Music Video Research: The Maine

The Maine - Inside Of You

Genre: Rock
Director: Cage Free
Year: 2010

http://www.youtube.com/watch?v=Rm7gXdAoJA&feature=channel

'Inside Of You' is the first single from American alternative rock band The Maine's 2010 album, 'Black & White'. The video was written by Ian Michael Kintzle and directed by Cage Free, and is supposedly a conceptual video about the entire album rather than specific to the actual song, however there are many links to the songs lyrical values. The video is mostly in black and white, inter cut with some parts of colours, and eventually bleeding fully into colour at the end.

The video is equal parts narrative and performance based. This is quite a conventional, modern approach to music videos, particularly in the rock genre, as it allows the band or artist more creative freedom in the narrative aspect of the video rather than simply performance footage which would not distinguish them from the rest of the market, and set them apart from the crowd. This is additionally a popular approach as it allows the artists to convey a different side of the song, or imply a preferred reading and meaning to the track that perhaps would not have been picked up on by the audience otherwise.

NARRATIVE:

The main premise of the narrative is about a young boy at the wake of his grandfather's funeral. The grandfather appears in the video himself on multiple occasions, but only the little boy can see him. He gives the boy a kaleidoscope, which allows him to look 'inside' of people, and see into a different, more vibrant and colourful world. He sees his grandfather in the world of the kaleidoscope, dressed as a clown, and grows frustrated when he removes it to see that he is not actually there. He then smashes the telescope on the floor, in parallel to the band smashing up their instruments as the song ends. The colour begins to seep from the kaleidoscope to fill the frame, as the young girl from the wake enters holding out the red clown nose that the grandfather was wearing. Whilst on the surface, this could be translated as a a fun and nonsensical video, a deeper reading of this could be the portrayal of the 'light at the end of the tunnel' theme that is fairly common throughout this type of genre. By the grandfather giving the boy the kaleidoscope, it could be representative of the idea that even in times of gloom and darkness, such as the death of a loved one, there is always a bright side to look forward to, and that the world is vibrant and effervescent even when all seems bleak.

The relationship between the lyrics and visuals is quite a complicated one. Whilst in part, the video can be seen as loosely illustrative of the lyrics - referring to the idea of looking 'inside of you', as is illustrated with the kaleidoscope, upon closer listen you can hear that the lyrical content is of a highly different topic altogether, being based around a relationship between the singer and a female. This could therefore possibly be seen to be a slightly conflicting relationship in that the intended subject of the lyrics does not match the subject of the visuals. It could also be seen as conflicting in that one of the main lyrics from which the idea is derived is the line "I'm never gonna see inside of you" - a notion contrasts by the depiction of the boy physically seeing 'inside' of people via the kaleidoscope. This could alternatively be viewed as an amplifying relationship, as the boy, albeit loosely, is in some way physically enacting what is being said. This could be viewed as unconventional, as it is more typical for the more mainstream rock genre with which The Maine can be associated to create videos of a more illustrative style, in order to emphasise the meaning and impact behind the lyrics, which are conventionally of a more personal value than say the Pop genre may be.

EDITING:

The majority of the video is in black and white - this is most likely to be in reference to the album name, 'Black & White' above all, but also serves to intensify the gloomy and dreary atmosphere created by the content of the narrative, i.e. the grandfathers funeral. Colour shots are used to distinguish between the view of the 'real world' and the world through the kaleidoscope. The use of vivid colouring here serves the amplify the feeling of happiness and contentment the world he is seeing is supposed to portray, thereby further separating the young boy from it, and creating a bigger divide between the two. At the end of the video as the boy smashes the kaleidoscope on the ground in frustration, the colour bleeds into the frame, suggesting that perhaps the division between the two worlds were not as solid as imagined, and suggesting that the dismal world that they lived in has now been overtaken by the fun and happiness they desired. This idea is further supported by the young girl entering the room holding the grandfather's clown nose, indicating that perhaps the world was not all a figment of imagination.

