Analysis of 'Lana Del Rey-Born To Die' music video

Born to Die is the second studio album by American singer-songwriter Lana Del Rey. It was released on January 27. Lana Del Rey collaborated with producers including Patrik Berger, Jeff Bhasker, Chris Braide, Emile Haynie, Justin Parker, Rick Nowels, Robopop, and Al Shux to achieve her desired sound. Their efforts resulted in a primarily baroque pop record, which sees additional influences from alternative hip hop and trip hop music. The video itself is narrative based; including a strong sense of story-line; Lana Del Rey and Male Model Bradley Soileau acting out a strong love story (in accordance to the lyrics); with a very strong link to the visuals (through the lyrics etc.) 

Born To Die is one of the most recognised (popular) of Lana Del Rey's songs featured from her first album 'Born To die' (album cover/artwork can be seen below):

The relationship between the lyrics and the visuals

These two images are shots one after the other, being 'layered' under the lyrics 'If I tell you you're mine'. Here the visuals correspond to the lyrics where you see Lana Del Rey with her partner (within the narrative of the video) kissing passionately as she shows (tells him) that 'you're mine'. Here the visuals work well with the lyrics as it cuts from being focused on her partner for 'when I tell you' and moves to show her when she sings 'you're mine'; showing the clear relationship between the two. 

Here the lyrics are amplified through the emotion performance (lip singing) of Lana Del Rey when she's sat on her thrown in partner with the lyrics 'and the road gets tough I don't know why'. This being in between the showing of her abusive relationship with her partner (before and after this emotional performance); the lyrics are shown to mean more (be more emotionally linked to herself as an artist; as she reflects on the past-the other narrative strand within the video). 

Here the use of prop allows the lyrics to be amplified by the visuals (partnered with them). 'Lets go get high' being 'layered' over Lana Del Rey smoking (a cigarette or drug?); means that she is 'acting out' the lyrics as her and her partner within the narrative are shown to be smoking and 'getting high'. The use of camera work throughout this part of the video allows an emphasis on the prop as the audience is shown her partner lighting it and her (as well as her partner) smoking it through big close-ups and medium shots.   

The narrative within the video being based around Lana Del Rey and her partners abusive relationship; means that when linking lyrics such as 'goes insane' with abusive looking visuals (for example the one above: where her partner is shown to be 'shooting her' with a fake gun in an aggressive way) it means that the lyrics become amplified and make more sense as we are shown that the lyrics of this love related song are based around an abusive relationship where her partner 'goes insane'. 

'Lost' showing the first shot of Lana Del Rey led by herself, followed by 'but not I am found' where a fade is used in between these shots to show her partner with her when she becomes 'found' means a very clever use of the lyrics corresponding to the visuals within the video-reflecting that without her partner Lana feels lost (and not found). The use of a fade in between the two shots means that this clever use of camera work (transition) allows the music to relate to the video as well as the lyrics relating the the visuals. Although the use of camera work suggests that she feels lost without her partner; the use of a mid shot to show them together shows her to look very emotional and upset (meaning a slight contrast to the lyrics). 

These two screen shots show Lana Del Rey to be performing the lyrics (meaning they correspond very well); portending to cut her throat with her finger when 'we were born to die' reflects the abusive relationship of the relationship she reflects upon within the video; doing the action in a fairly aggressive. The second screen shots shows her acting out her partner as he 'goes insane' in an almost animated way (reflecting upon her past relationship). Through this performance (lip-singing) we get a sense (amplification) of the lyrics meaning as Lana Del Rey looks very emotional, with her eye contact straight onto the viewer-meaning they are drawn into the lyrics (her performance). 

These screen grabs show the last shot(s) of the music video; the first screen grab showing the close up of Lana Del Rey dead in her partners arms; the second screen grab reflecting the zoom the camera does from the first shot as it exposes the dark setting (in contrast to the fire/car crash behind the two actors). This being the last shot that the viewer sees being layered on top of 'we were born to die' with a strong instrumental in the background allows the recurring lyric (almost motif) throughout the video to come to the close-as if in a circular narrative (as Lana Del Rey does die). 

The relationship between the music and the visuals

The main instrumental parts of the video (at the beginning and end) are used to create a circular sense to the narrative; starting with the two lovers embracing each other in front of the American flag with no clothing and ending with the same long take (with a slight zoom) means there is a sense of an end/closure to the narrative. These two cuts being the longest takes (shots) within the video means that the high pace (continuous) editing through the rest of the video become emphasised with the beginning and end of these two long takes-putting an emphasis on their importance to the narrative. 

This screen grab is taken from another slight long take (with an emphasis through a mid-shot of the cars slights in the dark setting as Lana Del Rey's partner speeds down a road). This means a sense of doom is created as 'we were born to die' is played over this; this shows a relationship to the music and the visuals as this long shot (take) plays throughout the lyrics repeating 'we were born to die'; creating an emphasis on the fact that the car is out of control and the lyrics are about to become reality (Lana Del Rey dying at the hands of her partner).

