Actual Shot List (in case link isn't working)
Beyoncé is in the foreground and riding a horse towards the left side of the screen. The horizon has a beautiful sunset over the mountains. Beyonce’s hair is flowing in the wind as she rides the horse along with the mane of the horse and also the clothes she is wearing. The mountains outline the horizon as if Beyoncé headed to a majestic place.
The cowboy shot is in full effect as she rides the horse. The foreground is bright due to the sunset in the background.
Sepia-esque filter to give grungy, somewhat dirty effect of that world after war.
Relatively quiet until the bass drops around the 4th second.
Shot of a place that resembles a junkyard. The dust is making it somewhat hazy, and the sunset can still be seen. There is also tumbleweed and a few objects that may be tools and boxes. The area still looks brown as if in a sepia filter (see cinematography 1)
The shot is a landscape shot from a distance that is about 10 feet away, so that you can see the objects, but just the outlines, and not quite well enough to see all of the objects.
Sepia-esque filter to give grungy, somewhat dirty effect of that world after war.
Music playing with heavy sub-synth bass.
Once again it seems as though the video is in a junkyard setting in the desert, however, this time, the objects are clearly seen. There are satellites, tumbleweed, tires, and boxes. Above all, there is a basin in which the inside is on fire.
Same as previous, however the objects have been brought into focus, and there is no more sunrise over a horizon.
Sepia-esque filter to give grungy, somewhat dirty effect of that world after war.
Music playing with heavy sub-synth bass.
A cloth of Beyonce's face is shown as if the wind is making it blow like a flag. The outsides are a dirty white, while the picture of her is in dark colors that contrast the dingy whites of the blanket/quilt.
The video is now dark as if the blanket/ quilt is providing shade.
Sepia-esque filter to give grungy, somewhat dirty effect of that world after war.
Music playing with heavy sub-synth bass.
Full body shot of Beyoncé in white clothes riding a black horse (probably to create contrast) into the horizon in the distance. The sunrise/set is now gone and it is just an eerie light. Also, objects are shown all over the ground as if abandoned.
Similar to "Cinematography #1" except that the picture is no longer a cowboy shot, but a full body riding shot as the camera pans and follows her out into the distance.
Sepia-esque filter to give grungy, somewhat dirty effect of that world after war.
Music playing with heavy sub-synth bass.
A woman is beating on a car. The sunrise/set is illuminating her dark silhouette as she hits the car twice. Then she lifts her head up.
The camera seems to be about 7-8 feet away so that only the person and top of the car can be seen from the side view.
Sepia-esque filter to give grungy, somewhat dirty effect of that world after war.
The drummer hits the cymbals at the same time the girl on the car slams the top of the car.
People are running around with their fists held high, they are only silhouettes still (the only body seen as not a silhouette so far is Beyonce's)
The camera is static as the crowd of silhouettes run in front of it at different depths and paces.
Sepia-esque filter to give grungy, somewhat dirty effect of that world after war.
Music playing with heavy sub-synth bass and there is an auto-tuned yell.
Second girl is finally seen. The camera only shows her upper body from the waist up (cowboy shot) as she lifts her hands to the sky. The light from the disappearing sunset/rise is still illuminating the scene. The girls is also in all black attire
Cuts to Cowboy shot of girl on car at a medium distance away.
Sepia-esque filter to give grungy, somewhat dirty effect of that world after war.
Music playing with heavy sub-synth bass. The yell happens again to switch the shot.
Refer to Misé en scene 7, but this time, the stage is shown.
Refer to cinematography 7, but this time, there are spotlights on a stage towards the back of the shot
Sepia-esque filter to give grungy, somewhat dirty effect of that world after war.
Music playing with heavy sub-synth bass. The yell happens again to switch the shot.
Beyoncé is on the horse again, but this time the horse lifts its front legs into the air as Beyoncé holds on. The background is in the horizon and slightly behind that horizon, one can still see the sunrise/set.
Full landscape shot of Beyoncé on the horse and the horizon beyond.
Sepia-esque filter to give grungy, somewhat dirty effect of that world after war.
Music playing with heavy sub-synth bass. The yell happens again, but this time it happens as Beyonce's horse lifts its feet up.
There is a close up of a beaten down car (like one that was in some type of derby) The car is black and has red spray-paint on it that says "revolution". This could be Beyonce's way off saying that a female revolution is beginning.
The camera kind of pans up from the ground from the bottom right of the screen until the whole car is seen. The camera is a bit shaky as if someone was crawling to the car.
Sepia-esque filter to give grungy, somewhat dirty effect of that world after war.
Music playing with heavy sub-synth bass. The yell happens again to switch the shot, but when the drums play, the camera moves somewhat erratically.
There is a shot of a bull underneath what seems to be a highway overpass. In the background, there are concrete blocks and lights although the sunset/rise is still bright.
The shot is about a medium distance from the bull so the whole bull can be seen and also the background so the viewer gets a full view of the space.
Sepia-esque filter to give grungy, somewhat dirty effect of that world after war.
Music playing with heavy sub-synth bass. The yell happens again to switch the shot.
