Send them off! Bastille.

The music video begins with a close up of the actor and ambient sound throughout the city
therefore acting as an establishing show of the surrounding area. However the clip starts
and ends here. This theory was in fact supposed by Tzvetan Todorov where the “narrative
starts with an equilibrium an action character disrupts the equilibrium a quest to restore the
equilibrium ensues the narrative moves to a confrontation”. This opening shots however
does in fact create enigma codes as the audience is left with the question. “What is
happening?” therefore attracting the audience to finish watching the music video.
Between points 0-9 there is only ambient sound. The actor then opens his eyes when the
sound of a car horn is used. This creates an idea of an action code, as supposed by Roland
Barthes, as the Horn has connotations of danger therefore suggesting to the audience that
there is in fact danger.

The lyrics “Seen” are used at 0.16 in the music video however as this lyric is used there is a
mixture of different shots used, such as point of view shots and a wide range of reaction
shots creating a link between visuals and lyrics as supposed by the Theorist Andrew
Goodwin. This is important as it continues to create action codes for the audience that
something is in fact about to happen. The screenshot above is a rapid panorama used and is
only shown for less than a second. However this can in fact be seen as an Easter egg as it
shows off some specific band iconography, this is in fact the logo of WWCOMMS. This does
in fact link back to Andrew Goodwin's theory that bands may use specific iconography in
specific videos and becomes part of their star image.

The scene then shows the character running away from this monster. However the creature
is in fact shown after the lyrics “I have demons running around in my head” suggesting to the
audience that the character is in fact a figment of his imagination. However this scene does
follow Levi - Strauss’s theory of binary oppositions as it is the “Monster vs the character” and
there is an imbalance between good and evil which drives the narrative forward. In this part
there is some intertextuality as in fact the hallway he is running through is the hallway used
in a very popular horror film “The shining” therefor keeping viewers intrigued and interested.

In this scene we see a man sitting down lip syncing the lyrics, under closer inspection it is in
fact Dan, the lead singer of the band bastille. This follows Joan Lynch’s theory that there will
be a performance part that does in fact drive the narrative forward. Intriguing the audience to

After the character gets deeper and deeper within the hallways we see a brief shot of him
about to go up an escalator now this is shown at 2.20 again until another glimpse at 2.46.
This shows the narrative being fragmented. What is interesting particularly about this is that
an escalator has connotations of getting somewhere else but also has a religious aspect as
he's “Going to heaven” this is constructed in a very meaningful way as the further he
deepens into the hallway the more the audience sees him approaching the escalators.

In this medium shot you see the shadow of the monster.

And through the use of a pan it is shown to the audience that the protagonist is in fact
casting the shadow, this links back to Noam Chomsky who suggested that narrative is a
fundamental part of human existence and is needed to make sense of human life. In this
particular music video it is in fact answering the already established enigma codes and
showing the audience that the “Monster / demon” he has been running from was in fact
himself suggesting his guilt lead him to this.

Nearing the end of the music video we see the protagonist walk into the light which leads
back to him travelling up the escalators. “Walking into the light” refers back to a very
common ideology in English society that in fact people who go to heaven do in fact follow a
bright light which leads to a white bright tunnel. In this sense the mise-en-scene creates an
almost identical scene where the protagonist is entering “Heaven”. However this scene does
link back to Carol Vernallis theory that “Music video images gains from holding back
information, confronting the viewer with ambiguous or unclear depictions” in this example,
this may leave the viewer unclear to what is actually going on. This is just my meaning
drawn from this particular part and may vary from different countries to cultures.

In the final part of the music video 3.42/3.44 you see the character open his eyes and
breathe in. There is no music playing at this point in the music video and are able to hear the
ambient sound used throughout the city. What is interesting is that this scene is in fact used
at the start of the clip. Following Tzvetan Todorov’s circular narrative theory, therefore
suggesting to the audience was this actually real? Did this in fact actually happen?