Arctic Monkeys - 'Snap Out Of It' (In Depth Music Video Analysis)

Arctic Monkeys - 'Snap Out Of It'

Genre: Indie/Alternative

'Snap Out Of It', the sixth single from Arctic Monkeys' fifth studio album, 'AM', was released on the 9th June 2014. The music video was directed by Focus Creeps and was released on the 17th June. The members of the band are largely absent throughout the duration of it, only making appearances through a television, and instead the video revolves around an obsessed Alex Turner fan - played by the alluring Stephanie Sigman. The narrative of the music video can be compared to other music videos like Eminem's 'Stan'.

The music video begins with the introduction of the female star emerging from a crystal clear pool in slow-motion. As the music begins, the camera rises from her legs to her breasts and finally to her face as she dries herself off after leaving the pool. The colour palette of the video is incredibly reminiscent of Wes Anderson's, exhibited in works such as 'Moonrise Kingdom (2012)' and 'The Darjeeling Limited (2012)'. The camera follows the female to her bedroom where we watch her as she gets changed into her underwear and a kimono. The female then exits the bedroom and turns the television on to studio footage of Arctic Monkeys' recording 'AM'. In response to this, the lady reacts in a sexually aroused manner by rubbing her hands and stroking her neck in ecstasy when Alex comes into view. Realising that she cannot be with him, the woman breaks down in tears but then rewinds the footage to watch it from the beginning again. 

After the first play of the chorus, the camera pans to the kitchen where the female is cooking steak. However, whilst this is happening, the footage of the band is playing on a different TV. Sigman then eats the steak to try and 'snap out of it' but fails to do so and instead replays the Monkeys' grainy VHS footage. This action results in a nervous breakdown where a close-up shot shows her face smothered in channels of eye make-up as she creepily stares. Towards the end of the video, clips of Sigman and the Arctic Monkeys' footage splice together quickly to build tension towards the crescendo where the character further attempts to sedate her obsession through dance. This scene is a change in tone as it's the first point of the video where she genuinely looks happy. The female is in her element until the footage shown on the living room's TV features herself as she blows a kiss to the camera before the footage stops. Sigman watches woefully. This quick conclusion suggests that the female character was once with Alex but they suffered a dreadful break-up which would render her as an obsessive ex-girlfriend. The music video ends with Sigman swimming in the pool - a repetition of how it began.

'Snap Out Of It' is another example of Alex Turner's ego being stroked. The video comprises of a beautiful - borderline stalker - female fan who dresses in expensive underwear and watches videos of the frontman and his accomplices all day. The music video is similar to movies such as Tony Scott's 'The Fan (1996)', 'Misery (1990' and others of the Thriller genre.

The music video exhibits voyeurism briefly when the viewer watches Stephanie Sigman changing into her underwear and after she withdraws from the swimming pool. The music video ties in with the lyric, "i wanna grab both your shoulders and shake baby, snap out of it". Alex wants the female to "snap out of it" and move on for her own good. Now that Arctic Monkeys' are one of the biggest bands in the world right now, they have no need to cement their star image during their music videos and 'Snap Out Of It' is a perfect example of that. For this video they have favoured narrative over performance - a fairly typical convention for a band on an independent record label. 

Examples of Female Gaze, Homosexuality and Strong, Powerful Female

Female Gaze:

Nicki Minaj - 'Super Bass'

Nicki Minaj's 'Super Bass' exhibits the 'female gaze' by introducing the male members of the music video with their muscles and focusing on their bodies. The men in this music video are lusted after by Minaj and the female audience of her music. 

Homosexuality:

Lady GaGa - 'Bad Romance'

'Bad Romance' displays homosexuality in a positive light through the male backing dancers dressed in high heels and clothes that would be described as particularly female. GaGa allowed the men to showcase their talent during this video.

Strong, Powerful Female

Beyonce - 'Run The World (Girls)'

Beyonce is an incredibly powerful woman and this music video incorporates her feminist views into the narrative. 

