30 Seconds to Mars - From Yesterday

30 Seconds To Mars – From Yesterday

30 Seconds to Mars are renowned for their extensively long, expanding and song-inter-breaking narrative, so it comes to no surprise when viewing the full From Yesterday music video, that the piece is over 7 minutes long. The piece obviously extends immensely to create a realistic and in-depth creation of the narrative throughout (being of a Chinese, traditional dynasty) to the extreme limits of beginning with opening establishing shots of the Chinese temple setting until eventually staging over unknown characters until 30 Seconds to Mars are later involved in both narrative and performance. The piece does several things to both performance and narrative – they appear as part of the same two, yet in production values are not the same. The piece expresses an in-depth following of the words and main chorus, reminding the audience of ‘from yesterday’, making clear sense of the (in effect) step backward in time to the Chinese rule – more so as the piece progressively changes from day to night (upon this note, mise-en-scene of the band becomes particularly critical as different representations of such lyrics are presented by the bands costume, changing between white and black). What is most effective of this piece is the segmented break up and how the soundtrack is intergraded into what could be described in an artistic sense, a short film – the piece displays different ‘chapters’ with chapters to illustrate the mid-song break up to introduce further depth to their narrative; this is seen at 03:30.

00:03

What’s particularly interesting about From Yesterday, is the option to present a few second title at the beginning of the video – which, has its own style of colour usage (later demonstrated in the piece) using red, black and yellow (also the current colours of the band, signifying iconography to some degree). The use of Chinese writing, with ‘FROM YESTERDAY’ underneath, presents an eerie, artistically unique turn upon a very unconventional appearance in a music video. Whilst the title presents this sense of seriousness and a degree of professionalism (again, instigating that sense of a short film), the title is very un-conventional, not only for rock or alternative rock music videos, but for the general convention of any music video genre.

00:19

It isn’t until around 3 minutes in that the audience get a glimpse of the actual soundtrack – they’re faced immediately by the presence of their interlinking narrative; it is here that the story is established through (most effectively) editing to create sub-titles. What can be noticed about these sub-titles is the fact that they are white (again, inter-linking with the effect colour scheme of the piece) and use the same font as the ‘FROM YESTERDAY’ title; however, titles aren’t used throughout the whole piece, as this section particularly demonstrates a few seconds after when the Emperor states what he requires for  his birthday, there are no titles at all – much like a short film or conventionally from a film, this is done so to create suspense to the narrative, leaving the audience to be curious, intrigued and overall fascinated by the jump cut to 30 Seconds to Mars. Mise-en-scene is also used effectively in this sequence to establish the historical or periodical effect of the narrative, linking to ‘from yesterday’; the two shot of the two establishes them as a character, there to serve the emperor.

00:53

This long three shot establishes further the rule, but more so, the power of the young emperor and the sense of out-dated rule now, as compared to current time (this is often unthinkable, unheard of or unacceptable in modern society) allows the dynamic sense of the characters to further step into roll of the sense of ‘from yesterday’. The mise-en-scene here (great throne, gold’s, rich reds) is used to effectively represent the power in this piece, to later create a stark contrast between him and the icon image of 30 Seconds to Mars: this effectively presents a sense of power struggle in the piece in some manner. It is at this point where the subtitles are removed, creating a sense of mystery as to what is being commanded.

(Consideration upon editing, shots is often held longer in these prelude music videos, are gentle and slower paced as compared to the normal conventions of fast, momentum constructions of rock/alternative rock music videos; transactions have been used effectively, mostly fade in fade out to create a slower and thus more gentle atmosphere in the piece pre music.)

00:58

Again, titles are used to introduce a different, scheduled scene. Consistency is maintained as there is a black background with stark white writing – remaining the same as the subtitles and the opening. Titles are slightly un-conventional and add a sense of professional as well as a serious atmosphere to the music video over all; more so, this matches the serious scene created by the narrative and mise-en-scene of the Chinese rule. Once more, these titles again give the sense of a short film, allowing the music video – in its sustainable length – to work effectively through segmentation and ‘dipped’ story telling / leading.

