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Vernallis talked about how there is a difference in editing between music videos and film. She says that the editing in music videos often match the beat.

We adhere to this a lot in our music video as throughout the main drops of the song and partially in the first buildup, we only jump cutted on the beat to make the editing flow with the song and to give the relationship between audio and video which is adhered from Dancing in the Destruction factory.

Vernallis also said that the editing function in music videos can change rapidly. We would also adhere to this as there is a rapid difference in how we edited the music video from the fast paced drop and the slow paced buildup after the first drop and during the vocal sections. This was designed to emphasise what was on screen at each particular time. In the vocal sections, we tended to use fades more than jump cuts however we also subvert this as we di use jump cuts during some parts of the vocals.

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The Semic Code is a code in which the use of a sign is designed to show you a meaning. We adhered to this code in our music video with the use of the weather to portray the emotions of the characters. This is evident with one character having the shots quite dark and mostly cloudy weather in the background, the costume of that character wearing a dark hoodie also follows this code. In contrast, the other character is often shown when the sun is out in the sky to make a bright reflection off him, his bright costume also adheres to this making a clear difference between both characters.

The idea of the two characters contrasting also adheres to the the code of sppositions which refers to a narrative which is dependent on binary opposites such war vs. peace or male vs. female.

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Richard Dyer’s ‘Star’ theory is used to understand the relationship of the music industry and the audiences. In our music video, we generally subverted the main idea of star theory as we didn’t focus on the image of the artist as we aimed to focus on the emotions of the two protagonists within the music video. However, it could be argued that we adhered to it if you portray the protagonists as the artists. If we follow this idea, then it would be adhered in the CD booklet as we included lots of images of close up of the characters and in the music videos with the close ups during the vocal parts however it is subverted mostly on the website with a lack of images showing the artist.

In the dance music industry, we would adhere to the conventions of Star theory as most of the artists in this particular industry tend to remain hidden and there often isn’t a face to the artist, but more a logo or a house style throughout. We adhered to this by the use of a specific house style which combines the music video to the artwork and the website.

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Our music video does  use some conventions behind the Uses and Gratifications theory to illustrate the similarities between our video and that of other videos in the dance music industry.

Our video might be used for escapism by the audience with the emphasis on emotion and the audience may view the video as a way to forget about their own emotions by watching the characters and the progression throughout the video.

In addition, some people may argue that our video portrays the social interaction element of the Uses and Gratifications theory as the audience may create personal relationships with the characters by possibly understanding the emotions depicted in the music video.

The main element of the Uses and Gratifications theory we aimed at the audience through our music video was entertainment as audiences like myself watch music videos to be entertained and as a result, the music video would not have required any other gratifications.

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Andrew Goodwin, author of ‘Dancing in the Distraction Factory’ in 1992 stated 6 different aspects which can offer explanations for the different types of music videos in the music industry.

One aspect was that music videos demonstrate genre characteristics. This can relate to our music video as we demonstrated the characteristics of the dance music genre by using the protagonist as an image of the artist in the music video and also by using lots of contrasting elements and the use of different colours and glitches throughout the music video.

The second aspect is that there is a relationship with the lyrics and the visuals and we did that by the use of lip syncing and the  use of cutting during the lyrics to show emphasis on the emotions of the characters within the video.

The third aspect was the relationship between music and visuals and this is done with the use of  effects to make the emotions of the characters obvious with warm summery effects for the protagonist and cold wintery effects for the other protagonist who is depressed.

The fourth aspect which we didn’t follow is the demands of the record label to use close ups of the artist. We did not include many close ups as we wanted to emphasise the proxemics of the characters rather than emphasise and image for the label. We didn't follow this in the website either with the use of images being long shots showing the artist's back however we adhered to it in the CD booklet as there are multiple close up images of the characters which we could portray as the artist.

The fifth aspect we subverted to as we did not include any women in our music video which in dance music is generally seen for voyeuristic reasons and that lack of women in our music video was designed to create more of an emphasis on the characters.

The final aspect we also subverted as we didn’t take any intertextual references from any previous film, television show or any other media text.

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Our music video conforms to the Dance music genre. As a result we tried to make the song both fast paced during the drop of the song whilst  contrasting the build-up and break of the song to a slow paced video. In the end, we decided to keep most of the conventions of the Dance music genre with the use of both fast and slow paced scenes within the music video itself.