Genre conventions- Industrial/electrronic

Music video productions for the industrial electronic genre do indeed hold a certain set of codes and conventions. In this post I aim to briefly sum up these conventions in bullet points:

• Low key lighting
• Dark or mysterious themes
•  Themes of death, love, sexuality and torment are often present.
• Locations are often dark, grimy or unsanitary.
• Male prominence (in performance)
• Gothic styles

A more detailed look into these conventions can be seen in my vodcast on the subject.

Vodcast #2-Industrial electronic genre conventions

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Genre conventions- Summary 

Music video productions for the industrial electronic genre do indeed hold a certain set of codes and conventions. In this post I aim to briefly sum up these conventions in bullet points:

• Low Key Lighting
• Dark or mysterious themes
• Themes of death, love, sexuality and torment are often present
• Locations are dark, grimy or unsanitary
• Male prominence (in performance)
• Gothic styles

Genre conventions- Industrial/ electronic music video's #10

Music video analysis #10 - Ava Adore

Act: The Smashing Pumpkins

Track: Ava Adore

Year: 1998

Director: Dom and Nic

Genre: Industrial/ Electronic

Link:  https://www.youtube.com/watch?v=9uWwvQKGjLI

Main audience: Due to the adult themes, Gothic performance elements, and explicit language I would approximate the audience demographic for this video do be from ages 18-25 with both male and female audiences. This is due to the non-all male ensemble and gender wide accessibility of the music.
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Relationship between the visuals and lyrics: Throughout the video (and single shot) we see a variety of differing settings/ locations (Movie sets), many of these sets are (Goodwin's lyrical classification theory) purely disjunctive however some of them are illustrative and amplifying. An example of a disjunctive setting would be the white room filled with bald men in white jumpsuits. This has no immediate meaning other than artistic value. An example of an illustrative room in this video would be the first room of a grimy hospital (Conventional of industrial genre) where a woman is seen to be having a baby with the lines "You'll be a mother to my child and a child to my heart". In addition to this there are many examples of amplifying visual lyrical classification can be seen with scene of lovers in the rain (Reminiscent of Billy Corgan and his lover).  

Illustrative - "You'll be a lover to my child and a child to my heart, we must never be apart".

Disjuncture  

Amplifying (Two lovers)

Throughout the video there is a large use of low-key lighting which is highly reflective of the Gothic genre and industrial influence of the song. Another example of this Gothic influence would be the costume design. All three band members are seen to be dressed in Victorian Gothic clothing. In addition to this Corgan, Iha and Wretzky all wear makeup which make them look pale and ghostly (Gothic). Corgan himself looks to be almost spectral and his red eye shadow reinforces the notion of him being deathly. This greatly contrasts with the rest of the settings and people in the video, demonstrating the respective band members as individuals in their own right. 

The video hosts a number of different effects under the guises of a both artistic and stylistic licence. This is highly evident due to the whole video been shot in one continuous shot with the only change being with the camera movement (Dolly camera on rails). This continuous shot effect meant that all lip syncing by the band had to be done in one take. However throughout the video there is a shift in the pace (Fast paced and slow paced editing) of the movements of the band members. This greatly contrasts from the continuous pacing of the music and static camera movement. This fast and slow pacing of the band members as they negotiate the film set in a creepy manner.

Contrasting costumes to the urban background

Gothic costume and make-up reveals dark lyrical content, 

The jolting movements of Corgan connote, anger and creepiness.  

Influences: Gothic clothing!  
    

Genre conventions- Industrial/ electronic music video's #9

Music video analysis #9 - Came Back Haunted

Act: Nine Inch Nails

Track: Came Back Haunted

Year: 2013

Director: David Lynch 

Genre: Industrial/ Electronic

Link:  https://www.youtube.com/watch?v=1RN6pT3zL44
Main audience: Due to the industrial and darker nature of this video and highly intensive visuals for this song I would approximate that the audience demographic for this video is from the age of 18-25.
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Relationship between the visuals and lyrics: We can deduce the lyrical content (Goodwin lyrical classification) to be amplifying but not directly illustrative. This is due to the lyrics reading "I don't believe it, I had to see it, I came back haunted", when showing various disturbing images and monsters. 