Examples of Voyeurism, Exhibitionism and Male Gaze

 Voyeurism:

Duran Duran - 'Girls On Film'
 

This music video objectified women so much that it got banned by the BBC for it's sexual content and was subsequently heavily edited before it's original run on MTV. The controversial video allowed the single to achieve monumental success.

 

Exhibitionism:

Lady GaGa - 'Born This Way'
 

Lady GaGa is incredibly exhibitionist in that she frequently shows off her body in her music videos but in a classy/arty way. The premise of the song is to be proud of yourself and the inclusion of her being in her underwear emits the message further.
 

 Male Gaze:
Steel Panther - 'Party Like Tomorrow Is The End Of The World'
 

 

This music video presents women as promiscuous and sexually exhilarated. They display their naked bodies and are enjoyed by the men to ensure the viewer that it's OK to look at their private chest area. The visuals relate to the band's lyrics and what they stand for.

Benny Benassi - Satisfaction (Voyeurism Example in 'Dance' Genre)



Benny Benassi's 'Satisfaction' music video features a number of different women operating heavy machinery in bikinis. It exhibits both voyeuristic and exhibitionist shots of women. There are three different versions of the music video and this is the second, most famous one. The video is practically a virtual advertisement for a variety of power tools. All of the tools are used in a sexual manner. Due to its content, the video was relegated to nighttime hours during its television coverage. The camera focuses on their sexual area and introduces the girls with them. All of the girls during this music video are incredibly sweaty to emulate the sexual act. The pace of their bums shaking is in time with the beat of the song. There is a point during the video where a lot of fragmented body parts are shown in quick succession. 'Satisfaction' does not feature any male roles to further allow the audience to focus on the women and their sexuality.

As previously stated, in the beginning of the music video, one of the girls is introduced using a medium close-up shot of her legs which then ascends up to her backside. The colour red is clearly used to connote lust and promiscuity.

 The girls sometimes engage in sexual eye contact with the audience to entice and arouse them.

The use of the power drill and other heavy machinery is also a euphemism for intercourse. The shot displayed above is incredibly promiscuous as it bears similarity to genital caressing.

The machinery is also used to jiggle the boobs and bums of the females during the music video.

'Satisfaction' clearly intends to evoke sexual satisfaction from the audience. The females during this video remain eye contact with the camera throughout the video to create a certain sense of intimacy towards the viewer. This music video is about as voyeuristic as it gets and objectifies the women by using their bodies to turn the observer on.

Music videos of the 'Dance' genre typically feature women in little clothing to entice potential viewers into watching the video for sexual satisfaction as the artist tends not to perform during it. For example, Eric Prydz's 'Call On Me' is infamous, alike 'Satisfaction', for it's sexually explicit music video.

AUDIENCE - why and how do you consume music?

How do you consume music?
When? do you have a daily music routine? Is some music more suitable at a certain time of day than another? I listen to music whenever I can to fill in the absence or abundance of background noise around me. I tend to listen to upbeat music in the morning but other than that I listen to whatever I feel like listening to at the time.
Where? clubs, bedroom, gigs, car? I listen to my music in my bedroom mostly and when I'm on journey whether it be walking or in the car. I also listen to music at gigs.
Who with? do you share your music or is it an individual experience? I mostly listen to music on my own but I sometimes listen to it with my dad too. It depends what genre or artist I'm listening to as I wouldn't listen to sad music with anyone.
How? radio, computer, ipod, tv, live, dancing, homework, getting ready ie doing other things - background wallpaper. I use spotify, youtube and my phone to listen to music. I also love to listen to my vinyl collection via my record player. I always listen to music whilst doing my homework and getting ready for school. I listen to XXYYXX to help me go to sleep as I find his work really soothing.
Why? What are the pleasures associated with music consumption? What does it offer the audience and what needs does it gratify?
Music helps distract me from any worries that I may have and cheers me up if i'm feeling down.

