1. Infernal- ‘From Paris to Berlin’
Music video Analysis
http://www.youtube.com/watch?
feature=player_embedded&v=b0EBqZFhfOY
July 2012 4th Analysis
Singapore did a cover of the song in 2006 as her de-
but single but changed the title ‘From Taipei to Bei-
jing’ but the content was very much the same.
Type of Music Video
The music video is a mixture of narrative and perfor-
mance. The narrative is of the woman singer of In-
fernal (Law Rafn) looking for the male member
(Raw Lagerman) in a digital world and trying to
catch him because the character she portrays loves
him and feels ditched. This digital chase happens in
discos all over the planet in the digital world mean-
CD Cover
while the disco scenes contain the dancing conven-
tions and all through the video she is singing the lyr-
ics of the song as the performance. In the end she
catches him and they drive off happy.
Genre Specific Conventions
The main location is conforming to the stereotypical
music video of a pop genre– a disco– as this pro-
vides the flashing lights and dance moves most dis-
Bright blue and pink colours, showing conformity cos have. The main colour is green and blue, which
are both vibrant and bright colours again conforming
Background to the Video to the genre. The fact the narrative is a quest for love
also conforms to the genre. Most pop music videos
‘From Paris to Berlin’ is generally considered also contain performance elements and there is a lot
Infernal’s signature song. It is a pop song that of voyeurism in the video which is again conforming
was released in 2005 on their album ‘From Paris to the genre. The lighting is also very bright and eve-
to Berlin’. The song was written by Alan Powers, rything is clear and easy to see. Also her costume is
Raw Lagerman and Lina Rafn and received a a tight bright pink swimsuit conforming to colours
platinum certificate in Denmark. It reached num- and a pop video stereotypical costume. There is also
ber 2 in the UK singles charts. Sing Chew from a tight leather costume which conforms.

2. Relationship between the Visuals and the Lyrics
Most of the visuals conform to what the lyric is
saying. The lyrics tell the story of a woman search-
ing the world for her ex in disco’s and clubs, and
the visuals show a woman chasing whom is pre-
sumably her ex in disco’s across the planet. A line The digital disco
in the song is ‘Every Disco I get in’ and they are in
a disco so there is further conformity there. ‘You
Left me Longing for You’ suggests she is desper-
ately trying to find him and the visuals show her
desperately chasing him.
Relationship between the Visuals and music
The music gradually increases in pace, and the vid-
eo is cut to show this increase in pace but at the end
the visuals slow, even though the music is still fast
paced, but this is to show her emotion and surprise
at finding love and to strengthen those emotions.
Also there are jumps whenever the beat changes.
An example of this is at 02:56 where the video goes
up a beat, louder and more violent and the visuals
jump cut to the disco location from the digital road The chase is on….
location.

3. Shot Types
Almost every single shot is a close up, this can be a
close up of her performance, a close up of the danc-
ing, a close up of the chase or a close up on objects
or places in the digital realm. However, there are
some shots that aren’t close-ups. A particular ex- The two shot showing contrast.
ample of this is of the man and the digital bartend-
ed which is a two shot. The reason for this is to
show the contrast between real and digital.
Voyeurism
There is a lot of voyeurism in the music video,
most of this in the disco scene. There are men
wearing nothing but there underwear and women
wearing clothes that are tight, reveal a lot of leg
and tummy skin and to also help show off their
cleavage and make it look grander than what they
are. This is being done to sell the song because
there a lot of close up shots of the voyeuristic ele-
ments to try and attract a sex appeal. This is heavily
reminiscent of Mulvey’s male gaze.
Voyeurism

4. Intertextuality
The music video looks a lot like the 1980’s film
‘Tron’. The motorbike-style vehicles look the
same, the fact it is set in a digital world and the
gridlines on the ground are all elements that have
been inspired by ‘Tron’ but the narrative has noth-
ing to do with ‘Tron’. It’s just the setting and the
vehicles having the ‘Tron’ elements.
There is another intertextual reference that isn’t so
obvious. The digital bar tender has the same anima-
tion style as Nintendo 64 characters such as Don-
key Kond and Super Mario, they don’t look the
same but they look animated in a similar way to the
Nintendo 64 style.
ABOVE: Nintendo 64 Donkey Kond
BELOW: Bartender from video
ABOVE: ‘Tron’ bike
BELOW: Music video bike.