Linkin Park - The Catalyst

Linkin Park – The Catalyst

The Catalyst is one of the newer songs from Linkin Parks shift from alternative rock into slightly more techno-based alternative music – nonetheless, although it has this new techno sort of feel to it and a general lighter tone, The Catalyst is still an alternative rock song. It’s important to note say this music video to one from Meteora which was released in 2003 to that of A Thousands Suns which was released in 2010 – the music videos produced by the band where from the same genre but hugely different. It wasn’t until their third album Minutes To Midnight that contextually in their music videos, audiences were beginning to view a more independent and unique shift in style and some general conventions. Music videos from their albums Hybrid Theory and Meteora (barring Breaking The Habit) were strictly conventional and very easily identified with the alternative rock market – they weren’t identifiable with all the other alternative rock music videos and as their music started to shift slightly more pop-cultivated (beginning to mix different streams of sound) that their videos started to follow suit – Shadow of the Day from Minutes to Midnight is the first occurrence through the forth coming running albums, their biggest hits (Minutes to Midnight, Shadow of the Day, A Thousand Suns The Catalyst, Living Things Burn it Down) had taken the turn to showcasing rebellious turns, which is what alternative music in some sense stands for, occupation. Linkin Park obliviously have and are still establishing a trend within their music videos and by each year, are becoming further stylised and unique for what they produce in terms of cinetography rather than singles – unlike a lot of alternative rock music videos, for each of the singles (before albums) that I had identified, they’d made it on the MTV chart where they’d stayed for either several weeks or months. So not only are they appealing to their own, massive fan base and the alternative rock genre audience, but also trying to drag in some standard-mixed mainstream genres with the sense of open ability that they offer in their music videos, which is done by the removal of a few conventions – live audience, focus on band performance, the division between narrative and live performance – instead the music video runs as though it was a rebellious message and doesn’t offer that sense of narrative or exactly performance either, it does it without having to do it, though I’m analysing it due to the style of the video as I can’t think or have seen another music video with similar cinetography and focus on shot context.

(I wasn’t exactly going to look at The Catalyst either, but after deciding our music video was going to be a lot more stylised – as well as keeping the fundamental conventions – I thought it would be worth looking at some alternative rock music videos that personally and critically stand out.)

00:07

Whilst The Catalyst may not have a lot of conventions seen in the alternative rock music video area, it does generally look like one however, though the audience/viewer realises that its more stylised and unique in the sense in how it carries out its conventions as opposed to more mainline videos that I’ve analysed previously. Although it isn’t quite obvious, from the green tinted mist is Chester – the lead singer of Linkin Park – to an LP fan, this is obvious, though further throughout the music video, this also becomes further and further apparent to first time viewers than it is to fans as the shot ranges change. Though this is pretty intense, beginning with a mysterious mist for the mise-en-scene and diving straight in for that very extreme shot really, to the fans at least, offers up a powerful sense of iconography from Chester even before he starts singing – what’s more is that it allows the music video to pull its self-open further, gradually growing more diverse in what it shows the audience in terms of mise-en-scene, movement of shots and context. Establishing iconography is something that’s extremely powerful in this music video – it’s an extremely open tool for Linkin Park, when you’re watching one of their music videos, you know it’s always them because you don’t go a few shots without seeing them, so this is where the alternative conventions really stick their teeth in firmly, not only is Chester and Mike (the singers) but also the other band members and close up of instruments as the song becomes more diverse, all the whilst because of the shot variety that it offers you really don’t feel like you’re being bombarded by iconography either; it’s too busy giving you alternations of slow motion shots and quick edited snippet shots to extremely long sequences.

This extreme close up, surrendered, covered and encased in the mist really offers that mysterious sense, and a powerful intro to pre-lyrics, something of an awkward gap to fill as it has to establish the atmosphere and tone of the piece – which it does effectively. What’s pretty crucial about this shot also is the fact that it’s held for an immense period of time, around about 14 seconds, yet due to the single tone playing at the beginning; it can get away without being paced.

00:17 – 00:18

As a tempo slips in from snare tapping, the shots gradually pick up in pace as from 00:17 demo straights some close ups of a black, ambiguous car. The shots continue the previous mystery that was demonstrated through the fog in the previous shot, and continues that sense of atmosphere that’s needed for the intro whilst giving you a pre-view of one of the mise-en-scene environments. The classic frame of the car, its shape and darkness, emits this feeling of mystery as well as dark-mob time which later reflects the music video – it establishes the mise-en-scene effectively as well as demonstrating the new, faster pace in quick editing.