Disturbing image of x-files monster is often cut to in quick succession

The industrial element of the music is held firm due to the low-key lighting, foreboding vocals and mysterious and frightening imagery. The main colour pallet used in the performance is black, white, grey and red. These dark and contrasting colours create a significant air of Gothic influence in the video. 

Colour pallet shown (FX/ Superimposition)

 Graphic image used with a strobe.

There are several shots of monsters (with FX over the top) with brief cuts to close-ups of Trent Reznor's face (looking aggravated).The video rapidly cuts back and forth between a monster from the x-files and Reznor's face in a graphic match alluding to the fact Reznor is the same monster. We know this is intentional due to both the camera shots being the same and distinctively shaky.  These effects encompass a strobe light, visual superimposition of red dots and superimposed black dots on Reznor's face later on in the video. 

 Short shakey shots are disorientating.

During the short scenes with Reznor, the camera is distinctively shaky (and are likely to have been filmed on a handheld camera) on most shots and creates a disorientating and disturbing feeling to the viewer. This is an immediate depiction of madness which is heavily illustrative (Goodwin) to the lyrics. Coupled with the intense visuals and strobe light, this gives a highly intensive visual experience to the audience and is reflective of the frantic music score. 




The convergence of film and music industry is in full effect here, with the director, David Lynch being at the helm as well as the consistant intertextuality of the x-files monster from the television show 'x-files'. Other examples of directors who's work spans both film and music videos would be that of Anton Corbijn who worked on numerous Depeche mode videos such as 'Shake the disease', 'Personal Jesus' and 'Never let me down again' just to name a few, and full feature length movies such as 'Control' (2007). Similarly Lynch also directed several other cult classic films such as 'Lost Highway', ' Mullholland Drive' and 'The Elephant Man' with Reznor orchestrating acompanying sound tracks to Lost Highway.

Influences: Strobe light, Shake, Handheld shots.

Genre conventions- Industrial/ electronic music video's #8

Music video analysis #7 - People Are People 

Act: Depeche Mode 

Track: People Are People 

Year: 1984

Director: Dave Gahan, Martin Gore, Andy Fletcher, Vince Clarke

Genre: Industrial/ Electronic

Link:  https://www.youtube.com/watch?v=ErnMC7xokQ8 
Main audience: This production's audience demographic would be male and females aged 15-40. This is due to the fact this video holds a lot of appeal to an audience from the 1980's due to the distinct '80's sound'. As well as a male audience due to the all male ensemble, lyrics of "working together" and imagery of war. Another large component of Depeche Mode's audience comes from a female demographic, with this comes the element of Female Gaze as well as possible male gaze from the male LGBT community. This would be demonstrated through open femininity of Martin Gore's vocals, clothing and movements in the video. Most open displays of emotion and femininity attract female audiences more than males. 
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Gore's face superimposed above images of war.

Relationship between the visuals and lyrics: Using Goodwin's theory of lyrical classification we can identify this video as having the lyrical classification of both illustrative and amplifying. This is due to the evident examples of synesthesia (Psychological reaction of 'seeing sounds') throughout the video (Archer's theory). An example of this would be when a sampled sound of an artillery shot is used and synergizes with the onscreen image of a gun being fired on a ship. This onscreen synchronization with sounds is pertinent throughout the video. Another pertinent example of this would be when an orchestral sample is played in the song which is delivered with an image of an orchestral conductor. In addition to this another example would be when Gore is seen to be ringing a bell on a ship in time with the subsequent sound in the track. This also coincides with Vernaillis's theory that the video is made with the song in mind. This is especially pertinent due to the synchronized visual representation of the sounds in the song. An example of why the sound is amplifying would be when the soldiers are seen marching to war behind the lyrics "I can't understand what makes a man hurt another man, help me understand". In addition to this scenes of protest are shown behind the superimposed faces of vocalists of Gahan and Gore.

