Music Video Analysis Josh Robinson

Nick Lacey’s repertoire of elements can be applied to the music video of Olly Murs – Dear Darlin

because of the use of characters, narrative events, iconography, setting and technical and audio

codes.

In this music video the characters are conventional of a music video following the pop genre, with

the story focusing around the lead singer (Olly Murs) and the love interest. Both of the main

characters that appear in the video have been represented in similar positive ways, Laura Mulvey’s

theory of the Male gaze, an idea of how women have been fetishized, this has not been applied to

this video unlike videos of other genres. During short flashbacks that appear in the background of

certain scenes, the characters can be seen in bright clothing such as blue, symbolising happiness,

however, in the present day both of the characters are wearing grey clothing which creates a sense

of depression. In terms of Propp’s character roles, Olly Murs can be seen as the hero trying to fix his

relationship with the princess, his ex-girlfriend, none of the other character types appear in this

video as the story focuses on the man and the woman.

The use of narrative within Lacey’s repertoire of elements is applied very stereotypically to this

music video, as it follows a very linear narrative that is easy for the spectator to follow. This music

video is a narrative/performance video thatfocuses on a love story between a man and women who

Olly Murs – Dear Darlin’

Target Audience – Male/Female

13-25 years

Genre - Pop

Music Video Analysis Josh Robinson

have broken up, however unlike most music videos; this one doesn’t follow the traditional structure

of Todorovs narrative theory as it doesn’t finish with a state of equilibrium; according to Todorovs

narrative structure it endsat the point where the main character recognises the problem and tries to

solve it,with the couple trying to get back together.This music video doesn’t follow Todorovs

narrative structure, with a state of equilibrium, followed by a disruption of the equilibrium, the

characters recognition of the disruption, the attempt to solve it and finally restoration of the

equilibrium, equilibrium appears at no point within this music video, making it an unconventional

structure, it starts with a disruption to the equilibrium instead. This is unusual as because of Lacey’s

repertoire of elements the audience usually

expect a resolution to breakups that appear

in pop music videos. The video also makes

use of Barthes Hermeneutic code, as the

audience know that the two characters

have broken up but they don’t know the

reason why, the video applies various hints

throughout the narrative that gives the

audience an idea. During the first sequence

of the music video a shot takes place that

shows both a time when the two characters were happy, showing Todorovs stage of equilibrium out

of sequence, this is shown at the same time in the present when they have left each other this is an

example of a fragmented narrative, this creates a sense of Levi Strauss’ opposites as a contrast is

created between being together and being apart, this appeals to the target audience of the video

which is 13-25 year olds. This however follows the pop genre for music videos as according the

Neale’s mental machinery the love gone wrong type of storyline has been accepted well by the

subject target audience and as a result of this the industry have made use of these facts and applied

them to the majority of music videos of that genre.

In terms of iconography the props that appear in the music video are very conventional of the genre,

the guitar has been used at certain parts as it is iconic to the pop genre, and the cardboard boxes

suggest that they are moving in together which the audience relate this to committed relationships

once again following the genre. The final

prop used is the scrunched paper, and from

the shots used it is clear that there are

going to be lot of them on the floor near

the characters feet, this creates audience

familiarity as the audience associate this

with trying to resolve a fallout of some kind.

Both of the characters can be seen doing

this which creates dramatic irony for the

spectators as they know that both of them

are trying to resolve the breakup, but neither of characters know. The colour is drained throughout

the video creating pathetic fallacy, and the clothing is very contemporary which is conventional with

a modern pop song.

The setting of the video is stereotypical of the love storyline that the video has, the characters can

be seen wandering through the streets of an urban environment alone, and this follows Neale’s

Music Video Analysis Josh Robinson

theory of repetition. This area creates a sense of isolation and creates a feeling that the characters

are in deep thought about the breakup, not taking in to account anything around them. The main

singer also appears on the roof of a building which is very common in music videos based within the

city.

With the technical and audio codes, a lot of

close ups of the artist takes place to show his

emotions and feelings about the situations he

is in, this is conventional with videos of this

genre especially the ones associated with

love.Medium shots also appear to show both

of the characters loneliness, promoting the

fact that they have separated and making the

narrative easier to understand for the

spectator. The lighting matches the colour scheme as it is very dim and works well to help create

pathetic fallacy in the text, because equilibrium doesn’t take place in this music video the overall

colour scheme doesn’t change to a brighter more upbeat colour pallet.

To conclude this music video works well with Lacey’s repertoire of elements, it is stereotypical of

other music videos of the same genre, and the easy relatable storyline appeals to the target

audience of 13-25 year olds.