In what ways does
your media product use, develop or challenge forms and conventions of real
media products?
·Andrew Goodwin, Dancing in the Distraction
Factory, 1992, found the conventions of music videos which can be applied to
music videos now. Using Goodwin’s critical framework, the relationship between
lyrics and visuals in conventional pop music videos is marginally illustrative.
It usually involves performance of the artist which can sometimes be intercut
with narrative, or the artist is shown in the narrative as well. We found this
to be evident in our research when looking at other Ella Henderson music videos
such as ‘Glitterball’. Within ‘Glitterball’, Ella is placed in front of a white
screen and there are images of the narrative being projected onto her face as
well as the narrative being intercut throughout. This is very conventional of
this type of music video. In our music video, we tried to conform to these
conventions because we included multiple shots of the artist performing to the
camera which is essential in a pop music video as well as intercutting it with
a narrative fuzz in which what is being shown relates to the lyrics. The
friends are often shown when the lyrics ‘I’m here for you’ are being said so
our music video is marginally illustrative.
·Pop music videos also have a illustrative
relationship between music and visuals. This means that when there is a beat in
the song, there is a cut between two different parts of the music video, or
that when the tempo of the music changes, so does the pace of the cuts. This is
conventional of pop music videos, for example, it is shown in the music video
of ‘I Need Your Love’ by Calvin Harris ft. Ellie Goulding.As the pace of this song increases and the
beats become more strongly heard, the cuts become a lot faster in order to fit
the music. This is something we constructed in our music video so we had a fast
cutting rate where the cuts of our clips were in places where there is a beat
in the music. We wanted a fast cutting rate to act as emotional colouring as it
emphasises the happy nature of our music video.
· Goodwin also states that multiple close ups of
the artist are used in order to establish their star image. This convention is
used to show the artist throughout the music video to try and promote their
star image to gain more sales. This is shown in One Direction’s ‘Live While
We’re Young’ music video. They are constantly shown throughout. They are either singing or having fun. To keep it visually interesting, multiple close ups and
meat shots of the artists are used and this helps establish their star image.
In our music video, we wanted to establish the star image in order to conform
to the conventions of a music video so we included lots of close ups of
the artists as well as long shots and mid shots so there are a variety of shots
shown. Therefore, our music video included voyeurism as the audience is often
looking at the artist so our music video is quite conventional.
·The form of our music video is apparent in the
way our visuals respond to the music, tempo and emotional colouring. We have
chosen to montage the clips of the friends and place them in black and white in
order to show that the happiness of the friends has some emotion to it as they
are there for each other. The cutting rate of the music video also is in time
with the tempo of the music. We have intercutted a narrative fuzz in with a
performance which is very conventional of the pop music genre.
·The conventions of pop music print include close
ups of the artist being the main feature. An example of this is on Ella
Henderson’s digipak front pane of her album ‘Chapter One’. It shows a close up
of her face with the album name and her name written next to her. We therefore
tried to replicate this within our digipak front cover by using a close up of
the face with the text next to her, however our photo shows her smiling as we
wanted to keep with the happy theme.
·The theme of friendship is constantly shown throughout the music video through the montage editing creating a narrative fuzz. The absence of conflict creates a consistently upbeat mood throughout which is what we aimed to achieve within our music video.
·Semiotics are used in our music video due to
there being no dialogue so we had to visually signify the meaning we wanted to
portray. We used visual signifiers of close ups of the friends smiling and
laughing to connote the fact that they are happy. We also showed them doing fun
things like having a coffee, going on a ride, playing in an arcade and taking
photos to connote that they are having fun together and emphasise that they are
happy and that they are there for each other. These create a paradigmatic
relationship connoting happiness within the video. This is similar to the One
Direction music video as they are doing fun activities such as off road driving
and playing in a paddling pool. They are also shown with smiling faces which
helps to reinforce their happiness and it also relates to the lyrics of ‘live
while we’re young’.
·We also used semiotics in our print work. On our digipak front cover, an image of our artist smiling a natural smile is used to connote the fact she is happy. This therefore gives the whole album the theme of happiness. Throughout the rest of the digipak, iconic images on Brighton are used. This gives our digipak a seaside theme to it which is a place people often connote to being happy and relaxed. Therefore our digipak represents the theme of the album. ·On our magazine advertisement, the artist is smiling again which signifies that she is happy so it relates to the whole promotional package. The background is of a light blue sky which we took at Brighton. The light blue colour has connotations of relaxation which fits in with the light hearted, happy theme we have created throughout.
