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.