Most of the cuts used in the editing are that of straight cuts, to transition directly between the performance and the narrative. This is a convention of most music videos, allowing for fluidity between shots without making the visuals appear too abrupt. It also allows for continuity in performance, matching the lyrics of the song to the lip syncing of the recorded footage. If the two are out of time or not quite right, it creates an undesirable feeling of unease in the viewer and can be uncomfortable to watch.

Particularly towards the beginning of the video (e.g. 0:04, 0:14), a number of jump cuts are used in sync with the music. This allows for the video to be in time with the track, whilst also making for a more interesting visual. The video begins with a rapid fade in from black, to an extreme long shot over houses - this is perhaps to immediately establish the urban location, as well as to create the initial impression of dreariness that becomes a theme for the rest of the video. A jump cut is used here in time to the beginning of the track. The effect of this is perhaps to reduce the length of the clip, and make it more visually interesting than simply a lengthy shot of houses would be. It also perhaps gives the impression of surveillance, particularly when combined with the non-diagetic sound of beeping, making it look as if it is being watched over and perhaps one particular location is being highlighted. Jump cuts are fairly common throughout the narrative scenes, speeding up the narrative in order to match the track, as well as serving to emphasise the section that is being approached. This is quite a conventional approach to narrative in music videos, as the abrupt visual style that this creates adds more dramatic effects to the content of the scene, coupled with the fact that one long flowing segment of narrative is deemed uninteresting and overall unnecessary, as it could have a detrimental effect when combined with the pace and beat of the track it accompanies.

At around 0:09, an overlaying shot is used in the performance footage, in time to the pace of the song. When the drums kick in at the beginning of the track, the visuals cut to footage of the band entering the performance area and setting up to play. A flickering, overlaying visual effect is used here in time to the drum fill, creating an almost ghost like impression of the band, perhaps linking in with the theme of the video and suggesting that they are not really there.

The majority of the editing is fast-paced, in order to match the speed of the track. The video often uses a number of different styles to transition between footage of the performance and the narrative - for example at 0:26, a short succession of extremely fast straight cuts are used to create a 'flickering' impression between the performance and the narrative - again illustrative of the drum fill in the track. This serves to emphasis the relationship between the track and the visuals, allowing a comfortable transition into the next section of the song, which increases in depth with the increase in layers of instruments.

Fades are a common feature throughout this video, again often used in the slower, softer parts of the song. The effect of this method is to heighten the impression of gloom and sadness that the boy is quite clearly experiencing, as transitional fades are often interpreted to signify or create a melancholy atmosphere. A vintage, flickering film effect is used for the black and white narrative shots, clearly distinguishing them from the performance footage, as well as creating an aged feel. It suggests an element of surrealism to the world in which they are currently living, giving the impression that the bleak and grey scale world is only imagined, and that the dynamic and colourful world is reality. This also perhaps insinuates or makes reference to a 'Film Noir' approach to the narrative - a film genre popular throughout the 1940's to 1950's, characterised by the use of low-key lighting, black and white editing, bleak urban settings and a dark or depressing subject matter. All of these conventions are present throughout the video, so this is likely to be a postmodernistic element, creating hybridity and transversing across mediums and genres.

A kaleidoscope effect is used in the 'alternative' world shots, emphasising the vivid patterns and colours, thereby creating obvious contrast with the rest of the video, whilst adding to the dynamic of eccentricity the world is supposed to represent.

CAMERA:

The use of camera in the video is highly important in the impressions of the band and the music that they want to convey to the audience. A number of close ups and mid shots are used of the band, particularly of the singer, as is conventional of any music video. This aims to create an impression of the band and communicates their image, making them recognisable and familiarising them with the audience. Multiple focus shifts are used during the performance footage, which makes for an alternative from straight cuts, and allowing emphasis on different band members at any one time in one section of footage. Long shots are used to view the band performing together as a whole, which is highly conventional or rock videos, where the bands live performance is a crucial part in their marketing and distribution. At the more angsty parts of the song when the singer tends to shout rather than scream, a shaking effect is used on the camera to heighten the impression of roughness and rawness that is commonly associated with the alternative rock genre.

The camera is rarely still, and there is an emphasis on camera movement through techniques such as swoops and pans to create fluidity between shots. This makes the visuals appear more interesting and less static, as well as linking to the pace and speed of the track.