USES AND GRATIFICATIONS THEORY

Personal Identification - Whenever I get sad I listen to Real Friends and Front Porch Step who write songs about their own troubles.

Information - I learnt a little bit about History through the Boney M's - 'Rasputin'. It helped me in my AS Russia exam. 

Entertainment - I love The 1975's contrast between their music and visuals. I love their look and the effort they put into their live performances. After experiencing them first-hand, I can say that they are one of the best live bands around right now.

 

Social Interaction - Whenever i'm out at a party I request Monsta's 'Hold On (Nero & Skrillex Remix)' to be played as it makes me go mad. Vanessa Carlton's 'A Thousand Miles' always brings out a sing-a-long in my me and my friends too.

Miley Cyrus - Star Profile

How a star's image develops over time through music video:

For this task I am analysing Miley Cyrus. She first became famous through the alias of Hannah Montana back in 2006 but began to 'breakout' from her Disney image through her first album that wasn't associated with the pop-star character - 'Breakout'. Since then, Miley's music genre has progressively changed throughout her albums from Pop-Rock to Pop to R&B.

In Miley's first music videos, she was presented as a family-friendly figure in order to be associated with her previous work as Hannah Montana. For example, videos like 'Start All Over' were very pleasant in concept whilst presenting a new 'punk' attitude, much alike Avril Lavigne, to also begin her own solo career and slightly lose connection with her popular role. 'Start All Over' contains a typical over-produced fashion alike all other Disney/Hollywood Records music videos and it's incredibly colourful as opposed to Cyrus' latest music videos. Backing dancers and other extras are also included of which would never be seen fully-clothed in one of her latest videos. Miley is seen dressed in a sleeveless black shirt, black boots and a 'punky' shirt that clearly aimed to show that she intends to achieve a more mature image and audience. Hannah Montana was for children whereas Miley Cyrus' music was aimed at early teens.

After the release of Miley Cyrus' second album, 'Breakout', she had adopted an even more mature image with her baby-faced look being replaced with a confident, edgier style. The music video for '7 Things', released not even a full year after 'Start All Over', showed Cyrus coping after a break-up through an energetic performance with her band 'rocking out'. However, the video was still awfully PC and despite dealing with and adult issues, it still managed to stay within the constraints of the Disney image looming over her career. 

It's clear by these examples that early in her career, Miley intended to break away from her Disney image by moving into a Rock direction and dressing appropriately to fit that genre's archetype. Later into her career and up to the present day, Miley has completely and utterly changed her star image into an incredibly provocative one where she is rarely seen with an abundance of clothing.

In 'Can't Be Tamed', the first single and music video of Miley's third studio album with the same title (released in 2010), she is seen in considerably less clothing than she was during her 'Breakout' music video cycle. During the music video, Miley is dressed in all-black clothing which connotes sexuality and mystery. She is joined by an entourage of partially dressed men and women who are situated behind her - showing that she is of the most importance. There is also a scene where Miley is lying on the ground with her breasts being the pinnacle focus of the close-up shot. 'Can't Be Tamed' was the first of Miley's efforts to achieve a more adult, risque side to her. The look of the video is very dark which coincides with the darker pop direction that the 2010 album pursued.



Later in Miley's career, up until the present day, her star image has changed monumentally from the innocent early teen pop star that she once was. Miley decided to take a break from music in 2010 but she re-emerged in early 2013 - saying goodbye to her past music with the cutting of her infamous long hair. 'We Can't Stop' was released on June 19th and Miley can be seen doing things that would have been unimaginable for her back in the 'Start All Over' days. Other than wearing a minimal amount of clothing, Cyrus is seen donning a golden grill and shaking her bum. She's also seen causing destruction and acting mischievous with many members of the opposite sex to signify that she is no longer innocent like she used to be. Marijuana leaves are shown briefly at intervals during the music video as a visual motif which then becomes associated with the artist. The music video can be described as controversial for many different reasons but this shock factor allowed her to attract public attention again. The recurring colours of gold and white instantly associate with the hip-hop/R&B music genres and tell the audience that she is pursuing a different musical direction to what has been heard of her previously.



