Charlotte Miles

Florence + The Machine – ‘Ship to Wreck’. 13th April 2015. Directed by Vincent

Haycock.

https://www.youtube.com/watch?v=B9v8jLBrvug

Looking into the narratives themes of substance abuse and self-destruction, this essay

intends to analyse Florence + The Machine’s music video, ‘Ship to Wreck’. Taking into

account theorist David Machin and his multimodal discourse analysis, this essay will

consider factors such as colour, brightness, poses and gaze. Additionally, this essay will

consider Carol Vernallis and her theories on narrative, framing and the inter-relationship

of visuals and lyrics in music videos. In order to do this, this essay will look at how ‘Ship

to Wreck’ challenges the classical Hollywood narrative, filming techniques such as

tracking shots and how colours are used to assist the visuals. Then this essay will

examine Railton and Watson’s theory on the categories of music videos, Saussure on

the signifier and signified and Roland Barthes on denotation and connotation.

Whilst music videos take inspiration from feature films such as their use of continual

editing, jump cuts and treatment of space, they differ greatly from the classical

Hollywood narrative (CHN). The CHN “always begins with an opening exposition and

ends with a firm resolution or closure, following some enigma or other” (Brereton, 2012

p.237). However, ‘Ship to Wreck’ challenges the conventions of the CHN by beginning

and ending in a state of disequilibrium.

On the other hand, as the CHN “gave special attention to the appearance of reality”

(Ricciardelli, 2014 p.17), then ‘Ship to Wreck’ conforms to the CHN as Welch is an

identifiable character whose true story of battle with substance abuse makes the

narrative realistic. Conversely, ‘Ship to Wreck’ subverts the CHN with its intense use of

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editing techniques and powerful images. This is shown by how Welch is shown as a

double to symbolise her split personalities. Passive Florence is the woman she aspires

to be and Destructive Florence is the woman she currently is.

Furthermore, taking into account Vernallis, one way that ‘Ship to Wreck’ creates a

narrative is “through a clever technique: exploiting the fact that the character’s lack

dialogue” (2004, p.5). Instead of a traditional music video in which the artist lip syncs for

the entire performance, the video switches between Welch lip synching and scenes

where she uses expressive dance to further the narrative. Theorists, Railton and Watson

who “identified six different types of music video” (Gardner 2016, p.62) would define

‘Ship to Wreck’ as a song and dance number due to its use of modern and interpretive

dance. This is used to highlight Welch’s erratic mindset and emotional confusion which

turns the dark themes into something theatrical and beautiful. (See Figure 1). On the

other hand, Railton and Watson could identify ‘Ship to Wreck’ as a narrative video as it

tells a story and the video complements the lyrical content of the song. (See more on

Railton and Watson in Appendix B).

Figure 1

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Moreover, an establishing shot is an important component of a music video as it “sets

the mood of the scene and the relative placement of the characters” (James, 2011).

Taking into account theorist Roland Barthes, on a denotive level the establishing shot for

‘Ship to Wreck’ shows Welch on her knees in the middle of a road in the pouring rain.

However, on a connotative level, this long shot of Welch on her knees implies she has

lost hope, is surrendering or perhaps kneeling to god for forgiveness or even to pray for

guidance. (See Figure 2).

Figure 2

Unlike most pop videos, ‘Ship to Wreck’ departs from convention by not beginning with

the first notes of the song, but with the diegetic, cinematic and suspenseful sound of the

rain. This sets a sad and miserable tone to the video and implies that a storm is

following her. On the other hand, the rain is polysemic and could symbolise “cleansing

and purification” (Parker, 1999 p.210); Welch wants to be cleansed from her past

mistakes. Looking at the gaze of the artist, from the establishing shot to the end of the

video, Welch does not make eye contact with the audience which means “there is no

demand made on the viewer” (Machin, 2010 p.40). Welch has a downwards gaze which

denotes that she is melancholic but as she looks up to the sky this suggests she is

hopeful as if looking up to God for answers. (See Figure 3).

