Love And Drugs – The Maine
Genre: Rock
The
video has a very cinematic feel to it which can be represented through the use
of mise-en-scene, at the beginning there is the title of the song which gives
connotations of a title sequence of a film. This gives the effect of a very
narrative heavy music video with no performance or trace of abstract.
Through the use of cinematography at the beginning, there is a long shot of the band riding bikes, with girls. This shows that the band are in tight unity and live the same lifestyles; giving the effect of brotherhood and loyalty. Also, the mise-en-scene of the bikes, clothes and the setting of a sunny day in urban America gives connotations of youth and summertime.
The next scene shows the band and the girls hiding behind a car as another car drives out of a garage. The cinematography of a close up followed by the pan makes us involved with gang and their plans.
When the protagonists enter the house, the mise-en-scene is very dark connoting to the dark sides of their lives. This setting contrasts to the bight mise-en-scene of the streets giving the effect that maybe they do not enjoy the dark side.
The protagonists are shown doing different things within the house; through the cinematography we see a medium close up of one the protagonists looking at a piece of art and then we see another protagonist through a close up of him sat in a car. Also a close up of one of the girls picking up a watch is used followed by the diegetic sound of “it’s Rolex” as she gives it to a protagonist. These connote that the protagonists are poor and cannot afford material things like the family in the video supporting Karl Marx’s theory that the ruling classes exploit the lower class via media; the lower class in this video are represented as thieves as they shown stealing material items, food and beer.
A close up is used on a protagonist as he is looking out of the window giving the connotations of him looking at the other side of his life, giving the effect of him wanting to change his life style. He is then led back into the dark side by one of the girls, who leads him onto the bed. When they lay down, the protagonist notices a little boy hiding in the wardrobe. Through editing, an eye line match is used between the protagonist and the little boy; this shows similarities between the protagonist and the little boy connoting that the boy is a symbol of good in the protagonist’s life.
The non-diegetic sound of the music stops as we see the mise-en-scene of the car’s lights, showing us that the family are returning home. We hear diegetic sound of a protagonist saying “guys, we gotta go” followed by emphasised use of footsteps connoting a rush. The video then cuts upstairs and shows the mise-en-scene of the girl leaving the bedroom but the protagonist does not leave. We hear the diegetic sound of the family saying “call the cops”. The protagonist says to the child “I’m not going to hurt you” connoting that he is a good person. He then says “go to your dad” showing that he may be leaving his old life behind. There is also a close up of the protagonist as the child leaves the room and we see a sad emotion on his face maybe connoting he knew the child. He then goes to the balcony whilst taking off the Rolex and as the non-diegetic sound of music comes back in, he then jumps into the pool and we hear the diegetic sound of a splash connoting that he has jumped into his new life. We then see an eye line match between the protagonist and the mum, they share a look like they know each other as she shakes her head at him, connoting that maybe he is the father of the child explaining why he was so attached to him.
Through cinematography, we see an extreme long shot of the band without the main protagonist showing that he has left that part of his life and he is moving on. This is further connoted by the use of editing; a shot reverse shot is used between the girl and the protagonist showing that they know he has left his life behind.
The last shot is a long shot of the protagonist facing the city showing that he has left his urban youth behind and is growing up. The cinematography makes him seem isolated connoting that may be it was not the right choice.
Levis Strauss’ theory of binary opposites can be seen throughout the video as the contrast between the upper-class family and the lower-class youth. This is done through mise-en-scene such as costume as the family are wearing smart, respectable clothing and are clean cut whereas the lower-class youth are wearing cut off denim, dark clothing and have long hair and beards. This video could also relate to Tim O’Sullivan et al’s theory that all media texts tell us some kind of story about ourselves. The audience could relate to this text as it tells a story of growing up.
Through the use of cinematography at the beginning, there is a long shot of the band riding bikes, with girls. This shows that the band are in tight unity and live the same lifestyles; giving the effect of brotherhood and loyalty. Also, the mise-en-scene of the bikes, clothes and the setting of a sunny day in urban America gives connotations of youth and summertime.
The next scene shows the band and the girls hiding behind a car as another car drives out of a garage. The cinematography of a close up followed by the pan makes us involved with gang and their plans.
When the protagonists enter the house, the mise-en-scene is very dark connoting to the dark sides of their lives. This setting contrasts to the bight mise-en-scene of the streets giving the effect that maybe they do not enjoy the dark side.
The protagonists are shown doing different things within the house; through the cinematography we see a medium close up of one the protagonists looking at a piece of art and then we see another protagonist through a close up of him sat in a car. Also a close up of one of the girls picking up a watch is used followed by the diegetic sound of “it’s Rolex” as she gives it to a protagonist. These connote that the protagonists are poor and cannot afford material things like the family in the video supporting Karl Marx’s theory that the ruling classes exploit the lower class via media; the lower class in this video are represented as thieves as they shown stealing material items, food and beer.
A close up is used on a protagonist as he is looking out of the window giving the connotations of him looking at the other side of his life, giving the effect of him wanting to change his life style. He is then led back into the dark side by one of the girls, who leads him onto the bed. When they lay down, the protagonist notices a little boy hiding in the wardrobe. Through editing, an eye line match is used between the protagonist and the little boy; this shows similarities between the protagonist and the little boy connoting that the boy is a symbol of good in the protagonist’s life.
The non-diegetic sound of the music stops as we see the mise-en-scene of the car’s lights, showing us that the family are returning home. We hear diegetic sound of a protagonist saying “guys, we gotta go” followed by emphasised use of footsteps connoting a rush. The video then cuts upstairs and shows the mise-en-scene of the girl leaving the bedroom but the protagonist does not leave. We hear the diegetic sound of the family saying “call the cops”. The protagonist says to the child “I’m not going to hurt you” connoting that he is a good person. He then says “go to your dad” showing that he may be leaving his old life behind. There is also a close up of the protagonist as the child leaves the room and we see a sad emotion on his face maybe connoting he knew the child. He then goes to the balcony whilst taking off the Rolex and as the non-diegetic sound of music comes back in, he then jumps into the pool and we hear the diegetic sound of a splash connoting that he has jumped into his new life. We then see an eye line match between the protagonist and the mum, they share a look like they know each other as she shakes her head at him, connoting that maybe he is the father of the child explaining why he was so attached to him.
Through cinematography, we see an extreme long shot of the band without the main protagonist showing that he has left that part of his life and he is moving on. This is further connoted by the use of editing; a shot reverse shot is used between the girl and the protagonist showing that they know he has left his life behind.
The last shot is a long shot of the protagonist facing the city showing that he has left his urban youth behind and is growing up. The cinematography makes him seem isolated connoting that may be it was not the right choice.
Levis Strauss’ theory of binary opposites can be seen throughout the video as the contrast between the upper-class family and the lower-class youth. This is done through mise-en-scene such as costume as the family are wearing smart, respectable clothing and are clean cut whereas the lower-class youth are wearing cut off denim, dark clothing and have long hair and beards. This video could also relate to Tim O’Sullivan et al’s theory that all media texts tell us some kind of story about ourselves. The audience could relate to this text as it tells a story of growing up.
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