Friday, 19 October 2012

P.Diddy Textual Analysis


P.Diddy and Nicole Scherzinger – ‘Come to me’ music video

The start of the music video ‘Come to me’ by P.Diddy and Nicole Scherzinger starts off with an establishing shot of New York City, which is an expensive place to live in, suggesting the main characters have a lot of money. It is full of lights suggesting it is a busy place. We then see a steady shot of a car pulling up, it is surrounded by mist, this is mysterious as we want to know who is getting out of the car and they must be important. The video then has a close up of a clock with ‘4:30’ on it, it is the early hours of the morning and the clock is significant as we later see that he is going to a club were he meets Nicole. Tracking is then shown to P.Diddy’s bed where a woman is draped over him, it then pans across the room to a half naked woman answering the phone. A close up of her hand is shown and she is wearing an expensive ring, showing that the people in the video have a lot of money. Having two women in the room with him suggests that women are interested in P.Diddy. The framing in this part of the video shows the woman on the left hand side of the shot, then it jumps to P.Diddy waking up and him being in the very centre of the shot, this suggests he is much more important than her. We then see cross cutting of P.Diddy in his house getting ready and Nicole at the club, this shows he is laid back as he isn’t ready yet whereas everyone else is at the club, maybe suggesting he wants to make a big entrance.

We then see a medium shot of Nicole’s legs, she is wearing red Louboutin heels. Red is a strong, powerful colour, suggesting she is a powerful character and she has a lot of money also as they are expensive shoes. It also suggests that she has a dangerous side to her as the colour red also symbolises danger. They have used a medium shot here so the audience focus on her legs to show this. We then see lots of close ups of Nicole’s face, she is pouting a lot suggesting she is a seductive woman. We then see more cross cutting, this time from Nicole to the lively club, she has separated herself from everybody else, maybe because she can’t control her feelings towards P.Diddy and she’s excited to see him. Tracking is then used of P.Diddy walking into the club, he is being escorted by women, which shows women really like him and they want to protect him. He has entered the club through the back entrance showing he is an important character and he doesn’t want to mix with anybody else. P.Diddy then starts to sing and fix his hair, to make himself look more presentable and attract Nicole’s attention. A close up is then shown of P.Diddy putting his hand on the girl’s waist, suggesting he’s a controlling character.

Once he is in the club he has his hands on the girls legs once again showing he is controlling as he is showing everybody else in the club that they are ‘his property’. An eye line match is then used when P.Diddy looks over at Nicole, it shows to the audience that both characters have finally seen each other. Nicole is then seen sitting on a throne, the framing of the shot is that she is sat right in the middle, showing she’s as important as P.Diddy as she is in the centre of the frame like he was earlier on in the video. Once again cross cutting is used from P.Diddy to Nicole, he is dancing to try and seduce her. A close up of P.Diddy singing in to Nicole’s ear shows that he only wants her and he is making this clear to her by doing this. Hand-held movement is then used to show that this is were things start to get more serious between the two characters and uncontrollable, they can’t control their emotions towards each other.  Nicole then follows P.Diddy up the stairs in the club suggesting he’s captured her heart. Once they are upstairs we see framing through Nicole’s legs and P.Diddy is at the end of the corridor, this suggests things get more sexual between the characters and their feelings are more uncontrollable.  Nicole is then shown with pink lights behind her, this is very feminine and could also suggest she’s became more vulnerable under his company. Nicole then follows P.Diddy out of the corridor suggesting that he is a seductive man. We then see an aerial shot of a maze, they are both walking through the maze from separate sides, Nicole looks scared because she is slowly walking through and has her hands on the walls, showing she’s vulnerable, however P.Diddy is strongly walking through the maze, and it’s like he has planned it. The both meet in the middle of the maze, and the maze explodes suggesting there is no more sexual tension.  The maze then turns a neon colour suggesting things are hotting up between the pair and they are together. We then see a 2 shot of them both dancing with each other, after a while Nicole seems to of had enough and walks away from P.Diddy, however they break the180 degree rule as it follows Nicole who then is suddenly stopped by P.Diddy, showing he’s everywhere and no one can escape him.

Non diegetic sound is used as it is a music video and the lyrics tell us the story of the characters as Nicole says ‘you’re the only one I wanna talk to’ this shows that she doesn’t care about any body else who is at the club she just wants P.Diddy to herself. She also says ‘When will you make a move’ this suggests she’s been waiting a long time and she can’t contain her feelings towards him anymore and she wants him to make it clear that he likes her. However P.Diddy says ‘anywhere I appear they all stop and stare’ showing he likes all the attention he gets, and thinks everybody loves him which shows he is big headed. He also sings ‘I make miracles like I walked on water’ this suggests he thinks highly of himself, and thinks he is unstoppable and can do what ever he wants, this is the opposite to Nicole as he never says how much he wants her, like she wants him, suggesting he is a player. Throughout the whole video there are no other men characters shown, it is all girls, this shows he is a womaniser and maybe the best man in New York and that’s why he’s the only one in the club.

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