Men are running to or away from something dressed in battle gear with weapons and shields. They must jump over a car to get where they are going. The men also have helmets. The inside of the car is empty as if everyone is a part of this war.
The camera is static as the men run by. The view is from a person looking out the left and back window while sitting in the left-back seat.
Sepia-esque filter to give grungy, somewhat dirty effect of that world after war.
Music playing with heavy sub-synth bass. The yell happens again to switch the shot, but now a whining noise is added.
Close up view of male soldiers running toward or away from something with shields and weapons. The men are in heavy, black, military style attire.
The view is a close up of the soldiers so only parts from the elbow up can be seen. The soldiers are wearing dark colors, so the outer parts of the camera, where the soldiers are, contrasts with the sliver of light that is being let through by gaps between the men.
Sepia-esque filter to give grungy, somewhat dirty effect of that world after war.
Music playing with heavy sub-synth bass. The yell happens again to switch the shot, but now a whining noise continues.
Girl in all black with arms held up like she is making her muscles flex. She is standing on top of a car. There is also something in the back right corner that looks as if it could possibly be a person. The left side of the screen is dark while the right side of the screen is bright as if there are cameras behind the settling dust.
The camera uses a shot from about 10-15 feet away in order to show the whole body of the girl, and also the top part of the car.
Sepia-esque filter to give grungy, somewhat dirty effect of that world after war.
Music playing with heavy sub-synth bass. The yell happens again to switch the shot, but now a whining noise continues.
Close up shot of a bike with its back wheel turning as if previously used, or being blown by ominous winds. Part of the bike is in focus and in the background, a person walks behind the tumbleweed in red clothing but cannot be identified because the person is so out of focus. What can be seen, however, is that it is a girl walking. Also towards the left top of the screen there are other people meandering about but the focus is obviously on the girl walking away (although she is out of focus).
The camera is focused on the bike to put emphasis on the person in the background who is blurry and out of focus.
Sepia-esque filter to give grungy, somewhat dirty effect of that world after war.
Music playing with heavy sub-synth bass. The yell happens again to switch the shot, but now a whining noise continues.
Men are exiting a black car to meet up with other men. They are in the same sort of attire as the men earlier as if ready to go to war. They are under a highway overpass, and there are supplies in the rights side of the screen behind the car. It's worth noting that this car is an older Mercedes and the only car that works so far in the video, which could mean that the person exiting the car is of more importance than the other men that have been running around.
The camera cuts from a close up of the tire rotating on the asphalt to a shot in which all the men are exiting the car. The camera is closer to the ground, looking up, to show that the men are dominant.
Sepia-esque filter to give grungy, somewhat dirty effect of that world after war.
Music playing with heavy sub-synth bass. The yell happens again to switch the shot, but now a whining noise continues. Also, one can hear the opening and shutting of the car doors.
Shot of girl in the desert in a wooden, makeshift, cage. She and the cage are in the foreground, in the background are desert plants and a tree (somewhat reminiscent of the Lion King), and even further back, the horizon and the sky. The girl in the cage breaks out wearing what looks like lingerie and a fur shawl.
The camera is slightly below her so that when she is in the cage she looks normal, but when she stands up, breaking the cage, she is in a position of dominance.
Sepia-esque filter to give grungy, somewhat dirty effect of that world after war.
Music playing with heavy sub-synth bass. The yell happens again to switch the shot, but now a whining noise continues. One can also hear the opening of her wooden cage.
Men are moving together towards something. These look like the same men that exited the car earlier in the video. They are leaving the open door area of the garage and heading towards the inside.
The camera is slightly below them, making it look like they too have a position of dominance.
Sepia-esque filter to give grungy, somewhat dirty effect of that world after war.
Music playing with heavy sub-synth bass. The yell happens again to switch the shot, but now a whining noise continues.
A girl is stretched out on a cross like figure laid back and tilted to the left. The shot is further away from the tree than the girl in the cage was. In the background, there is a tree, shrubs, and the behind those, the horizon and sky. The girl is in a dark dress and dark heels with blonde hair and a silver belt.
The camera is about 7-8 feet from the girl so that all of her body can be seen as well as all of the scenery behind her.
Sepia-esque filter to give grungy, somewhat dirty effect of that world after war.
Music playing with heavy sub-synth bass. The yell happens again to switch the shot, but now a whining noise continues.
Men dressed in dark clothing are running, jumping off of cars and other things. The men are still under the overpass. To the left, the column, that holds up the over pass can be seen, to the right, stacked boxes can be seen, and in the background are stadium-like lights.
The camera is, once again, slightly below them, making it look like they too have a position of dominance.
Sepia-esque filter to give grungy, somewhat dirty effect of that world after war.
Music playing with heavy sub-synth bass. The yell happens again to switch the shot, but now a whining noise continues.
Girl in all black is dancing on top of the car. The left corners of the screen are very dark and lighter in the middle, while the right side of the shot is very bright. The silhouette of the whole car can be seen as well as the horizon in the background. The dust is thick in the air at this point and is somewhat blocking the view.