Miley then followed up 'We Can't Stop' with 'Wrecking Ball' which saw her stark naked and seductively licking a hammer (phallic object). This video was clearly acting upon the controversy that was evoked from her previous video and so she obviously decided to turn it up a notch. It seems that Miley's career has become less about the music and more about the negative public feeling that her music videos summon. It should be noted however that throughout Miley's career, all of her music videos contain her performing the songs. This may be due to the constraints of mainstream videos and their lack of a narrative. 'Wrecking Ball' affirmed that the days of Hannah Montana and the innocent Disney image were over and that Miley's transition to an adult image was complete.

Even before the 'Bangerz' era, Miley's star image was established through the use of close-up camera shots:

Even as early as 'Start All Over', the focus was on Miley's face where the video opens with her tucked in her bed with her face taking up most of the frame. '7 Things' also featured dozens of close-ups shots of Miley's face to cement her new status.

As her career has progressed, more and more close-up camera shots on her face are being used to firmly establish her image. However, as she has got older, the close-ups are being used more frequently to show her emitting her sexuality. For example, the focus on her licking the hammer in 'Wrecking Ball'.

Focus was also on Miley's hair during 'We Can't Stop' as a metaphor for the clean-cut image that she left behind. She is seen laying comfortably during the end of the video as she knows that she's broken away from the pressures of Disney forever.





Miley would be classed as an exhibitionist female as in her latest videos she uses her own body as she is proud of it and also to evoke sexual gratification from those that are watching. Typical props used during her latest videos would include gold jewellery and white clothing (if any).

Camerawork is used mostly to focus on the main subject of the frame during Cyrus' music videos; whether it be her face, bum or other lady parts. For example, during 'Adore You', the camera focuses on Miley's hand leading towards her underwear in a voyeuristic fashion.

The shot then changes to another shot of the same scene but from a different angle via a handheld video camera that Miley has control over. This editing technique gives the viewer an even more "intimate session" with Miley and draws further viewers towards the video as it is about as sensual as they are going to get with the star.

Miley Cyrus' wider cultural significance is in the expression of her body and the 'girl power' ideology that she presents. She considers herself as "one of the biggest feminists in the world" and I can see why. She has become so popular as she broke free from her Disney shackles and practices free expression in the public eye.




Miley Cyrus' star image has changed exceptionally from being a squeaky clean, manufactured popstar in her early teens to a confident young woman in touch with her sexuality. Miley obeyed her management through most of her youth but has now achieved world status through controversial music videos, risque public appearances and vulgar vocabulary.

Miley's album covers have also progressed aesthetically during her career:

Her first album, 'Meet Miley Cyrus (2007)', featured a fresh-faced, friendly Cyrus on its front cover. She is seen fully clothed in pink with innocent jewellery.  The backdrop is white to focus on her subject and to introduce her solo career. This album was a second CD that accompanied the 'Hannah Montana 2' album to allow fans of Miley's character to become fans of her new career under her own name. Miley was fourteen years old at the time so controversy was unthinkable at the time.

Miley's second album, 'Breakout (2008)', had a very similiar album cover to her previous one. Miley is seen in front of a white backdrop once again however she is dressed in a more 'mature' outfit and is wearing a little more make-up than she did on the 'Meet Miley Cyrus' cover. Her hair is a lot more styled to show that Cyrus has grown up but yet her Disney image is still retained. Looking back, the golden microphone in Miley's hand could be seen as a case of subtle phallic symbolism but I highly doubt that Disney would have used this subliminally.

