music video: dizzie rascal

dizzee rascal (dream) music video

Narrative

The Dream music video and the song that follows, is all set around Dizzee Rascal. The music video combines elements of performance aswell as narrative, which is typical for a music video form. The narrative of the music video starts off with a female pianist who directly addresses the audience and introduces Dizzee Rascal and the music video, aswell as ends it too. This female pianist acts as a narrator, where she is reacting to what is going on as well as following the story and narrative along with it. The narrative is a linear meaning we can understand what is going on. The narrative which follows the music video is also following the song. The whole narrative is fixed around a dream, which we later figure out it is about Dizzee Rascal himself and this music video acts as an autobiography about him. The music video as a whole is an intertexual reference to a children's tv show in 1950s, the Muffin and the Mule.

 

Representation

At the start of the music video, we are firstly introduced to a white upper class, middle aged woman. She is on a piano and is seen to be the largest within the frame. The other person we are introduced to is Dizzee Rascal who is smaller within the frame. He is also seen to be far more younger than this woman as well as being a black, male character. The use of this comparison between a white, middle aged woman and a black, younger man can show the message of how maybe we are living in her world, as during this time period it is set in there is far more white, upperclass, old people than people like Dizzee rascal who are young and black. We can also tell their socio economic groups are different by the use of their voices. For example, the woman speaks in a far more British, upperclass accent whereas Dizzee is talking in an working class London accent, where he also uses elements of slang and informal words. The settings both of these characters are based in also reflects their social status. For example, in the bigger world which the woman is living in, we see a well put together section of her house, which looks neat and tidy. She also owns a piano which gives off a sense of luxury. On this piano however, we see Dizzee Rascals 'world.' His world consists of off licenses and graffiti which tells us a lot about what type of person he was growing up. Dizzee rascals lifestyle growing up is described throughout the video, using props like toys. However, some of the facial expressions from the old woman suggest maybe she doesn't feel comfortable with this lifestyle. There is many other representations in this music video, which is usually shown by toys. For example, the scenes of the white policeman puppet beating up a black puppet, might represent this idea of racism against black youths by police forces. This might suggest that being part of the music industry, Dizzee is protected in a way that he isn't a victim of racial violence. The use of the puppets as a whole could show how people of colour, ethnic minorities, young people are all controlled by white upperclass people and shows a lack of freedom. The fact Dizzee is not a puppet could mean he is not controlled and he could be overcoming the white power. As a young black male himself, he is more likely to represent black men in a positive way and the video is autobiographical it is more likely to be positive images.

Intertextuality 

The music video dream, references many different things throughout. The whole idea as a whole is taken from a 1950s children's television show, Muffin the Mule. It positions the audience as children being told a story. The puppet characters are forced into this narrative, for example, muffin then mule is shown operating the sound at the recording desk aswell as a lord Charles puppet in pram. Having the music video similar to a tv show itself could suggest that they want this to be familiar to the audience and hopefully will attract different target audiences. There is also references to captain sensible who recorded the song happy talk in 1980s. Happy talk is referenced in the music video and is sang by the woman on the piano as well as slight parts by dizzee. Dizzee also makes references when he says 'this is too sensible for me man' when he climbs back into the box. These references create a sense of nostalgia and pleasure for the viewers.

Post-colonialism theory.

The use of a white known, upperclass TV presenter in comparison to a young, black grime artist is interesting in the sense of the postcolonial theory. This music video was released in 2004, however has the settings and references to shows and things from 1950s to 80s. During this time, there became an increase towards diversity and ethnic diversity in particular. The narrative creates positive messages and values, constructing this image old a successful rapper which is subverting these negative images of ethnicity. However, the female does seem to be more in control and the fact we are 'living in her world' suggests a lot. The use of the box on the piano suggests this.