The camera is tilted but pulled out slightly further that normal.
Sepia-esque filter to give grungy, somewhat dirty effect of that world after war.
Music playing with heavy sub-synth bass. The yell happens again to switch the shot, but now a whining noise continues. In the background, one can hear the words "Who run this world?"
Beyoncé and other girls are standing menacingly in what seems to be their kingdom under the overpass. Girls are all throughout the shot, some holding red, flowing flags, others just standing. Also, a lion is lying on the floor next to Beyoncé. Some girls are also laying on the floor like lions and others are posing on a chair in the middle.
The camera is at an angle looking up at the girls slightly to give a look of empowerment. The camera is far enough away to see all the girls in there standing poses.
Sepia-esque filter to give grungy, somewhat dirty effect of that world after war.
Music playing with heavy sub-synth bass. The yell happens again to switch the shot, but now a whining noise continues. In the background, one can hear the words "Who run this world?"
Beyoncé is in an Egyptian headpiece and lifts her head up slowly with a determined look on her face.
Close up of Beyonce's face. The camera is focused on just her face and the little bit of background you can see is very blurry.
Sepia-esque filter to give grungy, somewhat dirty effect of that world after war.
The bass and the whine stop leaving only the piano playing with an echo of the word "girls".
Refer to Misé en scene 28, but there is no lion. There are more girls this time. And there are girls standing on top of cars now. The center car is the car that the girl in the earlier parts of the video was dancing on. The red words still say "revolution".
Refer to cinematography 28, however, the camera angle is even lower now.
Sepia-esque filter to give grungy, somewhat dirty effect of that world after war.
The bass and the whine stop leaving only the piano playing with an echo of the word "girls".
Beyoncé is sitting next to another girl who is in all black while Beyoncé is in an elaborate golden headdress and necklace. Behind her is a car and girls standing atop these cars. She then stands up and begins walking towards the men with a blank expression.
The camera is close to Beyoncé, but not a close up because it is showing another girl next to her. The camera is still slightly below her.
Sepia-esque filter to give grungy, somewhat dirty effect of that world after war.
The bass and the whine stop leaving only the piano playing with an echo of the word "girls".
Camera cuts to a shot of the men moving towards her, some pointing and some giving a menacing stare. Some men have goggles on top of their head. One can also see the light from the outer area that isn’t underneath the overpass.
The camera is at a really low angle to make them seem menacing, but only shows from the men’s shoulders to their heads.
Sepia-esque filter to give grungy, somewhat dirty effect of that world after war.
The bass and the whine stop leaving only the piano playing with an echo of the word "girls". One can also hear a muffled sound of the men arguing with Beyoncé.
The group of men stands in front of Beyoncé who stands alone. Posters are plastered all over the columns as if some event happened a while back, and the revolution is already begun and the girls are in power. Behind the men are stadium lights as if to show that this will be a grand event. Behind the men is the car that the men arrived in earlier in the video.
The camera is right behind and Below Beyoncé so that one can see both her and the group of en, but also to show her dominance, because she looks bigger than all the men.
Sepia-esque filter to give grungy, somewhat dirty effect of that world after war.
The bass and the whine stop leaving only the piano playing with an echo of the word "girls". One can also hear a muffled sound of the men arguing with Beyoncé
Beyoncé is in the foreground with a dark cloak, and other girls stand behind her in lingerie and cloaks, some holding flags. Beyoncé begins to dance, and the girls salute.
The camera shows Beyoncé in a close up, and a few of the girls behind her.
Sepia-esque filter to give grungy, somewhat dirty effect of that world after war.
The beat then changes completely to that of the actual song. Also, the chant "Girls! We run this mother" begins.
Beyoncé dances while the girls continue to salute, the camera is farther out now, and one can see that Beyoncé has two men standing at attention in front of her as though she has already gotten control over some of the men. Also, the "rebellion" car makes another appearance behind Beyoncé.
The camera is at a really low angle showing Beyonce's dominance.
Sepia-esque filter to give grungy, somewhat dirty effect of that world after war.
The chant continues along with the beat of the song.
Close up of Beyoncé as she starts to speak and whip her head back and forth.
The camera moves in very close on Beyonce's face.
Sepia-esque filter to give grungy, somewhat dirty effect of that world after war.
The chant continues along with the beat of the song.
Camera moves out and upward to show all the girls behind Beyoncé saluting to Beyoncé and the two men that stand guard for Beyoncé. The pillars and the cars can once again be seen.
The camera is at a high angle and moves out to show the crowd saluting Beyoncé and how she is dead center, the center of attention.
Sepia-esque filter to give grungy, somewhat dirty effect of that world after war.
The chant continues along with the beat of the song.
Close up of girls with fists raised in the air as a symbol of power and liberation
The camera cuts in close to emphasize the girls and their fists raised.
Sepia-esque filter to give grungy, somewhat dirty effect of that world after war.
The chant continues along with the beat of the song.
Refer to Misé En Scene 35
Refer to cinematography 35
Sepia-esque filter to give grungy, somewhat dirty effect of that world after war.
The chant continues along with the beat of the song.
