Music video
Heaven music video
Burn the witch video
Heaven
Historical - Set in 2011, following the recession that left the majority of people, mostly working class in poverty. We see the working class of the West End of London and their lives on a daily basis.
Social - Filmed in Bethnal Green. Showcases the heavy child poverty that took place in London at the time this was filmed. In the Bible, the book of Genesis claims that darkness was present before light - black lighting and woman in black. During the Middle Ages, priests wore black clothes as a sign of humility and penance. To be a priest meant to reject all worldly pleasures and live according to the laws of religion. Heavy drug problems in Bethnal Green, as well as curb crawling.
Cultural - Alvarado's theory on race stereotypes being portrayed as, pitied eg kid sitting on seat in the dark, dangerous eg youth (Hebdige), exotic eg woman being kissed by men and humorous eg little kids laughing on swings. Showcases Christian religious elements, such as the references to angels, the person carrying the cross down the street, and the person holding their arms up and talking to God, as well as seeing the artist praying. The symbolism of carrying a cross is to deal with your burdens and problems. In the Bible, Jesus carried a cross that has come to be symbolic of the world's problems. Therefore, when people carry their own crosses, they are dealing with their own burdens. 40.2% of London's population are from ethnic backgrounds.
working
class/poor stereotypes
- Representations of the working
class • Newman (2006) argues that there are very few situation comedies,
television or drama which focuses on the everyday lives of working class
who constitute a significant section of society, • Newman argues that when
in the media working class are often depicted in a very non positive light
dumb buffoons (Homer Simpson) and immature machos (Phil Mitchell), •
Butsch (1992) – working class portrayed as flawed individuals (benefit
cheats, etc)
- Representations of the working class
• Curran and Seaton (2003) – newspapers aimed at the working class make
the assumption that they are uninterested in serious analysis of either
the political or social organisation, • Marxists argue that the content of
newspapers such as the Sun and the Daily Star is an attempt to distract
the working class audiences from the inequalities of capitalism.
3.
Representations of
poverty and underclass • Portrayal usually negative and stereotypical, •
Portrayed in the form of statistics in news bulletin such as figures of
unemployment, • Recent media interest in the labelling of the poor such as
“chavs” which according to Shildrick and MacDonald (2007) suggest that the poor
are undeserving of sympathy.
Gerbner's cultivation theory - Repeated exposure to a media text over time leads to the belief that the messages within the media texts apply to the real world. As people's perceptions are shaped by media exposure, their beliefs, values, and attitudes are shaped as well.
Barthes codes -
Hermeneutic - The Hermeneutic Code contains anything in the text that is mysterious or unexplained, usually leading to questions which the reader needs answered.
Proairetic - The Proairetic Code contains sequential elements of action in the text. Like the Hermeneutic code, Proairetic elements add suspense to the text.
Semantic - The Semantic Code refers to elements of the text that carry referential, extra-literal meaning. Elements of the Semantic Code are called Semes.
Symbolic - The Symbolic code refers to organized systems of semes. When two connotative elements are placed in opposition or brought together by the narrator, they form an element of the Symbolic Code.
Cultural - The Cultural Code refers to anything in the text which refers to an external body of knowledge such as scientific, historical, and cultural knowledge.
Age- wide representation is present. the main focus is on youth, with examples of implied crime and prostitution. Representation is commonly linked to stereotypes of the youth being reckless, sexual and nihilistic (Ghould's stereotypes). Children represent innocence.
Race - Alvarado's race theory.
Class- representations set through costumes and props. Poor not represented in a good light (Newman 2006) and Butsch (1992) presented as flawed individuals. eg homelessness, the promiscuous woman, prostitute, implied drug use, references to criminality. counters Shildrick and MacDonalds theory that the poor are undeserving of sympathy. Camera work uses direct mode of address, the viewer is challenged to consider the daily struggles of the working class.
Gender -
Ethnicity-
Sexuality-
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Denotations - literal meaning
Camera-
- High angle, wide shot, of a woman walking into a dark tunnel.
- Close up on artists face, half hidden in the shadows.
- Close up tilted angle of man looking almost Jesus like
- Wide shot of homeless youth who we feel sympathetic for.
- Close up on elderly man frowning, with harsh skin and unshaven hair. Feel sympathetic towards him.
- Close up shot of bars and wires, with the focus changing.
- Extreme close up on crucifix.
- Close up of crucifix pans up to show Emeli's face, also in close up.
- Direct mode of address from artist.
- Indirect mode of address from several of the characters otherwise seen.
- Close up shot form behind the youth,showcasing half of her face.
- Handheld footage.
- Not always in focus.
- Low angle used to make Emeli look taller and almost angelic.
- Camera follows what is happening.
- Camera never fully stationary.
