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MINOR EMPIRE - Bülbülüm Altın Kafeste - Official Video
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MINOR EMPIRE - Bülbülüm Altın Kafeste - Official Video
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Credits
Arranged and produced by Ozan Boz
Directed by Sean Michael Turrell
Director Notes
Originally I gravitated to the song through it's feeling and cinematic possibilities, despite not knowing the words at first. It felt like a plaintive cry, a hurt lover calling into the night. It also sounded ancient, traditional, and it resonated strongly with me, somehow reaching across cultures. For unknown reasons (I grew up in the West), the sound of traditional Turkish music has always resonated with me. Upon reading the translation, I was happy to discover the lyrics were very well in line with what I felt.
I felt the video should interpret the song in a non-literal way, which would perhaps be too obvious or expected. I also felt the video should feel current, just as the Minor Empire sound does -- even though there are obvious traditional influences. The video attempts to strike that same balance, with historical influences, like black & white and use of film noir imagery, but set entirely in a modern and urban atmosphere. It's an attempt to bring the past entirely into the present.
The black and white also reflects the spareness and space in the song. Colour was almost too garish or too complicated for such an unadorned song. The black and white also enhances the mood, as shadow truly dominates the image. It's a night song, in my mind, and the black and white seems to compliment the night very well--deepening it.
The inclusion of the dancer was to provide a physical manifestation of the lyrics and song. It also offers an alter-ego, a fantasy, and a counter point to Ozgu and Ozan. It seemed the video needed another layer of reality and a dancer is an especially expressive way to interpret concepts, but in an non-literal manner. The dancer is playing out the idea of being physically trapped and emotional pain, while also incorporating obscure elements of traditional dance. The spinning is purposeful, not by happenstance.
The dancer relieves the video from overplaying the lyrics, as Ozgu can simply exist in this enclosed urban world and simply deliver the song, while the viewer is allowed to infer meaning from the images as they wish.
Sean Michael Turrell
©2011 World Trip Records
#MinorEmpire #SecondNature #BülbülümAltınKafeste #OfficialMusicVideo
Follow Minor Empire
Credits
Arranged and produced by Ozan Boz
Directed by Sean Michael Turrell
Director Notes
Originally I gravitated to the song through it's feeling and cinematic possibilities, despite not knowing the words at first. It felt like a plaintive cry, a hurt lover calling into the night. It also sounded ancient, traditional, and it resonated strongly with me, somehow reaching across cultures. For unknown reasons (I grew up in the West), the sound of traditional Turkish music has always resonated with me. Upon reading the translation, I was happy to discover the lyrics were very well in line with what I felt.
I felt the video should interpret the song in a non-literal way, which would perhaps be too obvious or expected. I also felt the video should feel current, just as the Minor Empire sound does -- even though there are obvious traditional influences. The video attempts to strike that same balance, with historical influences, like black & white and use of film noir imagery, but set entirely in a modern and urban atmosphere. It's an attempt to bring the past entirely into the present.
The black and white also reflects the spareness and space in the song. Colour was almost too garish or too complicated for such an unadorned song. The black and white also enhances the mood, as shadow truly dominates the image. It's a night song, in my mind, and the black and white seems to compliment the night very well--deepening it.
The inclusion of the dancer was to provide a physical manifestation of the lyrics and song. It also offers an alter-ego, a fantasy, and a counter point to Ozgu and Ozan. It seemed the video needed another layer of reality and a dancer is an especially expressive way to interpret concepts, but in an non-literal manner. The dancer is playing out the idea of being physically trapped and emotional pain, while also incorporating obscure elements of traditional dance. The spinning is purposeful, not by happenstance.
The dancer relieves the video from overplaying the lyrics, as Ozgu can simply exist in this enclosed urban world and simply deliver the song, while the viewer is allowed to infer meaning from the images as they wish.
Sean Michael Turrell
©2011 World Trip Records
#MinorEmpire #SecondNature #BülbülümAltınKafeste #OfficialMusicVideo
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