When examining the value of a music video as
a piece of art against the statement of its ‘simple’ uses as a marketing tool I
have chosen to use the promotional package of a small time band from Sheffield
called Drenge. The bands style consists of a grunge, blues/rock mix as is reflected in the EP I
have selected with the name ‘Face Like A Skull’. The band itself is made up of
a duo of brothers Eoin and Rory Loveless who emerged out of the Sheffield indie rock scene in 2011 when signing
with their label ‘Infectious’. The band meta-narrative
relies upon a youth/rebellion motif, their
songs often reflecting controversial views of romance and relationships in
songs such as ‘People in love make me feel yuck’. However when it comes to the
bands promotional activity the questions of
its label as art or advert is open to debate.
The EP I have chosen, ‘Face Like A Skull” consisted of a compact disc and vinyl release around the same time
as the release of their debut album sharing the name of the band. The track
featured is one of their heavier songs and the video accompanying it consists
of wax models of the bands heads being destroyed in various different ways intercut with obscure shots of band performance
showing the band either out of focus or only partially
in shot.
When evaluating the video in accordance with Andrew Goodwins (Dancing in the Distraction factory 1992)
various genre characteristics can be seen
within the piece. As is common with heavier rock music a band performance is featured however coupled with
the independent characteristic of obscurity no meat
shots are scene. Goodwin identified the connection between the visuals
and song to have important significance, the
relationship between the visuals and the lyrics are amplified as
although reflecting on the ‘skull’ themes within the song context the abstract
nature of the video doesn’t allow for an illustrative
representation of the lyrics. This can also be seen in the links between
the music and the visuals as the cuts are not always matched with the beats,
however the use of shots of a toy monkey playing the drums matched with that of
a drum fill allows the video to keep in sync with
the visuals. Although the band are not fully present this may be seen to
be a reflection of their meta-narrative,
reflecting on the tone of unimportance and
irrelevance of themselves seen as a motif
in songs such as ‘Nothing’. This could be seen as an artist message, choosing
not to give importance to their identity, instead allowing the music to take
priority within the video, however a negotiated
reading may see it an addition to a illusion
of star image reflecting on their target audiences psychographics.
When looking further into constructions of image and representation of the band through the promotional package the abstract nature of the album artwork can make it difficult to evaluate the
band, the bands absence from the album artwork adds to the mythical mysterious
nature of the band as an alternative being. The artwork itself of a yellow,
etched style face in the centre of a black background perhaps connotes a representation of the two brothers
isolated in a darkness around them anchoring the segregation and controversial
views from societies norms, beliefs and values presented in their songs. The
face depicted conforms to the song title however does not appear to be entirely
human and its large head reflects depictions of stereotypical extra-terrestrial
beings seen in popular culture again adding towards this connotation of the
bands separation from humanity. However some aspects of facial expression and
the closed eyes look similar to the wax models of Eoin Loveless seen in the
music video mixed with the face of Rory’s models perhaps giving an artistic
representation of the two brothers as one.
The promotional poster tells a different story due to
their presence within it. The poster is
promoting a show in their hometown of Sheffield and depicts the two lying
parallel yet in opposing direction however both only having half of their face
within shot. This could be adding to the brotherly connection meta-narrative of themselves becoming one, connoted
within the EP cover artwork and the merging
heads wax model of the two in the music video show their heads connected to one
another. The body language of the two
constructs two separate images, Rory the drummer is seen to be covering his
body with his arm, looking up away from the camera perhaps a vulnerable and shy connotation, where as Eoin the
guitarist/front man is given first person mode of
address as he lets his arms hang above his head leaving his body
unprotected giving the image of confidence
and perhaps more power as the older brother. These two examples of printed promotional material present to aspects the
bands image one as an abstract and artistic
representation of the band the other as more of a promotional marketing tool allowing the audience to
see what the band looks like in order to gain a personal interest in the stars.
The construction of the ‘Star image’ is
discussed by media theorist Richard Dyer, in
accordance with his theory Drenge would not be seen to be a entity that has yet
been commodified or fetishistic within the
media. Dyers theory is set to identify the semi-mythological
construction of the ‘star image’
surrounding a performing therefore making them influential and worthy of
purchasing as a material item. When evaluating Dyers critical theory in
relation to ‘Face Like A Skull’ and the construction of the star image of Drenge a definite embodiment and be
seen through the use of the two paradoxes to create an incoherent
image of the band. Dyer identified the two
paradoxes of the star image to be the
bands presence and simultaneous absence as
well as their both ordinary and extra-ordinary
nature. Within the music video for ‘Face like a skull’ they maintain
these paradoxes as although present within the video the lack of meat shots and first
person mode of address couples with unfocused and abstract framing
allows the band to be absent also as they do not connect with the audience,
this is juxtaposed however by the use of direct eye contact within the
promotional gig poster.
The ordinary and extra-ordinary being is presented through the
visuals of the wax props and the mise-en-scene of the shoot. Each wax model is
filled with a different substance ranging from raw meat and maggots to smoke
and colourful liquids, this gives an obscure and
extra-ordinary representation of what is going on within the heads of
these stars, however this is balanced by the final shot where an ordinary skull
is within the head as well as the shots of the band in jeans and t-shirts
connoting their status as ordinary people. However the body
language of the two is quite violent not only adding to the
extra-ordinary aspect but reflecting upon the ‘Star’
qualities identified by Dyer as common within the representation of a
star as they seen to be rebellious and aggressive.
Although many aspects of the paradox theory
do apply to aspects of Drenge’s representation I believe that the lack of
balance between them tells more about the band. Although present within the
video as aggressive this is seen to be a mere performance and differs in their
representation on the poster as they peacefully lie together. The fact that
they are rarely even presented personally
within the media opposes their absence and presence
and their representation within the media is often of two ordinary ‘northern
lads’. It is for these reasons that the construction of a ‘star image’ for Drenge is not a convincing one as
they are too hard to set apart from the crowd due to their meta-narrative as ordinary people who suffer the
same problems as everyone else.
In conclusion the construction of Drenge’s ‘star image’ and the meta-narrative surrounding them would not support the argument of their music video acting as a marketing tool due to the importance put upon the artistic nature of the music and album cover. The bands absence and the opposition to Goodwin’s and Dyer’s theories relating to the commodities of bands appears to mark the music video ‘Face Like A Skull’ as a piece of art rather than a ‘simple tool’
In conclusion the construction of Drenge’s ‘star image’ and the meta-narrative surrounding them would not support the argument of their music video acting as a marketing tool due to the importance put upon the artistic nature of the music and album cover. The bands absence and the opposition to Goodwin’s and Dyer’s theories relating to the commodities of bands appears to mark the music video ‘Face Like A Skull’ as a piece of art rather than a ‘simple tool’
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