Textual Analysis : The Script - Breakeven

This video clearly displays a number of the forms and conventions identified in Andrew Goodwin’s ‘Dancing in the Distraction Factory’ 1992. For example, it demonstrates genre characteristics of stage performances by a band with narrative aspects included. Furthermore, there is a relationship between the lyrics and visuals, as the lead singer Danny o'Donoghue sings about missing his girlfriend whilst the audience is shown cuts of them together in illustrative flashback sequences. The text is primarily performance-based with elements of narrative through flashbacks. There are also a number of close ups of Danny o'Donoghue which, as Goodwin states, the record label demands. Goodwin’s notion of looking can also be found in the flashbacks in which extreme close ups of a males and females bodies together give a feel of intimacy and are almost voyeuristic in that the audience feels as if they shouldn’t be viewing such personal moments.

The variation between past and present is clearly identified through the use of colour as the flashbacks are shown in colour, slightly brighter than the real-time shots with some over cranking and a slight blur to give the audience the impression that they are looking back in time from o’Donoghue’s memory. Furthermore, a black and white shot of the lead singer sitting alone in a room looking at a colour video of his love clearly divides the two aspects of the video to avoid any confusion. The connotations of this use of colour are that he was much happier when he was with his girlfriend (constructed through bright, colourful shots) whereas now he is sad and lonely (constructed through the black and white, gloomy shots). Visual techniques assist this, for example, the room is lit by a flickering light giving the impression of a flame as if the artist is telling a story or reminiscing. The 'rule of thirds' is also cleverly used in the black and white flashbacks, as this makes the shot feel like a photograph, reinforcing that it is as if the audience is looking back in time from the singers memory. As you can see below, this technique is effective regardless of the shot size....

The performance and narrative aspects of the video both present the star very differently. In the colour flashbacks of the loving relationship, he is presented as a ‘normal’ person with real feelings as he is just a man in love who misses his girlfriend, providing audiences with para-social intimacy. The stage performance, however, shows the singer with his band in front of crowds presenting him as a star, much less familiar. This adds to his ‘meta-narrative’ by making him appealing to audiences through showing this down to earth side.

The video is essentially a commercial product, simply acting as a marketing tool for the band. It doesn’t present any challenging ideas or disjuncture and therefore simply advertises the group in an illustrative style. It doesn’t demand a focused viewing, allowing for ambient viewings through the cuts between the performance and the narrative. This means that audiences can freely flick through music channels and choose whether they wish to watch the video in its entirety or not based on whether they like the track, as opposed to the video. Audiences would be likely to come across this video on any mainstream channel such as ‘4music’ ‘MTV Hits’ or ‘The Hits’ as the band has received a large amount of publicity, airplay and interest with BBC Radio 1 heavily backing the band. The mise-en-scene of the video also allows for appeal to a broad audience. For example, the costume of the band is simple, with plain yet fashionable clothes capturing the zeitgeist such as fitted jackets and skinny jeans. Furthermore, the locations are not extravegant; a bedroom, street, seafront and small stage, constructing the band as simplistic and non-materialistic in hope that audiences will appreciate the track and the band as opposed to focusing their attention on the video.

The ideological discourse of this video is that it is ok for a man to show his emotions by expressing his miss for the one that he loves. The singer is shown frustrated by the absence of his love and walking along the seafront singing this as if he cannot hold this in anymore. The lyrics “I’m falling to pieces” and “what am I supposed to do” reinforce this confusion and sadness, and that it is acceptable to express this. This side of emotion reinforces the 'new man' ideology found in contemporary society and although this challenges previous representations of masculinity within media texts, ultimately it is reinforcing a hetro-normative discourse.