00:19

Mike – one of the signers of Linkin Park – with already established mise-en-scene around him, begins to sing, synced up to the song from the back view of a car. Whilst the atmosphere and mysteriousness is still continued on, the iconography here becomes intense from the mid-shot; although the costume of Mike is shrouded, the LP fan base becomes aware of who this is immediately and gradually, new audiences do also, though despite the top half of his face being shrouded, this mysterious atmosphere becomes further apparent and wrapped up in the iconography.

00:24

From a few short jump cuts, the shot returns but to a close up of Mike, further intense then that sense of iconography that’s instantly being established; this of course, is conventional for any alternative rock music video, as it gives the appeal of the band to the audience, fan of the genre or general fan. What’s more is the power of Mike’s costume – black – which further incenses that sense of power and control from him in the shot, as well as the conventional type of costume.

00:33

This close up shot of the bass continues that sense of iconography from the band, and more so demonstrates the power of synchronisation and the effect of such within the music video as the bass line are introduced into the music video. The emphasis on particular instruments (though following out of normal conventional order) is effective as it demonstrates the dynamic layers of the song, establishing each and every part of it fully.

00:39

The iconography in this piece is continued further, though in a slightly unusual and unconventional sense – usually conventional alternative music video shots are straight, faced extreme, close up or mid shots, and are held on the normal viewing frame from eye to eye. The shot is not only upside down, but canted as well, with Chester (the lead singer) coming out of water – it’s a very unusual shot, though is effective due to the style of the piece, the water itself continues that same sense of mysterious atmosphere as the mist did through mise-en-scene, and explores how surrounding elements can change or amplify iconography shots.

00:42

Whilst demonstrating quick editing through cut aways, the piece examples a lot of these ‘fill shots’ basic things of set, environment of mise-en-scene which are used to fill little spaces or create emphasis on particular parts of iconography or the atmosphere – the water here amplifies further the apparent use of water in the previous clip. Over all, this short little cut aways also gives more style and depth to the piece as it widens the abstract elements of the piece.

00:48

What’s interesting about the shots of Chester in the water is that I think personally they create a very powerful sense of iconography in relation to the rest of the piece – the angle, shot composition and varying distance each time constantly offers something new, all the whilst maintaining that sense of iconography as he is always predominant in the frame; the fact that these shots vary and the use of the water to continue the atmosphere forward really ignites the iconography further and keeps it constantly burning throughout unlike other music videos.

00:55

Once more, the water is used in the scene and the camera is canted, yet focusing more on a close up on a normal level to really strict that sense of iconography in relation to previous shots. What’s really interesting about this particular shot though (and obvious use of miming in production, as other music videos) is when Chester goes under the water, adding body movement as he sings which creates further depths to not only what is being established from him, but the overall style and quality of the music video.

00:58

Because Mike and Chester interchange in songs (Mike normally rapping/singing versus and Chester dominating choruses and song endings) there is always a different tone from the atmosphere from the other – the viewer will note immediately the different sense of iconography that are taking place from either singer, Chester’s is a more artistic and abstract approach, whilst Mike’s is far much head on and uses the surrounding mist and atmosphere from which it generates (as well as costume) to establish his roles in the music video. Conventionally, it does what an alternative rock music video needs to do as it has this constant sense of iconography, but because it has yet no true narrative to it, it explores the artists surroundings, the mise-en-scene and set and each individual instrument as its levelled into the song gradually, so it uses the conventions that it lacks to strength the conventions that it does. Thought what is quite interesting in the terms of shot length and editing technique is that a lot of these shots of the artists are held for a significant amount of time; in alternative rock music videos, it’s sort of rare that a shot is held for more than between 5-10 seconds, yet a lot of these extend these conventional times yet still manages to mimic the tempo of the song effectively – how this works (although unconventionally in this music video) is due to the actual pace of the song as well as the fact that it doesn’t exactly have a cut away narrative to drive it along. This means that it can relatively, happily focus on the artists as long as it adds quick editing and variation where needed, which it does; it’s almost as if Linkin Park are just performing throughout, but in reality are instigating a revolution.