- Use of lens flare to look like God or angelic forces are present.
- Close up on praying hands.
- Close up on faces to show the heavy emotions.
- Mid shot of man lying on bed half naked.
- Wide shot of man hidden in dark tunnel.
- Mid shot of child sitting on a step in a dark building.
- Mid shot of mother cradling baby in a car with rain outside.
Editing-
- Nostalgic filter glow on several images.
- A retro, vintage, filter effect has been added to the video.
- The pink/purple hue colour grading has been added to symbolise tenderness.
- Mostly follows the singer, showcasing her singing to the audience.
- Beat of the song usually links to the pace of the video.
- Very fast paced footage.
- Long shots of the artist, but shorter shots of the other characters, with flashes of shots of religious symbols.
- Very fast paced.
- Pastel colours used heavily to make the memories feel warm, and the harsh black and grey saturated colours make the area that are poor feel dark and cold.
- Urban location of Bethnal Green.
- We see several references to angels with these two images showcasing the youth being the ones with the wings.
- The bottom shot of the sky shows the clouds opening up, possibly being representative of Heaven’s gates opening up.
- This shot is from inside a Church, clearly being a reference to God’s house, with people being able to communicate with him in the Christian place of worship.
- Wide shot of a person walking down the street holding a cross.
- Dark alley, high streets, council tower blocks, cars, bus stops vs Churches, Cathedrals, Graveyards.
- Crucifix is a key symbol throughout the video.
Camera-
- Shot of woman walking into tunnel, seen as dangerous, however from the confident way she walks, we can infer that this is something she is used to. This is a social statement that the people from working class background live in dangerous places and this is seen as normal to them.
- High angles representative of God looking at all of the bad things of the world, such as homelessness.
- There is an emotional connection between the artist and the audience, as she is trying to tell us her story and tell us that we should try to be good people.
- Over the shoulder shot of Emeli looking at a man hidden in the darkness of a tunnel, This image is used to convey that there is always darkness before the light, and God may be there watching as she struggle in that dark period of time, but you will always make it out.
- Lens flare to make it look like God is trying to make his presence known.
- Shots taken on the ground are from a high angle, and shots taken from tall buildings are from a low angle to make everything look taller.
Editing-
- Nostalgic filter glow could be symbolic of this being memories from Emeli's past life. These are memories from before she went up in the world, and that is the reason why they are seen in a nostalgic glow effect.
- A retro, vintage, filter effect has been added to the video in order to symbolise that this is the past, as the video progresses, this filter starts to disappear and we see the more realistic harshness of these people’s lives. The filtering adds a warmness to some of these images, possibly with it being a reflection on past memories for the lead character, and she is now proud of her upbringing and is looking back over it, as well as the modern troubles of now.
- The pink/purple hue colour grading has been added to symbolise tenderness. This shot contrasts the shots we see on the streets of Bethnal Green as the colouring is more raw and natural. Its harsh to look at but this harshness reflects the harsh lives these people are living.
- Angelic and religious references link to the ti=one of the the song, which is about being a good person, and asking God for help.
- Long shots of the artist, but shorter shots of the other characters, with flashes of shots of angelic and religious reminders to be good and that God is watching, as well as the reminders of the sacrifices Jesus made.
- Fast- motion shot of the clouds moving across the sky.
Mise-en-scene-
- Woman seen wearing a low cut red dress, which is suggestive of sexual activities. Van Zoonen’s theory links to this, as women are portrayed as sexual objects in the media, and this image is suggestive of this also.
- Emeli Sande looks almost angelic, therefore could be the person looking down on the bad things of the world.
- Emeli could possibly be the proof that change can happen, as she no longer lives like the working class people we see in the video,showing us that she has gone up in the world, and this can happen to anyone, almost like a source of inspiration.
- Shots of angels with wings could be symbolic of the youth being the saviours, or the ones chosen to help end poverty and all struggles.
- In the Bible, the book of Genesis claims that darkness was present before light, and Emeli is possibly someone that has been through the darkness and has come out on the other side better.
- In reference to Emeli’s outfit, during the Middle Ages, priests wore black clothes as a sign of humility and penance. To be a priest meant to reject all worldly pleasures and live according to the laws of religion. Possibly this is what we see her doing. We see her as a mentor.
- This shot is from inside a Church, clearly being a reference to God’s house, with people being able to communicate with him in the Christian place of worship.
- The symbolism of carrying a cross is to deal with your burdens and problems. In the Bible, Jesus carried a cross that has come to be symbolic of the world's problems. Therefore, when people carry their own crosses, they are dealing with their own burdens.