Battleship fires in timing with the sound. ('Seeing the sound'- Archer)

The bell is struck in time ('Seeing the sound'- Archer) 

The industrial side of this song show through with the extended use of mechanical sounds and the onscreen representation of this. The themes of military. industrial equipment and paraphernalia are used throughout the production to echo this sentiment. In addition to this there are some mild Gothic influences on Martin Gore's costume as well as his Gothic make-up (Eye liner).

There are a plethora of visual effects used in this production including that of a frame splitter (Showing a single shot in various boxes on the screen) and a colour invert. Moreover the editing in this production is greatly synchronized with th

e music track. A prime example of this would be the synchronized cuts with the beat of the music (In quick succession). 

Frame split effect (And Gore's Gothic influenced outfit).

The video hosts a mix of performance and concept. 

Influences:  Layering through post production.
  
 

Genre conventions- Industrial/ electronic music video's #7

Music video analysis #7 - Into The Void

Act: Nine Inch Nails

Track: Into The Void

Year: 2000

Director: Walter Stern and Jeff Richter

Genre: Industrial/ Electronic

Link:  https://www.youtube.com/watch?v=G4lTMOmH8Dw Main audience: The main audience demographic for this video would be male aged 15-30. This is due to the dark themes of self destruction being prevalent throughout.
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Relationship between the visuals and lyrics: For most of the video the visuals are disjunctive (Goodwin) to the lyrics. However under close inspection the microscopic shots and extreme close ups of Trent Reznor reveal that the song is personal to him and the anger displayed in the performance in the end reveals a tortured soul of sorts.

There are two main sections to this video, the first being the microscopic shots of Reznor's face, eyes, teeth and scalp. The second being a full band performance in the setting of a red cube which is later destroyed with the band members instruments. 

Extreme close up

Destructive band members

The microscopic imagery of Reznor's body parts are highly abstract and seem to compliment the pace and tempo of the music. This would support Carol Vernaillis's theory that music video's are made with the song in mind. Later on in the video the band are only brought into the equation when a louder instrumental section is heard with the repeated line "Tried to save myself, but my self kept slipping". These oblique shots are used to demonstrate a certain complexity to the music.

Once again, during the section with the rest of the band, there is a noticeable Gothic style of attire within the band, This includes longer hair, tight black clothing and tattoos. This coincides with the emphasized industrial element to the music with the visible synthesizers, guitars, and drums combined. 

Gothic/ industrial attire 

The emotional power behind the song is later reinforced with a display of the band destroying their instruments and breaking out of the red cube they were performing in. This video is non-narrative and has no underlying message to the audience.

Close up

There is significant star treatment given to Reznor due to the personal element of the song, and is demonstrated through a plethora of close up shots (as well as microscopic shots throughout the first half of the video).

Influences: Microscopic imagery and exreme close ups of bodyparts seem to be of great interest. Particularly the extreme close up of Trent's eyes.

Genre conventions- Industrial/ electronic music video's #6

Music video analysis #6- This Is The New S***

Act: Marilyn Manson 

Track: This is the new S***

Year: 2003

Director: Tim Skold

Genre: Industrial/ Electronic

Link:  https://www.youtube.com/watch?v=4kQMDSw3Aqo

Main audience: As conventional of industrial electronic songs this video's main audience demographic would would be a more mature audience (ages 18-25) and prominently male due to the dark nature of the act as well as the evident male gaze throughout the production. A prime example of this would be the voyeuristic treatment of women in this video in showing scantly clad women. This could easily relate to Levi-Strauss's theory of gender binaries, due to the women being subservient to Manson and his band members.

