Another theorist whose conventions we followed is Sven E Carlsson; Carlsson believes that music videos

can be split into two different types of video, performance and conceptual. Our video fits to his

conventions of performance videos as we have included both our artist and our dancers performing.

Under the theory of Carlsson this allows our artist to be a “commercial exhibitionist” as audiences are

likely to look at our artist as someone they can aspire to be. We have also followed the conventions of

the theorist Steve Archer; Archer believes that camera movement is vital to creating a successful music

video and when paired well with lighting, which enhances the mood of the video, the music video is

effective. Especially after our draft feedback and upon reflecting on our video ourselves, Ceri and I can

understand how our first draft is very plain. We rarely used any camera movement, which created static

shots that were not interesting to watch. To improve our video Ceri and I added a lot more movement

within the shots via the use of a dolly for the camera (1.18-1.29), and limited the amount of still and

static shots we used, again using inspiration from Sam Smiths “Too Good At Goodbyes”. We feel this has

allowed our music video to look far more professional and interesting. We followed Archer’s theory of

the importance of camera movement and improved this massively for our final video. We continually

used the purple lighting to add the mysterious and dramatic feel of the video, which is a convention of

Archer. Ceri and I have employed the use of a narrative theory into the video, as we have a shot of the

dancers walking onto the stage (0.09-0.11); this introduces the dancers to the audience, as an author

would characters within book, to create familiarity to audiences and allow them to understand and

connect with the presence of the dancers. Please see GIFs within the blog post to demonstrate this.