01:07

Once more, another stylized shot to create cut aways for the areas that use faster paced editing to move the music video along, following the conventions of copying tempo and overall tone of the music video. Though this is quite effective for the lyrics ‘echoing away’ so whilst it feels like there is a fundamental lacking in narrative, in reality it works effectively to portray the abstract and revolution parts well with the lyrics, thus portraying what a narrative does in effect.

01:10

Once more the piece constantly reverts back to iconography and varied shot angles / composition types, yet what is most effective about this shit is the obvious extreme slow motion that has been used in editing. Slow motion is extremely effective in music videos for bridges, emphasis on particular people or mise-en-scene or filling slow tempo pieces of the song, and is thus extremely conventional in alternative music videos. Though it works to its extremes here as it really adds a lucid dreaming sort of effect due to the camera angle and the dissolve transition of other clips of Chester to the next phase – over all it enlightens some of the conventions in alternative rock music videos in a very odd but effective style of presenting a very lucid piece that generates extremes of iconography as well as compromise for narrative.

01:16

Whilst narrative doesn’t appear very strong in The Catalyst the sense of revolution and occupation does however – LP fans are aware that Linkin Park have always stood against ideals and feel the world should change for better, yet over recent years their approaches have become more direct, linking with the idea of riots and literal warfare at times; mostly the uprising of people. This is really one of the very few moments where it feels like the music videos has some sense of narrative – though you can sort of sense it going on in the background – and the mise-en-scene here is really put to effect with the atmosphere that the fog creates, the broken glass and the costume of the character. What’s more is the conventional movement of the camera as it zooms in to emphasis further on this little part of background narrative that continues throughout the music video, creating that sense of movement that is needed (though less in this song) to drive the video forward.

01:17

Here the music video begins to explore the depths of the song once more as it shows mid shots of both the drummer and lead guitarist (though only for a split second) playing their instruments – whilst it adds depth to the piece it also creates iconography and at the same time, plays with the mise-en-scene and atmosphere to really enlighten on the idea of some sort of revolution that’s going on. Conventionally, these shots hold a lot of true alternative music video styles towards them: it creates iconography, mid shots and central composition creates that sense of dominance in the shot, playing their instruments introduces further depth, direction and brightness of light shining on them emphasis further upon them all the whilst the clips are significantly short (as compared to Chester or Mike) yet are conventionally done so to drive the video along and reflect the pace of the song at the current point; furthermore, as these shots pan, it further illustrates the movement and pace of the music video further.

01:23

This shot is immensely powerful as it has a whole bunch of conventions playing into one at the same moment. It’s brought in bridge to chorus (where the song picks up more pace and the techno takes more life, so therefore it again adds another layer of this depth), it lasts for literally a second before cutting away whilst it contrast against the extreme slow motion from the establishing shot of the background ‘revolution’ that goes on in the music video (effectively, it’s narrative, though I don’t feel its developed enough to call it that). So it has all of these great conventions that’s expected from an alternative rock music video, but what’s so great about it is the use of composition and lighting (mis-en-scene) in the frame; the whole body of people is the central focus as they run towards this dim glowing light, as though off to riot due to the visual adrenaline that’s captured in body language as well as facial expressions and because it’s in extreme slow motion (despite creating pace itself) emphasises on all of these key qualities to really add another depth to the context on screen; you feel like it’s a style that compromises itself by creating juxtaposition, where in reality only makes itself stronger.

01:24

This shot even further exemplifies the one previously as it lasts for a shorter period of time (though is sped up slightly more) to contrast that of the previous, smaller shot  - again it creates its composition, this time by gaining a close up shot of the individuals in what you feel is a riot.

01:25

This digital/dissolve (and slight colour and light alteration) transition is extremely effective as it synchs up with the heavy techno sounds that are going on in the background to cut away between the undergoing background ‘narrative’ to return to the band members to establish those senses of iconography. The cross-dissolve is often conventional within a music video, along with fade in fade out, and whilst it’s unseen, it isn’t exactly unconventional as transitions are used; in its rights it’s just unique.

01:31 – 01:32

I feel like there’s a comparison of iconography between Mike and Chester, more so by body composition as Mike faces to the left and Chester to the right (note: when watching this carefully, Mike, 01:31, looks a lot out of sync, which may be due to the shortness of the clip before transition). Once more, the transition is used, to effectively keep the conventions of iconography through mid-shots to tight grips.