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Figure 3

According to Machin settings are important “to connote discourses and their values,

identities and actions” (2010, p.45). The mise en scène of ‘Ship to Wreck’ presents a

setting of high modality as it is filmed in Welch’s own home and is a reliable and true

representation of the artist. This means that it is realist and not a staged setup, for

example in a studio. Even though the audience has never seen this setting before, the

personal feel to the video causes it to feel geographically familiar.

According to Vernallis directors can put a “number of objects in the frame, and delineate

them through colour, texture and lighting. Even small objects towards the back of the

frame possess distinct textures” (2013, p.31). The mise en scène in scene one shows

Welch collapsed on her bedroom floor with a range of objects from photo frames,

clothes to a bottle of sleeping pills. (See Figure 4). Taking into account Roland Barthes

theory on semiotics, the sleeping pills denote depression and loneliness. On a mythic

level, the sign of the sleeping pills active the myth of the music industry, a business that

produces successful artists but also people who suffer with depression and substance

abuse. (See Appendix C for more on the mise en scène).

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Figure 4

Throughout ‘Ship to Wreck’ tracking shots are used so the audience can move

seamlessly with the action. According to Vernallis the tracking shot “has been an

essential technique because it supports the music’s pace in relation to the video’s

environment, and provides a respite from rapid editing (2013, p.33). This is shown by

how the fast paced music reflects Welch running throughout the house or fighting. (See

more on filming in Appendix D). With the use of a tracking shot, scene two follows Welch

into the bathroom in which she falls backwards into an empty bathtub. This connotes

that she is trying to purify and cleanse herself but can’t or doesn’t know how to, instead

Welch lies their helplessly. (See Figure 5).

Figure 5

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Furthermore, Vernallis stated that “music videos quickly communicate how closely the

lyrics are tied to the music and image” (2004, p.153). In ‘Ship to Wreck’ there is clear

relationship between the lyrics and the visuals with the images supporting the lyrics. As

Vernallis believes, “some settings of lyrics are direct”, for example, when the lyrics go,

“Don’t touch the sleeping pills”, Welch wakes up with a bottle of pills next to her. Or on

the other hand, “some are enigmatic” (2004, p.153). This is shown by the ambiguous

lyric, “and here comes a killer whale, to sing me to sleep”. The whale could symbolise

the pills as they’re dangerous and deadly but they help to soothe Welch’s mind. On the

other hand, the whale could represent her partner who thrashes the covers off during

their violent fights. According to Vernallis, “most commonly, the image does not follow

the progress of the lyrics, nor does it respond with the same intensity at the lyrics’

moment of culmination” (2004, p.155). However, throughout ‘Ship to Wreck’ the images

do match with the lyrics which helps the narrative progress. (See Appendix E for more

on lyrics).

Additionally, Vernallis states that “colour assists the narrative and highlights

arrangement and tempo” (2004, p.126). This is supported by the red lighting used in

scene four to introduce the arrival of Welch’s split personality, Destructive Florence. The

scene shows Welch battling with her two personalities, the Florence she wants to be, in

a loving relationship and the one who she currently is, self-destructive. According to

Machin, “In Macbeth, Shakespeare uses light and dark as important symbols of good

and evil” (2010). Therefore, darkness could be used in ‘Ship to Wreck’ to symbolise the

evilness of Destructive Florence as she causes violence in Welches relationship. This is

supported by how as soon as Destructive Florence isn’t on screen, for example in scene

six where Welch is in the garden, the lighting becomes brighter. (See Appendix F for

more on brightness).

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Machin believes that “colour is often used to communicate moods and forms of address”

(2010, p.61). Therefore, red is used to symbolise “anger, passion, blood, romance”

(Höst, 2011 p.142). This is supported by how red is used in scene four to show how one

minute Welch is passionate with her lover and the next she is fighting with him. (See

Figure 6).

