Impact Of Educational Resources on Students' Academic Performance in Economic...
In what ways does your media product use, develop or challenge forms and conventions of real media products?
1. IN WHAT WAYS DOES YOUR MEDIA PRODUCT
USE, DEVELOP OR CHALLENGE FORMS AND
CONVENTIONS OF REAL MEDIA PRODUCTS?
SARAH DICK
2. THE FIRST SHOT IN THE CHORUS
SHOWS A TYPICAL VIEW OF NEW YORK
OF THE SKYSCRAPERS, WHICH SHOWS
THE CONTRAST FROM NEWCASTLE TO
NEW YORK. WE USED STEREOTYPICAL
SHOTS IN NEW YORK TO SHOW THE
DIFFERENCE IN CITIES. ALSO HAVING
MAJORITY OF THE SHOTS OF NEW YORK
IN THE CHORUS WHEN THEY LYRICS
ARE ABOUT ‘AMERICA’. INSPIRED BY
THE USE OF THE NEW YORK SHOTS IN
ONE DIRECTION’S ‘PERFECT’ VIDEO, IN
WHICH THEY USE MANY PANNING
SHOTS OF THE SKYLINE TO SHOW
WHERE THEY ARE AS THEY ARE CLICHE
SHOTS OF NEW YORK.
3. INSPIRED BY THE SHOT IN THE
JAKE BUGG ‘A SONG ABOUT
LOVE’ AND BEN HOWARD ‘ONLY
LOVE’ IN WHICH THE SUN IS
SHINING BEHIND THE FIGURE
WHILST HE SINGS ALONG TO
THE LYRICS AND THE
MOVEMENT ALLOWS THE
SUNLIGHT TO FLICKER INTO
THE CAMERA LENS.
4. THE NEW YORK SHOTS WERE A
COMBINATION OF LOCATION SHOTS
EITHER PANNING OR TILTING TO SHOW
WHERE IT WAS. AIDAN WASN’T INCLUDED
IN ANY OF THE SHOTS AS THE SHOTS
WERE VISUALS OF WHAT HE MISSED FROM
HOME AND PLACES HE WOULD HAVE
VISITED. THE SHOTS IN THE ‘PERFECT’
MUSIC VIDEO WERE VERY MUCH PANNING
SHOTS OR TIME LAPSES SHOWING THE
CHANGE FROM NIGHT TO DAY, WHICH WE
DONE AT THE START OF OUR MUSIC VIDEO
SHOWING THE SUN RISE OVER
NEWCASTLE AND A SECTION OF TIME
LAPSES SHOWING THE WORLD GO BY.
5. TO SHOW THAT AIDAN WAS A
STUDENT IN NEWCASTLE WE
SHOT HIM READING BOOKS
AND WALKING THROUGH THE
UNIVERSITY INCLUDING CLOSE
UP SHOTS OF UNIVERSITY
SIGNS TO VISUALLY SHOW
WHERE HE WAS.
6. THE FOLLOW ME SHOTS,
USUALLY MEDIUM SHOTS
SHOW AIDAN WALKING
AROUND NEWCASTLE, WITH
THE SHOT TRACKING HIM FROM
BEHIND. THE INSPIRATION FOR
THE SHOTS WERE FROM THE
JAKE BUGG MUSIC VIDEO AND
ALSO LEGO HOUSE
7. THE BACK LANE SHOTS FROM
THE 1975’S MUSIC VIDEO
INSPIRED MANY OF THE
SHOTS OF AIDAN WALKING,
AS IT VISUALLY SHOWS THE
ARTIST IN A WORKING CLASS
ENVIRONMENT.
8. IN ED SHEERAN’S VIDEO,
THERE WAS A RANGE OF
MEDIUM SHOTS TRACKING
THE ARTIST FROM IN FRONT
OF HIM. WE USED A SIMILAR
SHOT OF AIDAN WALKING
CLOSER TO THE CAMERA.
9. THE SCENES OF AIDAN
WALKING THROUGH THE
TUNNEL WERE INSPIRED BY
THAT OF JAKE BUGG, AS IT
IMPLIES THAT HE IS GOING
SOMEWHERE AT THE END OF
THE VIDEO TO NEW YORK OR
TO CONTINUE HIS STUDIES.
10. IN THE ‘TONIGHT YOU’RE PERFECT’
MUSIC VIDEO, THERE IS A TRANSITION
FROM DAY TO NIGHT THROUGHOUT
THE VIDEO WHICH SHOWS THE
MOVEMENT THROUGHOUT THE DAY.
WE ALSO USED THIS AS WE STARTED
WITH THE TIME LAPSE OF THE
SUNRISE IN NEWCASTLE AND
FINISHED WITH A PLANE TAKING OFF
AT NIGHT IN NEW YORK. WE ALSO
USED A GRADUAL CHANGE OF SHOTS
THAT STARTED OFF LIGHTER AND
THEN DIMMER THROUGHOUT.
11. INSPIRED BY THE FLAGS USED
IN THE ‘TONIGHT YOU’RE
PERFECT’ MUSIC VIDEO, WE
USED BOTH AN AMERICAN
AND BRITISH FLAG
THROUGHOUT THE SHOW THE
CONTRAST BETWEEN THE
ENVIRONMENTS.
12. TO INCORPORATE OTHER
ASPECTS OF NEW YORK, WE
USED THE NEW YORK TIMES
FOR AIDAN TO READ TO
LOOK AS THOUGH HE WAS
WANTING TO KNOW WHAT
WAS HAPPENING AT HOME.
13. FOR THIS SHOT, WE FOCUSED
ON AIDAN THINKING ABOUT
NEW YORK IN NEWCASTLE
BY USING AN OVER THE
SHOULDER SHOT, WE
SHOWED A SECTION OF
PHOTOGRAPHS ON NEW
YORK TO SUGGEST HE IS
HOMESICK.
14. WE USED THE TRANSITION
CROSS BLUR BETWEEN A
BUILDING IN NEWCASTLE
AND A SKYSCRAPER IN NEW
YORK AS THE CAMERA
TILTED UPWARDS.
15. IN THE BRIDGE, THE MUSIC
STARTS TO PICK UP BEFORE GOING
INTO THE FINAL CHORUS. THE
BEAT CHANGES SO I EDITED TWO
DIFFERENT CLIPS THAT CUT INTO
EACH OTHER ON THE BEAT BEFORE
CUTTING TO A BLACK SCREEN FOR
THE CHORUS. I FOUND THIS BUILT
UP THE EXCITEMENT FOR THE
FINAL CHORUS. INFLUENCED BY
THE CUTS IN ‘TONIGHT YOU’RE
PERFECT’ MUSIC VIDEO WHICH
ALSO USES IT TO INCREASE THE
SPEED BEFORE THE CHORUS.
16. THE LAST SHOT IN THE ‘ONLY
LOVE’ VIDEO SHOWS THE
ARTIST MOVING AWAY INTO
THE DISTANCE BEFORE THE
SCREEN FADED, WE DECIDED
TO INCORPORATE THAT IDEA
BY HAVING HIS WALK AWAY
FROM THE CAMERA BEFORE
THE PLANE SHOT APPEARS.
17. THE FINAL SHOT HAD TO END
THE MUSIC VIDEO ON A HIGH
NOTE, SO I DECIDED TO HAVE
AIDAN WALKING AWAY AND
THEN THE PLANE TAKING OFF
THROUGH THE NIGHT THEN
FADED OUT.