·Our music video is polysemic due to the fact it
could be interpreted in a variety of ways. For example,it isn’t clear why the friends are happy
together or why they need to be there for each other as the lyrics say. This
therefore makes it open for interpretation on how people view the friendship
narrative fuzz part of the music video. This could mean we have an ambient
viewing of our music video so the preferred reading would be that the friends
are out having fun and being there for each other whereas the oppositionalreading could be that males are alienated
from the group and are underrepresented in it.
·Our video is postmodern in its style due to the
fact we have included narrative fuzz and that we used a blue screen to remove
the background around our artist to include our own backgrounds. This takes
away from the realism of our music video to make it more stylized. An example
music video of where this has been done is in Marina and the Diamonds music
video for ‘Oh no’. She is shown in front of multiple different coloured screens
singing and the effect of it looks like it has been blue/green screened. This
makes it conventional of the pop genre so we wanted to include this look into
our music video.
·The cult of youth and beauty is a common myth
shown in pop music videos and print. This is culturally marked by the west as they place
a high value on looking beautiful and youthful. Pop music videos often try to
represent this, especially of female artists. We therefore tried to create our
female artist as looking naturally beautiful. We tried to do this in our
magazine advert and digipak as well by having the photos of our artist looking
naturally beautiful by having a natural smile on her face as well as enhancing
her from the background.
·There is a discourse on gender, seen through the
representation of the female artist and female friends. They are represented in
a positive way due to the happy smiling faces. The absence of males reinforces
the dominant ideology of equality in society as it empowers women and presents
them positively. It emphasises the values of the west of women’s independence
and freedom.
Our music video ‘Here for You’ has elements of Goodwin’s
theory (Dancing in the Distraction Factory, 1992) as the relationship between lyrics and visuals is largely illustrative
as the video links up with the lyrics. The visuals reinforce the meaning of the
lyrics, the term ‘here for you’ is repeated many times, and the connotations
behind the two friends hanging out together displays that their friendship is
strong and they are there for each other. There is pop genre characteristics
in our video such as the use of bright coloured backgrounds, the fast paced
cutting also reinforces these genre characteristics of pop music videos. Our digpiak and advert also conforms to this due to the use of bright colours, however instead of bright backgrounds we used the desaturated images of Brighton to link to the other intercut narrative in our music video so we could create a cohesive image of Brighton throughout all three products.
The form of the music video is apparent in the structure
of the editing; we went for a fast paced montage style and cutting rate alongside
intercutting a performance with a storyline narrative. We also used lip
synching to create a generic mood for the video as this is very conventional
for pop music videos. The black and white colouring effect of the footage of friendship
also gives connotations of memories and the past, this is unconventional of pop
music video’s as they are usually brightly coloured or desaturated footage.
This gives connotations of a pop genre. This results in a happy atmosphere and
has a positive residual which is also evident in our print work as the artist is pictured looking happy due to the colouring effect used on photoshop.
The campaign of our magazine advert and digipack conforms
to the conventions of the pop genre as our front pane features a close up image
of the artists face, immediately providing an emotional connection between the
artist and audience. This is evident in Ella Henderson’s album cover, which
features a close up photo of her face and the colour match scheme of the
digipack suits the pop genre and provides a detailed aesthetic to match the
style of music. The text used in our digipack and magazine print work is very minimalistic
and simple, which is replicated in Ella Henderson’s digipack and magazine
adverts which is where we drew inspiration from.
The conventions of the genre in terms of editing are to
be fast paced cuts, cut on the beat of the music and close up’s of the artist.
The performance of the artist is key in pop music video’s as the audience want
to make a connection with the artist to know who they are listening to and
purchasing from. The ideology of star image comes into play and has full effect
when developing the relationship between consumer and music. The conventions of
mainstream pop are challenged through the performance being intercut with a
storyline narrative of friends, alongside the friendship part of the video
being in black and white, while the performance in full, bright colours. The
montage style editing is conventional of pop music video’s as it is fairly
stereotypical for this genre of video to have multiple storylines and performance
being intercut throughout. Star image is also present in our print products as the artist is photographed in a glamorous way to look like a celebrity so the audience would want to consume more of the artists products.