'Can't Be Tamed (2010)', released two years after her last album, saw Cyrus attempting to mature as an artist and in her image. On the album cover she can be seen pulling her trousers down to reveal her toned stomach. This showing of skin is a significant change as no skin had been showing, other than her bare arms, on her previous album covers. Miley is also dressed in a full leather outfit which connotes 'sexy' and 'risque'. The backdrop of the album cover is still white but with a dark shadow to imply that Cyrus is leaving her early-teen, guilt-free image behind. Miley intended to say goodbye to her virginal image but failed as she was still being associated with her Disney role.

'Bangerz (2013)', Miley's latest album, saw her take a completely different musical direction in the form of R&B and the album cover exhibits some of the genre's typical conventions.Miley is seen dressed in nothing but a long black jacket as she looks back at the viewer. This 'sexy' stance is reminiscent of Can't Be Tamed's album cover but turned up a notch. The background of the cover is a purple/pink gradient which relates to her new genre pursuit. Dropping her old record label, Hollywood Records, for RCA clearly had an impact on her image as well as her music. 'Bangerz' also has an alternative cover where the background is the same whereas Miley is topless. This would have been unimaginable of her back in 2007.

How Miley's star image has changed throughout her career so far:

2006

2007


2008

2009

2010

2011

 2012
 

 2013

2014

Dry The River - No Rest

 

During today's lesson we closed our eyes, listened to Dry The River's 'No Rest' and imagined a narrative for the accompanying music video. Whilst listening to the song it evoked a sense of sadness as we learn just how much the vocalist loved that person. As the song began I imagined the silhouette of a departed couple above a horizon as the sun sets. I then imagined the male/vocalist holding a picture frame as he mentions it during the song. The picture frame then transforms to the scene that is depicted in the photograph. The video would look rather arty and avant-garde and there would be a lack of effects to increase integrity and realism. Other people in the class came up with a journey through a forest and performance/narrative. My favourite idea was an idea from another class where the vocalist would walk whilst singing as pieces of his body parts fall from him until he is left as ash.

 

After watching the official video, I did not expect it to look the way that it did. However, I enjoyed it's unique approach and the ratio of performance to arty effects.

What Music Means To Me

I'm a very keen consumer of music and it has had a huge impact on my life so far. I believe that artists from most sectors of music have influenced me positively as I have grown up. An open-mind to new music has helped me broaden my taste and helped me mature. A few relevant tracks are shown below.

Childhood:
Michael Jackson - Smooth Criminal

 I grew up with the music of Michael Jackson and other similar artists that my family listened to during their youth. I particularly loved Jackson's 'Smooth Criminal' and used to dance around my room to it all the time. I remember being amazed by his dance moves in the music video and enjoying the action that took place during it. This song reminds me of my primary school and the friends of whom I would talk to about Michael Jackson. This song makes me rather emotional as I obviously won't be able to see him live.
 

Early teens:
Paramore - For A Pessimist, I'm Pretty Optimistic

 During my early teens, my music taste began to branch out to Metal and Rock music - Paramore being an artist of the latter genre. The funny thing is that I heard about the band through a Demi Lovato book that I used to own where she stated that 'Riot!' was her "favourite sleepover album" and incidentally after reading this I bought the album the next day. Paramore's 'For A Pessimist...', the opening track of 'Riot!', got me instantly hooked on the band and I remember being unable to restrain myself from repeatedly listening to the album on my CD player back in Year 7. This song and the album it hails from paved the way for Paramore to become my favourite band and I have seen them live in concert twice to this day.
 

Present:
Lana Del Rey - Shades Of Cool
 

I'm currently listening to the follow-up to Lana Del Rey's critically acclaimed debut, 'Ultraviolence', and it is absolutely phenomenal. 'Shades Of Cool' is one of my favourite songs from the album and I particularly love the guitar solo at the end. Lana Del Rey took me a little while to get into due to the genre of music being the opposite of what I used to listen to in my early teens but as I have got older my taste has changed dramatically. After hearing her debut 'Born To Die' for the first time, I have adored her lyricism and style. I love the co-operation of the music and visuals in all of Lana's work. This song, and all of her other music, reminds me of when I saw her perform last year after finishing two exams during the day - a sublime reward.

