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  • 1. In what ways does your media product use, develop or challenge forms and conventions of real media products? – This task requires you to compare the outcomes of your research of similar media products with the outcome of your group’s finished production. Hanan MohamedGoodwin key music Using Your Research Your Production – Use, Develop orvideo conventions Findings – note/ bullet Challenge FOLK ROCK point typical generic conventionsGenre The band/artist is usually USED - Our band is shown playing in front of treescharacteristics shown performing within the surrounded by fields and open space, which is in(e.g. stage video, with shots of their the theme of nature.performance in instruments if they play any or SCREENSHOTmetal video, dance simply their face if they singroutine for boy/girl only. They are also usuallyband)- performing alone, or simply the band cut in with scenes elsewhere e.g. a narrative cut in with the performance. Their isolation is often to highlight their music’s importance rather than screaming fans, and to indicate the artist is introspective and mature. (See Mumford & Sons: Little Lion Man, Iron & Wine: Boy With A Coin, Laura Marling: Rambling Man). This is usually done in a location full of nature – somewhere rural, full of fields, by a river, on a beach by the
  • 2. sea (Laura Marling: Rambling Man), by a swamp, a forest (Iron & Wine: Boy With A Coin) etc.Relationship between The lyrics of folk rock songs USED - ILLUSTRATIVElyrics and visuals tend to be fairly abstract most(either illustrative, of the time, however theamplifying, visuals are usually illustrativecontradicting for the chorus or a particular verse, but most of the song will use the visuals to amplify the lyrics meaning. Bon Iver: Calgary’s visuals are at first illustrative it says ‘don’t you cherish me to sleep’ and it shows a woman on a bed sleeping who defies being mollycoddled by being cherished and wakes up. ‘Hair, old, long along/Your neck onto your shoulder blades’ is sung as we see her lifting her head to show her hair is long, as the camera moves to show her neck and then her shoulder. The visuals begin to amplify in the next verse as ‘hip, under nothing’ is heard as she falls through the bed and lands standing in a lake. This is amplifying because instead of merely having her fall off of
  • 3. the bed, it shows her veryfoundations are not what shethought they were so she mustgo and ‘hunt the cause’which she does getting upand finding a door out.In a few, rare places themeaning will be contradictorybut instead of confusing theviewer makes the artist seemlike a storyteller. Contradictoryvisuals can be seen in the firstverse of Iron & Wine: Boy WithA Coin as the lyrics are:SCREENSHOTA boy with a coin he found inthe weedsWith bullets and pages oftrade magazinesClose to a car that flipped onthe turnWhen God left the ground tocircle the worldThis was contradictory as allthat could be seen on screenwas a group of womendancing, no boy or weeds or
  • 4. a car to be seen. But in thefollowing verse the visuals takethe other direction andactually amplify the lyricsmeaning:SCREENSHOTA girl with a bird she found inthe snowThen flew up her gown andthats how she knowsIf God made her eyes forcrying at birthThen left the ground to circlethe earthThere is one woman singledout for dancing and we cansee no bird, but feathers arefalling from her dress and herdress is moving like a livingbird – her expression is alsoquite sad. This amplifiesbecause instead of simplyshowing a girl in the snowfinding a bird that flies up herdress, the bird is metaphoricaland the repeated line of Godhaving ‘left the ground tocircle the earth’ reflects thewomen dancing endlessly incircles in the same path aspeople are left on the path of
  • 5. fate, referencing religious messages.Relationship between The music is mostly illustrative DEVELOPED - AMPLIFYINGmusic and visuals of the visuals. In Iron & Wine:(either illustrative, Boy With A Coin the style ofamplifying, the dancing matches the stylecontradicting). of the music that is being played, both old fashioned and classy. The movements of the dancers hands are very smooth as are the notes of the piano being played. At the same time their dancing is still very obviously choreographed, hips and legs sharply in time to the guitar strings being plucked in clearly defined movements. SCREENSHOT In Laura Marling: Rambling Man the music has a fairly steady ‘one-two’ beat which is in time with the visuals, to the point where even the birds flying and the sea waves lapping have been edited so their speed is in time with the song. The music being in time with the visuals actually amplified meaning at some
