POSSIBLE POINTS OF INFLUENCE
TRACK: We Are The Pigs
ALBUM: Dog Man Star
YEAR: 1994
GENRE: Art rock, glam rock
DIRECTOR: David and Raphael Vital-Durand
LABEL: Nude Records
SINGLE?: Yes, first.
RELATIONSHIP BETWEEN LYRICS AND VISUALS:
"Police cars on fire" - Later we see this multiple times.
- Screens within screens
- Filming at a rubbish tip
TRACK: We Are The PigsALBUM: Dog Man Star
YEAR: 1994
GENRE: Art rock, glam rock
DIRECTOR: David and Raphael Vital-Durand
LABEL: Nude Records
SINGLE?: Yes, first.
BACKGROUND/CONTEXT
- A shift away from Britpop
- Bernard Butler had left the band, so it's suitable none of the other members perform in the video, as they won't either in the next one
- So this is the first appearance of Richard Oakes
PERFORMANCE, NARRATIVE OR CONCEPT?
EXTRA SOUND:
Very easy to miss, they play a split-second of the previous released single, Stay Together while on black.
The end of the song: "We all watch them burn" is cut off earlier.
TITLES:
No titles.
The end of the song: "We all watch them burn" is cut off earlier.
TITLES:
No titles.
NARRATIVE ENIGMA:
The ominous figures at the beginning, kept unclear through the lighting and smoke.
RELATIONSHIP BETWEEN LYRICS AND VISUALS:
"Police cars on fire" - Later we see this multiple times.
RELATIONSHIP BETWEEN SOUND AND VISUALS:
The darker sound in the album is reflected in this video, more than later videos.
The darker sound in the album is reflected in this video, more than later videos.
GENRE SIGNIFIERS:
The band aren't glamorized, typical indie.
Through the intertextual referance to 1984 you have a simulacrum of the dystopian/post-apocalyptic genre, although this could still be apocalyptic as the carnage is going on right now.
INTERTEXTUAL REFERENCES:
Reference to Nineteen Eighty Four film through the screens.
OTHER NARRATIVE THEORY:
TODOROV
All classic dystopias represent, so the equilibrium can never be restored, the restoration ultimately is a tragic ending like the death of Winston Smith in Nineteen Eighty-Four.
LEVI-STRAUSS BINARY OPPOSITION
The vandals and their victims
KATE DOMAILLE'S 8 NARRATIVE TYPES
4. The chase between the spider and the fly, we see the spiders mainly here, actually chasing like mobs.
BRANDING:
Continuous use of the black leather for the band's look.
The fire was used during the live performances.
REPRESENTATION:
GENDER: The perputrayers of the dystopia are male, males as the more violent.
SEXUALITY: Very little representation of sexuality
REGIONAL IDENTITY: Set in London, Suede is still quite metropolitan despite being outsiders in the Britpop era.
The band aren't glamorized, typical indie.
Through the intertextual referance to 1984 you have a simulacrum of the dystopian/post-apocalyptic genre, although this could still be apocalyptic as the carnage is going on right now.
INTERTEXTUAL REFERENCES:
Reference to Nineteen Eighty Four film through the screens.
OTHER NARRATIVE THEORY:
TODOROV
All classic dystopias represent, so the equilibrium can never be restored, the restoration ultimately is a tragic ending like the death of Winston Smith in Nineteen Eighty-Four.
LEVI-STRAUSS BINARY OPPOSITION
The vandals and their victims
KATE DOMAILLE'S 8 NARRATIVE TYPES
4. The chase between the spider and the fly, we see the spiders mainly here, actually chasing like mobs.
BRANDING:
Continuous use of the black leather for the band's look.
The fire was used during the live performances.
REPRESENTATION:
GENDER: The perputrayers of the dystopia are male, males as the more violent.
SEXUALITY: Very little representation of sexuality
REGIONAL IDENTITY: Set in London, Suede is still quite metropolitan despite being outsiders in the Britpop era.
AUDIENCE REPRESENTED/TARGETED:
Arthouse characteristics as was the whole theme of the album.
Arthouse characteristics as was the whole theme of the album.
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