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 Bring Me The Horizon – Sleepwalking – Analysis

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 Bring Me The Horizon – Sleepwalking – Analysis

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CAMERAWORK/CINEMATOGRAPHY:

When the song starts, many cuts present shots of each band member. As the vocalist begins to sing, a long shot is used to present the whole band. When the vocalist actually begins to sing, a focus pull highlights him only, bringing all attention to the vocalist.  Close up are also regularly used, mainly on the vocalist again, this may be integrated into most music promos such as this, because it provides the audience with the feel that they are close to the performer, in which fans may wish to be, in such cases as gigs. The shots seem to be jolted throughout in relation to the music being quite hardcore metal and the genre being ‘metal core’.  During the cut to the narrative and the middle part of the video promo, the camera is handheld while tracking the lady. It puts into perspective of the lady, as if the audience is with her as she runs. The handheld, shaky movement of the camera mimics running. As the melody of the song is calm, the camera movement is quite steady. However when the beat drops, typically when it cuts to the band, the camera jolts, moving with the beat of the song.

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At the beginning of the music promo, when we see the lady, the editing is in slow motion and it seems that the video is being played backwards, this gives a feel of the lady ‘dreaming’. As she wakes, a motivated cut leads to the band, and the beat becomes harder. The tempo of the song seems to control the speed of the editing and the amount of cuts applied. As the song calms, the camera movement slows and cuts are less frequent. The use of special FX is also applied during the narrative, little glimmers of sparkles provides the feel of being in a dream, relating to the lyrics of ‘sleepwalking’; she is walking in a dream. Cross cutting is included in most music promos such as this one, crosscutting between the narrative and performance. Finally montages are frequently used, the music itself is quite fast paced and so it provides visual representation of the lyrics and the tempo of the beat. Overall the music promo relates to Andrew Goodwin’s theory, in that the cuts are in sync with the rhythm of the song.

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The costume closely relates to roles in the music promo. The lady who is visually represented as being in a dream wears white, a colour normally associated with dreaming. The band is wearing casual clothes, clothes that seem to be what they would wear in reality. The setting also relates to the song of dreaming, the lady cycles through a snowy area, also very white. However again, in relation to the beat of the song, the rhythm becomes sharp and almost ‘angry’. We then see the lady wearing red, creating connotations of danger. In the narrative, the lighting is low key, providing a ‘dreamy’ feel. In the performance, the band plays in a typical pub, with the use of instruments; to give the further feel of realism, as if the audience is viewing them in person. In the beginning, a prop of a fox is also seen, quite angry looking, relating to the genre of the music of being ‘metalcore’.

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The narrative and performance is interwoven, when the beat is heavy, it cuts to the band. The narrative is unique and unusual, slightly disjuncture’s to the lyrics. When the beat is calm, it proceeds back into the dream. The performance is in a pub, giving a sense of normality. In relation to Andrew Goodwin’s theory, the visuals portray the message of the song of ‘sleepwalking’. The narrative is non linear and also circular, ending in the same way it started (of her waking up). In a way the narrative could be seen as following Todorov's theory of following typical conventions of equilibrium to disequilibrium to a new equilibrium. Her waking up and her walking is the equilibrium, when the lighting is dropped to low key significantly and she begins to run, that is the disequilibrium of the narrative and the final bit of the video, where we see her wake again, it is the new equilibrium.