Production Log

Today I completed two video analysis Wiley – Cash In My Pocket and Lady GaGa ft Beyonce - Telephone

Analysis of Wiley - Cash In My Pocket

This video was released on the 1^st December 2008; this song was off Wiley’s 5^th studio album called “See Clear Now” and the first Pop album he composed. Wiley is signed to Asylum Records who are the subsidiary of Warner Music Group and this song generates from the genre of Grime/ Electronic/ Pop and was produced by Mark Ronson. This is a concept based video, creating the representation of what it is like within the corporate world but showing it in a comedic way using satire.

The video starts off with a close up of two white males in a car within the surroundings of central London- showing the corporate world. This is because we see a low angle of one of the most iconic buildings in London, the Gherkin.  What the audience can get from this is that, these two males are about to take us on a journey of what it’s like within their working environment. We then enter the building but see it from a mailman/woman point of view, this could be his/hers perspective of what it’s like when they come to this office to do their daily route, and the audience is welcomed by two males in smart attire one again stating it is a place of work.

As soon as we enter into the building we establish that the video is recorded by a hand held camera, which enhances the verisimilitude of it being set in an actual work place with ordinary office workers.  As view this video through someone else’s perspective, it’s an instinctive invitation for the audience to indulge within the work place and feel involved within the video. A long shot is shown for each person who has a few lines to say, whilst in the background everyone else is getting along with their work, which creates the effect of it being a normal day in the office and the use of the camera switching from face to face also reminds the audience that they’re in a fast paced working environment.

We continue to see more office workers coming into the shot saying their lines- then we pan across the different office cubicles whilst everyone inside is doing their own parts in a comedic way which will entice the audience because they may find it humorous. Throughout video it’s visible that the work place is predominately white male and female workers, so once we see the small minority of the different ethnicities, it gives the suggestion that the employment system is mainly based on 97% white ethnicity and the rest of the 3% are other ethnicities- and that is shown within the corporate businesses.  

The video ends with some of the colleagues crowed together walking towards the camera singing the lyrics, showing the company is in unison and everyone is in it together. It then ends with a pulling focus going out of the office building- which signals that the journey within the office is over, and the workers are waving goodbye hoping that the audience have enjoyed their stay.

Overall I think Wiley had a good concept to the video because the lyrics of the song are in contrast to what is happening in the video, and it makes it more exciting for the audience to consume. Everything has been done in a comedic away to subvert the idea of what office culture is like- so the director has chosen to make it less obvious but also realistic by using officers workers to get a better approach towards the video.  

Analysis of Lady GaGa & Beyonce - Telephone

This video was released on the 26^th January 2010; this was Lady GaGa’s 3^rd extended play (EP) and off her second album “The Famous Monster”. Lady GaGa is signed to Interscope Records, and the song generates from the genre of Electropop and Dance-pop and was directed by Jonas Akerlund. This is a narrative and performance based video, displaying the iconic view of Thelma & Louise (1991), two criminals who are wanted by the police for committing serious offences.

The video starts with a long shot of Lady GaGa entering the county jail, whilst this is happening the camera pans across some of the jails cells, and we see all the females up against the bars, symbolising that they see fresh meat and they all want a piece. The guards then strip her in her cell, which represent her being stripped of her dignity for the crime she has committed- as they walk away one comments “told you she didn’t have a d**k” relating to the hysteria that was made about GaGa being a hermaphrodite, making a mock of the rumour by letting the audience know that she’s gotten over it.

We see a close up of her hair with diet coke cans as an alternative for rollers, and it’s known for erupting once it’s mixed with mentos, which is significant to the fact that a fight breaks out soon after this shot is shown of her. As she’s being bailed out of jail, she breaks into an iconic MJ shuffle, paying tribute to him; this could also link back to his video “Smooth Criminal”, reinforcing the idea that she is one herself and is once again going to escape scot free. We then move into a long shot of the symbolic “Pussy Wagon” which was used in Kill Bill V1- indicating the point at which Uma Thurman also got away. Then enters Beyonce, showing “Themla & Louise” being reunited again; they both share a Twinkie, displaying the intimacy between them both- knowing that they’ll have each others backs no matter what situation may suffice.

They then end up committing their last big crime once they enter the Diner. A close up is used to show Beyonce pouring a poisonous solution into Tyrese’s coffee, stating the massacre is about to begin. We then see a montage of shots whilst GaGa is poisoning the food orders, indicating they both want to go out with a bang to make a final statement about their personas. We’re informed of Beyonce’s wittiness because she pulls a not too convinced surprised look once Tyrese collapses; enabling the audience to understand that everything they’re doing is for a purpose.

Once everyone is dead within the Diner, a long shot is used to show them both in their Wonder Woman attire, using this juxtaposition makes the audience aware that they’re not heroes but yet killers- so they’ve used this parody to enhance the situation that they’re in to make it a form a satire.

The video ends with the Pussy Wagon jetting off into the unknown, with both Lady GaGa and Beyonce making a promise that they’ll never come back; this is then finalised with a close up of their hands entwined together, showing the commitment they’ve made to one another, and knowing that they’re content within their decision.  

Overall this video displays a postmodern text which uses intertextuality, parody and satire to compliment an array of many videos, films and artist to pay tribute to their work. This video would appeal to an audience of teenagers because its current and it shows a sense of an edgy fashion which some may like. The story line is easy to understand, whilst all the action will keep an audience entertained and informed about the story they’re portraying.