Figure 6

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Furthermore, “music-video directors connect particular colors with timbres and harmonic

schemes […] for example reds and oranges are placed most commonly with brassy or

percussive sounds” (Vernallis, 2004 p.125). Therefore, red is most suited to scene four

as the chorus is filled with dramatic folk-rock percussion. Additionally, the simple and

repeated pattern of the xylophone in ‘Ship to Wreck’, a childlike percussion instrument

which is commonly used to “assist children’s musical development” (Barnes, 2016),

connotes Welches innocence and immature behavior in her relationship. The upbeat

percussion juxtaposes with the dark themes of the song: the strumming guitars and fast

paced beat feels immorally jolly compared to the destructive scenes of fighting. (See

Appendix G for more on colour).

Moreover, on a denotative level, scene five shows a long shot of Welch hosting dinner

for both her and her boyfriend’s family. On a conative level, Passive Florence is being a

good host, serving drinks and smiling; this is the Florence she aspires to be. This is

reflected by the change of the tempo in the music, the quiet and soothing “woo’s”

symbolise her relaxed nature and happiness when she is not fighting with her boyfriend.

However, Destructive Florence takes over and she is on the table, screaming and

smashing plates. (See Figure 7). This is reflected by how the music speeds up and

becomes more erratic when Destructive Florence is on camera. The change in pace

suggests that Welch has reached a climax. This is where she realises that her self-

destruction is not only affecting her relationship with her boyfriend but with her family as

well.

Figure 7

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Scene six presents Welch in the garden surrounded by nature. (See Figure 8). The

green is used to symbolise “vegetation and new life […] nature, harmony and healing”

(Poole, 2017 p.136). Welch wants to surround herself with growth and prosperity as she

herself wants to change who she is a person. In the background, the audience can still

see Destructive Florence smashing up plates on the kitchen table. However, the lighting

has now changed to pink which “has a calming effect on our emotional energies and can

relieve feelings of anger, aggression and neglect” (Poole 2017, p.94). Therefore, this

connotes that Welch is trying to calm down her self-destructive side especially as the

colour pink is commonly used in prison cells “to calm down agitated prisoners” (Morris,

2002 p.139).

Figure 8

By ending the video with a re-establishing shot of Welch led on the floor in the same

position as she was in the beginning of the video it “leaves the spectator with the

satisfied feeling that he has seen all the important details as the sequence ends, and not

left “hanging in mid-air” (Anon 1949, p.122). On the other hand, the re-establishing shot

ends the video on a cliff-hanger and makes the audience want to find out more. The

audience is unsure if Welch has returned to her self-destructive habits or if she’s still in a

relationship with her partner or not. (See Figure 9).

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Figure 9

In conclusion, this essay has shown how ‘Ship to Wreck’ follows Machin’s theory on

multimodal discourse analysis. This has been shown through the analysis of colours to

connote certain moods such as red with passion and anger, light and dark to connote

hope and evil and how settings can reflect a realistic representation of the artist.

Additionally, this essay has demonstrated how ‘Ship to Wreck’ challenges the classic

Hollywood narrative by its unconventional narrative of ending in state of disequilibrium

and its diverse editing and framing techniques. However, this essay has shown how the

music video conforms to CHN as well by focusing on realism by creating believable and

identifiable characters.

Also, by analysing Vernallis this essay has shown how in ‘Ship to Wreck’ there is strong

relationship between the lyrics and the visuals with the use of colour, objects and

camera shots to reflect the lyrics. Furthermore, this essay has taken into account Roland

Barthes theory on semiotics, for example, how the on a basic level the sleeping pills

denote depression and loneliness. But on a mythic level active the darker side of the

music industry which produces gifted artists but ones who are actually suffering with

mental illness. Overall, the music video for ‘Ship to Wreck’ is used to show the audience

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that no matter how successful and famous an artist can be, they can still struggle with

depression and substance abuse.