01:00

Stepping into the scene of 30 Seconds to Mars now, the audience is immediately (individually, shot by shot) to the band; firstly – after focusing on silence drum sticks on the wall – the camera cuts to focus on a reflection of Jared Leto (the lead singer). Conventionally, this is done to create iconography of the band, but also the ‘brand’ image of 30 Seconds to Mars (gradually, more so currently, Jared Leto has leaded the band into succession). What is particularly effective here is the sense of double appearance through the manipulation of depth of field to optically blur the actual Jared Leto and focus in on the clear reflection in the background; the intensity of such further creates iconography of the mid shot. It is here that conventional means of both alternative and mainstream music videos begin to take shape.

It is at this point where shots become a little bit shorter, though some are considerably still elongated to maintain the mysterious atmosphere within the narrative; furthermore, this presence later on eases in the soundtrack.

01:02

Now that iconography is beginning to be established, the clip cuts to a long shot of the lead guitarist – with instrument to clarify the band members role to audience as well as further establish the iconography – naturally, this will conventionally role in line with the members in matter of most famous or established for the band, singer first, guitarist, bassist and then drummer. What can be noted is the different in shot length as compared to the lead singer, conventionally this is used so that the singer is focused on close ups or mid shots to establish the full means of iconography, whereas the band – not as much shot upon – are further way in shot length.

01:04

This long shot of the bassist again establishes that sense of iconography within the piece – and, as conventionally found throughout music videos, is structurally working down through the bands ranking of icons. Noticeably in the background near the focal point of the shot are two mirrors, imaging two of the other band members; the use of mise-en-scene is strategic in this piece as the continuous theme of the Chinese rule is continued – the sofa has a black and red patterned cloth that the bassist is sat on and in the top left hand corner there is a framed picture that appears Chinese. This continually links the cut-away narrative to the whole body.

01:06

This shot, obviously being of the bands drummer, is a mid-shot – and much like Jared Leto’s shot, uses the mise-en-scene of the mirror to establish the image further by acquiring more space – unlike the guitarist and the bassist, the band member is being prodomantly focused upon; the mise-en-scene of the drum sticks particularly give emphasis to further en-role the sense of iconography that the shot tries to evoke by focusing on each band member individually with per 2-4 second shots.

01:09

After individual, intense establishment of iconography, the shot sequence basically ‘ties up’ the image of the band from this long establishing shot. Focusing in on the mise-en-scene of the room, it becomes apparent that the white is significant to represent the band’s colours, as well as juxtaposition against the Chinese Emperor. The establishment of the band and the intense focusing on each member follows rock/alternative rock conventions as well as general genre music videos very closely – it is more so interesting to note how almost immediately this happens from the cut-away in the narrative.

01:11

Whilst sub-titles aren’t quite un-conventional, these black Chinese sub-titles step out from those boundaries; videos of various genre’s often use editing to explain or ‘push’ the narrative further when there is foreign language, yet this example is extremely un-conventional. More so, the audience should note the continuation of the black from the band colour theme as it contrasts against the white of the band; this odd example drives the narrative even further as it interlinks with the story played at hand from the lyrics of the soundtrack. The woman in black who appears says ‘gentlemen, it’s time’.

(Additionally, from 01:00 – 01:48, the roar of people from a concert can be heard, obviously diegetic sound within the piece, combines with the atmosphere of suspense  with the actual acknowledgement of waiting; the non-diegetic sound of a distant humming makes this atmosphere more tense.)

01:14

This collection of shots are no more than a split second each, following in quick editing to create a flash sequence; the flash makes an intense application on the established atmosphere of the, making it appear quite violent as Jared Leto is witness to this.

01:26

This shot appears to the audience in a rather unconventional form; the band members in either narrative or performance are often betrayed in ‘rock’ item clothing’s or more so conventionally, black – instead, they are obviously the complete opposite for the effect of both iconography and stark contrast. Whilst the audience doesn’t necessarily pick up the full details of this effect, they do however recognise the contrast of such. More so, the room being white and the corridor, it further imposes the tense atmosphere that has been created pre-soundtrack through a non-diegetic hum.

