The music video I will look at next is the song 'Karma Police' by Radiohead.
A wide range of shots are used in this video including long shots, medium shots, close-up shots and cutaways.
Firstly, the video initially shows a brown sofa. The sofa is in a medium shot, allowing us to see most of the object but not its surroundings. A panning shot is then used as the camera pans across showing the viewer that the sofa is inside a car, as the passenger seats. The camera halts as it reaches the front of the car showing the bonnet, which is also brown. The consistent use of the colour brown connotes a lack of modernisation and a sense of old-fashioned taste in cars and less vibrancy. Now that the camera has panned across we are now able to see outside the car windows. It is late at night. This is supported by a moth buzzing around the car headlights. Lighting is used effectively in this video. The timing of day is essential as it creates an eerie and frightening feeling. The car headlights are off at the start of the video and as the song starts they switch on, accompanied by the diegetic sound of a car door opening. Then the lights switch off as the door closes. At 0:27 seconds the song reaches a change in tempo and the lights come back on. As the car lights illuminate it reveals an empty road. The car is parked stationary in the central of the road connotating a disregard for law and safety. The car then starts moving forward as the vocals start. The car drives forward at a consistent speed and passes muddy grass and a lamppost. As the chorus starts the camera shows a white figure far away in the background. As the car drives nearer the viewer can now distinguish the white shape as a man wearing a white top. The shot used is a long shot. We see that the man is running, seemingly away from the car. The camera then pans back slowly, revealing the car bonnet, wing mirror, the front passenger seat which is empty and then the back passenger seats. A man is now sitting in the sofa-seat. Fans of Radiohead will recognise the man as Thom Yorke, lead singer of the band. He is looking down at the floor of the car, wearing a black leather jacket and plain green top. The shot used is a medium shot. The camera stops panning as it reaches Thom Yorke. The producers of this video decided that Thom should lip-sing in synchronisation with the song, giving the impression that he is singing the song during the music video. He then sings 'This is what you get' and looks up towards the direction in which the man is running. The camera pans forward revealing the man in white to be nearer than previously. The viewer of this video is made to believe that they are inside the car themselves, driving forward. The consistent view over the car bonnet suggests the majority of the clip appears to be a point of view shot, as we see the events through the eyes of the driver of the vehicle. When the camera pans back it seems to me that a point of view shot is once again used to show the driver looking back at his passenger. The over-the-bonnet shot is used again and we see the running man again. This time we see more detail and can distinguish more of the mans features. He is frantically running and repeatedly looks over his shoulder towards the car, as though scared. He is bald, obese and wearing unfashionable clothing. Overall, it appears this is not an instinctively likeable character, supported by the lyrics 'This is what you get, when you mess with us', suggesting that this man may in fact deserve being chased by a mysterious driver and seemingly sad and empty man. However his scared behaviour and situation he is in evokes sympathy. The man in the car, lead singer of Radiohead, seems tired and weary as he pursues the man. The man in the white shirt is seen running from a close up shot of his face. This is the first time in the video that the camera leaves the car. The camera is now positioned in front the man as he runs, filming straight on at him as he stumbles forward. The lighting is effective as, from this type of shot, we can see the car headlights beaming across distorting the viewers vision slightly. The lights flicker on and off repeatedly, perhaps to symbolise warning lights which connotate for danger. The camera then returns back to film from inside the car and we see a long shot, establishing the distance between car and man. The man staggers and then collapses from exhaustion. As he does so the car slows down and stops just before it reaches him. The camera changes to a medium shot, filming from outside the car, showing the man slowly rise to his feet and turn to face the stopped car. The car reverses and as it pulls back we see a trail of petrol. A close up shot of the petrol is used, suggesting it is important. The car pulls fully back as though it is about to drive into him. Another close up shot is used, now from behind the man's back showing him frantically search his pocket for something. Then he pulls a small object out of his pocket, however we as a viewer, do not see what it is. A close up shows us it is a box of matches.
