As you will see through watching the music video it follows a linear narrative and challenges Carol Vernallis's idea of a fragmented narrative and as the story has a clear linear beginning, middle and end and the visuals serve a purpose to tell the story of these two young individuals who fall in love over the course of the video, which challenges this fragmented narrative theory to progress the narrative in the video.
Taylor Swift - Love Story
What this music video does support in relation to Carol Vernallis's music video theory is that frequently establishing shots and close up shots are a key feature to a music video. These close up shots highlight the emotion from the characters and enhance the symbolism behind the lyrics.
These close up shots are not used voyeuristically as Taylor (which fits the time period it is set in) is not gazing at the camera in a provocative way or is being viewed by the audience without her knowing therefore challenging the 'Male Gaze' theory as Taylor is not there to please a male audience. This is portrayed through her elegant attire and soft make-up in her appearance and subtle body language which does not provoke a sexual response from a male audience which contrasts to other music videos which can be seen in the pop genre who use sex to sell themselves and product.
Through analysing the overall outlook of the music video and how Taylor in particular is not objectified in this pop genre music video we are very interested in portraying our female characters in this way and rejecting the idea of the 'male gaze' and want to empower the women in our video rather than objectify them.
Below is a slideshare analysing the main nine sequences within the 'Love Story' music video. In particular looking at the conventions, shots, mise-en-scene and media theory which apply to the music video and how this particular pop video could influence my own creative decisions when it comes to the planning and construction of my own.
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