01:53

These two shots are interesting, after the locked door and the plunge into darkness, the doors opening creates an entrance point into the music video – the likes of which the artist normally creates to further engage with the audience – but more so indulge further into the narrative and effectively pull it along. This is particularly important due to the fact that the video so far unconventionally holds shots for longer than needed and has a strategically slow motion f clips and length time to evoke the message of the lyrics. Cutting between the door opening (from not only the band’s but an audience perspective to further link the two) and the soldiers pushing it open, instigates the return to the Chinese Palace as well as further narrative drive.

It is at this point that the soundtrack beings to slowly fade in, growing in intensity and sound – the opening of the doors (or otherwise the entrance point) allows this to be introduced.

02:29

As the opening of the song begins, 30 Seconds to Mars enters, walking across the entrance in a line of black and red dressed solider (again the mise-en-scene is used to establish the theme of maintaining the bands iconography through the use of colour) the banners used to innotive their arrival are also significant. In this shot alone, just ahead of Jared Leto, can be seen the black, red and white flag of the band (once more, intensely presenting that bands iconography). Whilst a bands image can be shown in narrative or in performance (for instance, their band t-shirt worn by members of the live audience or actors within the narrative) this is somewhat unconventional to the extremes it goes to; though, the band are introduced into the narrative as ‘esteemed guests’ they play their own roll thoroughly.

What is particularly curtail of image focus here again is the focus upon Jared Leto, leading front and first viewed by the camera, his presence again labels the band vigorously, creating that sense of iconography to be well established as the soundtrack begins to sink in.

02:32

It isn’t until this point that the lyrics begin – immediately once so, a close up of Jared Leto, singing the song is used to not only cut away from and drive the narrative once more, but to also establish a further connection with the audience. This focus shot is very conventional for all types of music videos, therefore it fits well; more so as the shot pans from right to left, creating that (although slow) movement that alternative rock music videos need in both editing and camera work to establish the genre and the style of the soundtrack. In a sense, although this music video grinds along slowly, is the fact that it is styled to meet and fit the tempo of the song, which is considerably slow for alternative rock.

Whilst the video is hitting it off with some conventions of the genre, it’s still pulling strings to play with the atmosphere, iconography and the general feel the audience receives when viewing it (that being the thought of it being a short film). Again, much like Sum 41’s In Too Deep, the band is involved with the narrative as well as the live performance, which is unconventional in its means. What it does do different however (and even more so unconventional) is the performance and narrative are one of the same; whilst the shots show a clear significance between the two, once tied with the sequences, scene’s, soundtrack pauses, narrative and immense iconography, narrative and performance blur into one. Although this is extremely unconventional, it is however apparently extremely effective as the video works well as a whole.

02:36

This long establishing shot again shows the iconography of the band, showing not only their colours but current album art style at the time of the video.

02:39

Again, iconography is used to further establish the band, this long shot however is even more so effective as the very top is the album art in the central focus on the shot; to the left, although hard to see, is another album style. What is particularly effective here is the blend of mise-en-scene and set to not only encourage the narrative with the setting of a Chinese Palace, blurring in the background, but also the appeal to establish the band further.

In terms of editing notes, it is at this point (the pathway sequence) that shots become to become shorter and held for a slightly slower time; gradually, the shots gain motion by tracking, panning or dollying with the band or the set – on a very long shot there is even a zoom to create diversity in shots. Because the momentum of the song is suddenly driven up, the video mirrors through cuts and motion shots to conventionally allow the piece to flow overall.

02:43

What becomes conventionally significant at this point is the change of costume (mise-en-scene) for the band and that in cooperation with the look of the narrative and the effect image of the band. From this extreme long shot can be seen the four band members (Jared Leto and the drummer leading in front), they occupy the central focus of the image, so naturally the audience is drawn to them, slowly taking in the mise-en-scene of the image as a whole. Red flags at this point are extremely powerful in contrast, drawing the eye further into the focal point. What has become conventional is the change in the bands clothing from white to black, this is significant as black is normally the costume type for rock/alternative rock music videos; the change in costume also symbols the shift in narrative and the bands full engagement into the pre-soundtrack sequence.

