Magic Bus - "Morning Glory" Music Video Completed!

The Magic Bus Website (final)

Alternative Website page (draft)

Digipak with discs included

Magic Bus' Lordine on ITunes

Magic Bus Lordline Digipak

Front Cover of Magic Bus' Lordline

This front cover has slight patriotic elements to it to highlight British rock music through the use of the faded Union Jack. It is not too over the top illustrating the bands simplistic philosophy. Not too many colours are used as me and Luke wanted to keep the house style the way we wanted it to be like

Magic Bus Logo Inspiration

Me and Luke are to base the Pretty Green logo endorsed by former Oasis frontman Liam Gallagher to the Magic Bus band logo because of its psychedelic look which we thought suited the Magic Bus perfectly.

Health and Safety risk assessment

Hazards	Who is at risk?	Controls	Severity of injury	Chance of injury	Risk	Control measures
Broken Glass	Everyone involved	Close observation of any glass on the floor	Fairly serious	Low	Low	All equipment, camera kept in areas of safety to ensure a minimal risk of danger
Asbestos	Everyone involved	Kept away from areas of asbestos	Serious	Low	Low	Did not stand near asbestos and kept near an open window
Sharp pieces of wood	Everyone involved	Kept away from areas of sharp wood	Fairly serious	Low	Low	Did not stand in areas of sharp wood, we watched our heads and bodies at all times

Oasis - The Importance of Being Idle analysis

This song written in 2005 by the famous and unique rock band Oasis harks back to working-class life in the 1960's. With it use of widescreen camera and establishing shot over the estate, it is similar to the 1964 movie drama Saturday Night, Sunday Morning or the soap Coronation Street highlighting that the video has gained inspiration by using post-modern features.

The first establishing shot of the estate pans upwards in order to give a clear ariel view of the location and show the basic working street block structure. The opening titles are also formatted and positioned as they are like a movie with the use of wide screen also to emphasise this. Following his the shot switches to a low angle of an elderly woman at the front door picking up her milk with slowly pans up. By the clothing she is wearing, the audience discover that this depiction of the 1950's-60's as the clothing she is wearing is typical of that era. This three-second shot then switches to and upward shot towards a window implying the whereabouts of where the narrative will take place introducing the protagonist of the music video.

Furthermore as the next shot introduces the character, the mise-en-scene is in a bedroom with a medium-close up of the protagonist of his feet lying down on the bed, which then pans slowly to the left approaching his face. As the audience see the protagonist's face with a medium shot, the vocals come into the song when the protagonist opens his eyes connoting the start of the performance. As the protagonist rises from his bed, the close up on his faces captures the pain and negativity within his facial expression. In order to highlight continuity and rhythm of the video, a medium-long shot is applied to show the action of the character but after this two second shot it then switches to an over the shoulder shot with the reflection of the character exposed to the audience. The shot then cuts as soon as the tie is pulled up to the neck cutting as soon as the shot reaches a climax.

Noel Gallagher who plays guitar and vocals on this track is introduced in the music video with a still medium shot that is also a cutaway from the narrative who walks into the mise-en-scene of the bathroom which highlights that Noel Gallagher will somewhat be related to the narrative of the video or the performance. As the music video progresses, the protagonist mouths the words of the song therefore become diagetic as he is aware of the music played. More to the point this is also noticeable as the protagonist starts to dance to the beat of the song. The beat becomes harder which corresponds to the rapid shots of the main character consisting of close-ups and medium shots in order to create excitement in this part of the video. As the main character leaves the room a jump cut transition is applied because of the change in mise-en-scene because he leaves the building venturing to his car. An establishing extreme long shot is used to emphasise the period of the video, which again is emphasised, with the use of props because of the vintage car in the street.

