The 1975 - Settle DownIn this analysis ofThe 1975’s music video for their track ‘Settle Down’ I will be focusing on the

theory of genre.Band Information:

Reviews of the Track and Music Video:“The happy guitar hook and trademark drum beat will have heads nodding immediately. The album’s ninth track

is a catchy fusion of 80s nostalgia and modern synth accents. The sensual ditty speaks of relationships; the unadvised and addictive.”

“Their honest electro-pop/rock music has a versatility similar to pop of the '80s. The song, "Settle Down," possesses a youthful vigour that is infectious.”

“Not shy of a sleek monochrome video The 1975 return with a new clip for Settle Down. The enigmatic video seems to hold a number of different messages. Through stylistic cinematography comes another wonderfully shot

film to add to their already vastly growing collection.”

Fitting into the genre of indie rock, the band was formed in Manchester; made up of Matthew Healy (vocals, guitar), Adam Hann (guitar), George Daniel (drums, backing vocals) and Ross MacDonald (bass). Formed in 2002 as teenage friends, they've been writing and performing for years now.

In 2013, the self-titled debut album reached number 1 in the charts, followed by the band touring globally. Recently, October 2015, the band announced their second studio album ‘I Like It When You Sleep for You Are So Beautiful Yet So Unaware of It’is due to be released in February 2016. Premiering their first single ‘Love Me’;“Prince-aping guitar work and unabashed 80s love”showing the band’s evolution since the 1st album; the new look and explaining ‘Love Me’ to be about narcissism.

Matt Healy - lead singer of the band explains the Music Video: “I used to have a reoccurring dream when I was younger. The narrative was loosely based, but the setting was always the surrounding areas of where my parents grew up. I think I was slightly obsessed with how certain, bleak areas of Northern England contained my history and the soul of my family, my psyche - I always felt connected and disconnected at the same time. Metaphorically and physically I would visit these places frequently as a youngster and in turn have used them as the setting to a lot of the stories in The 1975 - the North East was the visual setting to my formative years.

I suppose, like any narrative, the meaning and the connotations within the story are subjective. I've always been quite fascinated with the potency of same sex relationships, plutonic or otherwise. I was brought up in a very open minded environment, somewhere I felt that, whoever I was, I would be accepted. With this understanding I was also very aware of others, school friends, acquaintances - whom, due to where we lived, probably didn't have such a comfortable place to grow up, we were unaffected and affected by taboos and the small minded at the same time. I've dreamt the story of these two boys on countless occasions - every time drawing a different conclusion on its meaning. With 'Settle Down' I wanted to make a story about the extension of that dream, a video that explores love, a video that was as fantastical, consuming and limitless as the love we all chase and desire. Love as I have always imagined. So upon meeting Nadia, who directed the video, I told her about my dream. We sat for hours looking through pictures and talking - it was decided in those moments. We were just to film my dream. The process of making this video was so intensely exciting for me as I was finally working through and figuring out exactly what this place, this story and these characters meant to me. I think now that I understand it. But I'm totally open to suggestions / interpretations.”

Theory of Genre

There are often certain generic conventions which are commonly used in the genre of indie-rock music videos:

• Lighting styles which enhances the mood of the track. • Lyrics are portrayed and illustrated in the imagery of the production. • Presented as a low-budget, natural and simple location setting. • Cinematic effects and filters used, like the production of a short film. • Often edited in slow-motion. • Extreme close-up camera angles of artists and actors, reflect the emotion of the song in facial

expression.

Gunther Kress defines genre as “a kind of text that derives its form from the structure of a frequently repeated social occasion, with its characteristic participants and their purposes.”

Taking these points above into consideration, The 1975’s music video ‘Settle Down’ conforms to some of these aspects, but surprises the audience by challenging a few of them. The task of identifying generic convention aspects of the indie-rock hybrid genre therefore means the artists can choose to conform, subvert or challenge these factors. For example, the use of reflections is a common factor of indie-hybrid genre music video productions.Reflections in water and in the window reflect the audience being voyeurs and intruding on the young boys’ lives. Conforming to the repetition of the reflection image to portray the metaphorical meaning

of the young boy possibly not being true to himself. Having to edit his being to conform to the expectations of those around him. Showing he can’t identify or relate with his current community of people.

Theory of Genre - Audience“Genres are not systems; traditionally, genres tended to be regarded as fixed forms, but contemporary theory emphasises that both their forms and functions are dynamic.” (Steve Neale).

Explained that the viewing nature of the audience is pleased by “repetition and difference” with the audience expecting some characteristics, intertextually. But the use of differentiation and uniqueness from difference is also essential to challenge the audience’s expectations.

In continuation to the previous slide, where I presented some generic conventions for indie-rock music video, the ‘Settle Down’ music video conforms to and challenges some of these factors.

The audience may be surprised by the music video being much more concept-based and driven rather than performance, this may challenge the audience’s expectations because they may view music videos to be an advertisement and marketing strategy for the artist or band. The lack of self-indulgence with the band’s choice to barely include themselves may be different and unique to a lot of other indie-rock music videos.