The camera is used in different ways from alternative angles in order to portray different representations. At around 1:24 when the young boy enters the room full of people, who we are to assume are family and friends in attendance at the wake, there is very much an emphasis on the representation of youth and innocence. The young boy is often shot from a high angle, looking down upon him, giving him the impression of youth and perhaps a lesser importance in the grand scheme of things. It makes him seem inferior and powerless, belittling him in a way. This is emphasised by the use of low angle shots of his family, supposedly from his perspective. This portrays him as looking up at them towering above him, as the belittle him by fussing over him, stroking his face as is a common convention of adult superiority over children.

LIGHTING:

During the black and white 'reality' scenes, the lighting is fairly dim and low-key. This adds to the atmosphere of gloominess and depression that accompanies the context of the visuals. In contrast, the performance footage of the band uses high-key lighting, making it bright and clear, standing out brazenly from the narrative aspect. This also emphasises the focus on the artists image, making them clearly visible to the audience and imposing their faces and appearance on them in order to establish familiarity and appeal. During the surrealist shots of the world through the kaleidoscope, the lighting is much more naturalistic, which further supports the idea that they are trying to make the impression that the lively, nonsensical world where anything goes is more of a reality than the bleak world in which the boy is living.

MISE-EN-SCENE:

The mise-en-scene of this video is highly important in conveying the ideology of the two worlds, as well as establishing location and effectively communicating the narrative. We are never actually clearly shown that this is a wake, but we can work it out due to the formal costumes - black and grey suits and dresses for example, the connotations of which suggest misery and sorrow. Additionally, the boy looks longingly at a framed photograph of an elderly man, whom we then go on to assume has passed away, therefore deciphering the context of the video ourselves. This could link to the audience reception theory, as based on Stuart Hall's model of the encoding and decoding between the piece of media and the audience - i.e. the text is encoded by the producer, and individually decoded by the recipient, which can lead to a number of different readings of any given situation. However, the use of recognised codes and conventions - in this situation the formal attire and props such as the photograph for example, the producers can position the audience, thereby creating a certain level of agreement as to the reception of the media and it's meaning.

The youthful innocence of the children in the video is emphasised by their costumes. Whilst the adults tend to be dressed in black, the boy wears pale grey suit, and the young girl wear a light pink dress. This immediately contrasts them from the darker attire of the adults, the brighter colours connoting warmth and a certain amount of contentment, and also perhaps subtly implying that their youthful optimism has not yet been corrupted by the despondent world by which they are surrounded.

The synergy between the album name and the theme of the video is enforced through the attire of the band, and the mise-en-scene of the performance location. They are in an entirely plain white room, apart from the black stripes across the floor which make the area for the performance. They are each dressed in black formal attire, such as shirts and jackets. They each wear an single white item on their person to continue the 'black & white' theme, including a tie, a badge, an armband, braces and a ribbon. I don't feel that these items particularly hold any significant within themselves other than to continue along the lines of this theme. The singer, of which there are typically copious amounts of close up shots of the face, is made to look disheveled through the use of make-up such as eyeliner. This promotes the relationship between the visuals, relating their performance to the narrative, in that they look as if they could be in attendance at the funeral.

The mise-en-scene of the initial narrative in the 'real' world is created to promote realism, and look as would be expected to in the real world - to achieve this, it obeys many conversions of the typical house, with props such as decorative ornaments, tables and chairs etc. The 'surreal' world viewed through the kaleidoscope uses a number of seemingly random props to achieve the effect of 'anything goes'. The main premise seems to be brightness, vibrancy and eccentricity, which is conveyed in a number of ways. One of the key methods is again through the use of costume - the young girl is seemingly dressed in a bright pink pig costume, directing an orchestra of witches playing the violin. This could represent the puerile, charismatic nature of the young girl, who entertains the adults with her charm - the adults are portrayed as typically evil or unpleasant characters in the form of witches, insinuating a corruption or emotional hardening due to the grey world in which they live. The band can also be seen in this world, dressed in almost circus-like attire with masks and excessive make-up, thus reinforcing idea of the bizarre and the absurd.