THE USE OF MEDIA LANGUAGE IN SIGUR RὉS “HOPPΊPOLLA

By Sorrel Grundy

GENRE CHARACTERISTICS

Sigur Ros is a post-rock band from Reykjavik. Post-rock is a sub genre of rock characterised by the influence and use of instruments associated with rock but using rhythms not traditionally found in rock. Post-rock traditionally has no or little vocals. Another characteristic of this genre is the use of repetition of music motifs and subtle changes with an extremely wide range of dynamics. Typically, post-rock pieces are lengthy and instrumental, containing repetitive build-ups of timbre, dynamics and texture.

“Hoppipolla” reinforces the characteristics of the post-rock genre as it a very instrumental piece which has minimal vocals. It also repeats motifs of the music and has many build-ups and crescendo which creates an emotional and powerful piece of music.

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

RELATIONSHIP BETWEEN LYRICS AND VISUALS

SmilingSpinning 'round and 'roundHolding handsThe whole world a blurBut you are standing

SoakedCompletely drenchedNo rubber bootsRunning in usWant to erupt from a shell

The windAnd outdoor smell of your hairI breathe as hard as I canWith my nose

Hopping in puddlesCompletely drenchedSoakedWith no boots on

And I get nosebleedBut I always get up[Hopelandic]

These are the lyrics which have been translated into English as they are originally in Icelandic. There are many links between the lyrics and the visuals in this music video. For example there is a line “No rubber boots” but the characters in the video are wearing rubber boots.Also the lines “Soaked” “Completely drenched” the link with these lines are many shots of the characters jumping into puddles. This also relates to the line “Hopping in puddles”The final lines which are repeated a few time “And I get nosebleed but I always get up” has a strong relation to some of the final shots in this video.The majority of shots in this music video have a relationship to the lyrics which has helped this music video be as powerful as it is.

RELATIONSHIP BETWEEN MUSIC AND VISUALS

There is a close relationship between the music and the visuals in this music video as the majority of the song is instrumental. The music video has been edited to the beat of the song and when there is a crescendo in the music the visuals mirror this by having a big bit of action happening.

For example the screen shot on the right is of the first crescendo in the song and as this happens the characters throw an exploding firework near s youth.

Another example of this is when another crescendo and the lyrics come, this time they have used puddles to embellish the part in the music. They have the characters jumping in puddles and at the crescendo the biggest jump happens.

VISUAL STYLE

The visual style used in this music video is vintage. The music video has a frame which is common of vintage films from the 1920’s till 1940’s. The video also has a slightly rose tinted edit on it which contrasts with the action happening on the screen.

This music video has a different visual style to most music videos due to the cast. The cast in most music videos will be young attractive people and usually members of the band or the artist. In this music video the cast is made up of elderly people who are acting in stereotypically teenageish ways which challenges the stereotype of elderly people and music video casts. Also non of the members of Sigur Ros make an appearance in this music video which is uncommon of a group which has had as much success.

The editing reflects the convention of flashbacks as the edges of the shots are slightly blurred, they have used a slight sepiar tone and the photography is choppy. These are all indicators of flashbacks or memories. As the vintage style could be afforded to the characters remembering their childhood and re-encting some of their memories.

VOYEURISM (LOOKING)

Due to things such as the visual style of this music video the traditional use of voyeurism (sexual pleasure) is not used in this music video but the idea of looking is still used as it is in most music videos according to Goodwin. They have used lots of close ups which makes the audience watch the action more closely and draws them in by spiking their interest. They have also used the rule of thirds to bring the audiences attention to the action that is happening.

INTERTEXTUALITY

There is intertextuality in this music video to the film RED (Retired Extremely Dangerous) as the characters in this music video are elderly. In both pieces of media they are trying to prove that it doesn’t matter how old you are but how old you feel. And how you act because of this.

This music video is the binary opposite of the film Bugsy Malone as in this film the characters are children acting like adults whereas in this music video there are elderly people acting like children.

Gangster Granny is another intertextual reference as it is again about defying what it means to be elderly. This music video and the book Gangster Granny have similar themes, these themes include challenging the stereotypes of elderly people and showing that elderly people can do what people of any other age can do.

Another intertextual reference that is made in this music video is to the TV show “One Foot in The Grave” which is about a pensioner with the attitude and behaviour of an adolescent.