Establishing a discussion regarding the topic of music videos and their situation in contemporary media may be considered as foreign territory for me. Yet the analysis of recent video release from Panic! At The Disco and the use of first person POV technique sparks a new curiosity that I was eager to explore.
The somewhat new trend of using a first person viewpoint to present a narrative is one I’ve personally delved into before, yet that particular discussion only briefly explored certain instances that revolve around this fascinating video production concept. Written back in April (2016) for an article for the FilmDebate film site, my primary focus was around the emergence of Hardcore Henry (2016) across our screens. The initiation of a thrilling and fresh approach to film making was one that captivated my attention purely due to it’s uniqueness. It’s an original notion that is rarely acquainted with in the cinematic environment, let alone any other kind of video manifestation across the media.
In simple terms of visual inspection and discussion, the notions surrounding music videos is one I’ve yet to personally regard. As a subject I’ve been interested in for many years, finally presenting thoughts concerning certain noticeable productions is certainly a relishing experience. And what better way to begin such an experience than to further investigate one of my current favored production developments, following motivation from recent fabrication of new content from a favorite band.
The reasoning behind returning to the debate is due to the arrival of the latest music video from alternative rock band Panic! At The Disco. The latest single is coupled with an interesting three and a half minutes of musician Brendon Urie facing an interesting tale of which involves a inconspicuous woman and a slimy fate. It’s evident the narrative follows a peculiar course, all of which is demonstrated through a first person point of view, adding a further diversity to the production.
Music videos have a tendency to follow various categorical concepts, from a standard band/performer singing towards the promising audiences to creating a story to accompany the song. The previous videos produced for Panic! have generally followed a trend surrounding tales of bizarre and outlandish proceedings, hence why Don’t Threaten Me With A Good Time only comes across as an ordinary creation when the plot is regarded. In fact, when the outlandish aesthetic is considered, we have no need to look further than another precursory release from the 2016 album Death of a Bachelor. We are exposed to another similar, monstrous transformation in the shadowy video accompaniment of Emperor’s New Clothes.
From already briefly analyzing the band’s video catalogue, assumptions lead to presume that this is a persona they consistently aim to present in their visual supplements. Subtle concepts such as slow motion coupled with an array of eccentric costume, make up and set designs unite to represent the visual persona that is seen across the media and in the public eye in order to promote the music. Don’t Threaten Me With A Good Time, is no exception when it comes down to this type of façade.
So the real purpose behind analyzing this video in particular is down to the visual process and how the chosen narrative was formed. Firstly taking on the perspective of a seemingly innocent female, the audience is introduced to how she views the night progress. This is of which shows a speedy transitioning from house to club, allowing the viewer to become part of the action involving the suave Brendon Urie vocalizing through the accompanied song. It’s refreshing to experience such diverging qualities that stand out from other music videos evident in the contemporary media.
It goes to show that this specific display can be functional for narrative concepts ranging further than just pure action scenes. Seeing it evident in music video environment is also a further compelling quality that enables this media example to stand out. Previously, I did indicated a query in regards surrounding the first person perspective and whether it would be successful in other forms of media exploitation. It is visible to appreciate this lone example as a preliminary case for what could be possible in future endeavors. Therefore, this demonstrates the possibilities available not just for cinematic advances, but also with music and alternative presentations of video.