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[Dizzee Rascal ft. Teddy Sky Love This Town]Vernallis Analysis Chart

Codes and Conventions (Key features of the music video)Observations: Did you follow, develop or challenge? If so, how?Illustrative examples from the video with time codesOther examples to compare and contrast

NarrativeVisual ResponseLack of BalancePartial of Fragmented NarrativeDisjointed StructureWhat Drives the Video Forward?Theme or Montage?Unlike many music videos, there is a clear story line and little fragment of the narrative other than the occasional shot of the artist singing. There is in fact a clear theme that challenges societys stereotypes of the rebellious modern youth. Lyrics largely reflect visuals.A storyline is present throughout the entire length of the video. Short clips of the artist singing like at 2:02, partially fragment the narrative. We see the group of men dressed as if they are to cause trouble in fact helping the community, challenging the troublemaker stereotype.Ever more frequently we see music videos without any storyline at all. This video is an exception, as we follow the group of men in an almost comedic series of events. The same cannot be said for the likes of Grimes Genesis, which features no storyline.

EditingDoes it Match the Beat of the Music?Use or Ignorance of Continuity EditingFast Pace of EditingUse of lack of Use of TransitionsEditing May Become ForegroundedEditing is clearly matched with the song and actions within each scene follow the beat of the music. The video incorporates a fast pace of editing, although there is some evidence of continuity editing even if it does break some of the rules.From 1:44 cuts and actions within the scene all follow the beat of the music. Some form of continuity can also be seen as the masked men clean the show window. The past paced editing is evident and can be seen throughout.The video practices the very fast pace of editing found in almost every modern music video. It follows many of the Vernallis conventions, and differs little in comparison to other music videos for editing.

Camera Movement & FramingExtreme ShotsHow Each Shot is FramedDoes the Camera Move in time to the music?Does the Camera Move in time to the lyrics?Re-occurring ShotsMaster Shots are Frequently Close-upsOccasional close-ups of the artist can be found but we mainly follow the entire group. The camera doesnt really move in time with the music or lyrics, rather, the editing does the work. Despite this, camera movements often reflect the mood of the scene.48 seconds in we see the first of a number of close-ups of Dizzee Rascal, the singer. Camera movements from 3:56 onwards I find amplify the positive atmosphere of the scene, especially the pan showing the police and group of men celebrating together.Despite not having many close-ups of the artist, they are definitely present, likely to be contributing to Dizzees star image which record labels often create to make them recognizable. However, camera movement doesnt play too much of a part in this video.

DiegesisMay be Revealed SlowlyActions are Not Necessarily Completed Characters May Move to the MusicThere May be Many RepetitionsSome Frames May be More Important Than OthersAlthough actions are in fact completed, some of them are in fact revealed slowly, making the viewer think they are up to no good. However, evidence of some frames being more important than others comes when we find the group are doing a good deed. Characters often move to the music.We see the group approach the shop front at 1:17, yet we do not see that they are in fact doing good until 1:47, a very slow reveal. Frames at 1:47 are more important as we see that they are up to no trouble. We see all characters move to the music, particularly at 4:00.The clever use of diegesis is what makes this piece able to challenge so many negative stereotypes surrounding todays youth. Much like Foxes - Echo, it often follows the conventions in which Vernallis has based her analysis on.