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2.  https://www.youtube.com/watch?v=6O
wU2SqplzU
Rihannas Music video

3. In this medium shot, establishing shot that opens the video, we are introduced to
the main artist Rihanna sat in a quite sexually alluring way against a smoky
studio spotlight. This ‘underground’ lighting looks highly stylish and sleek, but
also gives the shot a type of lighting that you would expect to see in a night
club. It gives off sexual connotations as the say Rihanna is sitting in front of
the light it emphasises the shape of her body. This can be linked to Mulvey’s
“male gaze” theory where a heterosexual male would be attracted to her.
The fact the hat covers the majority of her face and the way her leg is up in
this position showing as much of her figure would attract males attention.
Overall the shot does have a very mystical feel , which is linked to Godwin’s
idea of a “star image”. The song marked a change in the singers image and
this shot would of been constructed in a way the audience who the artist in
on television or on the internet. However the fact we are introduced by
Rihanna straight away a signature identity that is the main structure to the
video.

4. This long shot reveals the rapper Jay-Z positioned in the centre of the frame, drawing
prominence to him as he raps his verse in the part of the song. He is seen in his
typical casual costume which largely consists of baggy trousers and t-shirts, a
leather jacket and chunky trainers. He juxtaposes the three female dancers either
side of him, again aiding him to stand out and seem quite important. This is a
stereotypical convention of popular music videos and performances in general,
but particularly of the ‘rap’ genre/culture where male artists have long since been
associated with in sexualisation and are a objectification of women (the shot is
consistent with the previous). The fact that the female dancers’ legs are on
display conforms to Laura Mulvey’s “male gaze” theory once again, and
additionally the fact that all six wear the same clothing does indeed that the
genre allows audiences to recognise familiar characteristics.
The sparkling droplets in the background give the video quite a stylish contribution to
the mise-on-scene and reference to Goodwin, they “amplify” the lyrics of the
song , which talk about the rain in a metaphorical sense – possibly meaning when
relationships become difficult.

5. This close up allows the audience to connect with Rihanna, a common feature
of most music videos (ref. Andrew Goodwin) and furthermore the fact that
she is facing the camera side-on and theoretically looking at the viewer from
behind her, the motion of symbolically inviting the audience into the “diesis”
of the video (ref. Carol Vernallis). Again the show does have some sexual
connotations, as would be expected to fit the rest of the video, in that other
heavy eye make-up, her facial expressions and the fact all her upper back is
completely exposed. It is quite typical of a performance-bases shots the
background has on overall quite neutral tone to it, with the bright lights
acting as a reference to the performance going on.

6. This frame can be linked to Carol Vernallis’ idea of characters and music video
objects moving in the time of the music. The shot marks a quick increase in
pace as the chorus kicks in, and a result Rihanna performs with a dramatic
movement where her right leg and her head punches her arms towards the
ground as this happens, before the cut is made. This place additional
emphasis on the already stressed lyrics to signify the imminent chorus. As
such the shot can also be linked to Barthes “action code” as the audience
will expect a chorus at the point. Simultaneously in the background of the
shot, what appears to be tanks of water, or glass panels, smash to mirror the
pace change. This amplifies the lyric “now that its raining more than ever”
and makes the shot quite exiting and busy, rather than Rihanna just stood in
the plain studio.

7. This shot uses a combination of special effects and dancing to give what has quite an
interesting performance shot. Rihanna is seen in a quite feminine, white dress that
in some way juxtaposes the ides of her being in and amongst the water, a very
revealing outfit. Nevertheless, it contrasts against the gray background well and
gives prominence to this particular image of the performing star. In this shot, and
the ones surrounding it, Rihanna can be seen dancing in the way which reflects
her trying to in and around water that is being thrown about. This dancing is again
in time to the music as so supports ‘Carol Vernallis’ ideas, and the dancing
conventions of pop music videos. It is interesting that she is wearing a very
revealing dress , that Rihanna does not get wet even though she should and be
soaked in the rain, as illustrated in this shot. However this concept illerstrates (ref.
Goodwin) the lyric “you can stand under my umbrella”, Rihanna possesses an
umbrella that prevents her from getting wet. The fact that she does not have an
actual umbrella itself suggests that she is referring to something more
metaphorical that interests the referred lover to stay in a relationship with her.