02:46

As the style of shots begin to vary and held for a shorter period of time, the camera every 10 seconds or so refers back to Jared Leto (not yet returning to any of the other band members) and for the larger part of this sequence focuses souly on the lead singer through intense close ups. Whilst this is used to maintain the establishment of iconography, this shot in particular is effective to engage with the viewer on a powerful, personal level. The focal point of this close up is Jared Leto’s eyes as he looks into the camera, creating a sense (although false) of eye contact; this is used to engage through a sense of eye contact. These styles of shots are extremely conventional for not only alternative rock music videos, but all types of genre (effectively in perspective, it’s a diverse tool that can be used in all genres).

03:17

It isn’t until this point in the music video that focus shots or performance shots of any kind are presented of the other band members; the bassist is demonstrated here playing in time with the bass on a particular definitive strum. At this point, the camera is slowly panning from left to right, replicating the slow motion to mirror the song. The focus on the instrument itself is conventional as well as the next shot:

03:19

The shot, lasting no more than for a few seconds, jumps up to the bassist; the camera still slowly panning left to right (so much so, it is almost unrecognisable) draws these conventions out further.

03:21

Similarly to the last few seconds and the bassist, the same shot types and cut sequence is replicated for the guitarist, working hard to maintain the conventions of performance and focus on both instruments and musicians of 30 Seconds to Mars to brand iconography into the video. Again, the editing and shot motion is identical to the last.

03:23

The previous shots only lasting a few seconds, it isn’t long until the camera comes to focus once more on Jared Leto in another close up, although this one is border-lining extreme as the optical positioning in the shot is not unconventional, but strange as it focuses on the mic in hand.

03:30

After the climatic chorus, the shots growing more in motion and becoming shorter to compensate for the effect of the soundtrack’s speed, the piece structurally stops, introducing another leap into narrative: another title is used. To maintain both constancy and iconography, ‘THE GIFT’ uses the same template as the previous titles; background black, Chinese writing red, English white and a fade in fade out, however this time a bell tone sound is used to suddenly ‘drop’ the music video break up in.

(Break Sequence)

03:32 – 03:58

The immediate shot after the title is that of a long shot, demonstrating the Chinese Emperor as well as 30 Seconds to Mars; mise-en-scene is the powerful tool here to instigate the narrative and the overwhelming power that occupies a stark comparison to that of the iconography of the band (almost as though the two are intensely at battle – more so, later metaphorically applied in the sword sequence). The audience are automatically drawn to the central point of this shot, showing the immediate distance between the band and the throne.

Although, out of live performance, there is a large exchange of close ups or mid shots between the band members and the Chinese/guest audience in the piece as shown below:

Once more and considerably unconventionally, the use of Chinese subtitles is used once more.

04:20

It isn’t really until this part (apart from a few second clips at the beginning of the video) that the audience gains a more diverse up-heal into the mise-en-scene of the narrative; each band member are split up and taken through the grounds of the Palace, this extreme long shot for instance demonstrates the power of the lyrics and the ideal of ‘from yesterday’ being of the past – more so the distance between Jared Leto and the Chinese escort further illustrates the distance from past and present. Playing with the lyrics and with these types of shots to illustrate the narrative further, are conventional to the alternative rock music video.

04:40

Although fade in fade out is generally accepted in music videos, the normal means of editing is cut or jump cuts between shots, it is commonly unconventional for an alternative rock music video to example slow cross-shot transitions such as this. However, it works. Due to the established slow momentum of the soundtrack, it works justly as well as giving the narrative the ability to keep reeling along. In perspective, such editing affects such as this give the music video the sense of conventions from early classic rock videos. With this style of editing however, it allows the music video to use a great deal of slow-motion shots to illustrate or exemplify the narrative or iconography further, which is typically conventional.

04:45

This shot is the first long shot of the band performing as a whole for the live performance section. This shot in its entirety is conventional to the rock/alternative rock music video genre, though it is important to address mise-en-scene and narrative plots to combine the performance section with the actual narrative as they are ‘esteemed guests’ as though playing for the emperor’s birthday.

