STYLE OF MUSIC VIDEO
The video is predominantly a performance video but is also a concept video. The entirety of the video is Adele lip-syncing to the song however several takes have been layered over each other to create an interesting visual result. Only one set up is used in the video.
STAR TREATMENT / STUDIO INFLUENCE
The focus of the music video is entirely on Adele as she's the only subject that appears on camera, the background is completely black and no other people or things are shown. The framing of Adele is predominantly central and ranges from extreme long shot to close up.
Adele isn't a conventional pop star in the sense that she isn't marketed for sex appeal but more for her vocal talent, likeable music and sassy East-End personality. This marketing can be seen to be at play here as Adele wears a conservative dress and the video is minimalistic, placing emphasis on the song much more. Adele is also performing in a confident but casual manner and some subtle choreographed movements such as a gesture of her 'brushing something off' which suggests her streetwise personality has been represented.
CAMERA SHOTS
All the shots used to make the video are either static from a tripod or have used a camera dolly to create smooth and fluid shots, making the resulting video cleaner and each layer easier to see.
The shots are all long takes of Adele lip syncing that overlap and fade in and end of simply cutting. The resulting overlapped imagery is what creates the video's uniqueness. As a result it is hard to follow individual shots however it can be seen that there isn't a master shot the video is layered around that plays throughout and instead shots fade in and out where effective. It can be seen that to film this video, Adele must have been required to lip sync the song across many takes whilst the camera team caught many different angles and camera movements of her performance.
The opening shot is used on its own as the camera tracks forward from a long shot of Adele to a medium close up shot of her before a second shot fades in. This slowly introduces the audience to the concept so they are aware firstly and fore-mostly that they are seeing Adele and there are going to be composited shots. It gives the opening a cleanness and clarity that is echoed at the ending when lots of shots fade out and leaves a medium close up that tracks backwards to leave a long shot that is identically framed to the very first on-screen image. This means the video has a cyclical structure that ends where it began.
The video plays with differences and similarity in the composited shots and is seemingly very complex and calculated in its execution. A large bulk of the video plays with differences in the shot angles, layering over a close up, medium shot, long shot and extreme long shot so there are many different proximities at play. This makes all the shots easy to see individually of each other and also be aesthetically pleasing and harmonious.
On the other hand there are points where multiple shots framed the same way are overlayed so it's hard to make out where each shot ends and begins. The shifting between these two states creates interesting visual effects and makes the video engrossing and extremely watchable.
The overlayed shots sometimes result in shots seemingly interacting with each other. The most notable moment this can be seen is when there's a close up of Adele dominating the frame and then a similarly framed shot behind it with a lower opacity features Adele lifting her arms up to touch her face, creating an illusion where this appears to be part of the prominent shot. There are also sequences where it appears as though Adele has many arms due to the differences in the composited layers.
The lighting shifts in time with the music to emphasise the sections of the song. The start of the video uses a single overhead spot which leaves a reflection of Adele on the floor. During the second verse all but one of the shots switch to to darker lighting lit by a blue gel so that one of the shots looks more prominent in the frame.
The lighting simultaneously switches to bright red and gold for the second chorus which gives the chorus vibrancy and energy, distinguishing it from the first chorus and giving the feeling that the video is building. This is a way of reflecting the upbeat tone of the song.
At the final chorus, the red, white and blue lighting all interweave and overlap before the ending returns to the simple lighting from the opening.
The opening shot is used on its own as the camera tracks forward from a long shot of Adele to a medium close up shot of her before a second shot fades in. This slowly introduces the audience to the concept so they are aware firstly and fore-mostly that they are seeing Adele and there are going to be composited shots. It gives the opening a cleanness and clarity that is echoed at the ending when lots of shots fade out and leaves a medium close up that tracks backwards to leave a long shot that is identically framed to the very first on-screen image. This means the video has a cyclical structure that ends where it began.
The video plays with differences and similarity in the composited shots and is seemingly very complex and calculated in its execution. A large bulk of the video plays with differences in the shot angles, layering over a close up, medium shot, long shot and extreme long shot so there are many different proximities at play. This makes all the shots easy to see individually of each other and also be aesthetically pleasing and harmonious.
On the other hand there are points where multiple shots framed the same way are overlayed so it's hard to make out where each shot ends and begins. The shifting between these two states creates interesting visual effects and makes the video engrossing and extremely watchable.
MISE-EN-SCENE
While the video is minimal for mise-en-scene in terms of physical objects and settings that appear on screen, there are projected visuals through Adele's performance and the way the shots interact with each other.The overlayed shots sometimes result in shots seemingly interacting with each other. The most notable moment this can be seen is when there's a close up of Adele dominating the frame and then a similarly framed shot behind it with a lower opacity features Adele lifting her arms up to touch her face, creating an illusion where this appears to be part of the prominent shot. There are also sequences where it appears as though Adele has many arms due to the differences in the composited layers.
The lighting shifts in time with the music to emphasise the sections of the song. The start of the video uses a single overhead spot which leaves a reflection of Adele on the floor. During the second verse all but one of the shots switch to to darker lighting lit by a blue gel so that one of the shots looks more prominent in the frame.
The lighting simultaneously switches to bright red and gold for the second chorus which gives the chorus vibrancy and energy, distinguishing it from the first chorus and giving the feeling that the video is building. This is a way of reflecting the upbeat tone of the song.
At the final chorus, the red, white and blue lighting all interweave and overlap before the ending returns to the simple lighting from the opening.
STRUCTURE
The song starts quietly then builds to an upbeat chorus and continues to build throughout before abruptly ending. The music video directly echoes this by starting simply then getting increasingly complex before returning to the simple shot seen at the beginning. Ways in which the video increases in complexity includes use of coloured lighting, shifts in shot opacity, higher numbers of shots playing simultaneously and more dynamic movements from Adele, such as twirling with her dress. The ending fades out all the shots to leave just one shot remaining.
RELATIONSHIP BETWEEN LYRICS AND VISUALS
The message of the song is about brushing off a former lover and being confident to move on. It's a defiant message and this is reflective in Adele's performance style which significant features high levels of sass in facial expressions and gestures. The video is also empowering and triumphant, frequently using dynamic visual choices and warm colours.
The song lyrics are addressed to a single person in particular and this is reflected through the mode of address in the video. Adele lip-syncs directly to camera, making eye contact, which makes the whole video feel like a personal message Adele is delivering as the connection between singer and audience becomes stronger as a result. This is also a common feature of the pop music genre which allows the viewer to clearly see the performer.
The words 'let go' are usually accompanied by a wave goodbye motion or brush off motion, which becomes a motif in the video.
The song lyrics are addressed to a single person in particular and this is reflected through the mode of address in the video. Adele lip-syncs directly to camera, making eye contact, which makes the whole video feel like a personal message Adele is delivering as the connection between singer and audience becomes stronger as a result. This is also a common feature of the pop music genre which allows the viewer to clearly see the performer.
The words 'let go' are usually accompanied by a wave goodbye motion or brush off motion, which becomes a motif in the video.
This is an excellent and very detailed analysis Ed well done. Interesting technique in this vid too, simple but very effective. Lots of detail ad consideration given to all areas of analysis, great work.
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