8. According to Goodwin, record companies demand lots of close ups of the artists in
music videos is used in order to promote them as the ‘star image’ and overall
appearance to sell records. This concept is true to her video, and is exemplified by
this shot particularly, showing the singer in a much “softer” light than most of the
video. Her makeup seems to be less heavy, her hair curly In contrast to the
otherwise “straightness” and her expressions more “cheeky” than sexual. In
addition the lighting is a little brighter and focused directly on her face, giving her
a better contrast with the black background (which in aided by the shallow
depth of field). This can be linked to the fact that the shot is taken from the bridge
of the song which follows a change in key and pace where more personal,
emotional and direct lyrics are. Rihanna needs to be presented in more venerable
way and focusing on her face gives more intimate experience for the viewer
which matches these lyrics. Because the shot is largely different from others, it
could be interpreted as a reference (again from Goodwin) to Rihanna’s earlier
music videos where her “star image” was linked to that of her perceived
innocence and vulnerability. This will provide the audience with information and a
link to the “old Rihanna”, this being a change in musical and visual direction.

9. Rihanna uses the iconography of an umbrella in this shot, to illustrate (ref.
Goodwin) the song title in quite a humorous was, serving as a dancing cane.
This may provide information for the audience as a form of entertainment.
With it, she reforms quite a provocative dance routine, a convention of pop
music videos, against quite a “fancy” background depicting a wood-
paneled wall. The orange-toned shiny floor aids in depicting quite a
sophisticated “narrative” (ref vernallis), which ironically, complements her
outfit of fish net tights, a leotard , and black gloves which yet again have
sexual connotations. The fact that this a long shot, together with her fish net
tights , allows the singer to showcase her notoriously idolised legs for both a
male and female audience. In case of a male audience this again conforms
the Mulvey’s “male gaze” theory.

10. This sample long shot sees Rihanna nude, squatting after having been covered
in metallic paint. Black and white has also been used here, not only
emphasising this metallic nature (this is also helped by a spotlight being
focused on her figure)., but giving pleasing autistic result to this part of the
video ; it is quite ‘arty’ and somewhat glamorous, standing out from other
shots in this and other videos . As such, it has arguably become iconic
imagery associated with Rihanna’s ever-evolving “star image” (ref.
Goodwin) the intention to cover Rihanna in this way could be routed in the
idea of signifying a statue description. Statuses are usually made of
celebrated people who are considered important, which links to Mulvey’s
“Male Gaze” theory once again - she is showcasing her “celebrated” body
to the viewer. The fact that she is covering her breasts, besides from making
the videos “decent”, could symbolise her femininity in that of vulnerability
where she is hiding to one side.

11. In many respects this shot reverses frame one as Rihanna is centrally placed in Jay-z
position , which an array of male backing dancers behind her. Again, this is a
typical convention of music videos and in this shot it brings prominence to Rihanna
and her “star image” (ref. Goodwin) as the song draws to a close. Although the
video does not have a narrative as such, being a performance-based video, the
shot has a slight celebratory and ;fun’ sense of mood where everything has been
“brought together”. The rest of the video hoed not have this , and it is due to a
heavily choreographed dancing ,routine, the number of people and the sparkling
“rain” falling , which appears much heavier than at the beginning of the song,
than this shot does. All of this can indeed be linked to the fact the song has
reached its climax; the video at this point embraces the pure ‘fun’ nature of the
pop song, and a symbolic/ metaphorical way rather than a physical state for a
new equilibrium (ref. Todorov). The bottom third of the shot where Rihanna and her
dancers are performing is quite dark. This gives emphasis to the falling rain,
creating what could be described as a magical “narrative” (ref. Vernallis) that
adds to the celebratory element.