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Relationship between the visuals and lyrics: Utlilizing Goodwin's lyrical classification theory we can identify the lyrics as being illustrative and amplifying due to the fact the video depicts exactly what is sung. This theory does not apply when no vocals are sung however, meaning instrumental parts of the video which have disjuncture do not apply to the classification theory. 

This video displays many conventions of the 'shock rock' genre but is an industrial electronic song at heart due to the electronic elements of electronic and Gothic influences on the music. An example of this Gothic influence would be the seeming gender reversal of lead vocalist (And main focus) Marilyn Manson of whom we see being pampered by women backstage to a concert. This Gender reversal is apparent when we see Manson's fingernails painted red (resembling female convention) in addition to his heavy make up (Including white face makeup highly reminiscent of the goth culture and lipstick). This reinforces Judith Butlers theory of performativity and shows that gender can indeed be constructed in different ways. However outside the backstage setting we see Manson in a more masculine role while singing the chorus in front of a crowd.  

Femininity demonstrated

The video is predominantly covered by low-key lighting and is dark (conventional of the genre). The Gothic influence is clear to see, due to the make-up and costume design of the video. In addition to this the star treatment is clear to see throughout this video. This is evidenced through the large use of close ups and extended camera shot time on Manson. 

Gothic attire 

Perceived insanity 

The inclusion of an audience in the video is due to an audience track being included in the song itself. With this comes the various camera shots which seem to shake with excitement and energy. This is due to the fast paced nature of the video and music respectively. Moreover this also reflects the perceived insanity of Manson as an act with a plethora of close ups of Manson looking crazy.

Voyeuristic

When discussing star treatment it is of important note that the voyeuristic treatment of the women is only there to add shock value to Manson himself. This is as we do not even see the women's faces during the scenes of lust. A prime example of this would be when we see Manson kissing a woman's legs while looking at the camera.  This indicates the act is not anything to do with the women but to Manson, who is using the woman as an accessory of shock value. 

Genre conventions- Industrial/ electronic music video's #5

Music video analysis #5 - Head like a hole

Act: Nine Inch Nails

Track: Head like a hole 

Year: 1989

Director: Eric Zimmerman 

Genre: Industrial/ Electronic

Link:  https://www.youtube.com/watch?v=ao-Sahfy7Hg
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Main audience: The main audience demographic for this video would be male, aged 15-30. This is due to the dark themes and all male ensemble. However the themes are not dark enough to deter a slightly younger audience away from this production. These dark themes include the oddly dressed Trent Reznor and psychedelic visuals.

Relationship between the visuals and lyrics: The relationship between visuals and lyrics in this video are seen to be mostly amplifying and illustrative (Goodwin lyrical classification theory). The main link between the lyrics and visuals would be heard in the chorus with Reznor delivering the line "Head like a hole, loss of control". And with this he is seen to be writhing in anger. This reinforces the discomfort the singer is feeling.  

The industrial side of the music is shown in full force with the massive amount of wires entangling the respective band members. This notion of the band being consumed by technology is highly pertinent in this video, and it clearly demonstrates this when the lead singer is suspended upside down from the ceiling, or when the bands instruments and bodies are draped in wiring. The video also has many destructive elements to it as the band are seen destroying many of the instruments at the end of the video. This reinforces the aggression and power of the song. In addition to this there are several instances of star treatment and close up shots of Reznor to create an aggressive atmosphere.

Aggressive close up

     

In addition to this the low-key lighting and Gothic costume is ever present and can be identified as a major convention of the industrial genre. This is identified by the band members black clothing and Reznor's dreadlocks. 

Gothic attire 

Throughout this video there are a number of after effects used including that of quick cuts, and colour filters. The video is seen to have some performance elements to it as well as some abstract graphic sequences including that of a clip of an Indian man spinning a wooden pole around. This clip is played several times throughout the video and is accompanied by a rotating head which is coloured with the same clip. This makes for a psychedelic effect to the video. This then happens again when a rotating head, Indian man and synthesizer are all blended into one. What is of note is when the camera shot is cut, there is a spinning effect placed in between to give a disorientating feeling to the audience. In conclusion these effects all connote the notion of madness and confusion.