Matthew Healy is the only band member to appear in the music video, this may be due to the concept of the music video being based on a recurring dream Matt Healy has, so it would only be relevant for him to be in the music video, there rest of the band not involved in this narrative story. The audience may be challenged by the lack of performance from the band in the music video, not connecting the track to their band, which may mean the artists see the production as a short film, rather than a marketing piece to promote their track. The artists viewing themselves to produce music which is art, not selling-out into the mainstream pop-culture.

Theory of Genre - AudienceThe production uses repetition from other texts, the use of cinematic effects with black and white filters is a convention often used. This allows a moody and dark tone being able to be created; the sharper image created by the contrast between black and white allows a more defined picture. The black and white filter enhances the lighting style, chiaroscuro lighting allowing a melancholy and reflective tone, reflecting the concept of it being Matthew’s dream. (in more detail slide 12).

Also, the repeated factor of lyrical illustration is used ironically in the music video. The title being ‘Settle Down’ acts as an imperative, the commanding statement connotes the idea of telling someone to calm down. This is portrayed in the imagery of the music video; with the young boy practicing martial arts, his mother looking over him, this may what the song title refers to. Additionally, it may mean that the society around these two young boys are silencing them, everyone collapsing as their hands meet, may illustrate the oppression that the two young boys face.

therefore relatable production, specific viewers from Northern England may be able to recognise the characteristic of the filming location, and identify with it more. (more detail in slide 11).

The location choice conforms to the genre conventions of indie-rock music videos commonly looking low-budget with simple settings. This may help to enhance the song, but also portray the rawness and naturalness of the lyrics of the track. The real location presents the audience with a more realistic and

Theory of Genre - Intertextuality“Genre is not simply ‘given’ by the culture: rather, it is in a constant process of negotiation and change.” (David Buckingham). The dynamic nature of a genre means in contemporary society, it is ever changing. Artists are having to revitalise and modernise their productions continuously in order to remain interesting to the audience.

My own production fits into indie-rock/folk hybrid genre category. My music video explores the concept of insecurity and growth, which link to this music video with how a young person identifies themselves, younger people often portrayed to be more self-conscious and insecure, especially when surrounded with people and a place they cant identify with. But this could even be the case for an older person, which is something I explore right at the end of my own music video.

The track ‘Magic’ by Coldplay links to ‘Settle Down’ but he indie-rock genre of music, but also because they have categorised their production as an art form, rather than a promotional piece for the song. The music video presented as a short film rather than something to market them. This may connote professionalism and the high quality nature of performers, attracting more viewers.

Interpreting this narrative to be about two young boys being in fact lovers, this narrative is very similar to that of Troye Sivan’s music video for his track ‘Wild.’ He created 3 music videos, all of them telling the story of two boys growing up together and falling in love, but having to deal with homophobic parents. Both Troye Sivan and The 1975 as artists using their productions to address an issue of inequality which still exists in modern societies, both raising awareness for this topic.

Also, in Ed Sheeran’s ‘A-Team’ the use of a black and white filter creates a harsh contrast between light anddark reflects the ups and downs of an individuals life. The featured female resorting to prostitution which led to her drug abuse. She’s very much isolated from society; possibly similar to the two young boys.

Theory of Genre - CharactersIdeology and Gender: “Mass media genres play a part in the construction of difference and identity, notably with regard to sexual difference and identity” (Neale). Some may interpret the two boys to identify as gay, or attracted to each-other, their meeting the start of their relationship which goes against the way they have been brought up. Those two being the only

The relationship between the two young boys and their parents seems tense, neither directly communicating with the adults. In this scene the father looks at his son through the mirror, this idea of him being a constant watcher of the younger’s life; giving him very little freedom or exposure to the wider world.

The video is somewhat different as it include no performance-based scenes from the band. The only appearance of a band member is Matt Healy; who wonders around the locations. A very passive character who has no direct link to the

In my interpretation of the music video, it presents a zeitgeist of modern culture. It may reflect the next generation being more open minded about issues of sexuality and identity. Alongside this, I think there’s the critique of culture; the parents attempting to prevent the two boys meeting, reflecting there is still inequality present in modern society which needs to be changed.

ones to accept their own identity and sexuality. Alternatively the two boys may be re-united brothers or twins, separated for some reason and meeting again.

concept narrative which unfolds. Other featured characters include the group of people acting in a spiritual worship looking activity, the audience may see the to be waiting for the boys to meet, they're expecting it.

Theory of Genre - NarrativeThe music video has a linear narrative; portraying the two stories of the two young male individuals, only interrupted by Matthew Healy, a band member walking around the same locations, and a group of spiritual worshippers. The 2 boys narratives run parallel to each-other, building to the point at which they meet in the street. When they do meet, the mother, father and worshipping group collapse to the floor. The audience being presented with the idea they have this power which goes against nature. This may be interpreted as love, platonic friendship or even the power that humans have between themselves.

“A small town Dictating all the people we get around

What a familiar face.”

