Music Video Analysis
The video I have chosen to analyse is 'Thirty-Three' (https://www.youtube.com/watch?v=AYSbztCCTlA) by The Smashing Pumpkins, the music video was directed by Yelena Yumchuk. The song is in the Alternative Rock genre, a common characteristic of a rock video is that they are usually darker in tone than a music video for a pop song. This tends to be because rock songs tend to focus more on a darker tone, both lyrically and tonally, and this is usually reflected in the videos.
The song and the video are themed around a plaintive soul's struggles with the pursuit of happiness. I feel that the tone of the song and the video manages to capture the essence of being lost in reverie, however, throughout the daydream, the reality that the character in question is trying to steer clear of is ever present. The desire to gambol and live free is oppressed by the inexorable, harsh reality that awaits the character once they step free of the daydream. I feel this is portrayed in the video with the scenes that match the lyrics 'I know I can't be late, suppers waiting on the table', the visuals that accompany this line, is a recreation of the characters from Alice In Wonderland, a story which is well known for being based around the search for self, curiosity and most importantly, what it's like to venture down the rabbit hole. As I feel this song is written about the desire to be happy, in one's own way, I find this visual quite striking. It works to reflect the free, curious nature of the narrator, by showing the recreated character's entertaining themselves in the woods, with seemingly no care in the world. This works to portray the free lifestyle the character desires, but then the video quickly cuts back over to the darker, real world they are so desperate to avoid. I feel this shot aims to showcase how the character feels that the reality he must face, works against his true desire's, demonstrating how the character is unsure whether they can truly find peace in the world, in which he has to compete to be successful as well as find place to entertain his dreams.
The video moves freely in parts, but the heavy movement/cutting is done on the more emphasised beats of the song. The instrumental introduction is mirrored by the wind up of the gramophone and then when it begins to amplify in volume, the women begin to rise and take form. At points where the song plays faster, and slightly louder, the video does maintain pace by implementing more frequent cuts and shakier camera work.
Throughout the early sections of the video, there are many scenes which feature people staring directly into the camera, with a mild hint of disdain. I feel this works to add to the effect that the character feels ostracised. If we go along with the notion that the camera- at least in these scenes- is the character, then it allows the viewer to get a POV perspective on their feelings, how they feel set aside and out of place from the rest of the world. Only looking from a distance and never involved. As I have mentioned, I feel as though the song is about finding peace with the world and one's self, in an early shot, there is a POV shot in which we are gazing at a couple kissing, the character is not involved with the woman, and is simply staring, and in my mind projecting, imagining what it is like. There is a later shot where the camera is staring up at D'arcy (the bassist for the band) as she is donned in green, painted, decorated with flowers and is placed upon a white horse. I feel this could show just how detached from the real world the character feels, emphasising this idealised view on women, that they can only see them as this mystical transmogrification. It is at this point where the video takes a turn, it is my interpretation that through the struggles, the character has managed to find someone, and though still struggling, they are managing to make it work. The shot that gives me this impression, is where the painted lady on the sofa is looking up at the camera. To me, it does not strike me as the gaze of someone seeking out a brief dalliance, but a look of deep care. Throughout the video and the song, the character has overcome some struggles, as the song turns more upbeat, this shot is shown, working to show the change in theme. It remains dark and sorrowful in parts, but this does show a small victory, and positive change for the character.
The Smashing Pumpkins -so I've heard- have tried to avoid any literal interpretation of their lyrics when it comes to their videos. However, for 'Thirty-Three' the director did aim to have the scenes fit in, albeit loosely, with the lyrics of the song. It is purely concept, the band member's are seen throughout the video, with the exception of Jimmy Chamberlin, but are not seen playing instruments, the one scene where they are seen holding their respective instruments, they are not playing them. This video is different to the rest of their style, but aside from '1979' and it's sequel video 'Perfect', all of TSP's videos are different. The band ranges from heavier rock, to the lighter, alternative rock featured for this video. The only real carry over/reference that I can find in this video, is the recreation of the album 'Mellon Collie And The Infinite Sadness' cover art, seen at the very end of the video.
To sum up, the video helps to support the story(?) of the song. It helps to allow the viewer to get a view on the world from the character's perspective, shows us how they see things and manages to display how they feel using visuals. The use of shots, colours, editing all work to fit with the song and support certain themes of the song. Much as I love the song on it's own, it does aid the song, and elevates it to being better than without. This does remain my favourite music video, because it's quite different. And I probably like it a little more now that I've tried forcing logic into it as it's made me appreciate some of the shots a little more.
