The opening shot of this music
video is of the artist/characters face, apparently happy and in a celebratory environment.
It seems clear from the start that she is at a wedding, due to mise en scene
aspects such as the props (confetti) and costume which she is wearing including
flowers in her hair. Here, the slow motion affect which has been applied to
this head and shoulders shot suggests irony, and that contrary to the name of
the song, there is something else bothering the character-providing the
audience with an enigma code (according to Straus’ ideas) as to why she isn’t joyful
at such an event.
The proceeding shot of the artist
(also the character) miming the lyrics of the song in front of a dark setting
introduces her as the main figure of the song, and reinforces the idea that contrary
to the title of the song, she is not ‘happy’ at all. She seems upset and
restless, expressing her emotions through the form of the song. The fact that
the majority of lyrics are mimed here establishes a sense of security for the
audience-when they see this setting they know that they will be greeted with
scenes of the artist singing. Following this we are introduced to shots of the
character ‘getting ready’-supposedly we have flashed back from the first scene
and the narrative begins. However, it is unusual that we are then greeted by
yet more scenes flashing further back in time-to the character getting along
particularly well with a male. Sharp editing cuts between such sections of the same
narrative creates a fast pace, sense of confusion-possibly reflecting how the
character feels about such events. This contrasts of the character being alive,
chatty and happy in these shots compared to those is the bedroom suggests that
she was ‘once happy’ and hints that she is longing for such a state of mind for
return. Lighting is particularly important in constructing this-the ‘sadder’
scenes are set in her dimly lit bedroom whilst the others are outside, in the
bright sunlight. This draws great attention to the binary opposites ‘light and
day’ and ‘sad and happy’, according to Straus’ ideas of binary opposition being
present in order to drive the narrative forward through a sense of conflict.
In the shots of the character being
caught in the rain, seasonal elements help to create a dull atmosphere, whilst
also suggesting how the character feels in the other section of the narrative.
Her negative expression adds to this. However, a noticeable change to her mood
can be seen when the male once again appears, acting as her ‘knight in shining
armour’ whilst she seems to be the ‘damsel in distress’ and needs to be saved.
Such ideas of these roles needing to be for filled in order to create a
narrative can be seen from Prop’s theory. A slight admiration for this male on
behalf of the audience therefore seem to come to light, as he seems to making
happy and ‘saving’ the character whom we have been introduced to and likely to have
formed some kind of relationship with. This is an attitude which will later be
challenged by events later in the narrative.
As the pace of editing slows down
slightly, we cut to images of the artist-but this time she is singing in the
setting of the narrative! Such boundaries between the artists and the character
begin to be destroyed. The audiences ‘bond’ with the woman whom is featured in
both aspects of the text therefore may become stronger, as the audience are
prompted to like her. It is also here that the audience may begin to be drawn
to the connections of the lyrics to the narrative and draw greater meaning from
this. In such scenes of the character/artist miming the words, her costume
helps to add to her character. She seems natural, innocent and perhaps ‘easily
damaged’-once again adding to her overall image and the audiences relationship
with her. The target audience of this video are likely to be of a similar age
to the character, if not younger. Therefore, they may use the text, and her
character as a sense of personal identify (according to Blumler & Katz Uses
and Gratifications theory) and as a means of comparing themselves to her,
perhaps leading to admiration of sympathy.
The cuts between the characters
getting ready in her bedroom then continue, whilst in the other section of the
narrative, she can be seen having fun with friends at night. The camera work
continues to be unsettled; reflecting the hectic and confused nature of the
situation, whilst several smiles on the behalf of the woman following
encounters with the male continue to build up the relationship between the
audience and the couple-he seems to be making her happy. It is here, however
that we realise that in her bedroom, she is wearing a wedding dress. This may
confuse the audience slightly and once again provide an enigma code-why is she
getting dressed for a wedding yet not happy and whose wedding is it? Once
again, her costume proves crucial in even raising such questions, and the white
traditional colours presents her in a positive light-suggesting innocence and
therefore evoking sympathy for the obviously dull situation of the character.
This is backed up by the representation of the character which can be seen,
particularly in the following shots of her socialising and eating food. Here, she
is presented as a sociable, friendly person, heightening the impact of her
hidden sadness. During these food scenes, themes of a different culture are
also explored. Rather romanticised, these are explored through props such as
the foods in which the characters are indulging as well is in settings, and
such ideas come to light on several occurrences throughout the video.
When the character then makes her
way to the wedding which we have been introduced too, the characters are forced
to take note of the fact that they are ‘back to where they started’ with
regards to the narrative by a repeat of the opening shot of the entire music
video (in slow motion of the character with confetti). Here, the audience are
provided with a moment to reflect upon the storyline, and think about what they
have come to learn since first being introduced to the character-yet it is very
likely that they are in fact no further forward with the enigma code initially
presented, something which is then satisfied in the climax of the video.
A pair of close-up shots are particularly
significant later in the video-of the character touching the males hand and
then two other hands exchanging rings (supposedly in the wedding ceremony). The
rings seem to symbolise unity and love. This may also provide the audience with
a moment to draw from their own cultural experiences, and connote the idea of a
wedding being a happy, fun event (although ironically this is contradicted) and
is a common feature of any narrative according to Barthes Cultural code.
A significant moment later in the
narrative coincides with the music, and adds to the dramatic representation of
the situation. The man who the audience have grew to understand as being the ’saviour’
is the one getting married, perhaps leading the audience to resent the man for
being the root cause of the main characters issues. Other shots of the parallel
narrative which we have been following show the situation from the perspective
of another female, as the audience realise that the wedding is that of the man
and the main characters friend. Here, themes of betrayal and confusion are
brought to light, and audience members are provided with an opportunity to
reflect on their own experiences where they have felt how the character seems
to and relate to her. Further hidden meanings within the lyrics may also become
apparent, as the audience realises the extent to which the song is applicable
to the characters situation-something which they may have expected as according
to Anthony Goodwin, a strong link between the lyrics and events of screen are
common of any music video.
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