Anna C alvi: DesireDirected by: Aoife McArdleJune 2011

The e stablishing shot tracks

slowly left across a barren

landscape. There are few

plants, and it appears to b e

quite warm. This

e m ptiness/dryness could

represent ne e d or wanting,

e sp ecially when consi d ering

the song's title. The

harmoniu m increases in

volu m e as the shot fades in. It

is an unusual soun d to h ear

right at the start of a song, the air b eing forced through the instru m ent like

laboured breathing, but acco m panies the opening visuals well.

N ext we cut to a BC U of a candle flame. The

iconography of the candle can be read as either

romantic or religious. It is unclear at this stage

which d irection the song and video will go. The

wobble of the ca m era suggests a hand-held shot,

utilising the P OV to m ove the viewer through the

location. A shadow flickers across a wall,

suggesting another presence, as yet unknown to

the viewer. The darkness also has connotations

which e m erge later on; id eas about the d evil,

temptation and

possibly 'hid d en si d e s' to characters.

S o far the m ise en sc ne is reminiscent of aè

stately ho m e, which s e e m s to have little to d o

with the genre conventions (although the

m u sic's genre is hard to pin point). The

co m bination of candle light, ornate wall paper,

table lamps and classical statues gives the

video a cultured feel. The soft lighting, m o stly back and fill lighting, m irrors the

gentle background drone of the harmoniu m and brings a gentle warmth to the

video.

The ca m era, still as a P OV shot, brings the

viewer right up b ehin d the artist (Calvi),

who

appears

not to

notice the

'presence'

b ehin d h er.

The direct gaze adds a s ens e of voyeuris m (Goodwin '93) to the video, as the

m u sic picks up and the focus is revealed. The ca m era tilts up, revealing the

artist standing in front of a d oor. The significance of the d oor could link to the

id ea of entrap m ent (since it is close d) but also ne e d and want – so m ething

unobtainable b ehin d the d oor. Calvi's costu m e links to the song title, the red

clothing having connotations of d e sire, romance and possibly danger.

As sh e starts to sing, the e diting cuts to an E C U, which is abrupt after the

longer m i d shots leading up to it. It has i m pact. The framing instantly picks out

h er rouge d lips, continuing to objectify h er, and the notion of looking b eco m e s

intensifie d. The lips are conventionally associated with s ensuality and fe mininity,

particularly h eightene d by the choice of colour. It is an intimate m o m e nt in the

video as sh e begins to reveal h er 'story'. It is also the first time we h ear h er

voice.

Following the opening line, there is a quick cut

to a low silhouetted shot of h er feet. The boot

are fe minine but also convey a s ens e of power

or do m inance. The co m plim ent the id ea of

danger conjured by the us e of red, as well as

the flames that we saw earlier. The fan in the

background could i m ply that the temp erature is

high, which continues from the id ea of a barren

landscape in the e stablishing shot and also the

s e d uctive nature of how Calvi is frame d.

As sh e sings the line, 'but it's just the devil in me ', the ca m era cuts to a close up that reveals

m ore of Calvi's face. H eavily ma d e-up eyes

add s to the objectification id ea; the look is

suggestive and s e d uctive. The lyric itself

suggests a dark si d e, so m ething hi d d en, that is

about to b e revealed. The word 'devil' s e e m s

to amplify other religious i magery in the video,

such as the snake, cherubs, a crucifix and the

candles. It is also a line that is repeated throughout the song.