01:33

The immense power of this shot is great (whilst facing a different direction from the light, as though retreating) the shot is held for a little while in slow motion before abruptly released quickly – it gives off the atmosphere of the adrenaline build up and serge of rebellion that you gain from the rush of people. What’s more is the use of light and colour alteration once more, coming from the transition it holds the same alteration which makes it look more stylized and unique, which isn’t unconventional though very unseen and is the sort of thing that I’m looking and expecting from this piece – though one could argue that the unconventional flaw of this piece is its lacking in some sort of narrative, even the ideal of this background ‘narrative’ of revolution is shown in brief instances and in almost abstract composition that the viewer really gets a look at it until later on. Though this could be argued that it is once again the build-up to the revolution and atmosphere that the piece is generating.

01:34

Although there are a lot of abstract images of the (what you’re lead to believe) the revolution, the piece constantly refers back to one of the band members to maintain the status of iconography, though more importantly, maintain the depths that have been created, such as here, the band members playing their instruments. The synchronisation isn’t exactly live performance, though it works just as effectively. What’s more conventional is the fact that the shot is short before cutting back to the ‘revolution’, maintaining that sense of pace that’s building up alongside with the composition on screen, pace of the song and visual adrenaline that the viewer picks up.

01:35

Immediately after the drummer shot, the piece returns back to the ‘revolution’ shots (once again flipped back into the original direction) in full use of slow motion to build and tense the adrenaline that is given within the build-up of the chorus. At this point is also allows the viewer to reflect the lyrics up to this point, such as ‘never back down no’ which has those instigations of revolution.

01:37

In the mists of the riots, Chester appears (with Mike and the bases in the background as well) to continue the establishment of iconography, though on a more direct level in relation to what is being shown on screen to the viewer, engaging more with the idea of revolution than previously before. What’s particularly effective about Chester is his ability to communicate with body language, the more communication there is with the lead singer and the audience, the more involvement they feel with the video, the context of the song and what they see in relation to video, Chester with open arms and very open body language, literally invites his viewers in which is an extremely conventional method of alternative rock artists.

01:43

This bit of iconography is really effective, the close up on Chester’s body language as he goes ‘no’ with his hands up in the air for that second really emphasis his performance with the lyrics.

01:45

The mise-en-scene is effectively used here, the mist maintains the same sense of eerie mystery that’s going on, and as the piece has progressed, has given it a more tense build up, though the gas mask mise-en-scene here (along with other brief shots of destructed buildings) gives this apocalyptic approach and once again offers this idea of warfare.

01:49

The constant jump back to Linkin Park does indeed carry the conventions of keeping iconography, as well as offering some sense of live performance (even though that isn’t as apparent as other music videos, it does exist in the video) though what is extremely conventionally effective of this mid shot, primarily focusing on Chester, is the left dolly movement and up it takes as he again expresses some level of body language – relating to the viewer and audience further once more.

01:56

Again going to one of these small little snippets of ‘narrative’ the mise-en-scene is effectively used to demonstrate the context of warfare and revolution that seems apparent in The Catalyst; the extreme close up of one of the masks in the foreground shows the void, nullness, lifelessness in comparison to that of the revolution parts in comparison (more so, another figure in the background draws this emphasis out as it implies numbers versing numbers).

01:58

Whilst the viewer feels there’s a slight lacking in narrative, there is no means the lacking of some of the conventions between video and lyrics – the ‘live performance’ or iconography shots, here a mid-shot of mike, link very well with the lyrics, Chester conventionally engages with body language and mise-en-scene, the ‘no’ is again implemented in body language in the same way from Mike. As it’s drawn out further, he creates a more powerful phase of body language, as though painful, to implement on screen visually with what the viewer here’s, rather than just simple synchronisation.

02:00

What I found was pretty significant about this shot was the length of it (lasting around 5 seconds) and the powerful use of fog as it obscures Chester considerably. Whilst Linkin Park fans will be able to identify the lead singer, new audiences could struggle, though it’s obvious that he’s still there and with the synchronisation, is obvious that he is the lead singer. In some sense, the contrasts are somewhat ironic due to the fact that close up shots of the artists are there so that effectively they’re in the viewer’s face, they can see who they are and take in the detail of them and whilst this is that shot type, its massively obscured – it could be supposed that its sticking to style rather than main over usage of conventions all of the time.

