Thread by @boxxsaltz, [Thread] Irene & Seulgi Monster editing/visual storytelling analysis from a filmmaker perspective. [...]

[Thread] Irene & Seulgi Monster editing/visual storytelling analysis from a filmmaker perspective.

This is focusing on how the MV is edited to compliment the lyrics as well as the music and not an analysis on the storyline of the MV. Everyone has their own thoughts and opinions, this is just mine. Let’s begin!

1. We come into this slow opening that cuts straight to the dance beginning. The cuts are on the beat with their movements that sway one way to the other which also correlates with the horns and how they swell. The lyrics then say, “my moves are unique” which—

—are reflected by Seulgi crawling on the floor in a way that’s not normal. It’s unique. The lyrics then go onto say “I’m a dancer in the darkness” and we are visually given her dancing.

2. We flow right into Irene speaking about coming close to your bed out of Seulgi crawling which can also tie into “cracking your joints” if you think about how demons/evil creatures crawl in horror films

3. Probably my fave part! Cuts that match the beats of the music also complimented by the choreo that freezes when the music does and the camera movements. The stunning wide shot they cut to with the line “under a single light, why are there two shadows?”—

—In the wide shot we have the light coming throguh the windows shining on both of them. This part also ties into the previous lines of “I’ll steal your heart and dominate you” as it shows them controlling or “dominating” one another in the choreo.

4. Into the chorus we have “I’m a little monster be scared of me” during which you have the shot of Irene with Seulgi pinned being that “monster” and intimidating Seulgi making her “scared” which flows into the next lines of dreaming which well beds = sleep = dreaming

5. Can we appreciate how the choreography lends itself to the “casting spell” by the hand movements—raising hand with twiddling fingers—as if they’re casting a spell? Again, they’re showing you that at the same point in the lyrics

6. The cutting then slows down as the music and dancing smooth out, helping to convey the way the bass moves in this section and we are given longer, slower shots to help feel that slow, sensual, dragging intensity of the bass

7. IRENE VOCALS AND SEULGI VOCALS QUEENS!! The 2nd verse comes down in intensity as well do the cuts. The cuts here highlight the beats but also the choreography esp during Irene’s part where they make a cut or cut to her snapping movements when there’s a snap in the music. The—

shot of Seulgi in front of the stain glass is also perfectly timed. Hear that bass? It’s drop low and sultry right at this wide shot which punches that visual—makes that wide shot as powerful as she who is wielding that gun. You feel shot in the stomach right at the point.

8. “I save you and tease you again. I’m perfect and messed up again.”
Irene controlling her dancers which ties into the teasing aspect then cut to Irene with a doll. Dolls are often associated with perfect and beauty but then she turns it face down, discarding that perfection.

9. This visual imagery drops off at this point and they begin to rely on mainly solo shots and choreo but the cutting still continues to drive the flow of the music. Here we go from the quick, chaotic, rapid cuts to the dubstep in the music into—

—longer, slower, cutting so that you sit in the vocals instead of being distracted by what you’re seeing. This allows you to fully take in the bridge and has an intensity of its own considering the bridge is what ties it all in and really drives the entire song and concept home.

7. I don’t think I need to speak again about how well the cutting matches the music. It doesn’t take away from it but complements. A large part of editing isn’t always to have the prettiest shots. Just as the art direction, wardrobe, cinematography aids the overall story—

—the editing does too. It shouldn’t be too chaotic and take away from what is seen or heard but go hand in hand. Monster does pretty good at making sure that the cutting in the MV is RIGHT alongside the other elements which takes the viewer on the ups and downs—

—of the music as well as subconsciously makes you tie in the imagery of a bed or crawling to the lyrics and really punctuates the message of concept that they are trying to get across. Great MV imo!!

And that’s that on that.

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