Music Video Analysis: Red Hot Chili Peppers - Otherside

Music Video Analysis - Red Hot Chili Peppers: Otherside

RELATIONSHIP BETWEEN VISUALS AND LYRICS

Directed by Jonathan Dayton and Valerie Faris, the 'Otherside' music video distinguishes a clear relationship between the visual effects and the lyrics. However, the music video is conceptually driven with heavy influence from German Expressionist Art, drawing similarities with the work of Robert Wiene to convey to the audience the struggles of an ex drug addict. The music video is an example of an amalgamation between a conceptual piece and a performance piece, as the band are very clearly shown to be performing with surreal instruments whilst also following a narrative. Symbolically, words connoted with the effects of prior drug addiction are represented throughout this video and are portrayed through a very distinct Gothic style; for example, the demons that this recovered drug addict faces are symbolically represented through a demonic, twisted figure that emerges from the darkness, in an effort to convey the underlying message of the video whereby ex drug addicts suffer from relapses.

GENRE CHARACTERISTICS

Various camera shots throughout the video establish and reinforce the typical conventions associated with rock genre, even though they aren't blatant obvious at first. Both directors, however, attempted to recreate the conventions associated with the genre through an unconventional but successful portrayal of instruments such as the bass guitar and drums, whereby the instruments are represented through telephone wires (representing the guitars) and a clock face (representing the drums). Wide angled camera shots capture the surreal and abstract creativity of the portrayal of the instruments but also maintaining the conventions of the genre. Another successful genre characteristic established is through the close up shots of the lead singer, miming along to the lyrics and mid-shots of the other band members. These types of shots that capture performance is typically associated with the rock genre as bands would want to fully immerse themselves into the music whilst also wanting to maintain their involvement and commitment to the song that resonates with their audiences.

INTERTEXTUALITY

Intertextuality may be observed through the reference and inspiration from German Expressionist Art and the works of Robert Wiene, specifically his more notable 'The Cabinet of Dr. Caligari'. Inspiration for this music video was also heavily influenced by Cubism and the graphic artist M.C. Escher, very well known for his work on 'Impossible Constructions' which was featured in the music
video too.

PERFORMANCE, NARRATIVE AND/OR CONCEPT?

As stated in the aforementioned point about the music video being conceptually driven, but also following a narrative, there is a combination of both of these features that each work forming a symbiotic relationship in order to ensure success of the media text.

PERFORMANCE STYLE

Throughout the video, no external equipment such as lighting or microphone stands are seen, thus alluding to the idea that the video in it's entirety, was lip-synched. Evidenced throughout the video is a mixture of static camera shots and tracking shots, with wide shot variation as the video is filmed utilising a green screen to mimic a wide expansive area. The lack of verisimilitude is therefore made up by the abstract and surreal creativity of the media text, adding to it's melancholic yet appealing performance style.

LINEAR, CLOSED NARRATIVE?

The music video very clearly exhibits a cyclical structured narrative, whereby the start of the video is also the end of the video, subverting the traditional structure of Todorov's Theory in which equilibrium is established for which disequilibrium is then followed, only to have another equilibrium established although it may not being the same one as evidenced at the beginning. We can also apply Levi Strauss' Binary Opposites Theory to this music video, as the narrative symbolically follows the 'death of a prior self' i.e. the drug addicts prior addiction, only to then be followed by the reincarnation of the ex addict through a road of self rehabilitation; which is essentially, life/rebirth and death.


LOOKING/MODE OF ADDRESS

Numerous times there are close up camera shots of the lead singer, Anthony Kiedis, directly looking into the camera, although there are moments of distance that can be inferred from the lack of eye contact with the camera. Considering that the song, 'Otherside' is a homage to a previous band member, Hillel Slovak, who died of a heroin overdose, this lack of eye contact can be justified as to reflect the melancholic and sombre tone of the video; or the refraining could be interpreted as the band members feeling distant from audiences through this time of mourning. The mixed address to the camera also reflects the inner deep feelings of the band members at the time, challenging a feature of the Uses and Gratifications Theory as Kiedis wouldn't want to establish any personal relationships to audiences at this time.

STAR TREATMENT

There is an intense level of equity/equality that is established through the video, detailed mostly through varying camera shots and editing techniques. Although Kiedis is the only band member that is shown through multiple close-up camera shots, this does not discount the other band members as they are aptly followed through tracking shots and overhead shots; normally associated with the disempowerment of a character or place within videos, however, as the lighting is high-key, this pertains to the idea of equity and equality that is established throughout the music video.

MIS-EN-SCENE

The directors of this music video, as previously stated, drew inspiration from elements of Cubism and German Expressionist Art; and because of this, chose a creative technique of filming in black and white, but being selective with colour on some aspects as shown in the video. There were numerous occasions where the colour red was exhibited, perhaps most prominently noted on the wings and the lips of the surreal and distorted face. This could be interpreted as being that throughout the hardships faced with recovering from a drug addiction, there are always silver linings, in this case, represented through the vibrant colour of red. In strong contrast, the band members sport a monochromatic style, dressed in black that is then complemented by the used of back lighting to form shadows, hollowing out the features of face, adding to a more morose and somber tone of video and reinforces an enigmatic feel of each band member, which to regular audience members/fan base, would have been considered unorthodox as this would be in stark juxtaposition with their regular 'insane' antics. Considering that this is a concept video, the settings were faux, but was however a reflection of a dream sequence that a relapsing drug addict faces. A constant that remains prevalent throughout the video is that of low-key lighting, a feature of which runs in parallel to the cynosure of the music video: a tribute to a deceased band member.

https://www.youtube.com/watch?v=rn_YodiJO6k