1. Video Analysis
of

2. The video begins with numerous
close-ups of the signer showing her
expression as she sings. The camera
switches to long shots of of the boy
in her garden to illustrate who and
what the singer is looking at and
referring to in her lyrics.
The use of zooming and slow motion
The Video switches between shots when focusing on the
the narrative story which the boy, emphasizing the singers
artist performs, and images of obvious attraction to him.
the artist and her band
performing in her garage.
Technical Aspects

3. This video illustrates all the conventions of a classic Pop video, it begins with multiple close-ups
that ‘sell’ the artists brand and displays her ‘lip-synching’ throughout the majority of the
video, even during the narrative story. The story itself seems conventional of a Pop
video at first glance, the artist finds the boy in
the video attractive, trying to act
provocatively and performing for him with her
band. However the end of the video displays
the male love interest giving his phone
number to one of the male band members,
instead of the artist. This defies the traditional
Pop convention of the two love interests
getting together.
Convention/Genre/Meaning
The use of comedy appears when the singer falls off her
car, gets caught staring at her half-naked
neighbor, imagining them as a couple on a book
cover and finally being rejected for another man.
This creates a comic effect not often found in
Pop videos, which usually focus of the sexual
Appeal of the artist. This unconventional use of
comedy suggests the artist wants the video to
be more memorable than other standard Pop
videos.

4. Carlsson
Using Carlsson’s
theory of modern
mythic embodiment
we can see that the
video is, for the
majority, an example
of a commercial
exhibitionist. This is
shown through
multiple shots of the
artist, both long and
close-up, selling her
brand image to the
public.
It also has elements of the televised bard, with
the narrative lyrics relating to the visuals on
screen about the artist’s failed love attempt.

5. The video whilst telling a story, is not particularly
deep or meaning full, as it only relates to the artist Shore
wanting a boy to call her, illustrating Shore’s view
of Surface without Substance. The video also illustrates strongly
Shore’s idea of Image and Style
Scavengers, as the artist performs in
the convention Pop video
manner, singing with her band and for
the camera. This is also seen in the
shot of the artist trying to provocatively
wash her car to impress the boy, as first
seen in Jessica Simpson’s video ‘These
Boots are Made for Walking’.
Finally, the video illustrates classic story-
telling motifs and clichéd imagery. The
story of a rejected crush is a common idea
for many music videos and films, as is the
widely-seen image of the attractive
female singer performing with her back
up band.

6. Goodwin
In relation of the lyrics to the visuals, this video can be seen to
illustrate the meaning of the lyrics fairly well. The artists
attraction and feelings for the boy in the video are easily
recognized, as seen
when the camera uses
a over-the-shoulder
shot illustrating how
the artist is watching
the boy in her garden.
The idea that that the
artists wants the boy
to call her is repeated
thoroughly, connecting
to the visual images on
screen. This use of obvious lyrics and visuals also amplifies the
meaning for the audience to easily understand.