“But you're losing your words We're speaking in bodies”

“For crying out loud, settle down! You know I can't be found with you”

Even Matthew Healy, the only band member featured in the production turns towards the harsh light created by the young boys. Maybe this reflects the end of the dream he’s having which the concept is based on.

It’s suggested that there is often a close connection between lyrics and the imagery. (Goodwin):

One of the young boys doing martial arts, expression through his body. Neither boy seem to communicate well with their parents.

Ironic; the two young boys end up rebelling from their parents to meet. First line possibly what parents have said.

The small town reflecting the simple locations used, the boys don't recognise each other as they drive past one another, intrigued by the other they've not seen before.

Theory of Genre - Camera Angles Extreme close-up camera angles of artists and actors, reflect the emotion of the song in facial expression. No character is ever smiling, the very melancholy atmosphere is created from this. Alongside the black and white filter this sets the bleak tone, the close camera angle makes the audience aware they are acting as voyeurs; watching these people’s lives. Potentially witnessing a life-changing moment in the young boys lives. Extreme close-ups are a camera angle

convention for indie-rock music videos, explicitly referencing the hybrid genre. Although, it is somewhat subverted in the production; the shots of characters, while usually they are of the musical performers, challenging this usual imagery of the artists.Through these close-ups and

extended screen-time of the two young boys, the audience are positioned alongside them, so side with them against their parents. The artists may have chosen this to make a political message, at one point being gay was even illegal, they show some people still have that mindset and reinforce inequality. This has an intertextual link to Gus Van Sant’s 2008 film ‘Milk’ which presents the struggle of Harvey Milk; an American gay activist and California’s 1st openly gay elected official.

Another camera angle used are wider shots, the audience intended to focus on the centre of the screen and the person or object which is centred being relevant. The camera shot connotes the audience not being involved in the relationship between the boys, but position with one of the young males can see how intrigued they are about one another.

Theory of Genre - EditingThe use of editing the production in slow motion is a generic convention of indie-rock music videos. The use of it in this production slowed the pace of events, adding to the slow and gradual meeting of the two boys. Slow motion added to the dramatic effect also, enhancing the movement of characters and allowing the audience to linger on characters as there are quite a few to identify from one another.

The editing begins rather slow, speeding up towards the end of the music video as it reaches its main turning point as the two boys meet, where it slows again. One specific technique used in the editing is cutting frames to match the next shot; allowing them to connect. This example, shows the young boy

Having two shots layered upon each-other creating a reflection-like effect is challenging the generic conventions of the genre, presenting a new and original idea. Portraying the mother to be constantly checking on her son, who is caught up in his own little world. Their bodies lining up reflect their family tie, but the low opacity of the figures may reflect how they are distanced from one another in their ideas and opinions.

The use of a hand-held recording scenes when the young boys are running towards each-other, with quick cuts and short scenes, is a contrast to the slow motion editing. The sudden frantic feel portrays the desperation and need for them to be together.

taking up half the screen, the other half empty. In the next shot, Healy fills the empty space. Connoting their closeness metaphorically; this being a reconstruction of Healy’s dream.

Theory of Genre - Locations

Some of the final shots in the music video include performers situated on these long streets, vanishing points created behind the person. The locations draws the viewers eyes straight to the featured individual. In the case of the two young boys; this establishes them meeting each-other from different side of the street, seeing one another for the first proper time.

The empty streets show the boys alone and isolated, this may reflect how they emotionally feel; not being able to relate to anyone else, apart from each-other, the relief of knowing that they're not alone.

One aspect of indie-rock here conventions that this production conforms to is the rather basic and simple locations chosen, these connote a low-budget, which may not necessarily have been a problem for this specific band. Nevertheless, I think the stripped back locations are essential to the portal of this narrative, the presentation of the boys coming from humble beginnings with their separate families isolated but living so nearby. Additionally, it may be interpreted that the choice of filming in North England reflects the band themselves; having to work hard to break into the industry and having no background to help them with that.

However, the basic landscapes used act to portray the young boys wandering around, finding no reliability in the areas surrounding them. Their homes are somewhere you can assume they have shelter; but even there they don't seem to fit in; having a sense of boredom and restlessness about their homes.

Theory of Genre - LightingBlack and white filter for the production means the lighting creates the chiaroscuro lighting contrast between black and white; which allows definite shadows to form.

The use of cinematic effects and filters allows this music video to be like the production of a short film. The sophisticated composition and lighting design for shots portrays professionally. Key lighting for the audience, but additionally, slight rim-lighting enhanced with non-ambient light from the window makes it seem natural, the honest and true story being told.

Some of the last scenes in the production are of the two boys meeting and the intense lighting created by their hands as they touch. This intense glow as their hands meet connotes the idea of them being a force of nature, this magical or spiritual extreme aspect is enhanced by the black and white filter. The strong white lighting illuminating the dark streets.

This shot shows the lens flare, the performer silhouetted by the ambient sunlight acting as back-lighting for the viewer.Also, on the left, shadows enhanced with non-ambient light creates this long shadow behind the performer, this may connote his haunting dark past which he wants to leave, the ‘small town’ referring to his home which he didn't feel any belonging or emotional connection towards.