Our music video is polysemic, therefore there could be multiple readings of the text. The audience
readings could be preferred and negotiated, depending on how the audience
consumes the video and meaning. Audience readings could be negotiated because they could
associate the female performer with the friends and wonder why the performer is
not part of the storyline and make connotations that they are no longer
friends, therefore giving the video a negative message, rather than the preferred
reading of a feminist, good vibes video.
The preferred audience reading for our music video is a
happy vibes attitude, with friendship being the key theme throughout which the
majority of the audience will understand it as. However, an oppositional
reading may come from the male audience as feeling the video alienates males
due to the all-female cast, and the strong, powerful female leads, therefore
giving the video a negative message, rather than the preferred reading of a
feminist, good vibes video. Our music video has an ambient viewing as it does
not require focus from the audience in order to understand due to the montage
style.
The narrative explores the narrative closure due to the
montage based style we used, the storyline is simply a theme of their
friendship and portrays simple actions that happen while the two friends are
hanging out. As this is intercut with a strong, performance, the narrative
closure was not necessary for our music video.
Binary oppositions are not evident in our music video due
to the all-female cast and the similarity of attitudes and physical appearance of
the characters. The characters are consequently on the same side of the binary,
however femininity is explored in terms of voyeuristic viewing, this is
untypical for generic pop videos as females are usually sexualised and viewed
as fetishistic; this challenges the traditional stereotypes and conventions of
generic pop music videos. Power is shown through technical codes such as
the performer due to their strong stage presence and attitude while singing.
The female performer’s body language and gestures portrays a strong, independent
image, meanwhile the two friends show signs of happiness and the atmosphere is
more relaxed.
Semiotics are used in the video as meaning is create
through the bright, gradient coloured backgrounds to signify a happy, bright,
feeling which makes the audience captivated and happy. Meanwhile, the use of
black and white for the footage of the friends connotes memories from the past
and sets a calmer president. There is a paradigmatic relationship due to
several factors such as the dance, the close up, smiling characters and the
bright colours that all represent the same action code of happiness and
friendship in the video.
Iconic signs such as the change of outfits and coloured
backgrounds for the performer are iconic signifiers for the pop genre, and this
is a common occurrence in many other pop videos, for example the character’s in
the Glitterball music video.
The protagonist in our video’s performance illustrates
the star image as youthfulness and beauty is evident and this creates a
desirable image for the audience. The cult of youth and beauty results in the
start image, meaning the audience want to consume more of the artist and their
music.
The video has a postmodern style as the use of a blue
screen uses state of the art technology to cut out the background and have artificial
backgrounds and bright, gradient coloured backgrounds. It also has a narrative
fuzz due to the montage style editing and lack of narrative closure.
There is discourse on the female gender as there are
only female characters shown in the music video, meaning males are marginalised
in this video due to the ‘feminist’ style of video and the message portrayed
being a female based friendship.
This is the final draft of our music video 'Here for You'. We are going to show our target audience this video and ask them for feedback such as:
"What was your favourite part?"
"Do you think the black and white effect on the friendship works?"
"Does the bluescreen effect suit the song?"
"What was your least favourite moment?"
While editing the music video we have come across multiple challenges and difficulties. We had to reshoot as we found the footage from Brighton was not of the best quality due to weather conditions. We refilmed the performance part in front of a blue screen and then editing it on after effects to make a gradient background with different colours to add to the aesthetic.
On Tuesday 1st December, Mel went filming with our two cast members Hannah and Isi to get some more shots of the narrative fuzz sequence. The location's that we filmed in were in a coffee shop and outside by a Christmas tree. The equipment I took with me was a DSLR camera, along with a tripod.
My role during the shoot was to make sure our cast knew exactly what they were doing, what costume to wear and where to be at what time. I also filmed the whole sequence from multiple angles and locations.
Our storyboard was not useful during this shoot because we had originally planned for the whole narrative section of our music video to be in Brighton, however due to the bad weather, we didn't get all the footage we needed so we had to re-film again and get some more shots in town which were not planned on the storyboard.
The most problematic part of filming this part was not having one cast member, Sarah, and also Katie was ill so not able to make it. This means that our shots may look out of place due to the missing cast member. Also, the fact is gets dark very early was a problem for us as we would have prefer it to be day light when we filmed.
These are some of the shots we are most pleased with from the shoot:
