RESEARCH: Intertextuality of the 1975

Intertextuality from candidate 5098

Not only have I presented intertextuality through the film 'Bend it like Beckham', I have also intertextually referenced the 1975 through their iconography and ideologies. 

RESEARCH: Intertextuality

Intertextuality from candidate 5098

This is my first reference to intertextuality within my practical, the subtle references to the empowering storyline of 'Bend it like Beckham' almost mirror that post modernist representation I would like to incorporate within this practical piece. The modern take of a teenage girl and her unexpected interests with this physical sport compared to her parents traditional expectations and rules reflect similarly in the postmodernist representation moving away from the religious aspect and more onto self identification through gender. In a postmodern society, the traditional and expected norms and attitudes for women and men become more interchangeable and blurred, but are usually reinforced through parental expectations of their children or naturally through taught methods of communication in male and female orientated schools.
Saying this, this video doesn't reflect a possible 'bias' or 'unfair' representations presented by society and 'whats wrong' but rather focuses on a more individual approach in being true to yourself rather than adhering to expectations set by others.

PLANNING: Storyboard

IN-DEPTH DETAILED PLANNING

LYRICS + INTRUMENTAL	TIMINGS	VISUAL REPRESENTATION	WHO	LOCATION OF FILM
Instrumental	5 seconds (first drum beat) 10 seconds (backing music) 29 seconds (trumpet starts)	Walking round the corner– bops and dances to the beat of the music. Actual trumpeter – dances and skips around him between trumpet and lyrics – puts money in trumpet box and after acknowledging eachother, singer continues.	Caelan = main singer – dances naturally whilst listening to music. Trumpeter – Ben (smartly dressed holding a trumpet)	Neals Yard – Covent Garden, London
Lyrics begin	53 seconds (lyrics FIRST begin)	-----------------------	--------------	----------------
“and irony is okay, I suppose culture is to blame”	53 – 57 seconds	Shot of MG holding suit up to mirror cuts to shot of MS leaning against graffiti wall
“you try and mask your pain in the most postmodern way”	0.58 – 1.02 mins	Zooms out onto graffiti wall when describing the ‘most postmodern way’
“you lack substance when you say something like ‘Oh, what a shame!”	1.03 – 1.07 mins	Panning shot of MS and when saying “oh what a shame” shot turns into medium close-up shot – acting mockingly	MS- Caelan	Neals Yard, Covent Garden, London
“It's just a self-referential way  That stops you havin' to be human”	1.08 – 1.13 mins
“I'm assumin' you'll balloon  When you remove the dirty spoon  And start consumin' like a human  That's what I am assuming”	1.14 – 1.23 mins
“I'm sure that you're not just another girl I'm sure that you're gonna say that that I was sexist”	1.24 – 1.33 mins	Shot of them having fun – being themselves Cuts to shot of him singing – semi upset but still dancing
“I feel like you're runnin' out  Of all the things I liked you for”	1.34 – 1.42 mins	Shot to couple arguing
“Why can't we be friends, when we are lovers? 'Cause it always ends with us hating each other”	CHORUS 1.43 – 1.52 mins
“Instead of calling me out you should be pulling me in I've just got one more thing to say”	CHORUS 1.53 – 2.05 mins			RAYLEIGH
“And why would you believe you could control how you're perceived When at you're best you're intermediately versed in your own feelings?”	2.06 – 2.16 mins			RAYLEIGH
“Keep on putting off conceiving It's only you that you're deceiving”	2.16 – 2.21 mins
“Oh, don't have a child, don't cramp your style, I'll leave it”	2.22 – 2.25 mins
“Why can't we be friends, when we are lovers? 'Cause it always ends with us hating each other”	CHORUS 2.26 – 2.35 mins
“Instead of calling me out you should be pulling me in I've just got one more thing to say”	CHORUS 2.36 – 2.47 mins			RAYLEIGH
Outro	2.48 – 3.00 mins			Rayleigh and London

MS – Main Singer

MG – Main Girl

NARRATIVE – Juxtaposing terms – 

-      seriousness presented through old school, sophisticated trumpeter and MS dancing in front of bright coloured buildings talking about postmodernity.

-      Close up of *** playing trumpet

PLANNING: Analysing language of lyrics

Analysing the language of the lyrics – PLANNING CONTINUED;

SUMMARY-

Lyrically, the narrator is reflecting on communication in present-day society and how it sadly tends to place irony before important things such as candidness, honesty and sincerity. Simply put, this song is talking about how these days many feel scared to be sincere.

