BBK: Technical Analysis (Narrative)

 

(Shot number, Shot distance, Camera Movement/ Mise-en-scene, Duration)

1.	MS	Protagonist stands facing away, white background	4s
2.	MLS	Man revealed to be standing over bathtub through a doorway	8s
3.	MS	Mans lower body and bath as he drops robe	4s
9.	MS	Man lowers himself into bath with pained expression	3s
11.	LS-MS	Camera tracks from left to right as man walks towards it .	3s
12.	MS	Camera tracks backwards as man follows in center of the shot looking melancholy	2s
17.	LS	Camera tracks in to man crossing street in profile	2s
20.	MS	Protagonist follows camera as it moves backwards then stops as the camera continues to track backwards	3s
23.	MS	Low angle shot of man positioned in bottom right as a building towers over him	2s
27.	MS	Mans legs as he gently crouches to floor and lies down	3s
29.	LS	Man lies resting head on his arm in the middle of the pavement looking empty	2s
30.	MS	A second businessmen walks toward the camera intently before tripping towards the audience and out of shot.	3s
31	LS	Second man seen hitting the floor revealing the protagonist to be the cause of him falling.	4s
36.	ELS	Birdseye view (singers pov) shows the second man apologising using white typewriter font subtitles ‘Jesus im sorry’	4s
37.	MS	Low angle of second man asking whether the protagonist is okay	2s
38.	MS	Protagonist lying on his side replies ‘yes’ however remains melancholy	2s
40.	MS	The business man asks if the protagonist had fallen seemingly concerned for him	2s
41	MS	Low angle from behind protagonists back on the floor as the second man crouches beside him his face comes into shot, the protagonist claims he is ‘fine’ and to ‘leave me alone’	3s
42.	MS	Second man accuses the protagonist of drinking	2s
43.	MS	Over the shoulder high angle shot of the protagonist denying the claim	2s
44.	MS	Low angle of second man rising to his feet into shot whilst asking again why he he is lying there. Then aggressively claims ‘You could of broken my neck!’	3s
49.	MS	Low angle shot from behind protagonist back as the second man crouches down once more asking ‘whats wrong’ and offering to help extending his arm.	5s
50.	CU	Birdseye view of protagonist as second man tries to touch the arm he is resting on, the protagonist snaps at him saying ‘don’t touch me’	3s
51.	CU	Reaction shot of second man looking stunned and taken back	1s
54.	ELS	Birdseye view of the two on the pavement as two other start to walk over questioning the situation.	2s
55.	MS	Low angle from behind protagonists back of the second man as others start to approach from the background	1s
59.	MS	A crowds of bystanders form as the central extra asks ‘is he hurt?’	2s
60.	CU	Birdseye view of protagonist as he asks everyone to leave him alone	3s
61.	LS	Whole crowd shown to the left of the man still lying as one proclaims ‘he must be mad’	2s
63.	MS	Birdseye view of man crouched next to protagonist; a borderline around the shot is made up of on-lookers shoes. The protagonist says ‘im not mad leave me alone’	3s
66.	MS	Low angle shot of the secons man asking why he is lying down, background filled with businessmen, he asks ‘why wont you tell me whats wrong’	5s
67.	CU	Birdseye of protagonist who repkies ‘look I cant tell you, it wouldn’t be right’	5s
68.	CU/LS	Women looks down on the scene in the foreground as a police officer arrives on a motorcycle in the background	3s
69.	MS	One shot of police officer as he takes of his helmet and someone calls out ‘officer!’	3s
76.	MS	Low angle shot from behind protagonist as officer crouches beside him and aks if he is alright	3s
77.	LS	Birdseye of police officer beside protagonist as he replies ‘im fine… let me lie here’	2s
78	MS	Profile of officer as he informs the protagonist he cant let him lie there	2s
82.	MS	Camera behind the back of the protagonist, officer reaches out to man	1s
83.	CU	Birdseye shot of protagonist as officers touches his arm and he exclaims ‘Don’t touch me!’ once more’	2s
86.	MS	Two shot of officer and second man as the tension builds he aggressively demands a reason for the man to be lying down.	3s
87.	CU	Protagonists stairs blankly ahead and says ‘you don’t want to know please believe me’.	5s
88.	MS	One shot of second man who asks if it is because ‘we are all going to die’	6s
91.	CU	Protagonist replies ‘No’	1s
94.	MS	Two shot of officer and second man. Officer anxiously shouts ‘Tell us!’	3s
95.	MS	Birdseye view of protagonist lying next to the police helmet saying ‘You want to know why im lying here?’	2s
96.	MS	One shot of second man who shouts ‘Yes!’ with passion	2s
97.	Cu	Birdseye view of protagonist asking previous question again.	2s
100.	MS	One shot from between the officers legs who is now standing. Protagonist he will tell them. The camera tracks him as he says ‘but God forgive me’ ‘God save us all’ ‘because you don’t know what you ask of me’	8s
102.	MS	One shot of second man who yells aggressively ‘Tell us!’	2s
103.	CU	Protagonist looks up at the crowd around him	1s
104.	MS-CU	Camera rapidly track in on the crowd as the Second man rises into shot.	3s
105.	CU	The protagonist starts to tell the crowd why he is lying there however the subtitle now stop and the audience cannot tell what he is saying	2s
106.	ECU	Birdseye view of the protagonists mouth as he continues to talk	2s
107.	CU-LS	Birdseye view of protagonist cranes out vertically, fades to:	3s
108.	LS	Birdseye crane shot moves to the left to reveal the crowd now lying on the floor, fades to:	6s
109.	MS	Birdseye crane shot contiues to move left across the crowd only partially showing each extra in shot, fade to:	3s
110.	MS	Birdseye crane shot continues to move left, fade to:	3s
111.	LS	Birdseye crane shot continues to move left over the crowd	3s
		Cut to black

 

• For the purpose of analysing the narrative sequences for this video towards our own analysis I have left out sections of performance from the table.
• My analysis of this piece has helped me gain understanding of constructing continuity within a narrative piece. The cuts are fairly steady averaging at around two to four seconds each and developing a rhythm to the cutting rate in some sections. This is due to the piece being conversational as the shots cut back and forth between the characters leading to a steady cutting rate.
• However upon reflection of this piece I realise that the mode of narrative may not be best suited for our own piece . As although we are creating a narrative, a line of continuity may not feature as the narrative may slip into a conceptual piece.We are considering a multiple location piece with a specific style of narrative which I have mostly seen within film.
• Based on our influence from the films of Wes Anderson and his narrative forms I plan to carry out a second technical analysis of a Wes Anderson sequence as I feel this could benefit our understanding of cutting rates, shot dimensions and mise-en-scene more coherently to our own piece as we hope to reflect the directors style in our music video.