Appendices

Appendix A

Music Video Analysis Template

Time Visuals Music & Sound Lyrics Potential
[mins: Meanings
secs]
Establishing shot – No music just yet N/A The use of a
0.00 – Long shot of Welch the diegetic sound long shot helps
0.20 on her knees in the of the rain. the audience
middle of a road. Creates establish where
Suggests suspense. the music video
vulnerability, is set. The
surrendering or As Welch begins camera shows
praying. In danger to look up at the Florence in a
of cars but doesn’t sky, the music street with cars
seem to care begins to play at and houses.
0.10.
The rain sets a sad The rain
& miserable tone. With its fast symbolises
There’s a storm percussion and cleansing and
following her. She’s strumming guitars, purification.
in the darkness, the music seems Welch wants to
lonely, drenched. pretty jolly and be cleansed
uplifting from her past
The camera zooms considering the mistakes.
in to a close-up of themes of the
her head & song (self- The use of a
shoulders. destruction and close up allows
depression). the audience to

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Welch doesn’t see the reaction

make eye contact of Welch when
with the viewer. she looks up at
She looks up at the the sky.
sky, suggesting
she is looking up to The sleeping
God for pills connote
answers/guidance. tiredness, pain
and addiction.
The camera then Sleeping pills
shows Welch on also affect
the road from her people’s
bedroom window. memory so
that’s why
The camera pans Welch can’t
to the left showing remember
her led anything in the
asleep/collapsed morning.
on her bedroom
floor next to a Welch feels like
bottle of pills that needs to be
have spilled onto sedate in order
the floor. to be able to
sleep.
The room is messy
and has been On a mythic
smashed up, level, the
presumably from a sleeping pills
fight with her symbolise the
boyfriend. In negative side of
interviews, Welch the music
said that she often industry. The
smashed up her business
house. creates
successful

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artists but also

ones who suffer
with mental
illness.

She is wearing a
red laced bar =
female
sexuality,
promiscuity and
vulnerability

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Appendix B

Hybridity

Taking into account Railton and Watsons theory that there are four categories of music

videos, “pseudo-documentary, art, narrative and staged performance” that can also

cross into each other (Sanna 2012, p.2). Then ‘Ship to Wreck’ is a generic hybrid which

means that it draws from three of the categories. ‘Ship to Wreck’ has aspects of a

pseudo-documentary as the audience has privileged access of seeing Welch in her own

home which portrays her in a naturalist manner. Additionally, the music video has

aspects of a stage performance as it features lip-synching and choreographed dance

routines. However, ‘Ship to Wreck’ is not set in a studio and is not focused on

commercial promotion. Also, ‘Ship to Wreck’ is narrative video as it tells a true and

personal story through forms of visual narration that extends the lyrical content of the

song.

Appendix C

Mise en scène

As Vernallis states “clothing provides a quick introduction to characters represented in

videos yet also clarifies relationships between characters” (Kearney 2017, p.73). In the

mise en scène their clothes or in fact lack of clothes, with Welch in a red lacy bra with

jeans and her partner in underpants, connotes youth and sexuality: the couple are

clearly passionate lovers. This shows Welch in an intimate light as the audience are

used to seeing her dressed formally on stage when she is performing.

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Appendix D

Filming techniques

According to Vernallis, “A songs rhythmic features are most often underscored visually

by movement within the frame and by editing” (2004, p.168). The majority of ‘Ship to

Wreck’ appears to be filmed on a hand-held camera which gives a sense of realism and

personal immediacy. (See Figure 1). This enables the audience to feel a part of the

action as it happens. According to Bruce Mamer, “this camera as a participant approach

can lend a sense of urgency or chaos to the action” (2008, p.16) which is fitting as

Welches actions are visually frenetic with her either fighting or running around the

house.