Verse One-

And irony is okay, I suppose

Culture is to blame

You try and mask your pain in the most postmodern way

-      Introduction of postmodernism presents something of a younger audience, reflecting the briefs target audience.

-      Intertextuality with new postmodernist ideas integrating modern society

You lack substance when you say

Something like ‘Oh, what a shame’

-      Almost presenting a narrative, directly addressing someone else, someone else in the video being represented – a woman.

Its just a self-referential way

That stops you havin to be human

-      Representing what people do sometimes, take irony and sarcasm too far. Taking honest true human emotions, and you end up being like a cold metallic heartless robot. 

I’m assumin’ you’ll balloon

When you remove the dirty spoon

And start consumin like a human

That’s what I’m assumin’

Pre-Chorus-

I'm sure that you're not just another girl
I'm sure that you're gonna say that that I was sexist
I feel like you're runnin' out
Of all the things I liked you for

-      Pre chorus jumps into a discussion about the relationship with main singer Matty Healyhas admitted it’s a bit out of context of the song, but segways it into the chorus. 

-      Something strange about a relationship, combining with postmodernist ideas, acceptance in transgender representations – she trying on his clothes, suits etc.

Chorus-

Why can't we be friends, when we are lovers?
'Cause it always ends with us hating each other

-      Rather than tearing into eachother with sarcastic and ironic comments, why can’t we just enjoy eachother – acceptance to them for who they are

Instead of calling me out you should be pulling me in
I've just got one more thing to say

Verse Two-

And why would you believe you could control how you're perceived

-      Again reinstating the post-modernist idea of self-directedness and being able to construct your own identity.

When at you're best you're intermediately versed in your own feelings?

-      You know your feelings, sense of simplicity, ‘it is as it is’

Keep on putting off conceiving
It's only you that you're deceiving

Oh, don't have a child, don't cramp your style, I'll leave it

-      Creating an image of yourself doesn’t mean that that is you, wears a dress in public and in the end accepts themselves for who they are.

Overall message of the song:

-      it’s a fantastic message about being true to yourself, not in an obnoxious way, but in a sincere way, being true to yourself for the sake of your own health, and for the sake of the health of the relationships that you have with other people.

PLANNING: Initial Ideas

INITIAL IDEAS – SINCERITY IS SCARY

INTRO

Comes into view from road and puts headphones on, beat starts, as the drum hits the person dips (dancingly bopping to the rhythm of the music). 

Walks past the someone playing the trumpet in beach hut along seafront.

Comes into view from road or house, puts headphones on when trumpet starts and dances along the street (film Sunday morning when the roads aren’t busy).

Bursts out of door (probably library in Southend) – on first beat.

On other beats, shots cut of swaying in different places

Puts headphones on trumpet beat

LYRICS

“And irony is okay, I suppose

Culture is to blame

You try and mask your pain in the most postmodern way”

In this, as well as upbeat dancing, walks past wall in Southend with the graffiti and skip on the ‘mask your pain in most postmodern way’ – connoting binary oppositions with lyrics and visuals.

“You lack substance when you say

Something like ‘Oh, what a shame’

Its just a self-referential way

That stops you havin to be human

I’m assumin’ you’ll balloon

When you remove the dirty spoon

And start consumin like a human

That’s what I’m assumin’”

I'm sure that you're not just another girl
I'm sure that you're gonna say that that I was sexist
I feel like you're runnin' out
Of all the things I liked you for

Why can't we be friends, when we are lovers?
'Cause it always ends with us hating each other
Instead of calling me out you should be pulling me in
I've just got one more thing to say

And why would you believe you could control how you're perceived
When at you're best you're intermediately versed in your own feelings?
Keep on putting off conceiving
It's only you that you're deceiving
Oh, don't have a child, don't cramp your style, I'll leave it

Why can't we be friends, when we are lovers?
'Cause it always ends with us hating each other
Instead of calling me out you should be pulling me in
I've just got one more thing to say

Big idea to include:

-      In chorus 1- putting close up on main male singer, low-angle shots and cutting to man and woman having fun…

-      In chorus 2- same cut to low-angle shot of main male singer and cutting to man and woman, this time her being herself  

-      Wide shots of person dancing through either colourful streets or, alternatively, next to brightly coloured streets or graffiti