- The cross is symbolic of the passion and sacrifice Jesus made when he was crucified. We see constant reminders of Christ throughout the video, usually after we see a possibly sinful activity, such as couple acting in a sexual way. We see this man holding his arms up like a cross, possibly symbolising him feeling like a modern version of Jesus who is sacrificing himself to save everyone else.
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Class-
Working class and unemployed people from the urban locations in London based around Bethnal Green are showcased in this video. We see the basics of any working class/ unemployed family or person within this music video, with there being no luxury showcased, more the complete opposite. We see the youth wearing the stereotypical working class clothing of tracksuits or casual attire. We see nobody wearing smart dress such as suits, as we see the bare basics of the working class and unemployed.
Age- Within this video, we see a variety of people of all ages struggling with homelessness and poverty. This is reflective of the wider society where anyone can be homeless or live in poverty. we can see the youth being portrayed as almost Chavs within this video, with them seen dressed in tracksuits and cheap clothing. Hayward and Yar's theory would link to this portrayal of the youth being made to look like Chavs in the media.
47% (64) of people sleeping rough in Bethnal Green are between the ages of 36-45 years old. The second largest group of rough sleepers is the 26-35 age group with a percentage of 27% (37) of the total rough sleepers of Bethnal Green. 46-55 year olds take up 16% (22), 18-25 year olds take up 8% (11), and over 55s 2% (3).
Gender-
Males within this video are portrayed in a way contrary to popular media portrayal. We see the males looking weaker than the media traditionally portrays, and looking like characters that the audience should be sympathetic towards. We see the males looking weak, feeble and almost ill, and as an audience we feel sympathetic towards them. The females on the other other hand are portrayed in their stereotypical roles as parents, as well as sexual objects, with them being seen in short and revealing clothing, as well as engaging in possible sexual activities, as seen with the woman in the red kissing a man. We see the males looking weaker than the women in contrast to stereotypical media portrayals.84% (113) of rough sleepers in Bethnal Green are males from stats collected in April-June 2019, while females take up 16% (22).
Ethnicity-
Britain is represented fairly and accurately within this music video, with us seeing a multicultural representation of society. This is an accurate representation of Bethnal Green, which plays host to a variety of people of different races and from different cultures. This is reflective of modern British multiculturalism.33.6% of people rough sleeping are White-British, while White-Other sits at 22.6%, and White-Irish at 2.2%.
Black or Black British-African groups sit at 8% for homelessness in this area, Black or Black British -Caribbean sits at 3.6%, and Black or Black British-Other sits at 2.9%.
The second largest group to be sleeping rough in the area of Bethnal Green is the Asian or Asian British-Bangladeshi group, with a rate of 9.5% sleeping rough.
Mixed - White & Black Caribbean rates sit at 2.9%, while Mixed - White & Black African sits at 2.2%.
Disability-
The artist and character are all able bodied, however this does not however mean they are free of disabilities. We see several characters within this music video whom we could assume have some level of depression, anxiety or PTSD due to sleeping rough on the street, the stress of having no money, or the anxiety of the risk of crime that comes from living in this area. It is safe to assume therefore that levels of mental illness are high and present within this video. 33% of males and females that are economically inactive have common mental health problems.34% of unemployed females have common mental health problems, and 24% of unemployed males have the similar issue.14% of males and 17% of part-time employed workers have common mental health problems, and 11% of males and 19% of females have common mental health problems.
Those on housing benefit are more than twice as likely to have a common mental health problem than those not in receipt of it (35.1% vs 14.9%).
This highlights that those living in poverty in these areas are at high risk of having a mental health problem which in modern times equates to a disability.
Lyrics
Will you recognize meIn the flashing lights?
Flashing lights are associated with paparazzi cameras, which are pointed at the celebrities they’re taking pictures of. Not only will the flashing light drown out her appearance, but these situations will change her personality. Will you still think of her the same way when she’s famous and being mobbed by paparazzi?
I try to keep my heart clean
But I can't get it right
What we understand from these lyrics are that she is trying to be a good persona nd keep her sould clean, but like every person, she makes mistakes that she believes make her a bad person. She believes that all her sins are almost printed on her heart and this is something she doesn't want to accept.
Will you recognise me
When I'm lying on my back?
This lyric could be an intertextual social link to the high crime rates within the area that the artist grew up, which was Bethnal Green. This lyric could be refering to the violent crime rates which may be the cause of why she is 'lying on her back', as she may fear, like many others, that she may never make it out of Bethnal Green alive. In Bethnal Green, violent crime is the highest form of crime rate within that area specifically, with it being double the rate of the second highest offence. Possibly she fears that her unclean heart will be the cause of her death. It could be a message to hewr family that all the wrong she has done may be the cause of the death, and this may have changed her so much that she no longer looks like the person she was before.