A wide range of shots are used in this video including long shots, medium shots, close-up shots and cutaways.
Firstly, the video initially shows a brown sofa. The sofa is in a medium shot, allowing us to see most of the object but not its surroundings. A panning shot is then used as the camera pans across showing the viewer that the sofa is inside a car, as the passenger seats. The camera halts as it reaches the front of the car showing the bonnet, which is also brown. The consistent use of the colour brown connotes a lack of modernisation and a sense of old-fashioned taste in cars and less vibrancy. Now that the camera has panned across we are now able to see outside the car windows. It is late at night. This is supported by a moth buzzing around the car headlights. Lighting is used effectively in this video. The timing of day is essential as it creates an eerie and frightening feeling. The car headlights are off at the start of the video and as the song starts they switch on, accompanied by the diegetic sound of a car door opening. Then the lights switch off as the door closes. At 0:27 seconds the song reaches a change in tempo and the lights come back on. As the car lights illuminate it reveals an empty road. The car is parked stationary in the central of the road connotating a disregard for law and safety. The car then starts moving forward as the vocals start. The car drives forward at a consistent speed and passes muddy grass and a lamppost. As the chorus starts the camera shows a white figure far away in the background. As the car drives nearer the viewer can now distinguish the white shape as a man wearing a white top. The shot used is a long shot. We see that the man is running, seemingly away from the car. The camera then pans back slowly, revealing the car bonnet, wing mirror, the front passenger seat which is empty and then the back passenger seats. A man is now sitting in the sofa-seat. Fans of Radiohead will recognise the man as Thom Yorke, lead singer of the band. He is looking down at the floor of the car, wearing a black leather jacket and plain green top. The shot used is a medium shot. The camera stops panning as it reaches Thom Yorke. The producers of this video decided that Thom should lip-sing in synchronisation with the song, giving the impression that he is singing the song during the music video. He then sings 'This is what you get' and looks up towards the direction in which the man is running. The camera pans forward revealing the man in white to be nearer than previously. The viewer of this video is made to believe that they are inside the car themselves, driving forward. The consistent view over the car bonnet suggests the majority of the clip appears to be a point of view shot, as we see the events through the eyes of the driver of the vehicle. When the camera pans back it seems to me that a point of view shot is once again used to show the driver looking back at his passenger. The over-the-bonnet shot is used again and we see the running man again. This time we see more detail and can distinguish more of the mans features. He is frantically running and repeatedly looks over his shoulder towards the car, as though scared. He is bald, obese and wearing unfashionable clothing. Overall, it appears this is not an instinctively likeable character, supported by the lyrics 'This is what you get, when you mess with us', suggesting that this man may in fact deserve being chased by a mysterious driver and seemingly sad and empty man. However his scared behaviour and situation he is in evokes sympathy. The man in the car, lead singer of Radiohead, seems tired and weary as he pursues the man. The man in the white shirt is seen running from a close up shot of his face. This is the first time in the video that the camera leaves the car. The camera is now positioned in front the man as he runs, filming straight on at him as he stumbles forward. The lighting is effective as, from this type of shot, we can see the car headlights beaming across distorting the viewers vision slightly. The lights flicker on and off repeatedly, perhaps to symbolise warning lights which connotate for danger. The camera then returns back to film from inside the car and we see a long shot, establishing the distance between car and man. The man staggers and then collapses from exhaustion. As he does so the car slows down and stops just before it reaches him. The camera changes to a medium shot, filming from outside the car, showing the man slowly rise to his feet and turn to face the stopped car. The car reverses and as it pulls back we see a trail of petrol. A close up shot of the petrol is used, suggesting it is important. The car pulls fully back as though it is about to drive into him. Another close up shot is used, now from behind the man's back showing him frantically search his pocket for something. Then he pulls a small object out of his pocket, however we as a viewer, do not see what it is. A close up shows us it is a box of matches.
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