planning for music video

The concept of the music video focuses on contrasting urban environments, including night-time beach scenes and locations within the London Underground, in order to create a reflective and atmospheric tone. This fragmented use of setting avoids a conventional linear narrative, instead prioritising mood and ambiguity, which challenges Tzvetan Todorov’s theory of equilibrium and resolution. The video centres on a single character, whose costume consists of oversized, casual clothing such as baggy jeans and a hoodie. This costume choice acts as a signifier of anonymity and emotional detachment, allowing the character to blend into their surroundings and reinforcing themes of isolation. Rather than relying on props, the settings themselves function as the primary visual focus, with long shots and tracking shots following the character as they move through different locations without a clear destination. This lack of direction symbolises introspection and emotional distance, encouraging audiences to construct their own interpretations. The use of slow, continuous movement also reflects Andrew Goodwin’s theory that visuals in music videos often correspond with the pace and tone of the music, particularly within the ballad genre. This approach is likely to appeal to a 16–25 audience who engage with alternative music content and prefer visually driven, interpretive texts that allow for personal meaning-making. During the planning process, I also considered incorporating live concert footage; however, this idea was watered down as too many clips disrupted the calm and contemplative tone of the video. This decision demonstrates a clear refinement of ideas, ensuring that all elements of the music video remain cohesive and aligned with the intended emotional atmosphere.