How does media language and intertextuality create meaning in this video? (Blinding Lights)

 How does media language and intertextuality create meaning in this video?

Codes and conventions – performance/narrative/experimental features

Relatively conventional in many aspects, despite the somewhat 'edgy' narrative. For example, the inclusion of a hegemonically attractive singer,  a stereotypically hegemonically beautiful love interest, dancing to the beat of the song, etc.

Camera work (framing – shot types, angle, position, movement)

The shot types change drastically, edited in a montage, going from close-ups of faces to distant long shots of the erratic movements performed by the artist. Its inconsistent nature implies the instability of the artist, which is making reference to drug abuse.

The opening shot is an extreme close up, blood is coming from his mouth, his facial expression symbolises he is in pain which creates a hermeneutic code for the audience.

Mid-way through the music video, the sound slows down and warps as the camera angle changes to a first-person shot and bright, vibrant lights flash past, giving it more of a drug-like feel and makes the audience see the performer's character is seeing.

Close to mid-shot - It is positioned with the audience, they both sway with him, the diegetic sound of him panting heavy and non-diegetic sound of the music sounding suspenseful and links to the horror genre through this convention of sound, proairetic and hermeneutic code. He is wondering around aimlessly and looking for something, the swaying motion could have connotations of being drunk, the setting is a street with bright high key lighting and neon signs, an intertextual reference to Vegas or Hollywood.

When the artist enters the car, the audience sees a variety of shots at a fast pace (montage) a close up of his foot on the pedal, shaking close up of the speed metre going at high speeds, fast close up of highkey neon lights that becomes a blur - symbolic code of being high.

There is a birds-eye-view shot of The Weeknd dancing on a bridge and he is in the centre of the shot, reinforcing that he is the performer and the focus of the video.

Editing – beat-matched?

Halluicnagetic fast-paced editing, matched to the beat of the song, which is equally as fast-paced and energetic.

Elements of continuity/montage

A filmic quality to the music video via its continuity editing, and inclusion of a narrative within the segments not apart of the driving sequences, the juxtaposition of this to the non-linear editing adds to the 'trippy' nature of the music video.

How does the video interpret the music and/or lyrics?

The fast-paced editing holds connotations of tripping/cocaine, a speed up drug. But within the segment at 2:22 to 2:30 where the song slows down to match the slower visuals on screen, there are implications that the character being 'blinded by the lights' could be representative of his influence on many drugs/ narcotics. 

The mise-en-scene of the red lighting and colour pallet that is constant throughout the video symbolises love and romance, which mirrors the lyrics.

Structure/narrative

The narrative is almost akin to the plot of an 80s film short cut into  4 minutes.

Intertextuality

The video is a follow up to his latest music video 'Heartless', as he is running a billboard behind him displays the title 'heartless' --> an example of intertextuality.

Mercedes-Benz product placement. The vast majority of screentime focuses upon The Weekend driving around what we can infer is Los Vegas, based upon the location. The appearances of the MB logo are frequent but match the fast pace of the edit, never dwelled upon too long.

The 80s - Both via through the film grain filter, cinematic aspect ratio, as well as the mise-en-scene, usage of neon lighting and incorporation of synths within the song.

There is a lot of intertextuality throughout the video, making reference to multiple movies like Fear and Loathing in Las Vegas through the use of distorted cinematography and fast-paced editing, and other films like After Hours, Blade Runner, and Joker. The Mise-en-scene of the setting also creates intertextuality. Inside the club where The Weeknd becomes infatuated with the Asian singer, the patterning on the walls is an intertextual reference to the red room from Twin Peaks, mirroring the red colour pallet of the video. This intertextual reference could imply that the narrative of the video is a fantasy of the performer's.

The club setting, and simplistic narrative of 'getting the girl', paired with the generic leathered-jacketed thugs fighting back against the red-suited, and glove adorning The Weekend. Makes the music video incredibly reminiscent of a Michael Jackson music video, this reference is reinforced by his dance moves within his performance, and the 80s adjacent setting.

Sound

Mise-en-scene – colour, lighting, location, costume/dress, hair/make-up

 the East-Asian woman is wearing a full face of make-up along with a silver dress, this implies she is glamorous and is an example of gender performativity --> she is presented as nothing more than a possible love interest.

East Asian performer is established and represented through an establishing montage of close-up and mysterious mid shots, emphasizing her beautiful and exotic status to the audience. Presented as a spectacle for a heterosexual male gaze, her mysterious 'power' is made evident through her ability to cause the performer to literally levitate off the ground. This digital special effect is also a clear intertextual reference to cartoons from the 1940's and further reinforces hegemonic gender stereotypes.

The binary opposition between low-key lit shots of a city at night and bright car headlights creates a sense of bewilderment/confusion, interpreting the lyrics “I’m blinded by the lights” in a literal sense.

The constant usage of the colour red, primarily to The Weekend's suit. Acts as a draw of our focus, a colour pop amongst the darker hues of green, beige in the city. 

Cherries - Common connotations of sex, further implied whilst slowly floating towards the stereotypically attractive woman, who appears to be working (bell hooks, feminist theory)