02:12

Around this mid shot of the lead guitarist, there’s a whole dissolve transition through the mist, going over the band members – Chester in particular – as the piece begins to approach the solo part of the song (or effectively in this piece, the climax point). The fog obscures some of the iconography that’s going on, though in the same sense it brings style and a unique edge to the shot at the same time because it’s doing something that’s rarely seen, it risks obscuring the establishment of the band but instead makes it work better. What’s more at this point is that I’m beginning to realise the technicality and costs of this style that we see – the whole mist, with some special effects here and there, is really cost effective, it’s cheap though works amazingly well due to the fact that it creates atmosphere right off of its back without having to do much; as a whole, it works well with the style of the song also.

02:19

Whilst the slow motion is really conventionally in this piece (establishing some conventions effectively that it lacks in other areas) in some places its actually bad, I’ve noticed some of the lyric syncing is out because of it, but when its right, it works well – though one could argue that this is done purposely. Here though in this symbol shot (the two crashes to end the section) is done in slow motion though timed just right so that it actually looks like the drummer is hitting them at that instant moment. The conventions that are working here are good, and it just adds depth to the shot as well as the piece as it allows the viewer to gain more from the shot.

02:25

Once more the slow motion is used again, though at this point you can really see why the conventions of this effect can be extremely useful – you can see the power and the tension building, particularly in the build-break of techno tension in the song preclimax. As Mike jumps closer to the gas-mask figure that we believe to be some sort of ‘authority’ you can feel the gap tightening as the music becomes more high pitched, building that tension immensely through emphasis. However, we’re brought back to that feeling of a lack of narrative once more, though this two shot would suggest the ‘revolution’ at its peak – as though Linkin Park were leading some sort of rebellion, which is sort of what this song’s lyrics contain. The thing is the video has conventions that it dismisses at the same time – video context does relate to the lyrics, though it isn’t done in the conventional method of narrative though mise-en-scene is used instead.

02:29

This is another little nice conventional shot demonstrating the cross-dissolve transition that cuts from Chester to the wreckage, seems far more effective, dramatic and softer than that of just a cut away, more so because of its dolly shot nature, it really brings out the depth to the viewer.

02:31

These shot, over layered white flashes of different band members as the dolly shot zooms through the landscape of decay for the ‘revolution’ are really effective as they hit straight on specific sounds, synced perfectly to identify not only the diversity of the song itself, but offer the extents of the video – it constantly relates back to iconography. What’s good from these shots (and within the sequence after) is the quick little jump cuts or soft layered editing brings the video into that motion and pace of the climax and the current intensity of the song.

02:32

What’s really effective of this dolly shot is it sleek ability to move through the wreckage – obviously using some sort of stabiliser – it’s always got a point of central focus which eventually comes onto Mike in the mist, allowing it to return to that sense of iconography, that the band are the centre, the panicle of what’s happening in this music video. What’s really smooth about this shot also in editing is the soft glow effect that’s placed over the top to not make the fog as distinct as it was before and allows the darker areas (in this case Mike) to contrast further.

02:35

This little sequence of quick edited shots, jumping between each other and containing a lot of abstract motion between hem really emphasis on the drama, the tension that’s been stored up bursting out – all that adrenaline is seeping out from the earlier part of the music video and the viewer suddenly comes to realise the violence, the depth of movement that reflects the climax (effectively the solo of the song) before returning back to the chorus.

02:37

The movement is even continued through into iconography, back with Mike in the mysterious car, the shot begins to shake from side to side as he outstretches his hand and the previous power that was established through the mise-en-scene of black and the movement, reflecting the song once more, conventionally builds up the power or the sense of control that the band has within the music video. What’s more is again the conventional body language from the band as he reaches out to the audience; Mike establishes that sense of connection once more.

02:43 – 02:44

This slow motion shot is held for an extreme amount of time until the techno transition and light and recolour establishes itself once again – what’s conventionally interesting about it is the syncing to the drums as the very distinct, deep sound of the crash symbol gives the piece the ability to completely jump cut, though without some sort of distortment.

03:01

Again, there’s a lot of these slow motion shots, they’re extremely conventional to focus or draw emphasis on something within the shot – in this time, further establish iconography further from the drummer. What’s interesting about this shot is that it feels as though you’re looking him head on, but in reality you aren’t; it’s a side low angle mid shot taking from the foot pedals perspective which doesn’t leave any empty space as the drummer draws back to pound the cymbals.

