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Textual Analysis of Music Videos in the Indie Pop Genre:

Troye Sivan: WILD

In terms of shot types and camera movements, the narrative is shown to the audience
using a combination of home video styled scenes as well as conventional mid and longshots, seamlessly blended together. The beginning scene is a mid-shot in the home video
effect, the shot then zooms into Troyes face as he is portrayed as hopeful and looking
towards what the future may bring. The home video scenes enables the music video to
reflect Troyes laid-back and chilled personality while transporting the audience to what
the cameraman sees.

The two-shot of Troye and his friend establish the fact that perhaps they have a romantic
relationship and that they confide in each other. As the music video progresses the
closeness of their relationship is strengthened by a range of close, mid and long-shots
which symbolise a strong bond. However, the friendship between Troye and Alessia Cara
is also exemplified by these shots as well as two-shots which show the audience a genuine
closeness. Furthermore, shots of Alessia taken by Troye in the home-video effect,
translates to the viewer as a realistic representation of what friends do when they hang
out. We can also implement Laura Mulveys theory of male and female gaze into this
music video by the inclusion of shots focusing on the male and female body which
enables the music video to unilaterally appeal to both male and female audiences.

The song itself retains a constant drum beat throughout, with the song reaching its climax
in the chorus with the words WILD. The music video begins with a home video style
scene, containing diegetic sound of Troyes friend asking what does it say? and Troye
replies yes. I think this is effective as it gives a personalised contrast to the rest of the
music video which features the conventional song and lip syncing. At the beginning and
end of the video you can hear the iconic sounds of a video tape player and home video
camera add to the diegetic sound element of the music video, making it more interesting
for the viewer.
In terms of editing and transitions, conventional straight cuts and fade transitions are
used in order to keep the music video fluid in motion. The editing is fast-paced,
complementing the songs definitive melodic drum beat. Furthermore, in some
transitional scenes, the shot is cut on time with the beat, which introduces an additional
level of complexity to the video, while making the audience feel more involved with the
music and storyline complementing each other.
In terms of mis en scene, the characters in the music video (including Troye and Alessia)
all wear very individual styles with a retro and carefree twist. These include pieces such a
rose 70s-looking shirt and various tie-dye tops. I think that this is one definitive
characteristic of all indie pop music videos, which my group and I aim to replicate in our
music video. Furthermore, props such as the videocamera plays a prominent role in the
video, being the centrepiece of the music videos storyline as it contains the groups happy
moments together.

In conclusion, Troye Sivans WILD music video uses many technical codes to convey a
sense of youth, free spirit and having fun. The narrative which is based on true friendship
and loving relationships are represented throughout the video by camerawork techniques
including two-shots, mid-shots and close-ups which are effectively translated on screen for
the viewer.