Here the pace of the editing slows down to show Lana Del Rey walking towards a door-way into a very bright light (as if to heaven-'finding the light') as the other narrative strand comes to a close as she dies in a car crash; meaning these montage of shots come together to bring the two narrative strands together and to a close at the same time. I have selected these three shots (screen-grabs)as they reflect the lyrics very well a she almost walks to her death with the lyrics 'the last time' and 'born to die' being used. These shots cut to the slow beat as she walks towards the doors (heaven) adding to the intensity of the shot montage with the car crash very effectively. 

The music in correspondence to the visuals acts well when showing (reflecting) the two narrative strands within this narrative music video. The use of cutting to the beat between the two narratives (with the lyrics/music) means that the two come together more 'smoothly'; the shots (different narratives) changing in correspondence to the beats within the music (as well as through matching the lyrics throughout). 

The two narrative strands are used very effectively (within the narrative-reflecting the storyline) very well; the contrast in colour throughout the two narrative strands enhancing the effect. The narrative strand of Lana looking back on their love being very bright with a lot of white colours in contrast to a more vintage feel in the past narrative strand as she looks back on her love gives a sense of the different contrasting moods of both narratives and the difference between her being alive (in the past) and in heaven/dead in the present (with the more light/'pure' colour schemes/feel). 

References to the notion of 'looking'

These two screen grabs show Lana Del Rey being sexualised by her partner within the narrative; showing the male to have clear dominance (power over her). Wearing fairly minimal clothing means that through costume she is also sexualising herself. 

References to the notion of looking in past Lana Del Rey videos (motif-being sexualised by male actors)

These screen grabs are taken from Lana Del Rey's past videos before 'Born To Die'; showing how throughout her videos she is sexualised by male actors within her narrative. The first screen grab is from 'National Anthem'; showing Lana Del Rey to be sexualised through the male actors (ASAP Rockey) body language in contrast to hers. The last two screen grabs are taken from 'Ride'; the narrative in this video following the artist as she falls in love with a series of older men as they sexualise her through both through both their acting (body language-can be seen in the second screen grab) as well as the notion of 'gaze' (the theory of). This can be seen throughout the video (shown below):

The notion of looking through abusive relationship(s) sexualising the artist

In these series of screen grabs; you can see the abusive relationship Lana Del Rey has with her partner within the relationship; sexualising her as he forces her to kiss (hold) him. This becomes slightly uncomfortable for the viewer to watch-meaning that the artist is highlighting the modern day issue of abuse in a relationship (showing it in a way that sexualises her).

The motif of Bradley Soileau throughout Lana Del Rey's videos-reflecting the motif of the abusive relationship (cause for her death)

Lana Del Rey and Bradley Soileau in 'Blue Jeans'

In 'Blue Jeans' the two's relationship is presented similarly to in 'Born To Die' having several undertones of violence and Bradley being the reason for the artist's death at the end of the video. The video being in black and white (The use of mise-en-scene) sets the tone for their relationship, as the dark/vintage feel of the past narrative does in 'Born To Die' (reflecting the same. In the first two screen grabs it shows Bradley (the male actor) sexualising her as he does in 'Born To Die'; the last screen-grab showing him to be drowning/killing her similarly to the way he does in 'Born To Die' (being the reason for her death in a car crash). 

Lana Del Rey and Bradley Soileau in 'West Coast'

Contrastingly to Blue Jeans and Born To Die; West Coast (a more recent Lana Del Rey video) shows the two to have a much more loving relationship; showing various slow-motion shots of them together laughing/embracing. Even though the mise-en-scene of the video is in black and white; there isn't the same violent, abusive undertone to the video as the past two (featuring Bradley Soileau). This can been see the in the screen grab/example above of the two embracing on the 'West Coast' beach.

Star image (Lana Del Rey) and 

intertextual references

These two screen grabs highlight Lana Del Rey's strong sense of style (brand) as an artist. The second image in particular showing her strong fashion sense (being a trend setter) in cut off denim jeans and a very in fashion white 'cowgirl' jacket. The first screen grab shows her brand (image) very well. Being known as an indie 'icon'; Lana is shown here with the props of two tigers on a thrown (within a cathedral)-showing her almost strange brand very well. The use of props in this image (the narrative strand in the video) showing her 'strange' and 'indie' side as a brand. The use of a flower 'hair accessory' showing how she set the trend through the summer of 2013 (not long after the video was released).

The use of setting (Chateau de Fontainebleau in France- A famous Cathedral within a palace) allows Lana Del Rey's image (personality) be shown. Not only does this show of her wealth (through the use of shots such as the first screen grab) but also of her spirituality; being a very well recognised Catholic. Being shown on a thrown within the Cathedral (the second screen grab) and with intertextual references to her going to heaven within the video (walking to the light within the doors) reflects how she is presenting herself as an individual (brand) throughout this music video. 

News headlines linked to video

 
Lana Del Rey Opens Up on Spirituality and Beliefs

Lana Del Rey has opened up about her spirituality and personal beliefs in the divine and while the singer is normally quite open, the interview shows a new side of her personality.

Del Ray studied metaphysics in college because "it bridged the gap between God and science," she told Tokyo Numero magazine. "I was interested in God and how technology could bring us closer to finding out where we came from and why," she said.