Inspiration: What we did

OUR INTERTEXTUAL REFERENCES

We have some intertextual references to several music videos, which we have gotten our inspiration from. One of them includes the reference to the color powder in the music video by the band 30 Seconds To Mars, track Up in the Air.

When I blogged on this music video back in October, I immediately knew that I really wanted us to include color powder in our music video's. At the beginning we wanted to have footage of 20 people running at each other and throw the color powder at each other, which they do in the Up In The Air music video.

However, we quickly discovered that it would be very hard to get so many people together, especially because the first throw we would only be able to film once in order for them not to have color powder on their whole body for the sake of continuity.
Therefore we decided to have the color powder thrown at the male protagonist, the drums and we might still throw it at some of the band members, because it has become so popular and we got a lot of good feedback for it in our audience feedback sessions.

Another intertextual reference is the one we have for our underwater pool scenes. This we got from two different music videos. One of the videos is by the band Panic at the Disco for their track This Is Gospel. Whereas the other video we were inspired from is the video by Naught Boy ft. Beyoncé for their track Runnin'.

These are images of the two different music videos. The 1st picture is from This is Gospel, where the leadsinger is under water. This was filmed inside a box. At the beginning we intended to film our underwater scenes in a bathtub like this (left). However here again we found out how difficult it would be, because it would be hard just to have a GoPro stuck in a small bathtub with the leadsinger and it wouldn't look half as good as if it was in "open waters".
This is when we came up with the idea for a pool, which we as mentioned above, got our inspiration for from the track Runnin'. We didn't have an open ocean around Luxembourg and it was not summer, but we did have a heated pool and could put some effects on it so that it would look more ominous than the usual light pool blue.

This is the result we ended up with. We filmed under water with the waterproof GoPro and were able to see it at the same time due to the advantage of the newer versions of the GoPro having a screen where you can see what you record. We got shots of the pool empty and the pool with our male protagonist in it and we think it worked really well and managed to connote the darkness of the lead singer and his dark thoughts and that he feels as if he is drowning in his own sorrows and thoughts.

Bronwen has a detailed post on the This Is Gospel video, whereas I created a post on Runnin'. In my post: reflection on pool shoot, you can read more about the intertextual reference.

Another intertextual reference in our music video is the one to Twenty-One Pilots track and music video for Ride (top right picture). We thought that it had a really nice natural effect when having the instruments outside, than having our band play in a normal studio with a green screen background.
Some challenges we faced in the woods included our re-shoot and the fact that it was really cold outside, since we were filming during January.
When doing the re-shoot, the instruments had to be placed on the exact same spot, for sake of continuity, and it was becoming really cold for our band members, because they were (most of them) only wearing T-Shirt and/or thin jumpers for mise-en-scene. So when we filmed someone like the drummer on his own or the keyboarder, or the drummer with bass guitar etc. the other's were sitting inside a car so that they wouldn't cool down entirely. Despite the challenges faced, we are very happy with the result, since a lot of the audience who watched it, like the fact that it was outside in the woods and were impressed with the fact that we had taken all of the instruments up there for the purpose of our music video.

A last intertextual reference we have in our music video is the one from the music video by Alt-J for their track Hunger of the Pine, which Kristian did a post on. In this music video there is a running sequence, which we also have in our music video. We liked the running sequence, since by using it in our music video we wanted to connote that our male protagonist is trying to run away from his problems and try to think about something else while running. We filmed this using a GoPro, an IPhone 6S for the slo-mo and the CANON 70D for the other long-shots.

Julia Kristeva: Intertextuality

Julia Kristeva is a Bulgarian-Frenchphilosopher, literary critic, psychoanalyst, feminist, and, most recently, novelist, who has lived in France since the mid-1960s. She became influential in international critical analysis, cultural studies and feminism after publishing her first book, Semeiotikè, in 1969. Her sizeable body of work includes books and essays which mainly address intertextuality, semiotics, and abjection. 

Kristeva coined the term intertextuality. According to Kristeva,  intertextuality maintains that a text “cannot exist as a hermetic or self-sufficient whole". She argues that the author compiles the text by reading other texts and the text becomes available to the audience in a process of reading. 

Julia Kristeva's contribution to the notion of intertextuality is immense. She not only

coined the word intertextuality but substantially stressed the importance of the potential

dynamics that lay within the text. Text is not a unilinear entity but a heterogeneous

combination of texts. Any text is at once literary and social, creative and cultural.

They are culturally and institutionally fashioned.

Julia Kristeva's contribution to the notion of intertextuality is immense. She not only

coined the word intertextuality but substantially stressed the importance of the potential

dynamics that lay within the text. Text is not a unilinear entity but a heterogeneous

combination of texts. Any text is at once literary and social, creative and cultural.

They are culturally and institutionally fashioned.

Kristeva assumes that a text is compiled as an assortment of quotations and is assimilation and a make over of another. In “The Bounded Text,” Kristeva deals with the process of creating a text outside the already present discourse. She explains that the authors are not original and do not create anything from their texts from original minds but compile from the already existing texts. 

There are many ways in which our music video has intertextuality, which I have discussed in my post on general conventions of music videos and what we did. 

Below you can find the link to a create paper on Julia Kristeva's Concept of Intertextuality. 

https://www.researchgate.net/publication/273771676_TextTexts_Julia_Kristeva's_Concept_of_Intertextuality

MVid EG9: Naughty Boy ft. Beyoncé - Runnin'

WHAT WE WILL USE: INTERTEXTUAL REFERENCE TO POOL SCENE

This music video isn't linked into our genre, however there was one element, which we really liked, which was the underwater footage. 

Throughout a big part of the music video for Runnin', there is a couple which is being filmed underwater and we believe that this element would look good in our music video. 

UPDATE: In the new song we chose, the leadsinger sings "I was an ocean lost in the open", so we think this would fit even better in now that it has more of a clear link to the video. Andrew Goodwin would suggest that we have included one of the 7 typical features of a music video, which is a clear link between visuals and lyrics. This is what we will create, a clear link between visuals and lyrics.

This particular shot is what we intend to include in our own music video, because we want our audience to have an overview of the entire actors body drifiting in the water, with the water taking up more space than the actual actor. This connotes that the singer feels so small and that there is nothing he can do, because he will just keep drifting and is drowning in his own sorrows, which are signified by the water around him.