Before editing my final draft of Vodka and Cherryade, I undertook research into indie music videos. Such instances like Sundara Karma's "Vivienne" and The Hunna's "Bonfire" have made me realise that different music videos have different codes and conventions in order to stick to their chosen genre. You can see how these conventions have crossed over to their ancillary products.
Sundara Karma logo and sun motif below (click the first image for logo above the sun):
Other codes e.g. band name and song title in the music video have helped me to choose which ones to incorporate into my own indie music video. There are wide performance shots present in each of the videos I have researched into, yet the narrative is often fragmented or doesn't fall under the indie rock label. The artist lip-syncs with the song itself, which is a convention I have added in my final draft (which required reconstruction to do so). Much of my narrative consists of a couple in a relationship, which is also present in Sundara Karma's music video for "Vivienne". Both videos fall under the indie genre.
There are a few wide performance shots in my music video, though much of the footage shows band members at separate times of the day.
Carol Vernallis' music video theory based on narrative indicates that music videos have a partially completed or incomplete narrative with the video being disjointed, disconnected or fragmented in a way or two. There is a driving factor but it's not necessarily the narrative; either it's the music (its pace) or other elements of the video. However when the video is incomplete it can lead to many questions being asked about what the narrative actually is.
The music video for "Vodka and Cherryade" is presented throughout a montage of band footage and various gig and party scenarios, rather than just one clear focus, making it complicated to figure out its centre point.
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