Psychedelic visuals 

Influences to consider:

- Performance elements
- Gothic clothing

Genre conventions- Industrial/ electronic music video's #4

Music video analysis #4 - Spitfire

Act: The Prodigy

Track: Spitfire

Year: 2005

Director:Tim Qualtrough 

Genre: Industrial/ Electronic

Link:  https://www.youtube.com/watch?v=aQZDbBGBJsM

Main audience: The main audience for this video would be male and approximately aged 18-30. This is due to the male focused ensemble and subject matter of war and mature concept of serial killers.
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Relationship between the lyrics and visuals: When applying Goodwin's theory of lyrical classification we see that this video is amplifying to the lyrics sung. A prime example of this would be when the line "If I was in world war two they'd call me spitfire" is delivered with a menacing low angled shot of vocalist Liam Howlett. The visual lyrical content would be amplifying as the visuals do not directly correlate with the lyrics, but they do reinforce the message behind them. The idea of being powerful and violent (As was a spitfire plane in the second world war) is a key concept that runs throughout the video and accurately demonstrates this through a variety of shocking imagery and powerful performances from the band.

This video is entirely shot in a low-key lighting and is emulative of war in this respect. Throughout the video there is a large contrast between the colours of black and orange. In addition to these colours the video hosts both performance and more narrative elements.The vague narrative (Conforms to Archer's theory of only picking up on certain elements of the production) of a serial killer playing with his victims is apparent. In these sections where the band are not seem performing, there are various shocking images of porcelain faces being smashed and melting on the floor, people trapped in mechanical contraptions and torture. This mechanical element of the video is once again reflective of the more industrial side to the music. This shocking imagery is used to reinforce the 'hard hitting' nature of the music. This is conventional of the industrial genre and the shocking imagery throughout is symbolic of the act and the music itself.

Mechanical prison

The costume and general appearance of the band is highly conventional of the genre due to their 'crazy' and shocking appearances. This includes that of Gothic black leather clothing as well as audacious hair cuts, dreadlocks and piercings.

Gothic clothing

During the performance elements of the video the band is seen playing in a very energetic and aggressive manner reinforcing the notion of the band and music being hard hitting and even violent.

Live performance is aggressive 

Through the video the use of after effects is large with most of the shots being cut quickly in addition to the many visual distortions used over the top, to create a volatile and dangerous feeling.

Influences to consider:

- Gothic clothing
- Quick cuts

Genre conventions- Industrial/ electronic music video's #3

Music video analysis #3 - Down In It

Act: Nine Inch Nails

Track: Down In It

Year: 1989

Director: Eric Zimmerman and Benjamin Stokes

Genre: Industrial/ Electronic

Link:  https://www.youtube.com/watch?v=QrrEo3hZABU 

Main audience: Contrary to both other video's reviewed so far, this video is more widely accessible due to the fact it hosts far less controversial or shocking subject material, however, there are still elements of darkness (Conventional of the genre) such as brief themes of suicide. The main audience demographic for this production would be male, ages 16-25.
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Relationship between the visuals and lyrics: The lyrical value of the song is seen to be in conjunction with the video production. This is due to the clear synergy between the narrative in both the lyrics and video. However utilizing Goodwin's theory of lyrical classification, it is clear to see that the production is not actually illustrative and more amplifying. This is due to the fact the lyricism's discuss emotional thought such as "I was swimming in the hate now I crawl on the ground"where as the video only amplifies this by showing Reznor climbing to the top of a building with the intent of suicide. This coincides with Archer's theory that music video's only suggest story-lines and focus on mere fragments of the lyrics".