The song and the video are themed around a plaintive soul's struggles with the pursuit of happiness. I feel that the tone of the song and the video manages to capture the essence of being lost in reverie, however, throughout the daydream, the reality that the character in question is trying to steer clear of is ever present. The desire to gambol and live free is oppressed by the inexorable, harsh reality that awaits the character once they step free of the daydream. I feel this is portrayed in the video with the scenes that match the lyrics 'I know I can't be late, suppers waiting on the table', the visuals that accompany this line, is a recreation of the characters from Alice In Wonderland, a story which is well known for being based around the search for self, curiosity and most importantly, what it's like to venture down the rabbit hole. As I feel this song is written about the desire to be happy, in one's own way, I find this visual quite striking. It works to reflect the free, curious nature of the narrator, by showing the recreated character's entertaining themselves in the woods, with seemingly no care in the world. This works to portray the free lifestyle the character desires, but then the video quickly cuts back over to the darker, real world they are so desperate to avoid. I feel this shot aims to showcase how the character feels that the reality he must face, works against his true desire's, demonstrating how the character is unsure whether they can truly find peace in the world, in which he has to compete to be successful as well as find place to entertain his dreams.
The video moves freely in parts, but the heavy movement/cutting is done on the more emphasised beats of the song. The instrumental introduction is mirrored by the wind up of the gramophone and then when it begins to amplify in volume, the women begin to rise and take form. At points where the song plays faster, and slightly louder, the video does maintain pace by implementing more frequent cuts and shakier camera work.
Throughout the early sections of the video, there are many scenes which feature people staring directly into the camera, with a mild hint of disdain. I feel this works to add to the effect that the character feels ostracised. If we go along with the notion that the camera- at least in these scenes- is the character, then it allows the viewer to get a POV perspective on their feelings, how they feel set aside and out of place from the rest of the world. Only looking from a distance and never involved. As I have mentioned, I feel as though the song is about finding peace with the world and one's self, in an early shot, there is a POV shot in which we are gazing at a couple kissing, the character is not involved with the woman, and is simply staring, and in my mind projecting, imagining what it is like. There is a later shot where the camera is staring up at D'arcy (the bassist for the band) as she is donned in green, painted, decorated with flowers and is placed upon a white horse. I feel this could show just how detached from the real world the character feels, emphasising this idealised view on women, that they can only see them as this mystical transmogrification. It is at this point where the video takes a turn, it is my interpretation that through the struggles, the character has managed to find someone, and though still struggling, they are managing to make it work. The shot that gives me this impression, is where the painted lady on the sofa is looking up at the camera. To me, it does not strike me as the gaze of someone seeking out a brief dalliance, but a look of deep care. Throughout the video and the song, the character has overcome some struggles, as the song turns more upbeat, this shot is shown, working to show the change in theme. It remains dark and sorrowful in parts, but this does show a small victory, and positive change for the character.
The Smashing Pumpkins -so I've heard- have tried to avoid any literal interpretation of their lyrics when it comes to their videos. However, for 'Thirty-Three' the director did aim to have the scenes fit in, albeit loosely, with the lyrics of the song. It is purely concept, the band member's are seen throughout the video, with the exception of Jimmy Chamberlin, but are not seen playing instruments, the one scene where they are seen holding their respective instruments, they are not playing them. This video is different to the rest of their style, but aside from '1979' and it's sequel video 'Perfect', all of TSP's videos are different. The band ranges from heavier rock, to the lighter, alternative rock featured for this video. The only real carry over/reference that I can find in this video, is the recreation of the album 'Mellon Collie And The Infinite Sadness' cover art, seen at the very end of the video.
To sum up, the video helps to support the story(?) of the song. It helps to allow the viewer to get a view on the world from the character's perspective, shows us how they see things and manages to display how they feel using visuals. The use of shots, colours, editing all work to fit with the song and support certain themes of the song. Much as I love the song on it's own, it does aid the song, and elevates it to being better than without. This does remain my favourite music video, because it's quite different. And I probably like it a little more now that I've tried forcing logic into it as it's made me appreciate some of the shots a little more.
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