During the solo of the song, more characters or introduced with this being the members of the band similarly dress as the main protagonist of the video. The only distinction is that Liam Gallagher who is seen in the medium-long shot at 1:39 to highlight his expression is wearing modern looking glasses which draws the video to it's own fictional nature as the realism is broken. If you annotate this even further, it could connote Liam Gallagher's rebellious image and behaviour he is notoriously famous for. After this, the mise en-scene illustrates that it is a funeral parlour which conveys more detail about the protagonist, the use of coffins and top hats and the hearse in the next shot all explain the main characters profession, which is also a working-class one. As the protagonist enters the building a rapid zoom in that becomes an extreme close-up is used to convey the emotion and response of his actions. The camera then switches to Liam Gallagher with the same technique applied, it then switches back to the protagonist creating a shot-reverse-shot method to express both of their non-verbal communication

The Smiths - How Soon is Now? analysis

This eighties independent-rock song by The Smiths uses an element of working class life in its video to highlight the means of production. The first establishing shot introducing the music video is grainy and noisy suggesting industrialisation but also production in motion from this long-mid shot of a factory. It suddenly cuts to a diagonal pan of several cooling towers that could connote the actual importance of industrialisation but also highlight the bands roots. The narrative is introduced as the mise-en-sene has been established; this is a shaky tracking shot of a woman character that looks right down into the camera.

As the first beat of the drum is applied to the song, a burst of colour appears with a side medium shot of Morrissey in motion of his performance. As the camera switches shot, the audience get the feel that the band are being secretly watched because of it's CCTV feel to the effect of the camera, the shot then slowly zooms out so that the audience can see the band playing and gain more information of the locations setting. The burst of the colour blue could insinuate the fresh feel of the band because of their mass cult following. Following this a low angle shot of the protagonist in the video shows her exiting a door which is repeated twice but the third time it is edited in real time colour but keeping with the videos constant grainy feel. The colour focuses on red in this shot, as the front door is blood red and so is her item of her clothing. This could connote danger or even love about this character.

During the progression of the video it cuts to and from the aged, grainy black and white shots of the factories in production. Rapid zoom ins on the band is also used in order to prolong the close-up shot to create suspense for the audience as the zoom slowly moves itself inwards. Again as the band are in motion of the performance a high shot of Morrissey is used make the video interesting by using these conventional shots of a music video but also quickly moves to a low angled shot at 0:46 to imply dominance and importance of the guitarist as the limelight is on him during this shot. As the narrative comes away from the cutaway of the bands performance, a close up which is also a tracking shot is used showing the movement of the character but also rapidly cuts and returns to the shot keeping its continuity. Furthermore it is also used to create an old, oppressive atmosphere, which is constant to the nature of the video. Freeze frame shots of the same protagonist are used with the same mise-en-scene and camera angle but rapidly cut as soon as the drum fills are applied to the song.

At 1:13 in the video, the extreme close up of the main character uses the technique of slow motion to really capture the facial emotion of the woman, it is slightly distorted the shot so not much is given away but the audience do see a clear contrast of yellow in black which both connote negativity, pain and depression. This sequence of techniques and the same shot is used three times in order to emphasise this to the audience. Connotation and colours are use frequently throughout the video and also changes to black and white often. At 1:30-40, the girl again is seen wearing a red jumper but as the shot cuts away to the band performance the colour red is also exposed on Johnny Marr's guitar despite the faded nature of the shot. This colour interestingly crops up a lot and could suggest the feeling of the band at the time of writing this song.

The cutaway also illustrates the band out of performance with Morrissey and Marr having a conversation in the video. Marr typically wearing his rock n roll type glasses and Morrissey jokingly playing the guitar. The video has no narrative or structure that is not uncommon amongst music videos. It can infer that the music is more important than the image portrayed so a distinct colour scheme is used instead to highlight emotion and attitude. The camera effect again is re-enforced with more distortion to create a grimy effect, same is applied to the extreme long shot lasting one second of a factory corresponding to its dirty hands on laboured working-class work.