This video is significantly more disjointed due to it's numerous oblique shots and changes in filming equipment, ranging from Steadicam to handheld cameras. This is seen when the camera frame no longer fits the entirety of the screen and is the outsides (Top and bottom) are replaced with various psychedelic colours. This demonstrates a low budget as well as a rough and disorientating video. In addition to this the disjointed effect is further propelled by the plethora of visual effects on the production itself. These visual effects include that of brightly coloured lighting, extremely quick cuts, colour inverts, stop motion images, strobe lighting, graphic matches, and a spinning camera. 

Oblique shot

In addition to the whirling graphics and disorientating editing, the Gothic costume design is present, with Reznor being dressed in leather black clothing. This is conventional of the industrial electronic scene and is seen in this production. Going hand in hand with this is the dark subject matter of self destruction and the video depicting suicide.

Gothic dark clothing 

There is little mode of address throughout this video due to the disconnected format of the narrative. However throughout the video there are several cuts to Reznor singing to the audience for one line at a time. This maintains a personal connection with the audience.   

Occasional direct address 

This video contradicts with Propp's theory of having a designated role for the main character. This is due to the fact the main protagonist in this video (Reznor) commits suicide, and in doing so, fails to connect with a role associated with heroism or bravery. As well as Propp's theory, this video challenges Campbell's theory of a mono-mythical tale of a hero.

Influences to consider:

- Gothic clothing 
- Implications of suicide 

Genre conventions- Industrial/ electronic music video's #2

Music video analysis #2 - Never let me down again

Act: Depeche Mode

Track: Never let me down again

Year: 1987

Director: Anton Corbijn 

Genre: Industrial/ Electronic

Link: https://www.youtube.com/watch?v=snILjFUkk_A

Main audience: Although this song is still classified as an industrial/ electronic number, the audience demographics are quite different to the last video I looked at. This video is predominantly aimed at males aged 30-50. This is due to the more mainstream nature of the production being less shocking and more narrative based.  

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Relationship between the visuals and lyrics: When applying Goodwin's theory of lyrical classification we can identify this video as being amplifying and illustrative. This is due to the video depicting Dave Gahan driving in his car while the lyrics read "I'm taking a ride with my best friend". However this is not directly illustrative as he is only in the car by himself. This could perhaps amplify the idea that Gahan's only friend is himself or imaginary. Later on in the video the theme of camaraderie is alluded to by both lyrics and image (Illustrative) when the lyrics "Never let me down" are sung as two of Gahan's friends carry him through a field. However, that being said, there is a significant amount of disjuncture in this video, with various images of wheat fields and a mysterious man which are left unexplained to the audience. This factor reinforces Archer's theory that "Video's tend to only suggest story-lines and focus on mere fragments of the lyrics", thus challenging Vernaillis's theory that videos are made purely with the song in mind. The dark and moody nature of the lyricism synergize with the industrial electronic genre and are highly conventional of said genre. 

Amplifying- Steve Archer 

In terms of lighting the entire video is shot in a noire style (Black and white) and uses significant amount of low-key lighting because of this. This is an important part of the industrial electronic genre and is seen in full force here. In addition to this there are several Gothic influences on costume with the mysterious man being dressed in all black and one of the band members is also dressed in dark clothing.

Leather Jacket is often depicted to be a Gothic trend.

Moreover the powerful imagery used in industrial electronic video's are echoed in this video with the stark contrast between the protagonist in the video and his youth with an older man dressed in more rural and old fashioned clothing.

The body language of the protagonist indicates angst, and depression which is highly conventional of the industrial genre.

Influences to consider:

- Black and white filter (grey scale)
- Protagonists Gothic attire 

Genre conventions- Industrial/ electronic music video's #1

Music video analysis #1 - Closer

Act: Nine Inch Nails

Track: Closer

Year: 1994

Director: Mark Romanek+ Trent Reznor

Genre: Industrial/ Electronic

Link:  https://www.youtube.com/watch?v=PTFwQP86BRs

Main audience: Similarly to most industrial songs and videos the target demographic for this video and song is for mature audiences above and in-between the ages of 18-30. This is due to the dark nature of the lyrics and visuals, a prime example of this would be when the lyrics "I want to f*** you like an animal" are sung. 