  • 6. points e.g. near the middle of the song and near the end the music sped as the man leaped into the sea for his freedom, emphasizing the weight of his action and its symbolism.Demands of the record A large number of close ups USED – close upslabel will include the of the artists are used in all ofneed for lots of close the videos, even in the onesups of the artist and where there is a largethe artist may develop narrative taking place in ordermotifs which recur to keep the viewers back toacross their work. (a focusing on and remindingvisual style). them of the artist/band (Laura Marling: Rambling Man). By constantly focusing on the face of the artist, especially if they’re new, makes them more memorable and a brand in themselves. SCREENSHOT Conventions of the artists appearance if men, tends to mean fairly long hair to the shoulders or at least floppy around the ears or chin. This emphasizes their masculinity (also with suits in Mumford & Sons: Little Lion Man), maturity
  • 7. and life experience, which inturn imply authenticity thatthe artist knows the life issuesthat they’re singing about intheir song. (Iron & Wine: BoyWith A Coin, Mumford & Sons:Little Lion Man). Costumetends to be very minimalist,simple colours and traditionalcuts which lets the viewerfocus on the actualperforming of the artist andnarrative actions of any actorsif present. This makes sure todraw more attention to theactual music itself, instead ofbeing distracted by minordetails like overly extravagantclothing with bright coloursand patterns.SCREENSHOTMake up if used for thewomen is usually naturalisticso subtle, which also lessensdistraction bybeauty/appearance andgives off along with the simpleclothing an impression ofhumility. (Bon Iver: Calgary)This was turned on its head forLaura Marling: Rambling Manbut still had the same
  • 8. intended effect as itsextravagance of make uponly served to highlight thehumbleness of the ramblingman’s lifestyle and dourness ofhis clothes.The only video I found whichdefied convention was BonIver: Calgary in that the artistdid not appear at all, whichdefies the convention ofshowing and focusing on theartists’ face within videos tosell them as an artist.
  • 9. Notions of looking (screens NOTIONS OF LOOKINGwithin screens, telescopes,etc) and particularly SCREENSHOTvoyeuristic treatment ofthe female body. The notions of looking are effectively referenced in Iron & Wine: Boy With A Coin where the use of the dancers watching their own performance within the video – hinting that they are aware of the audience, and they are performing for them. SCREENSHOT In Laura Marling: Rambling Man there’s a reference in the beginning of the video where the man looks at himself in the mirror. This shows his self-awareness, and the camera shoots it from the same angle where he must be able to see it and be aware of his audience although he does not directly look in that direction at the viewer. VOYEURISTIC TREATMENT
  • 10. OF THE FEMALE BODYSCREENSHOTIron & Wine: Boy With ACoin has chosen a slightlymore subtle way ofviewing the female bodyvoyeuristically. In themedium close up shots ofthe singer’s face we cansee the main dancer’sbust behind himemphasised further byhow her head has beencut out of the shot.SCREENSHOTIn Bon Iver: Calgary thefemale is treatedvoyeuristically as theviewer sees her halfdressed in a sheernightgown tossing andturning in her bed which isan intimate location, andthe feeling of voyeurismintensifies as the cameralingers on her neck, legsand bare skin.
  • 11. intertextual reference (to Intertextuality was found DID NOT USEfilms, TV programmes, to be rare within the musicother music videos etc.). videos that I researched, present in only one: Calgary – Bon Iver. In this video, the woman rises up out of the ground coming up from a whole hidden world beneath the earth up to ground level – this is a direct reference to the film Pan’s Labyrinth. As a folk rock band, part of the genre is being very true to the music and the integrity of the artist – Bon Iver’s Justin Vernon writes his own songs and produced the album For Emma forever ago independently. This is reflected in the production of the video. Instead of taking clips from actual films and embedding them in the video, the label has chosen to recreate the concept of coming from a world underground and filmed it themselves with their own
  • 12. actors and extras for the video. This was appropriate as the film is about a girl in fascist spain who escapes into a fantasy worldTechnical DirectionsArtist/bands / actor’spositioning, movements,gestures, pose and modeof address etc.Editing directions USE(Match cuts, jump cut, Jump cutsreverse shots – cutting Matched cutsrhythm etc.) Rhythm according to pace of the song (as Rambling Man)Selection of mise-en-scène CHALLENGE – highly stylized colour sheme, monochrome bandincluding colour, figure, footage to highlight guitar in red, blood of lost soldiers and a sepiapops, lighting, objects, tone throughout footage of the soldier living in the current day who iscostume, location and still lost in thoughts of the pastsetting and use ofcrowds/dancers etc.Framing of ShotCU, MLS, ELS etc.)