Creative Filming & Editing Tasks

During the making of this short video, I learnt how to clone people using Adobe Premiere Pro CS8. I feel that the cloning went very well considering that it was my first time. Despite having knowledge in stop-motion animation, it didn't go too well as the camera didn't stay in a fixed position throughout. If I was to do this task again I would consider filimng a better stop-motion scene. I would also think about making the cloning shots a little more interesting as opposed to three stationary stances.

Andrew Goodwin's Music Theory Textual Analysis

Today we learnt about Andrew Goodwin and his music video theory. He believes that six methods are found in every music video.

1. A relationship between the lyrics and the visuals, which illustrate, amplify or contradict the lyrics.
2. Thought beats: seeing the sounds (the relationship between the music and the visuals, which illustrate, amplify or contradict the music.)
3. Genre-related style and iconography.
4. Multiple close-ups of the main artist or vocalist: the creation of a star image to promote a recognizable brand image.
5. Voyeurism.
6. Intertexual references to other media texts may be present.

I will apply and analyse these aspects regarding to three music videos of my choice.
 
American Football - 'Never Meant'
Genre: Emo

American Football's 'Never Meant' contains a strong relationship between the lyrics and visuals. It shows the story of two people becoming lovers and then breaking up. However, the lyrics are sung with hindsight after the couple have departed and the lyrics dispute what is being shown on-screen until the montage of romantic clips catches up to the time of separation. For example, the video displays the couple far apart from each other with a wide shot to fully portray the growing distance between the two. This image is reinforced with the lyric: "everything and anything between you and me was never meant". The shot, shown below, shows the male looking alone as the female fails to answer his romantic gestures anymore - as depicted previously. This shot makes the audience sympathise with the male character as a result which the director will have intended. The visuals shown throughout the music video amplify the lyrics through romantic scenes to sad ones.

There is not much relationship between the music and the visuals however the sad guitar riff that plays throughout does move smoothly with the narrative and the pace of the story being shown. The genre of the music is of the 'Emo' category and it's generic cliches, such as Polaroid pictures, vinyl and 35mm film, are displayed all the way through the video. This old-fashioned style relates to the time that the music was produced (in 1999) and the iconography also consolidates the hipster/alternative fan-base that follow the band. The iconography/style also establishes and represents the style of the music the artist is representing.

There are no close-ups of the band as the music video revolves around the male character. However, the band can briefly be seen performing, if partially, during the first few seconds of the video. Therefore, this music video disputes Goodwin's theory of artists being shown in a provocative manner to increase sales and market the artist to a greater extent. Furthermore, voyeurism is not included in this particular video as it does not relate to the genre of the music or the mentality of the three-piece. Examples of voyeurism can be found in most popular mainstream artists' music videos such as Rihanna and Beyonce.

Aforementioned shot of American Football performing

Versus.

 Beyonce - 'Drunk In Love'

American Football's 'Never Meant' does not have any intertextual connections. It is not directly influenced by another media text as it is a purely original story - even if it does contain many generic romantic cliches.

The 1975 - 'Robbers'

Genre: Alternative/Indie

The 1975's 'Robbers' music video is first and foremost inspired by Quentin Tarantino's 'True Romance', the story of an Elvis obsessed loner who falls in love and marries a prostitute.

the story of an Elvis obsessed loner who falls in love and marries a prostitute - See more at: http://lifeofarockstar.com/new_music/top_music_videos/files/the_1975_matthew_healy_steals_hearts_with_robbers_music_video.php#sthash.YqtR9Hsi.dpuf

the story of an Elvis obsessed loner who falls in love and marries a prostitute - See more at: http://lifeofarockstar.com/new_music/top_music_videos/files/the_1975_matthew_healy_steals_hearts_with_robbers_music_video.php#sthash.YqtR9Hsi.dpuf

The iconography - floral shirts and bloody injuries - is reminiscent of the 1993 classic. This is a brilliant example of intertextual references being used to engage audiences and provide them with gratification if they recognise the link. The scene where the vocalist and the female character are sitting together in the cinema is shot-for-shot identical to a scene in 'True Romance'. The lyric, "you look so cool", is also a reference to the movie's, "you're so cool". Another similarity and use of iconography would be the bloody bandages after a robbery.