Figure 1

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Additionally, “sometimes the revelation of space in a music video is orderly enough that

the viewer can follow and even predict the camera’s course. Here the unfolding of space

becomes a metaphor for the songs structure – where we follow a spiral or a straight

trajectory” (Vernallis, 2004 p.118). In ‘Ship to Wreck’ the camera weaves between rooms

in which the audience is unsure which direction Welch will appear from and therefore

cannot predict the cameras sequence. The different directions of the camera parallels

Welches confused state of mind; she is unsure herself which way she is going.

According to Vernallis, “these shots are edited prismatically to suggest a shape and feel

for the eyes trajectory” (2004, p.112).

Appendix E

Lyrics

The mice from the lyrics “thousands of red-eyed mice, scratching at the door”, are

irritating, noisy and thought of as a nuisance. Therefore, they symbolise all the things in

their relationship which they find annoying about each other, but by themselves are

insignificant. On the other hand, the mice could symbolise Welches substance abuse,

her addiction started out small like a mouse but eventually grew larger and harder to

manage. Her inner demons are represented by the mice, they are scratching at the door,

trying to haunt her. Additionally, mice infest buildings and damage the inside workings

such as the wires. It’s hard to see the problem until it becomes unmanageable. This is

the same with her battle with substance abuse.

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Appendix F

Brightness

The majority of ‘Ship to Wreck’ is darkly lit which according to Machin and Polzer

connotes “secrecy, ignorance, concealment, lies and depression and even the irrational

and primitive” (2015, p.67). This is supported by the dark narrative of the music video

which focuses on the ignorance in Welches relationship: Welch and her partner are

struggling to admit that this relationship has turned violent and unhealthy. Additionally,

the darkness reflects Welches depression and how she is struggling to see light and

hope. The only time the lightening becomes slightly brighter is in scene six when Welch

is in the garden. Machin and Polzer believe that brightness connotes “openness, truth,

reason and optimism” (2015, p.67) which supports this scene as Welch has reached a

climax in her life: she knows her self-destruction is now damaging her relationship with

her family and not just her partner. Welch goes into the light to find hope and clarity.

Appendix G

Colour

According to David Landau, “often the colours are matched with the emotional content of

the lyrics of the song, but just as often they are there to accent the rhythm or the energy

of the music itself” (2014, p.176). Therefore, red is used to match Welches self-

destructive emotions, she is angry at herself for ruining her relationship. Furthermore,

this is supported by how whilst the chorus arrangement ascends, the lighting changes to

red when destructive Florence is introduced and they are fighting. Additionally,

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according to Vernallis, “research has shown that the colour red will momentary raise

blood pressure” (2004, p.124) Therefore, red is used to heighten the emotions of the

audience and causes a sense of urgency and anger.

Appendix H

Poses

According to Machin “poses are used to suggest a certain kind of person, a certain set of

values, particular ways of living” (2016, p.88). Scene two begins with a medium long

shot of Welch and her boyfriend sat on opposite sides of the bed. (See Figure 3). Even

though they are mid argument, they mirror each other’s poses which denotes that they

are “a unit” (Machin, 2012 p.37). However, as they are facing away from each other with

their heads bowed down, their poses suggest that they are unhappy and distant from

each other.

Figure 3

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Appendix I

Signs

Taking into account Ferdinand de Saussure theory on signs, throughout ‘Ship to Wreck’

there is a recurring sign of a chair which signifies the safety of their relationship. The

lyrics, “The chair is an island darling, you can’t touch the floor” signifies that if her and

partner touch the floor or the ‘current’ then they will be dragged back to their violent

relationship. In scene two, Welch climbs onto the chair and as she begins to the fall, her

boyfriend catches her: even though they fight, he is always there to rescue her.

Additionally, scene four shows Welch punching the chair in frustration after another fight

with her partner. (See Figure 2).

Figure 2

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