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Figure 10.1
Björk and dancers in It's Oh So Quiet, staged like a production number in a Hollywood musical. Graphics identify both the video and the broadcaster, in this case MuchMusic.
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Figure 10.2
A bird's-eye shot from It's Oh So Quiet, like an overhead angle in a Busby Berkeley film.
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Figure 10.3
Tom Jones within an animated, graphic setting, in Kiss.
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Figure 10.4
Peter Gabriel's head, pixilated against an animated, constantly changing background, in Sledgehammer.
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Figure 10.5
A figure in a window and a U.S. flag in Don Henley's The End of the Innocence, modelled on the imagery of Robert Frank.
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Figure 10.6
Madonna superimposed on the futuristic setting of Express Yourself, echoing Fritz Lang's 1927 film, Metropolis.
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Figure 10.7
In Ironic, Alanis Morissette adjusts her rear-view mirror and sees...
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Figure 10.8
...another Alanis, listening in the back seat,...
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Figure 10.9
...a point-of-view figure completed with a closer angle on the first Alanis.
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Figure 10.10
Alanis 2 picks up the song, and the direct view of her, no longer in a mirror...
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Figure 10.11
...is completed with a shot of Alanis 1, looking back...
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Figure 10.12
...at Alanis 2. She looks along the back seat toward the driver's side...
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Figure 10.13
...where there's a third Alanis, who sings the next verse.
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Figure 10.14
In Nothing Compares 2 U, Sinéad O'Connor looks directly into the camera, and implicitly at the viewer, in a nearly unbroken stare...
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Figure 10.15
...punctuated occasionally when she momentarily glances off-camera.
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