Although the cutaway of the band and the main protagonist do not meet they do repeat each other’s actions implying the bands way of thinking inside this character. This is seen by the medium-close up of the woman spinning around then cutting to Morrissey repeating her actions as the camera zooms in on him from a high angle. Following this, as the camera zooms out from behind the stage at 2:22, the video becomes self reflexive as the amps, microphones and wires that make the performance of the band are exposed to the audience, the means of production and performance both relate to each other as they both remember and relate to their working class roots with the constant uses of shots of industry. Furthermore it could also instigate the mass unemployment of the working class mass in the 1980's under Margaret Thatcher's Conservative government that affected the bands hometown of Manchester.

At 5:33 many high shots that pan from left to right highlight working -class life conditions and the mass amount of people who live in poverty, the high shot shows the buildings overhanging the camera to highlight the dominance of the masses. At 5:52, there is a distinction between the social class divide as an element of satire is used in the video illustrating the snobbery of the upper classes. This is shown with the dress that the woman is seen wearing but also the purple splotchy over layer of colour representing royalty. It highlights a working-class perspective of the upper classes with the use of a stuttery mid-shot of the protagonist.

U2 - Pride (In The Name of Love) Analysis

The theme of the video in this song is reference to working-class life in Dublin of the band members in U2. Similarly in my music video I will also be looking at working-class industrial area to emphasise the dumping grounds of the band members.

The establishing shot of this song is a long shot over the sea nearby the docks to highlight to the audience the mise-en-scene of the video. It is filmed in sepia mode to give film a gritty and dingy feeling to it to connote the realism of working-class life. Similarly in my music video I will be using a tinted black and white effect to grasp that feeling over northern working class life. Although as the video is firstly introduced with the establishing shot illustrating the mise-en scene to the audience, it can connote many interpretations. For example it can connote a harsh, cold atmosphere of the surrounding but can highlight Dublin's means of production in motion and notorious fishing dock that is a symbol of the city that is close to the working-class people of Dublin.

The low angled shot facing the 'East Link' building emphasises how important the manufacturing trade is to Dublin because of development and employment to the City. It is established with a cross dissolving method to fluently introduce the shot to the audience. As the video progress, the 'over the shoulder' shot is used when it tracks the lead guitarist of U2 The Edge, as the camera follows him walking wearing his conventional fashion of clothes which he wore in the late 1980's. This is used to illustrate to the audience his persona that he wants to be associated with. This eventually cuts into the performance as the lyrics first appear in the song. All band members are all wearing conventional rock clothing to highlight their depiction of a rock band. Several pans are used to highlight the band in performance that fade into one another with close up shots of the lead singer Bono to show his unique musicianship. The mise-en-scene for their performance is very oppressive and dull and has the look of an old assembly hall; it could be possible that this venue is the location that U2 performed at prior to becoming world famous. Furthermore intertextual references are included in the video on instrument props simply entitled 'U2' on them to imply to the audience that this is the band that is currently performing. Starting at 1:22 in the song, the camera pans 45° with a close-up shot of Bono in motion to grab the expression and feeling of his performance in the video, it does this in order to make the music video appealing and effective.

The solo that proceeds at 1:58 is a zoomed out pan that of Bono's to convey the musical performance of all band members during the video which is a pull back shot to place focus on the band. Following this the camera zooms in on some children that are hiding behind some seats in the mise-en-scene to emphasise rebelliousness and awe of shock. These children could suggest that they represent the band members of U2 in their childhood because of their extreme obsession with music. It also makes sense with the use of the gritty sepia/ black and white tint overlayer that is applied that suggests the band members during the 1960's.

At 2:18, the upward angled long-shot of Bono highlights his dominace of his performance, he jumps of the stage and the sho is slow motion to prolonge the shot to emphasise Bono's iconic persona conveyed to the audience. It pans downwards to bring awe and excitement to the video but also recognisable to what he does live with the band. The following shot is a slight pan shot of the children who are now seated in the hall and switches back to Bono in performance also with the same slight right pan and then switches back to the childre. This is a shot reverse shot in order to highlight the reaction of the children in performance. Often the band is seen playing which is illustrated at 2:27 of the music video as Adam Clayton and The Edge are both seen playing in this two shot to emphasise their connectivity and togetherness as a band.

Vantage points of video camera shots