The
beginning of the video starts with a close up of Miley. The video is very much
there to promote her new image. The bold yellow writing re-emphasises this
point and promotes the artist .Therefore we can deduct that her image is what
will sell the video and song. Contrasting to the previous shot of Miley, the
lighting and mise-en-scene of the costume and walls is dark and disrupted by
the fog. It emphasises the promotion of Miley as the shots she's not featured
in, are dark and ambiguous. The inclusion of the two shot, shows a typical
scenario of a couple at a party. It also links to the representation of Mileys
new image of rebelliousness and sex appeal. Again the shot is darker and looks
more like footage from a party. An unconventional image of roasting
marshmallows relates more to the youth culture. The inclusion of lighters
relates to Mileys image, however it is made more innocent through the bright colours
and the use of marshmallows.
Again
another close up is used to display the events at this party, food is contorted
into a skull which could signify death, rebellion or toxic substances. The
symbolism within Mileys video is suppressed to an extent as she is trying to
rid her old image without being to explicit. The medium shot of Miley allows
the audience to see her provocative pose and dancing. The setting of the shot
and outfit is all white which highlight her face and tattoos. Conforming to the
genre of music again, Miley sheds her good girl image. The slow editing of the
knife being drawn across the fingers hints towards violence and an issue within
youth culture. The video is extremely relatable to the younger generation as
issues featured are extremely relevant. The pink liquid mimicking blood is seen
as humorous and a joke. The image is also kept to one side of the frame in
order to create the contrast between the white and pink liquid. Another pun is
made with the dancing teddy bears. The long shot highlights Miley at the front
and central of the frame, relating to Carlsson’s commercial exhibitionist. The
innocence is taken out of the bears due to the dancing and relation to the rest
of the video. It highlights the rejection of Mileys old image and welcoming the
new.
Direct
mode of address is used in order for Miley to connect with the audience. Her
sultry look paired with the red lips emphasises her lusty image. The made up
hair, tattoos and gold jewellery are conventional to R&B/Pop. The contrast
in this medium shot between the blue of the water and black of the swimsuit and
glasses show the corruption of the party and edginess of Mileys image. The
censored tag also physically shows the more explicit imagery Mileys music video
contains. Slow motion and normal passed editing is used in order to keep in
time with the slow beat of the song. Frantic images are made to look more
conformed and less eccentric. However there are a variety of different settings
and scenarios that are edited together to create the one party. A variety of
shots are used in order to highlight key themes within the music video and
market Mileys new image. For instance a lot of close up shots are used to
present Miley to the audience and her new attitude.
Long
shots are used to present the scene and the party vibe to the audience.
Goodwin's theory of disjuncture applies to this video as the lyrics have little
relation to what is happening on screen. Shores theories of simulated
experience, anesthetization of violence through chic, adolescent male fantasies
and immediate gratification can be applied to We Can’t Stop. This demonstrates
its social currency and relation to youth culture.