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Relationship between the visuals and lyrics: When incorporating Goodwin’s theory of lyrical classification, this video hosts a wide range of illustrative, and amplifying lyrical visual classification. This is due to the themes of, Sex, Religion, Authority and Animalism that run through this video in direct relation to the lyrics. A prime example of this would be when Reznor sings "I want to feel you from the inside", he is also seen to caress his own face in a sensual way. However Goodwin’s 6 point breakdown of a music video is not so applicable with only two points applying to this video. These points are “intertextual references” and “tone and atmosphere of the visuals reflects the music”. In addition to this there is a large amount of star treatment on Reznor throughout this production (reinforcing Archer's theory of star treatment) and many shots of his sadomasochist and 'kinky' proclivities. 

Intertextual references are seen with a picture of actor Jack Nicholson next to a monkey on a crucifix. And the tone and atmosphere of the video are dark and seedy which is reflective of the genre and song.

Jack Nicholson intertextual reference.

This notion would reinforce Vernaillis’s idea that the music video is created with the song in mind due to the fact the video is quite shocking, which seems to align and synergize with the industrial genre due to its more underground nature.  

One of the key, striking concepts in this video involves a naked but bald woman who is only identified as a woman judging by her bosom, and nothing else. This idea of a non-sexualised woman relates to Judith Butler’s theory of a variable construction of gender beyond traditional binary constructions. This also reinforces Butler’s statement that “Gender is culturally formed”. More of these concepts includes a mechanically operated heart, a butchered carcass, a little girl, a circus performer, a man in a Victorian style suit, and a board of old judgmental men (Evidenced by their glances of distaste in the events they watch).

"Gender is culturally formed"- Judith Butler.

It is clear to see a convention of this genre would be the direct mode of address to the audience and flipping many conventions on their head. A prime example of this would be the gender reversal of Trent Reznor with close ups of him being subservient and ball-gaged with hints towards sexual fetish (Masochism) as well as the bald woman figure. This notion of masochism is later seen again when Reznor is seemingly naked and strapped to the roof with long gloves and a mask to cover his eyes. 

This is shown to effectively break down conventions of gender exclusivity and contrast to Levi-Strauss’s theory of gender binaries.

We notice that the pace is relatively quick and speeds up more and more towards the end only to be cut short dramatically with a shot of Reznor playing a mounted synthesiser.

There is a large presence of mechanical (industrial) paraphernalia, as seen with a metal spinning contraption with a pigs head mounted upon it. This is aligned with the industrial genre due to the direct connection. As well as a sub-culture of the macabre (Examples of this can be found with the baby’s skeleton and crucified monkey on the cross.)

Mechanical contraption in relation to the industrial genre.

Grimy and seedy locations are an integral convention of industrial and some electronic productions. This is evidenced by the disused science lab, and filth laden spectator rooms. In terms of costume and lighting, highly out of the ordinary costume has been used throughout the video which is indicative of the Gothic sub-culture that surrounds industrial electronic music. These Gothic clothes consist of leather and dark apparel. In addition to these this video hosts a number of other costumes including that of a Victorian suit, a little girls dress, a businessman's suit and no clothing at all!

The notion of discomfort and exhibitionism is a key element to this video as seen with the board of old men, as they watch the protagonist struggle. The idea of unpleasantness and dark themes are pertinent conventions of industrial electronic in this respect.

Gothic costume

Towards the start of the video there is a very interesting shot involving a human heart being powered by mechanical wires. The heart beats in timing with the beat of the song, this is clearly reinforces Archer's theory of 'seeing the sounds' (Synaethesia) in a music video.

An example of Archer's theory of Synaethesia

Influences to consider:

- Low key lighting?
- Star treatment?
- Dark imagery (shock value?)?