(What I found particularly interesting in this shot was the fake stage for the drum kit).

04:49

This close-up of Jared Leto (being prepared) was rather interesting for conventions and sense of iconography within the piece. Though close-ups normally focus on the face of the artist, it is supposed that sexual or deeper intentions are explored here, though it is conventional (the likes of female artists vary in focal shots from particular parts of the body) though it is conventional to any genre of music video. What is particularly interesting about this shot is the slow pan up whilst the clip is shortly running.

04:51

This shot in particular (still Jared Leto, yet another close up of his arm) introduces iconography further as he has tattooed the bands symbols onto his arm – this links vigorously with the colours in the narrative to establish strong links.

04:58

Again, when returning back to the live performance section of this video, Jared Leto is normally singing to example the live performance, more so in focus or mid shot; this focus shot tracks Jarred as he moves about, growing closer to the climax point of the soundtrack. This focus shot once more communicates that sense of established iconography, but also creates an intense atmosphere of climax.

05:00

The tracking shot of Jared Leto only lasts about 2 seconds before cutting over to the bassist in an intense mid-shot to exemplify the motion of live performance and formation of the band. Much as the previous shot of Jared Leto, these shots carry the conventions of focus, establishment and methods of live performance. In sight and reality of the live performance sections, what is missing is the very conventional appearance of a live audience.

05:10 – 05:12

These extreme close ups on the swords being grabbed and drawn are particularly powerful within the piece – more so as the climax of the soundtrack comes closer; these shots are shot and change in reverse shots to signify each band member. The editing at this point is particularly interesting as it is the second fastest sequence of editing, mimicking the growing climax in the music.

05:14

Although this shot examples the conventions of focus on the main artist of the band, out of focal blur in the background is the lead guitarist – this shot is complicated though interesting at the same time; whilst Jared Leto sings in time, though appearing in slow motion, the guitarist in the background is out of sync per strumming. Faults as these aren’t commonly picked up by the audience, more so as the optical blur removes the distinction, though it is noticeable and something worth considering during production after research.

05:21

This particular mid shot of the drummer is an interesting example of synchronisation in live performance, more so, it is conventional as it demonstrates the artist engaging with the audience on a personal level of music presentation.

05:23

Building towards the climax, the shots eventually become more intense through the use of mise-en-scene or editing, the narrative too becomes more tied with the narrative, ultimately aiding the conventions of lyrics and video representation sync up further. The colours of red and black are continued through the costume of the 30 Seconds to Mars warriors and the Chinese emperor’s, continues the sense of band focus throughout the narrative. Over all, the lighting in this long shot is particularly interesting also as it continues the serious, eerie atmosphere.

05:36

This small drumming sequence here examples the intense cut editing of short, mid shots and close up shots to intensely mimic the audio to video in a sense of cinematography. This piece works effectively to further impose the growing climax within the piece. Conventionally, it follows the lines of editing and motion (suddenly introducing a fast pace) to create a fast piece that drives the music video forward.

05:41 – 05:44

Close-ups are again used to create an intense short editing sequence to flash through 30 Seconds to Mars in costume as warriors; the use of black, white and red maintains the image of the band whilst in costume. This is used to create motion to the soon-coming fight sequence (this carriers forward the same conventions as the drumming sequence).

05:52 (06:25)

Similarly to the rest of the music video, these shots are in slow motion to draw attention further to the lyrics and the intense motion (or actor movement) within the piece and the slow dwindling of numbers as the band members slowly become the only left. As this is synced up with the lyrics, it is rather conventional for the shots to be edited in slow motion to further explore the cinematography  in the piece.

06:28

This extreme long shot demonstrates the ‘grand finally’ convention that is often explored in rock/alternative rock music videos – this is shown through the use of mise-en-scene, bright lights and front stage fireworks. This is at the point of the climax to create iconography of the band further and their role between live performance and narrative. It is important to note the shift in time as it is now night at this point, further explores the lyrics of ‘from yesterday’ as though the whole narrative had been set for the ‘from yesterday’ – in effect, the whole piece worked as a build up to this point.