Something's gone inside me
And I can't get it back
This could be symbollic of her soul being tainted or her losing her soul altogether. Possibly what she means is that she feels like she has sold her soul to the devil, and that is what she can't get back. She's lost her innocence, her soul, her voice, and also her spirit. This is almost like a bible fable, where she is telling us we must try to be good, because she went down the wrong path and look what happened to her.
Oh heaven, oh heaven
I wake with good intentions
But the day, it always lasts too long
Then I'm gone
Oh heaven, oh heaven
I wake with good intentions
But the day, it always lasts too long
At this point in the narrative, she is trying ot gain her seat in Heaven. She is almost bargaining with God, asking him to forgive her for the mistakes she has made. Jesus died for our sins, and she wants forgiveness. She says that she has tried and tried again to be a good person but it always goes wrong. She wakes with the intention of being a good person, and never succeeds. 'Then im gone' is therefore sybollic of death, and is a message to everyone that we all want to be good, but ultimatewly make mistakes, but this does not make you a bad person. In the end, we all go to the same place and we are all forgiven for the sins we have committed. It is about being at peace with ourselves. As long as you intend to be a good person then you are safe with God.
Will you recognise me
When I'm stealing from a car?
This, again, is an intertextual link to the crimes that are committed within Bethnal Green, and theft is one of the offences with a high crime rate. We assume that she means that when people turn to crime and change to this degree, they no longer even look like a shadow of who they used to be, you are no longer recognisable to your family or your friends.
You're not gonna like me
I'm nothing like before
This again, reiterates the idea that the person she has become is nothing like the person she was before. She has changed and her friends and family can no longer see them for who they used to be. She knows that she cannot change, she has tried and tried again but is now stuck in an endless cycle of crime.
Will you recognise me
When I lose another friend?
Will you learn to leave me?
Oh, give me one more try again
This line is repreating the changes she has gone through. The repetition of lines makes the whole story of this person seem very desperate. It is like she is not ust baragining with God, but is also bargaining with us. She wants to warn others about the life she had and how she wished it turned out differently. She is asking for forgiveness and a chance to start over again. The life she livesin is full of violence and crime, and this has caused her to lose friends. it ishowcases the tough lives of the working class in urban areas.
You say that you will wait
The consequences of temptation are represented by succession of sad faces, black and white, male and female, reflecting the video's inclusive representation strategy in terms of gender, race and ethnicity, and class.
Street life is represented in a montage of people, places, and events shot in a traditionally working-class district of East London. This represents youth as the norm- nearly all the characters are young adults or children, with the odd exception, such as the two old men. However, there is no clearly dominant race or ethnicity, with a mix of black, white and mixed-race people and a main in a Arab head scarf.
Temptation is represented early in the video by a shot of a woman in a red dress - this ia a rare sexualised image of women in the video as, for example, Emeli is not represented in this manner. There are two further images of women who appear to be 'giving in to temptation' making the video ambiguous as tosexuality. This ambiguity suggests the representation of sexualities as fluid and not fixed.
Class is represented in terms of the 'ordinariness' of the location: this video is celebrating urban working-class life. Emeli is representedas belonging in this world, as suggested by her unglamourised costume, location and performance style. The video represents everyday as a struggle.
I try, but always break
'Cause the day always lasts too long
Her friend wishes to wait for judgement day to see what his fate is, whereas she wants to make her own fate. She wants to be a good person, and does not want to wait till the moment she dies to regret her life choices. This showcases the paradox of people that act without thinking of their actions vs, those who think about what they do and how it impacts other people. The moral is that no matter what you do, as long as you are trying to be a good person, Heaven will open up to you.
Viewpoints and ideologies
Celebrates the desire to be better, possibly a religious message.
Social realist media language depicts the sorrows caused by temptation but also
Representation
This video represents the negative consequences of giving into temptation and at the same time celebrates street life.The consequences of temptation are represented by succession of sad faces, black and white, male and female, reflecting the video's inclusive representation strategy in terms of gender, race and ethnicity, and class.
Street life is represented in a montage of people, places, and events shot in a traditionally working-class district of East London. This represents youth as the norm- nearly all the characters are young adults or children, with the odd exception, such as the two old men. However, there is no clearly dominant race or ethnicity, with a mix of black, white and mixed-race people and a main in a Arab head scarf.
Temptation is represented early in the video by a shot of a woman in a red dress - this ia a rare sexualised image of women in the video as, for example, Emeli is not represented in this manner. There are two further images of women who appear to be 'giving in to temptation' making the video ambiguous as tosexuality. This ambiguity suggests the representation of sexualities as fluid and not fixed.
Class is represented in terms of the 'ordinariness' of the location: this video is celebrating urban working-class life. Emeli is representedas belonging in this world, as suggested by her unglamourised costume, location and performance style. The video represents everyday as a struggle.
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