Music

Video Analysis: Stars by Skillet

Full Video: https://www.youtube.com/watch?v=TbLJyjfyACM

The music video to Skillets song Stars was directed by Kyle Cogan and released in 2016. It
tells the story of being alone in the universe but at the same time having something to hold
on to.

The video opens on a medium shot of the
lead-singer standing in darkness, blocking out
the light. This immediately sets the tone of the
video and establishes its relationship with the
song itself. Beginning with the darker visuals
and a strong sense of isolation reflects the
idea of the biblical story of God creating the
universe, this idea is further emphasised by the opening lyrics that follow these introductory
shots from 0.13 0.17. The relationship between the lyrics and the visual depiction
onscreen follows a key music video convention highlighted by theorist Andrew Goodwin. A
wide shot very early on in the music video indicates the location to the audience as soon as
possible. Between 0.04 0.05, two sequential
wide shots give a convincing representation of a
galaxy in space. The director has achieved this
through the use of the use of CGI and artificial
lighting. The result is a feeling of distance and awe
amongst the audience that follows the nature and
purpose of the song from the bands perspective.
Thus showing that the directors chosen relationship between the video and the music, of a
special effects extravaganza (one of Jon Gows central music video genres) has had a
significantly positive impact upon its reception with the audience.

As the performance itself begins, much more
emphasis is placed the members of the band. The
director uses a mixture of majority close up and
medial shots on various aspects that the music
itself is already foregrounding audibly. The first
example can be seen at 0.11, as the pianist plays a very distinctive chord. To the audience,
this essentially advertising the inclusion of synthetic abilities in their music. Once the notes
are almost complete, the director introduces the pianist herself with a stedicam movement
at 0.11 0.13. This movement allows the director the opportunity not to separate the
pianist herself from her highly significant role in
the performance. This gives her a much
stronger and positive representation within a
genre in which women her often seen as
subordinate, especially among a significant
number of rock music video narratives.
However, as with many bands the lead singer

(who is this case is also conventionally male) is given much more screen time in relation to
that of the other performers. This could represent his more dominant role over the other
members of the band, yet it is much more likely that this is another point in the relationship
between the visual depiction on screen and the music. It is the voice of this man that is
likely to be the audiences attraction to the song and therefore the reason they watch the
relating video.

As the song reaches the chorus the speed and
volume increases dramatically. The director adapts
his editing technique to suit this more vibrant
sound. This immediately begins with a fading
transition into the chorus at 0.45 0.46 as opposed
to the instantaneous cutting between the shots
used in majority during the songs verses. This is effective, as it allows the audience to
better connect empathetically with the most important part of the song. The use of fading
makes the highlighted visual and vocal connotations easier to interpret. The camera itself
also experiences a change in technique, as more
movements are introduced alongside a still minimal
number of varied angles and shots. From 0.45 0.54
the camera goes through a series of different tracking
shots. Firstly towards the guitarist, then away from the
pianist and CGI dancer. This represents the idea of
travelling alone both literally (in space) and
metaphorically (emotional isolation). Each of these
shots are wide or medium long shots, with the subject in the centre of the frame. The
audience can then clearly see the open space around them which gives further connotations
of loneliness. The directors choice of using dark lighting and overwhelming special effects
also make it difficult for the audience the
position of each member of the band in relation
to the others. It is not a until a panning shot of
the band at 1.15 1.17 that some clarity is given
as to how close the band members are, this
again evokes the idea of being together even if
an individual feels alone.

As the video as largely a concept-performance video, there is no clearly defined sequential
narrative being portrayed onscreen. Instead, the video is more reminiscent of the ideas of
theorist Carol Vernallis, who suggested that music videos follow their respective songs and
become more cyclical. This is strongly the case with Stars, for example, as yet another
panning shot of the band is used in the second chorus of the song at 1.53 1.54. This shot is
almost identical to the one previously seen in the video. This is followed once again by more
similar tracking shots on the band and CGI dancer, only this
time faster in order to reflect the pace of the song itself
which has by now changed again. From this point forward
we see video build towards the climax of the song. With
this louder, faster and more instrumental period of the
song, we see the video take a much more conventional

approach to the rock genre of music. This is particularly evident in the aspects of mise-enscene seen throughout the video, such as the vast increase in instruments being shown
onscreen between 2.21 2.30. These can be seen through a sequence of pacey tracking
shots with the occasional fading transition. All these
instruments are electric and a common feature amongst the
creation and presentation of rock music, whether the
performance takes place in concert or on a music video. By
including them in this video, the director is following the
established style and iconography of the musical genre. This is
another convention set out by Andrew Goodwin. This style
consistency can also be seen within the clothing of the
performers. The lead singer is mostly wearing the colour black,
which again gives connotations of dominance and strong independence. He continues to
wear this clothing throughout the video. he can be seen wearing white clothing however
(along with the other members of the band) when he is singing lyrics explicitly devoted to
his faith. This can clearly be seen towards the end of
the song at 3.21 3.23, when he is singing directly
about God. The white clothing seen here could be
representative of the purity often associated with
religious ideas. The same ideas of purity are used by
the director to bring an appropriate close to the song
as we see the lead singer dressed in white for the final
time, alone in the universe, as the camera zooms out
for the final time.