Tuesday, 27 November 2012

Jason Mraz ft Colbie Caillat 'Lucky'

I have chosen to analyse 'Lucy' by Jason Mraz and Colbie Calliat. This is a song that i personally really like and that is one of the main reasons for me wanting to analyse it. I also think the thoughts that come to mind for the audience when listening to the song is expressed well though the video; with the setting and scenery.



This video is mainly performance from both artist but has an underlining narrative which the audience accumulates. The video consists of a mirrored performance from both Jason and Colbie but with two constrasting setting. The actions and expressions are almost mirrored to each 'character' of the video.



In these shots, that are followed after each other, are in the same tilted angle but just different settings.



In these shots, that i have taken from the video, Colbie is looking up in into the clear, free sky whereas Jason is looking as Colbie is, in a busy, narrow street.

The relationship between the lyrics and visuals weren't exactly matching but were complementary of each other and had a sense of contrast of the business of the males surroundings from the females surroundings being natural and free.



All of the shots were very smooth from the transition from each location/shot to the pace of the tracking and fading. Within the video there were a variety of camera shots that i particularly liked. These are shots such as tracking Colbie's foot prints on the sand with the waves of the sea following. I personally felt that shot within the whole video sums up the emotions and feeling that the audience get when listening to the song; very mellow and calming. 


There are very nice compisition in the video of where Jason is placed in the middle of shots with ancient architectural buildings surrounding him.



This video represents the style of the both artists music, as they have very similar genre of blue-eyed soul. The audience get a good sense of how each artist perform and what the rest of their songs would be like.






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