In our own video production however we simply have two performers, one boy and one girl, and the idea of them caring very much for one another outweighs any of the other general materialistic, violent or self-indulged views either may have, (in particular the male artist ‘Wretch 32). The theme of them sharing a simple, yet magnificent romance with one another allows us to challenge the stereotypical themes usually found within the majority of Rap and Grime music videos, however our video does indeed still stay very true and conventional to the genres. This is perhaps with notable thought paid to the R&B genre as we are presented with two Afro-Caribbean performers since the theme of romance is still a very existent and alive feature with a decent amount of media productions within the R&B genre. The video contains the main artist rapping about and actually to his spouse as if he is genuinely speaking to her because she is more than just for appeal towards the video but she actually has real presence within his life, and she is an entity very much alive to him. This goes against the more typical grime/rap songs, as both partners actually interact with one another even if his spouse is only expressing how she feels about him on a visual degree, proving she is more than just objectified ‘eye candy’ evoking the male gaze.
Within the video, although both performers happen to be just as significant as each other, the male artist is still prioritising the viewer’s sight the most and we can see that he is the most dominant figure within the video if anything. This therefore uses forms of conventions from various Hip Hop and Grime videos as usually the male artist possesses the governing role within the video, and therefore his ‘macho’ presence and ego is overexerted towards us. However this isn’t entirely the case as our main artist does not try to thrust and force his existence upon our eyes, and although he is the most frequent character seen within the video, he is still more than happy to share the light with his partner. Therefore subversions of these forms of conventions are also existent as well. In reflection to Common’s ‘Come Close’ and LL Cool J’s ‘Hush’, we also can feel greater empathy and connection towards the artist because of this, as we are greeted to the male protagonist alone and by himself, and therefore seem to travel with him in order to meet his partner.
Another subversion from Grime conventions comes from the idea that the artist does not want to entirely perform in front of the camera, as many other hardcore Grime artists tend to do. (Images taken from artist K Koke - 'Are you alone fam')
Instead developments of Hip Hop and R&B conventions are brought forth as there is also a strong and considerable amount of attention paid towards the actual narrative of the video. The performance scenes are used in co-operation with narrative scenes, and it is also spread into the traditional Tricaster footage as well.
Through all of this similarities are brought forth upon the R&B video ‘P.D.A’ of John Legend, as within that video there are two couples and therefore four main characters, yet both couples are in complete infatuation with one another as is Wretch and his girlfriend in our video. Certain aspects further underline this from both of our videos, such as the couples constantly glaring and singing/rapping to one another in affection and lust, and the couples as mentioned before literally travelling around many areas whether hand in hand or arm on shoulder. So we see that they happen to travel around everywhere and anywhere and still only be in deep care with one another.
Another video the artist always appears to be verbally and visually engaged with his partner is in LL Cool J’s ‘Hush’, and we see the rapper virtually throughout the entire video always happen to keep his eyes upon his spouse, and she happens to seem visually connected with him as well.
Homage is also paid towards the US rapper Common’s ‘Come Close’ music video, as the cards used in that video are also present within a certain scene in our video and this illustrates vividly the affection that the artists are trying to express to their lovers. This also reflects back upon the narrative of the actual story once again as it revolves around the down-toned romantic themes within usual grime videos, instead of the just wealth or crime.
Within further aspects of the cultural Mise en scene to the video we decided to also dress the performers within outfits conventional to the Rap and R&B genre as we have the performer who is playing Wretch 32 wearing hooded tops, hats, baseball caps, jeans. Although hooded tops may be usually associated with gang culture and crime, we instantly subvert the initial view of our performer by making him generally look cheery, caring and considerate of his partner’s well being, and generally non-violent at all. We further used the attire to subvert the appearance of the artist by later on during the video having him dress smarter and more sophisticated, giving him a sleeker and arguably outlook and therefore challenging further conventions within the genre.
The areas that the performers travel to range from low established to well established. This was done to highlight the journey that the couple undertake, and represents their growth as partners. It illustrates a strengthened partnership, as they had once broken up but is now together and willing to take their romantic relationship anywhere, without being fazed by their surroundings. It also shows an independent growth of the main protagonist Wretch, as even his appearance changes the more he spends time with his girlfriend, and he transitions into a more sensible, sophisticated looking young man, (he begins to wear smart jumpers and long coats etc). Therefore our aim of challenging the conventional appearance of an MC/ rapper is further implemented because of the transformation of the actual character.
The video also features a strong use and utilisation of the Black and White effect, as this post-modernist technique was greatly useful in highlighting the past, and important, meaningful flashbacks within the video. It also emphasizes upon the sadder times within the couple’s life, as to right in the beginning of the video we can see that they had previously broken up with each other. But we can importantly understand that this is only an event of the past with the help of the clear exemplification of this because of the colour effect at hand. Therefore when it goes on to show Wretch in the next shot alone we can find it easier to emphasize with the artist, and the black and white effect makes us easily understand his saddened emotions. The black and white effect also is used towards aesthetical reasons, and another feature within our video that it happens to be a great factor of are the montage and establishing shots. By the beginning of the video there is a montage of establishing shots taken, and this same technique is also reflected through John Legend’s ‘P.D.A’ video. The black and white also helps to show a strong contrast of feelings from the mellow shots of the scenery to the romantic, colourful and vibrant shots of the couple and therefore the significance of their relationships are made more clearer and presented as being much more significant than any of their surroundings.
The effect also is used upon certain scenes within the video and it shows the couple in black and white, for visual purposes instead and although it may not necessarily connote happiness, it still connotes simplicity, which illustrates the blunt romanticism that both couples possess.
The use of text during the video brings a post-modernist and somewhat cinematic feel towards the video, which again may challenge several forms of conventions within Grime songs that just tend to be ‘underground’ and immensely street-cultured. The use of text allows greater links to be shown within many top music videos, and we can see a slight connection in styles when viewing LL Cool J’s ‘Hush’ video, as it is introduced with text just as our production is. However our video does not only have text in the beginning/end of the video, but also has text during the video showing within the chorus sections, and we can see a familiarity towards Kanye West’s ‘The Good Life’ video due to the consistency of this effect.
At the end of the video there is a subversion of Grime but perhaps development of R&B and Hip Hop conventions used, as the couple ends up walking off in the distance and therefore signifying thee end and close of the video. This is slightly similar to Common’s ‘Come Close’, as both couples end up leaving the picture together, whilst we the viewer are left to observe them exit the scene. It shows that their relationship go beyond the need for our own visual satisfaction, as even when we can’t see them we know that they are still together.
This is also greatly apparent within B.O.B’s video featuring Bruno Mars ‘Nothing On You’ and we see the rapper and his partner walk away together hand in hand devotionally just as Wretch within our video walks away with his own partner arm on waist. Both videos are slowly brought to their end by a dimming to darkness, and because the video doesn’t just abruptly end, this suggests that there is still much more to be seen of their relationships and the audience have only seen a selected portion of it; however it is still clear that their love lives are alive and well.
