Jimmy Eat World - The Middle

Jimmy Eat World – The Middle

The Middle is a classic in-teen of example of alternative rock music videos; its lyrics and actual cinotography itself interlinks with experiences that youths face in the world through mise-en-scene (the emphasis on body, house party, drinking and music) as well as the actual lyrics themselves of not having to worry – this piece is a good example of how the band and the video works to reach out to their audience with direct iconography and grand metaphors for youth years. The piece shows some of the more traditional conventions of alternative rock music videos: iconography (focus primarily on the lead singer), youth-related settings (the party), slow motion, tracking, panning and dolly shots.

00:09

Leading up to this shot, the piece demonstrates a back dolly shot, which tracks the movement of the young woman as she leaves the car and dollying into the yard. At this stage, it is important to notice the immediate use of mise-en-scene, to quickly establish the sensations of this music video; the woman begins to strip from her coat which later relates to the lyrics in the music video as the fact that not everyone has to fit in (ironically this is twisted, as the expression that everyone is the same – demonstrated in the lack of clothing in this video – as the normal). The setting quickly becomes established also as the lighting on the trees would suggest an attraction or  a party theme, as well as keeping central focus of the shot on the woman.

00:15

This shot is the entrance point to the music video, upon entering the door the music begins too, easily exampling the transition and introduction to the soundtrack of the music video – as well as introducing the grand scheme of mise-en-scene to the audience as a somewhat steady surprise (again, this becomes a clear metaphor later on through the lyrics). The synchronisation here is also quite significant as it is more or less dead on.

00:17

Relatively quickly into the clip, the audience is immediately introduced to the lead singer of the band Jimmy Eat World in a mid-shot; the shots central focus is upon  the lead singer, whilst panning from right to left, enables that sense of iconography to be established within the piece. There are several conventional points to this shot: firstly, the panning creates the motion needed within the piece to maintain is motion or ‘pace’ to continue the edits and cuts between narrative and live performance as well as mirror the intensity of the song and the audience reaction. Secondly, there is a live audience in the background, dancing or ‘hoping’ to the music, this adds the extra depth associated with this type of music video and relates further to the audience as this would be the reaction to a live performance; more so, attracting to that age group further. What is particularly effective of this shot however, is the ‘display’ of body in the background, show casing the teenage desire as well as the grand metaphor in this piece that relates to the lyrics (again, this is the idea that everyone is the same no matter what, it sort of implies that saying for ‘everyone’s the same underneath’ but ironically reverses this to be normal whereas the clothed individuals are the outcasts; this is later demonstrated). What is slightly unconventional of this piece – yet is becoming more apparent through the videos I have studied – is the cooperation of the band between live performance and narrative. This is however, more divided up per usual and continues to maintain that sensation of division; the party is clearly in cooperated to benefit both areas of the video.

00:20

Whilst the sensation of iconography is established by the mid shot and focus upon the lead singer, the piece, cutting between narrative and live performance quickly, comes again to the lead singer whilst playing guitar, structured in the centre of the shot to establish that sensation further – more so as the guitar is synced up to the music and it creates that ‘brand’ image for an alternative rock artist. What is particularly effective in mise-en-scene here is the contrast between the black shirt and the white guitar, drawing the eye immediately to the instrument to combine the artist in that sensation of iconography. Once more, this shot is tracking from left to right (somewhat quickly as the audience jumps around) to create that sense of movement and engagement in the piece.

00:22

Further creating that sense of iconography before breaking off into the narrative, this extreme close up demonstrates the intensity that the lead singer engages upon; the lighting in particular to this piece is extremely efficient (although, this is used throughout the whole piece, the right orange/red and the left blue/green) as it warms the lead singer further to the audience. The camerawork in this shot is also something worth to note, although the focus is on the lead singer, there is no real sense of optical blur as the whole shot focuses on the lead singer, as well as the bassist in the background and the surrounding live audience.

00:25

In terms of narrative, this dolly shot is interesting as it repeats the opening shot of the woman walking in; this character is the protagonist to the narrative and is the ‘outcast’ who refuses to fit in, whilst awkwardly exploring the mise-en-scene and situation of the party. This is conventional to the alternative rock music video style as it shows the method of replication to impose a message or image, or more so, drive the video forward in terms of narrative. This in the same score (as it is outside the door) also allows this character to be introduced symbolically. 

00:27

This shot seemed interesting as it explores the depth of the live performance section, more so as it gets behind the live audience dancing, to pan (left to right) over the band as they play, drawing the focus to the rather contrasting artists (as they are fully dressed) in terms of the surrounding mise-en-scene. The lighting also becomes effective once more here also in the pan, as the warm colour invites the eye and the camerawork to naturally and effectively create the motion.

00:31

Leading up to this point, there are a succession of shots were the protagonist stumbles through corridors of the party, until coming to a living room (establishing shot) of a whole crowd of couples and individuals that are undressed; being fully clothed himself, he gains the judgemental look from the mass, which is then emphasis upon in this two shot. This shot is particularly effective to express the lyrics further in the music video, as the idea of the song is to forget about the worries of the teenage years and just accept what is and not to worry, however the case is (naturally, and more so importantly, truthfully) others will not allow this. This look emphasis to the audience the sense of relation to the music video in both video and music and demonstrates the capitations of these years; this in itself is conventional of the alternative rock music video style as it draws links between video and music.

Just as a side note, the same lighting is continued in continuity. 

00:35

Again, there is another extreme close up to focus on the lead singer once more (this time from a reverse angle as the last). Unlike the others, this one lacks movement, but still grows in diversity as the bassist is shown through the background of the shot, shows the conventions of gradually expanding the iconography to focus on various band members or a final establishing shot of all them during live performance.

