I'm not an expert with the camera, but I do find it interesting that whenever the music videos we have seen wanted to emphasize a particularly patriotic spirit, wide shots of the landscape would be used, like in Dil Dil Pakistan, the camera spun around Junaid Jamshed to show all the greenery around him, and there's a continuous reference to the anonymous aisi zameen aur aasman. Similarly, in Mein Tou Dekhoonga, the potential that Pakistan holds which gives the band such reason for hope is shown in the natural beauty around them.
However, when you shift from such idyllic landscapes to the urban locale in music videos Bum Pattha/Laga Reh, where the socio-political sphere is being critiqued, we see that the space shown through the camera is constricted and congested. Although there are specific references to Karachi and Lahore as opposed to the anonymous vast expanses in the other videos, there's a limit to mobility (the band in Laga Reh are kicked off the stage for example) and there is confusion and chaos everywhere (Bum Pattha). Various people are shown from different walks of life, not to emphasize any unity between them, but to show the divisions that are tearing Pakistan apart.
However, when you shift from such idyllic landscapes to the urban locale in music videos Bum Pattha/Laga Reh, where the socio-political sphere is being critiqued, we see that the space shown through the camera is constricted and congested. Although there are specific references to Karachi and Lahore as opposed to the anonymous vast expanses in the other videos, there's a limit to mobility (the band in Laga Reh are kicked off the stage for example) and there is confusion and chaos everywhere (Bum Pattha). Various people are shown from different walks of life, not to emphasize any unity between them, but to show the divisions that are tearing Pakistan apart.
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