Mirrors, Justin Timberlake - Analysis

Mirrors, Justin Timberlake - Analysis

Original Video: https://www.youtube.com/watch?v=uuZE_IRwLNI

This genre of music video is an example of Pop

Two of the video first shots, as shown below, are in the same setting but with different characters and appear one after the other. This suggests to the audience that these set of characters are connected in some way due to the room they are in. The picture with the younger characters in also contains the older lady in the mirror above the fireplace, further reinforcing the idea that they are connected. The older woman being in the mirror is also imagery for the title of the song 'Mirrors'

The long duration of the tracking shot that follows the young woman into the room as well as the slow pan around the young man as he looks up at her impies to the audience that these characters are key in the narrative of the music video, especially the fact that they are together.

The dancing that takes place within the bar is conventional of pop music videos as it is an upbeat happy activity. The dancing also develops the two characters and marks the beginning of their relationship. Something to note about this scene is that the mise-en-scene is specifically chosen to give the idea that the setting is roughly 1960s America. Examples of this include the jukebox prop and costume that all the characters wear - denim and neckscarfs which were popular fashion in this time period and location.

The two scenes that a link was established for at the beginning of the sequence due to the consistent room demonstrate differences a little later in the sequence. The scene with the older people shows them as being connected and close due to their close proximity and eye contact; whereas the younger people are facing in opposite directions - imagery that is used to show that they are, in contrast, much less close with each other at this time.

The scene with the 'Fun House' seemingly takes place within the mirror of the older woman. This is another case in which the title of the song is made relevant within the narrative. An interpretation of why this is used could be that the when the older woman looks into a mirror, she sees memories of her former self rather than what everyone else sees when they look at her; suggesting that it is her memories and experiences that make her up as a person rather than just her physiology.

The 'Fun House' scene seems to be more abstract narrative than a literal event. This use of abstract visuals is conventional for pop music videos as it keeps the audience interested in what is going on as it makes them have to interpret what the song is about rather than just being shown, thus actively engaging them. The imagery of the older woman ejecting a role of photos out of her mouth foreshadows the relationship between the two characters growing old together.

Towards the second half of the sequence, the common theme is the connection in a relationship. This is shown by the tight-frame-close-ups of the 2 young couple characters and long shot of the older couple in close proximity to each other which is usually a sign of affection for ones partner.

A significant editing technique used in the sequence is where the scene of the older couple in the bedroom is divided vertically and the order is altered, resulting in the sections of the shot being jumbled. This is similar imagery to that of light refracting on glass which is another example of where the song title 'Mirrors' appears within the narrative.

After the footage of the book is reversed (another editing technique used) to make it appear to fly upwards, a close up is used to show the older couple closing the book to suggest that a chapter of their lives is over now. The editing technique used before hand intrigues the audience as it is unusual.

The artist makes an appearance within the sequence at the end in which he dances in a room full of mirrors. The artist in the video as well as the dancing is very conventional of pop music videos as it promotes the artist (which is the main purpose of music videos and provides a more upbeat tone in contrast with the narrative.

Although the frequency of eye-contact (direct address) is very low, in this last scene there are instances where the artist breaks the fourth wall by looking into the camera. This is conventional of music videos as it allows the artist to connect with the audience.