhanced by the use of uncommon editing techniques, such as extreme contrasts, and green screening, which in the 1980s would have been a relatively modern technique. Similarly, extreme close ups of Bowies face, followed by extreme wide shots of him on the beach, create a disconcerting atmosphere within the video.
The lack of narrative, and seeming lack of content which reflects the lyrics opposes Goodwin's theory of music videos, and thus seemingly refuses to conform to the norms of the music video genre. The video uses imagery and often unconnected scenarios which have no baring to the lyrics, but in the avant grade 80s, and particularly as Bowie was known for his revolutionary musical viewpoints, his refusal to conform to the norm is expected of him, and is partly to credit for his success. The use of contrasting low-key in the cell sequence also creates a sense of rebelliousness, or perhaps, contrastingly, a sense of monotonous which the music helps you escape
Contrastingly to previously stated, the video adhere to some characteristics to the period. The use of cutting to the beat creates a watchability to the music video which otherwise might not exist, as it is perhaps otherwise too abstract. This creates a familiarity within the audience which matches the bizarre music that is still somewhat recognisable. This is further enhanced by the use of the slower pace of editing, which tends to use fade cuts, rather than straight cuts, which contrasts the abnormality of the mis en scene and cinematography.
Alexander
The video achieves a disconcerting feel within the audience through its use of ambiguity. The mis en scene of the piece is extremely ambigious and appears to be random. Bowie is seen dressed as a clown for much of the video, followed round by Egyptian looking women and a digger. These seemingly unconnected elements create a disconcerting feeling within the viewer, which is further enhanced by the use of uncommon editing techniques, such as extreme contrasts, and green screening, which in the 1980s would have been a relatively modern technique. Similarly, extreme close ups of Bowies face, followed by extreme wide shots of him on the beach, create a disconcerting atmosphere within the video.
The lack of narrative, and seeming lack of content which reflects the lyrics opposes Goodwin's theory of music videos, and thus seemingly refuses to conform to the norms of the music video genre. The video uses imagery and often unconnected scenarios which have no baring to the lyrics, but in the avant grade 80s, and particularly as Bowie was known for his revolutionary musical viewpoints, his refusal to conform to the norm is expected of him, and is partly to credit for his success. The use of contrasting low-key in the cell sequence also creates a sense of rebelliousness, or perhaps, contrastingly, a sense of monotonous which the music helps you escape
Contrastingly to previously stated, the video adhere to some characteristics to the period. The use of cutting to the beat creates a watchability to the music video which otherwise might not exist, as it is perhaps otherwise too abstract. This creates a familiarity within the audience which matches the bizarre music that is still somewhat recognisable. This is further enhanced by the use of the slower pace of editing, which tends to use fade cuts, rather than straight cuts, which contrasts the abnormality of the mis en scene and cinematography.
Alexander
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