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We have placed many of these immediate contrasts throughout our music video. For example, this contrast between an ECU and an ELS, which then zooms back into a CU

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We have used foreground editing in our video to intentionally highlight the changes in the narrative. Between each section of the narrative we have used a flashy cross cut to highlight the change in scene and relationship.

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We used repetition in our music video through our editing choices. We have repeated similar images and fast-paced cutting sequences in our video so that it is engaging for the audience.

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There is usually a lot of repetition of actions in music videos. For example, in Vampire Weekend's A Punk, there is a repetitive movement as they beat drums used throughout the video.

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These are used in conjunction with eachother to keep the audince engaged in the music video and to keep them on their toes. An example of a music video that does this is Meghan Trainer's All About That Bass.

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Master shots are used in music videos to establish narrative, characters, and settings.

We have used a few master shots to establish new scenes, settings, and characters throughout our music video. For example, the first shot establishes that the rest of the video takes place in a dream, and establishes the lead singer immediately.

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This is the opposite to invisible editing, where aspects of editing are foregrounded for particular reasons. For example, in Echosmith's Cool Kids, flashy and fast-paced cross cuts are used to highlight the differences in characters between the shots.

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Often in music videos, the editing purposefully opposes continuity editing to express postmodernism. An example of this is by using jump cuts during the narrative or performance of a music video.

We have used jump cuts throughout our music video to intentionally break continuity. This enhances the dream-like state of the video, and also to keep the audiences on their toes, not expecting what comes next.

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A change in pace in the video keeps the audience on their toes and keeps them engaged in the music video.

Most of our music video uses fast-paced editing, so we create a change of pace to a slower pace during the part of the music that is a it sadder sounding and a bit slower to match the music.

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Cutting with the lyrics is a common feature in music videos, as it helps with the fluency of the video as well as working with the music to help promote it.

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The narrative can often be presented in a montage in order to keep the audience's attention and to keep them engaged throughout the narrative.

We have definitely used this convention to show our narrative in a fun way that will keep the audience engaged throughout the music video.

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Questions are often posed in music videos through the narrative and characterisation. This leaves the audience thinking about the music video after watching, and allows them to think about wider questions in society.

We have made the audience think about and question relationships and what they mean to people, especially. We have done this by presenting all of Casey Tyler's important male relationships and seeing what they mean to her. With her brother, it is a sibling relationship, with her best friend it is close, and with her ex-boyfriend it is more complicated with a mutual break up.

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Some music videos intentionally leave no resolution or an unclear resolution to leave the audience thinking after viewing.

The dominant reading of our video's resolution is that Casey Tyler realises she's gay. However, this is left somewhat ambiguous to the audience in order to leave them thinking about the narrative of the video.