Dizraeli and the small gods are a british hip hop band, formed of solo artist, formed in 2009, and split in 2015.

Throughout the video we follow a masked singer wearing rabbit ears, through a city collecting a convoy of artists and general public, joining a conga of nodding characters. Mise en scene is used very well throughout this music video. The characters are all young, no older than mid-twenties making it possible for the young target audience to relate to the cgaracters (uses and gratification theory-personal identity), and it also connotes that the British hip hop community is a fresh, new scene full of young creative individuals. There are also an even amount of men and women characters throughout, showing that this is a controversial community, unlike the American rapping scene which is male dominant. Therefore this challenges the typical conventions of a hip hop video and reaches ar elarger audience than if just male characters were used. The clothes worn are baggy, and dark. This shows a very relaxed look, showing how the artists are comfortable in this scene, it is more there life than a profession or a job, unlike other genres such as hiphop where it is more an act and performance. The relaxed look also mirrors the lyrics, “never mind” showing they are careless and want you to enjoy the song making the audience feel at ease and like they want to dance to the song. The characters are also wearing trainer like skate shoes, skate boarding and street sport being a big part of the hiphop community, showing the audience how the band like to portray themselves.  The lighting throughout is natural lighting, when outdoors there are no spotlights used to highlight, this keeps the video looking real, an image the band obviously want to portray. However inside, there are warm orange lights, no spotlights just normal ceiling lights. This gives the shot warmth and connotes that the artists come to life when they are playing, mixing and rapping ect. Towards the end of the video it has turned to dusk and there are more colourful lights being used, this shows how the hiphop scene is more interesting at night, there are performances and dancers out and everything becomes more exciting. The video shows how everyone is letting go and joining in, just like the lyrics are telling them to.  The location of the video is an urban city, the streets and the basements. This is showing the audience that the most fun can be found in the most unusual places, again emphasising the idea to let go and enjoy themselves. Also this urban scene is a very common convention of the hiphop genre showing how these artists come from a rougher background.  Keeping the natural look, there are not many props used apart from the instruments they are playing, connoting the creativity, BMX bikes, representing the culture, and a megaphone, showing the audience that they want to be heard.

 

Moving onto camera work, initially the camera follows an unknown character through a track on a field, the character is unknown at this point, and there are close ups on the hands and feet to emphasise that his identity must be hidden, creating mystery for the audience. This is well used conventions in many hip hop videos, concealing characters to connote the underground scene. There is then an establishing shot of the back of the character showing him looking onto a city from a height. This is showing the audience how he is a little fish in a big pond, connoting how small the British hip-hop scene is. There is then a low angle showing the masked character, this low angle connotes that this artist has power and dominance, also he should be feared. Following this we see an extra-long shot, a technique used throughout, following this character through the city, again showing how small he is in this scene. Throughout, low angle shots are used to show the musicians playing, this is used to show their power and talent, and there are also mid shots used when initially introducing them to show their clothing and there instruments to give the audience an idea of their image and personality. Lastly there are lots of panning shots to show people following and joining a conga of people nodding their heads to the beat, this is used to show the gradual yet definite expansion growth of the community.

 

Sound is used effectively, in sync with the video to match the lyrics. The first thing we hear is an upbeat flute dominant tune, accompanied by an upbeat brisk walk. The fist lyrics then state “ oh yeah, nod ya heads like there hitting a wall” This sets the tone of the song and the video as being declarative, the lyrics want you to join in and dance, be reckless and the upbeat track matches this. There is matched lip sync to this from the masked man, initiating that he is the singer. The whole track is synced to the video, whether that be through lip sync or pace of editing, Slower lower pitched notes are matched with slower movements creating an alluring effect and higher pitched notes synced with faster movements and lyrics.

 

 There is not much editing used, minimising post production, creating a realistic, rustic effect to the video, connoting that this art form is real, unlike genres such as pop which is seen to be more of an act. There are no filters used to change the colouring, therefore we see the natural light, dark shadows and flairs on the lenses, all denoting a real, untouched art form. Purely jump cuts are used throughout to match the fast paced tempo, and also the intricacy of the genre and the track. This is mirrored by short shots, again matching the tempo and the fast paced culture.Overall, the artist has used integrated techniques to show there band and the british hip-hop community to be a very relaxed, upbeat welcoming genre, portraying the message that they want you to join in and have fun and build up a personal relationship with the artist.