Shot for Shot recreation:

Lyric intertextual reference:

Goodwin's theory of the lyrics having a relationship in a music video is present in this text. When the lyric "she had a face straight outta magazine" is sung, a close-up of the female character is shown. Similarly, the couple look unbelievably infatuated with each other when "you'll never leave her" is sung. Thought beats aren't used often in this piece, or in any music video of the genre, but the music video has been edited to accelerate the pace during the bridge of the song towards the outro and the male's escape from the shop after being shot.

'Robbers' does not include many genre-related iconography but the setting of the music video - suburbs of the United States - could possibly be linked to the alternative music scene as that is one of the places where the artists of the genre take inspiration and influence from. The vocalist's hair, playing the role of the male protagonist, could possibly be seen as iconography as it is of an alternative style and could draw attention to the band as whole due to its difference to "mainstream" haircuts. The vocalist has had this particular hairstyle in all of the band's music videos and this establishes their trademark and style. A close-up shot of the vocalist is included in the first half minute to focus on his hair and tattoos. Again, this establishes the genre and style of the band. The look of the band is clearly a strong marketing technique. The vocalist has become a sex symbol of the early stages of the band's career in the limelight and so they are clearly playing on this benefit to draw further attention. The vocalist is seen acting romantic and head-over-heels in love in a fantasy to create a fetishisation from the audience towards the artist. Instead of using provocative angles, displayed in many Britney Spears music videos, the male is shown to be passionate and affectionate.

Voyeurism is displayed briefly when the couple can be seen taking part in a sexual act. The female character can be seen without a bra and this could be included to entice a male audience considering that the members of The 1975 are all of the male gender.

Miley Cyrus - "Adore You"
Genre: Pop

Miley Cyrus' 'Adore You' uses voyeurism to its utmost extreme to attract a wide audience and entice the male gender. After the phenomenal global success of 'Wrecking Ball', it was clear that using the "shock factor" method makes millions and attracts a wider audience. So, Miley turned it up a notch for this music video where she can be seen practically naked and filming herself in a sensual, erotic manner. The artist can be seen singing the song throughout which is cross-cutted with close-up visuals of her biting her lip and touching herself. The feeling of the video is incredibly intimate.

 There is a relationship between the lyrics and the visuals when Miley declares that she is "so scared" and covers her face in a terrified fashion. Therefore, this action amplifies the lyrics and her desperation for affection.

However the line, "i love lying next to you", contradicts the visuals as Miley can be seen alone on-screen. There are no thought beats during the music video although the pace of the interspersed clips flow smoothly throughout with the regular beat of the song. Miley's short haircut is an example of iconography as it contrasts all other female solo vocalists' haircuts at the moment. The haircut represents Miley's new direction in her musical career as she turns away from the Disney image and moves towards a more mature direction. This haircut is a reminder to the audience that she is no longer a child and wants to pursue a different musical genre. The use of voyeurism in this music video is similar to other uses by other female solo artists. Nowadays, artists such as Miley and Rihanna are expected to embrace their sexuality in order to attract attention and therefore increase single sales. The use of heavy sexual imagery is typical of the pop genre as it reaches far more of an audience than indie, for example. Close-ups of Cyrus are included throughout to create and consolidate her recognisable brand image. Provocative angles focus on her lips, bottom and breasts. Miley also focuses her eyes on the camera frequently to attract the viewer and to create a sense of sexual desire towards her from a straight male audience - of whom aren't her target demographic. There are no intertextual references to other media texts within this music video. Thought beats and quick cuts that coincide with the violin chords are used towards the end of the music video to increase the pace of the song until the last piano chord.