03:03

From this shot I get the idea that they’re using turn tables to move the bases along with some canted camera angles to give the impression that he’s falling down, though it’s a neat slow motion shot and once again its conventionally doing what it’s supposed to be doing – its drawing emphasis from the instrument, its creating some sense of live performance that it doesn’t have.

03:19

During the bridge there are a lot of long fill shots, exampling slow motion to reflect the dramatic slowdown in tempo to reflect the break in the song – it’s been tackled well as at this point the bridge (filled with piano) would need cut or jump shots, though it reduces the amount needed by the conventional effect.

03:23

The first unconventional thing I realised about this shot was the fact that it ran for 7 seconds – that’s pretty unconventional, even if it is part of the ‘live performance’ section, shots can usually and gradually change during slow parts of the song; though at the same time, the shot length and the tripod effect (basically staying still) reflects the gentle pace of the song at hand. What’s more is the extreme close up shot of the side of Mike’s face again diverts that sense of iconography, but still the viewer is aware of who it is, so it still works as effectively; furthermore it’s obvious that it’s a different shot angle from the ‘shadowy guy in the back of a car’ scene, meaning now that the fact that its adding diversity means that it signifies the change in the song at this point, dramatasicsing ‘let me go’ in prelude to the climax of the video.

03:36

This slow motion shot examples some of the raw style that I’m looking for from this music video, again from the water sequence the angles of the camera are put off, like a total uturn so effectively it works like a high angle shot, but as the guitar comes flying out of the water in slow motion – its colours bright in contrast to the dark depths – it really ties some sense of rebirth to the video, as though remerging, which is what the video does at this point, it rushes into the climax point.

03:49

I think for this shot you’ve got to have a keen eye, but if you notice in the back wind shield of the car there’s people running past in the mist, showing the climax – the people are starting their revolution. What’s more is because Mike’s in the centre of the shot, he appears powerful and in control and he’s still that mysterious guy, so whilst conventional iconography is going on throughout, that under lying plot is really digging in, as though Linkin Park are the ones that are going to start a revolution; which in reality, is what alternative music is all about if you consider it.

03:50 – 03:51

This sequence is immense, in one second the piece jumps 8 times, continuing three different shots as it repeats them all in a loop – what’s more immensely impressive as well as powerful about this is the fact that it syncs up to the drums leading back in on the toms, drawing out those distinct sounds in exact precision. You get the sense of fighting, changing, the fact that a lot is happening in one second draws the depths, it reflects what’s happening in the song as well as what would really happen in a revolution.

03:52 – 03:56

These high definition, extreme close up shots are so abstract that they’re amazing – they offer something, like the elements of change that’s going on for the rebellion, the focus on the dust more so acting as a supplement for weapons in warfare.

03:58

Still the iconography is running through with the first two shot of Mike and Chester together, out in the mists of the breaking warfare as powder is being thrown about everywhere, a term instead of weapons – its effects in the fog still have the same effects, though due to the stronger colours the atmosphere and nature of the video instantly string up to a more intense level of revolution.

04:13

It’s particular moments like this when you can tell that a HD cameras been used, in slow motion as the strings are being plucked, you can see the vibration literally roll off of the guitar and through the water, sending off water through the powerful vibrations. Slow motion is again conventionally used to draw emphasis, which in this sequence, is to demonstrate some sense of live performance and the element of abstract that you gain from this piece.

04:18

Again, these instances of slow motion are used to conventionally demonstrate the emphasis on the iconography going on here, but at the same time the powder that’s being thrown about, and the tone of violence and rebellion that you gain here strongly demonstrates what the band is attempting to stand for in both cinetography and sound.

04:35

This fade out shot is powerful, it’s peaceful as compared to the last few minutes of the piece and continues those same artistic styles of the water sequences earlier before with the angle of the camera. Whilst Chester sinks, because of the angle type it acts like a low angle shot, so it gives off a double meaning of losing yet being powerful at the same time – I guess it’s a decision up to the audience at the end of the video, as much of this video, for them to determine the underlying plot and the abstract sequences shown.

Overall, there are some strong things about the conventions that shown, the iconography is strong though the piece doesn’t really have a narrative nor a fully brought about live performance like most alternative rock pieces we’re used to seeing – you can sort of see some artistic integrity in it in reality because there’s no branding other than the band and with reasoning, they’re just standing for what they want to do, revolution, and with the shot types and the simplicity of mise-en-scene that’s going on, you get a powerful feeling from this piece, you get something that’s unusual and rather unconventional, but works effectively.