Applying Music Video Theory : Little Mix 'Shout Out To MY Ex'

This music video consists mainly of the four members of Little Mix empowering themselves in various environments and outfits. The mise-en-scene includes the girls wearing revealing and fashionable outfits (a visual of the confidence the girls have in themselves which is projected to their audience of younger girls), a variety of feminine accessories, and other props and objects that fit into the bold colour scheme. The editing cuts in in time with the beat of the song, and is made to look like a montage, giving practically equal time to show the girls singing, posing, dancing, driving, and having a good time in general. The colours have also been altered and enhanced to suit the videos palette, and make the video more appealing visually. There are also many varying shots of the girls from aerial shots (all together in the car) to extreme close ups (on each girls face, showing individuality in their expressions but solidarity as they are given equal screen time).

Goodwin's theory of the relationship between the camera/audience and the performers is seen very strongly in 'Shout Out To My Ex'. The girls frequently look into the camera, and as seen by the shots by the pool are in empowering stances (such as Leigh-Anne Pinnock in a Wonder Woman-like pose). This removes the idea of a 'male gaze' from the video, as the girls are showing themselves to be sexual rather than the camera focusing on their bodies when they are seemingly unaware - which is commonly seen in music videos which do feature the male gaze. While the lyrics aren't obviously amplified, there are moments where certain lines are illustrated in the video (e.g. Jade Thirwall shooting a gun with a flag which has the words ''over it'' on it when those words are sung). As for the section of Goodwin's theory on the demands from the record label, they probably wanted to promote the groups image and focus on each members appeal through close-ups and varying shots.

The video is not as easy to apply to Railton's theory. While there are elements of a pseudo-documentary, a staged performance (with lip syncing/dancing) and a narrative - these are not the most prominent elements in the video - for example, the only narrative would be for one scene where the girls purposefully drive past a hitchiker who might have represented an ex. As stated before, the male gaze is not included in the video as the women empower themselves, and even ignore a man to continue their girl gang journey in the car. Black girls are also not portrayed as 'sinful' while white girls are more 'innocent', as all the girls have moments where they are as covered up or as provocative as each other. While the more sexual elements could be said to contribute to the discussed shock factor in Railton's theory, the whole videos purpose is how the girls are equal, happy, and confident in themselves - they are dressed for themselves to appreciate themselves rather than drawing male attention, in which they rejecting if anything. 

Vernaillis states that music videos are based on four concepts;

1) That a video is a visual response to a narrative - the visual illustration mentioned before with the flag-gun is evidence of this in the video, yet for the most part the song mainly consists of the girls lip syncing while looking at the camera or having fun unrelated to the lyrics. 

2) That the editing in the video may disrupt or break the conventions of continuity editing - there is constant cutting between the girls, their actions, and various shots in a montage style, similar to parralel editing in how different parts of the 'story' are being presented to the reader at the same time (although our 'story' in this case is simply the group having a good time in various locations). 

3) That for the majority of the time, establishing shots and close ups are used - while there are no real establishing shots, there are aerial  and birds-eye-view shots of the group driving the car. However, there are plenty of close ups used.

4) That the actions in the world of the music video (diegesis) won't always be be completed and may be disrupted in some way - in 'Shout Out To My Ex' actions are continually cut in between one another to create a montage-like narrative.

The video also fits into Keazor and Wubenna's theory quite simply. Theres a high usage of visal effects (as I doubt they managed to find purple trees), slow motion is used to enhance the atmosphere of the video, and there is a very high frequency of cuts ranging from long shots to close ups. 

In Carlsson's theory, Little Mix would be classified as commercial exhibisionists as each girl is being marketed towards a certain audience. The girls sell themselves to be confident, attractive, and fun-loving women all throught their eye contact with the audience, interactions with each other in the video, and the powerful image they create through their assured attitudes. There is also a scene where these powerful women drive past a dependant man, which is a role reversal from usual stereotypes seen in the media (especially music videos). 

The video does not have a distinct narrative, and fits into the idea of disregarding film-making conventions seen in Kaplan's theory. There is constant cutting to seperate scenes, which are presumably happening at seperate times although no time or setting is given, so as mentioned before the video shows to be more like a montage than a film. The editing is also meant to be noticed, whereas film editing would want cuts to be unnoticed as viewers are meant to be immersed in the story. The girls enjoying themselves and addressing the audience could be seen as entertainment (especially for their younger audiences, it is important for them to see their idols having confidence and solidarity). The wardrobe changes and car might also be classed as commercialised entertainment, as they parallel adverts made for shops like Missguided or Prettylittlething.