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Bjork - Army of Me Lyrics:
You've got to manage
I won't sympathize
Anymore
You'll meet an army of me
And if you complain once more
You'll meet an army of me
There's nothing wrong
Self sufficiency please!
And get to work
You'll meet an army of me
And if you complain once more
You'll meet an army of me
We won't save you
Your rescue squad
Is too exhausted
You'll meet an army of me
And if you complain once more
You'll meet an army of me
- Imagery of a person clearly in pain while performer walks by and makes it clear she notices them and doesnt want to help
- performer finds same man but this time li syncs "your alright theres nothing wrong" even though clearly the person is injured
- show someone doing exercise then resting after
Evolution of the narrative:
Below you will find updates to the creative concept of our music video.
Narrative idea 1:
A man that is running away from something, and leaving cranes, where Bjork has many chances of helping but she does not want to. Bjork could be scared of the cranes and leaves them alone.
The character that is running away could be the villain.
The character with the mask on could have it on in one shot and off again in the next.
Narrative idea 2:
We could have further intertextuality from Rapunzel, at the start for the equilibrium, where she climbs down hair into a window, potentially showing a fantasy landscape
Told by the mirror "that she is not the fairest of them all", Goodwin's notion of looking/voyeurism
Running is established by diegetic break in "Banishment upon the point of death"
She arrives at the house and sees the seven gnomes, maybe one of them lip-syncs, perspective trick?
She is the inside the house, and burning stuff, dropping and breaking stuff, does not care (flipping the narrative) and then she poisons the apple (puts a spell on it, sparks could be coming from her hands to the apple, or intertextuality of harry potter with a wand
Bjork could put a cloak or hood on, and then goes to the queen to give her the apple, or she could be disguised as a boy, could have intertextuality with harry potter and the invisibility cloak.
Before the queen dies, closeup of her taking off the mask, it is then revealed that she was snow white (Bjork), and maybe make snow white reveal herself as the queen.
Narrative idea 3:
SCENE 1: Hero climbing up hair and into the window (Equilibrium)
SCENE 2: Queen arguing with magic mirror (Disruption)
Told by the mirror "that she is not the fairest of them all", Goodwin's notion of looking/voyeurism
SCENE 3: Banishment (Recognition)
SCENE 4: Running through forest to gnomes house
Running is established by diegetic break in "Banishment upon the point of death"
She arrives at the house and sees the seven gnomes, maybe one of them lip-syncs, perspective trick?
SCENE 5: Cooking and putting spell on apple (Attempt to repair)
She is the inside the house, and burning stuff, dropping and breaking stuff, does not care (flipping the narrative) and then she poisons the apple (puts a spell on it, sparks could be coming from her hands to the apple, or intertextuality of harry potter with a wand
SCENE 6: Sneaking in and poisoning the queen, reveal (New equilibrium?)
Bjork could put a cloak or hood on, and then goes to the queen to give her the apple, or she could be disguised as a boy, could have intertextuality with harry potter and the invisibility cloak
Before the queen dies, closeup of her taking off the mask, it is then revealed that she was snow white (Bjork), and maybe make snow white reveal herself as the queen.
Final Narrative:
Firstly, using Toderov’s narrative structure, our narrative starts off with the equilibrium with our protagonist from the fairy tale snow white. She is depicted as a humble maid, where she is climbing down on hair, outside of an old castle tower which is direct intertextuality from Rapunzel. She is a rebellious teen stereotype, where stereotypically climbing down the hair is considered masculine, as it involves physical work. The normative depiction of visiting boyfriend/girlfriend is switched as the female here is doing all the active work, not the male which makes this a countertype.
Polysemy means multiple possible meanings, by combining many signifiers to make a preferred reading clear. This adds narrative enigma (Barthes) which makes the audience want to watch longer. For example, if we have two characters, and one gives the other a rose, that does not necessarily mean that this is romance, it could simply be two gardeners. However, if there is non-diegetic violin music playing, or one character says, “I love you”, then that anchors the preferred reading more.
Snow White will be wearing a smock where verisimilitude can be reinforced. If we cannot find a smock, then we can useheavy brown trousers. By looking at the series “Merlin” we can take influence as to what they are wearing and apply it to our work. It is important to keep the verisimilitude throughout and not break it, for example as having trainers for footwear. We will use brown sandals as footwear or make the feet dirty. Or as an alternative we can simply not frame the feet, however we need to be careful with this.
As she is climbing back into her own room through the window, the floor is made from stone or wood, and the bed is small and crammed into the back corner, along with her hay mattress and pillow. As mentioned before, we will take existing texts such as Merlin, and blog on it to provide evidence of our decisions.
The second part of Todorov’s narrative structure is features with the queen asking the mirror who is the fairest of them all, where the mirror then responds that it is Snow White, so the queen becomes upset, and decides to banish Snow White. While using the mirror we are blurring the identity of the queen and Snow White. The recognition aspect of Todorov’s narrative structure is shown as she is summoned in the throne room and gets banished, where she then flees the castle and runs through the woods.
She then stumbles on to a cottage, owned by the 7 dwarfs, and climbs through the window again. She then starts dropping pans & food onto the floor, which is a countertype to the normative female behavior.
Snow white attempts to repair the equilibrium, which is the fourth stage of Todorov’s narrative structure, where she poisons the apple and sneaks it into the castle with an invisibility cloak, which is Harry Potter intertextuality and poisons the queen.
New equilibrium is reinstated, as the queen dies and snow white triumphs, although there is ambiguity as to if there is an equilibrium or if the villian triumphed. Snow White becomes the anti-hero where part of the representations is playing with expectations - possibly queer elements to her representation, is she the vilain and is the queen the hero? So the audience will need to view the music video again. Judith Butler argues that gender does not exist, and body-language, hairstyle, etc is influenced by the stereotypes of male and female. Finally, queering, which is a post-modernist approach is intentionally blurring binaries such as the Euro Vision singer Conchita Wurst, where she has makeup, lipstick and long hair, which is stereotypically female, however she has a beard, which is stereotypically male, where therefore she is queering the normative representation of genders.
We are queering the Proppian archetypes between the queen and Snow White, by aspects of their social status’ and who is a hero and who is a villain. Then there is blurring of the normativity of who’s hair is being climbed down and through filming and editing it can be presented as a boy, and then reveal that it is a female, which is intentional queering.
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