00:49

This shot is particularly effective to demonstrate mise-en-scene further into the piece; the scribble and drawings on them (alongside with the plastic cups and bottles) sort of has that youth rule of ‘learning the hard way’ from the ritual of passing out at parties. This in the narrative, demonstrates the audience that the band are trying to outstretch too, and having some more conventional and somewhat stereotypical scenes to the piece, it does just so.

01:01

Within the native sequence, the camera predominantly follows the protagonist, emphasising the sharp contrast between him and the other, undressed youths at the party, mostly wondering around to find the supposed ‘awkward place’ to fit in to the extremity and intensity of the scenario; clearly a symbol of the outcasts, allowing the piece to relate to other youths that are interested in this style of music. What is particularly cleaver about these types of shots is that the movement allows the narrative and live performance to inter exchange regularly, as well as constantly drive the narrative forward to explore new areas that link to the lyrics (again, exploring that ironic idea of trying to fit in).

In the background, mise-en-scene is used to maintain the continuity of the party setting with the lights.

01:14

Conventionally, as alternative rock music videos expand away from the lead singer, diversely exploring the band, the piece eventually comes to an extreme close up of the guitarist, whilst exemplifying the drummer in the background, in a slightly canted shot (this is noticeable due to the drummer not being on level). This piece creates iconography, as well as exampling the sync and nature of live performance, really homing in on the critical and most relatable parts of the music video – the guitar in focus of course, for being one of the most recognisable and identifiable instruments.

01:34

This fast pan shot (left to right) illustrates the beginning character kissing a male, whilst panning over all of the drinking teens at the party, to the protagonist, outwardly looking in through the window. This piece, whilst conventionally maintaining the motion to the fast paced song, also demonstrates the intensity of the protagonists out casted atmosphere in the piece and the ironic symbols in coordination with the lyrics as explained earlier.

01:37

Whilst continuing to establish iconography within the music video by expanding the establishment of the band, this time the drummer, the clear focus on representing a compact angle between narrative and live performance becomes clear, more so as more and more shots are taken from ‘crowd length’ and have obscuring or focus points on particular parts of the body. This in particular will interest and if not intrigue (mostly) male audiences (which is a large percentage of target audience for this music genre) and offers this further relation; more so, it works as an angle within the establishment itself as iconography is conventional made, this relation further enhances that.

01:40

Whilst there are a variety of shots, expanding from different lengths, types or motion (such as dolly, track or pan) around the chorus however, the video introduces the conventional slow motion for a short two piece sequence that is divided between the high shot ‘jump’ and the live performance; the slow motion creates that break up between the intense shots of live performance during the chorus/solo as it also connotes the livelihood of the party; what is more so important here is the use of outdoor lighting to continue to replicate the green to yellow scale in the video.

01:56 – 01:58 Solo

During the solo camerawork continues the iconography through mid shots and extreme close ups of the band members, however this is primarily focused upon the guitar itself, as it is the most distinctive sound as well as the most relatable (e.g. most distinctive to the audience). 01:56 in particular is an effective mid shot which holds the guitar in focus frame, then the lead singer/guitarist to then show an abundance of live performance audiences from the cross narrative in the party; more so at this point, the dancing and ‘bounce’ is demonstrated as clearly as ever throughout the video and shows an immense ‘hype’ towards the solo.

The extreme close up of the guitar is in sync with the artist playing to the soundtrack demonstrating the power of the piece has he quickly strums up and down for a short second. What is particularly effective and noticeable about this sequence is the short jumps between different shots to example the pace of the solo and its intensity.

Going for an overall band view (establishing shot) from behind the drummer, the whole band are established for the first time from a back end point of view as they play in group circle, enticing the live audience around them.

02:27

As the protagonist of the music video discovers the intensive ‘pile up’ of all the clothes, it offers a symbolic message between the video and lyrics; as the ironic message suggested that all people are the same underneath, yet the out casted protagonist explored the party alone and fully clothed, he comes to stumble on the incentive and influence to ‘shed’ his personality as the others. The mass of clothes reflects the immense power of the song, whilst the mise-en-scene works at clever play as the painting on the wall relates to the out casted feeling that the lyrics and the video express together as the band try to offer a hopefulness as to not worry; yet this has not been resolved, and the as the tones of blue would connote in mise-en-scene, that there is plenty to worry about.

02:29

This sequence shows the results of the protagonist in the music video ‘sheding’ his personality in jump cuts to each frame within a couple of seconds; this in combination with 02:27 in terms of editing and camera work (as well as mise-en-scene and representation) the piece is very conventional in the terms of alternative music videos to express the lyrics in such a way and relate to the audience in a meaningful, yet subtle and effect manner.

02:38 – 02:51

It is not until this point with the long two shot that some resolution to the worry and isolation is presented in the video as the lyrics in the song would imply. This shot, as the two look at each other, examples the connection and the idea that they do not need to conform, as there is hope and others like you out there; what is noticeable about this shot however, is the reverse in lighting, as the orange/yellow tones are on the left side instead of the right, breaking in continuity to reflect the change and therefore atmosphere/mood in the piece.

As the resolution is hit, syncing finally the songs meaning in full to the video, the band finishes off with a long shot of the final second of music, exampling their role fully in the party as a band in full, and their attention from the live audience (at this point the lighting returns to normal).

As the music breaks (much like the beginning) the two are shown walking off together, wrapping up the whole video as a whole to present the message to the audience that everything will be ‘just fine’.