Evaluation Of Technical Deconstruction

By analysing a song of the same genre ('Blink 182 - First Date') I was able to see how quick the cuts were in relation to the beat of the song, and also see how many shots my group was going to have to take to create a well constructed rock video.

The beginning of the song opens with a performance close-up shot of the drummer playing the intro to the song, this immediately creates 'Blink 182' authentic band status to their audience, this is reinforced through cuts to further medium shots of the band performing in a constructed home studio set. Some of the close-up shots of the frontman also link the bands comical lyrics to the comical performance shown by him. After the first ten shots of performance based shots, the video cuts to a narrative but their are breaks in the narrative after every seven shots or so, that cut back to the home studio set where the band are shown performing to the song again. By repeating the performance shots every so often the band appeal to their target audience as they want to see them perform, but also make the video available to ambient viewing as the consumer only has to watch the video briefly to establish the comical narrative and rock band status Blink 182 portray in the video.

The first ten shots (0.13) show only performance based shots, but shot ten cuts to a medium shot of an urban area establishing the narrative location in the song, the band's van is also shown tearing across the screen in this shot emphasising rocks conventions of breaking rules. By establishing the location the audience are able to see where, what and when the narrative is trying to tell. The narrative side is shown as comical through the costumes, and the overcranked reaction shots showing the band pulling dull and humurous facial expressions. Overcranking is also used in medium shots and dismembered close-ups of women focusing on their body and seductive poses.

Within the first seventy-five shots i covered (within 1.22) three different transissions were used, one is just a straight matched cut, the other was an effect is where the cut opens like a camera lens, and the third was where the transission changes through a clock-work motion until onto a different shot. All of these could be incorporated into our video for 'Disengage The Simulator' as well as the transissions of the poster work in 'The Explosion - Here I Am'.

Through deconstructing each shot in this video I was able to establish how many shots were actually used in such a short space of time, and how the transissions work effectively from performance to narrative based shots.