Pop-Video <ul><li>The Pop-Video is used in order to establish the brand of the singer. This is done by imitating and subverting certain media conventions. According to Barthes an audience gains plaisir out of the expected and juissance through the unexpected. The Pop-Video establishes the singer in terms of synergy by publishing it on television and internet. </li></ul>
Digi-Pak <ul><li>The Digi-Pak is used to catch the eye of the potential consumer in the shop (HMV). The Digi-Pak has to be visually attractive and interesting. It establish the brand by using images that portrait the characteristics of the singer. It has to have certain connotation that are decoded by the potential consumer. </li></ul>
Magazin Advert <ul><li>The Magazin Advert is used to reveal more detail of the artist and to promote their tour. It is commonly known that nowadays artist gain their main income from sold tickets and not from sold records. This is due to illegal downloads etc. Therefore a Magazin Advert is essential for an appropriate promotion of the tour. We added tour dates and locations and booking hotlines in order to make it clear and simple. </li></ul>
All together <ul><li>All together make a perfect combination. By using the Pop-Video, Digi-Pak and Magazin Advert we are able to erstablish the brand by using synergy. Synergy is defined as two or more components that try to achieve the same outcome. The Pop-Video establishes the brand via television and internet. The Digi-Pak establishes it in Music Stores and the magazine advert in shops. By using all the components making our artist a star is much more likely to happen. </li></ul>
Sven Carlsson <ul><li>Sven Carlsson’s thory of Pop-Video Analysis gives insights in the establishing of a brand. Carlsson says that 'Music Video is a form of audio - visual communication in which meaning is created via carriers of information such as; (1) the music (2) the lyrics and (3)the moving images.' He talks about music video being a combination of performance and conceptual clips, and lyrics being combined with images to create meaning to the audience. Carlsson also says that the director will come up with a few ideas for a music video,and these ideas will be repeated and varied throughout the video. Re-arranging these visual motifs is said to be the key to making the music video work. He says that a music video is a combination of the provocative modern art tradition and a cultural interpretation of the teenage rebellion. </li></ul>
Sven Carlsson 2 <ul><li>Carlsson also says that “Stars” fall into three areas. </li></ul><ul><li>Commercial Exhibitionist - An individual that just exhibits him/herself for commercial favours. Sexual magnetism is often used especially for female artists. </li></ul><ul><li>Televised Bards - A storyteller. Lyrics have a beginning, middle, end. </li></ul><ul><li>Electronic Shaman - A Pop-Star that sends a messages </li></ul>
Sven Carlsson Applied <ul><li>The artist that we portray in our Pop-Video meets all of these three areas. We use a huge amount of close-ups in order to heighten the physical characterises therefore Sexual Magnetism is created which maxes our artist to a Commercial Exhibitionist . Our artist also tells a story during her song (Lyrics are on the next slide) which makes her a Televised Bard. We also send a message out to the audience by using our pop-Video. Our Pop-Video takes place in a surreal world in order to distance the audience to make them ore critical. The surreal world puts over a culturally relevant meaning. This makes our artist an Electronic Shaman . </li></ul>
Lyrics (French) <ul><li>Ta Douleur </li></ul><ul><li>Lève toi c'est décidé Laisse-moi te remplacer Je vais prendre ta douleur Doucement sans faire de bruit Comme on réveille la pluie Je vais prendre ta douleur Elle lutte elle se débat Mais ne résistera pas Je vais bloquer l'ascenseur... Saboter l'interrupteur Mais c'est qui cette incrustée Cet orage avant l'été Sale chipie de petite soeur ? Je vais tout lui confisquer Ses fléchettes et son sifflet Je vais lui donner la fessée... La virer de la récrée Mais c'est qui cette héritière Qui se baigne qui se terre Dans l'eau tiède de tes reins ? </li></ul>Je vais la priver de dessert Lui faire mordre la poussière De tous ceux qui n'ont plus rien... De tous ceux qui n'ont plus faim Dites moi que fout la science A quand ce pont entre nos panses ? Si tu as mal là où t'as peur Tu n'as pas mal là où je pense ! Qu'est-ce qu´elle veut cette conasse Le beurre ou l'argent du beurre Que tu vives ou que tu meurs ? Faut qu'elle crève de bonheur Ou qu'elle change de godasses Faut qu'elle croule sous les fleurs Change de couleur... Je vais jouer au docteur Dites moi que fout la science A quand ce pont entre nos panses ? Si tu as mal là où t'as peur Tu n'as pas mal là où je chante !
Lyrics (English) <ul><li>Your pain </li></ul><ul><li>Get up, it has been decided Let me take your place I'm going to take your pain Silently without making any noise Like one wakes up the rain I'm going to take your pain, your pain I'm going to take your pain </li></ul><ul><li>She's fighting, she arguing But she's not going to resist I'm going to stop the elevator I'm going to take your pain Manipulate the light switch I'm going to take your pain </li></ul><ul><li>Now who's this gatecrasher This storm before the summer This little bitch of a sister </li></ul><ul><li>I'm going to take everything away from her Her darts and her whistle I'm going to give her a proper licking Send her away during break I'm going to take your pain But who's this heiress Who's bathing, who is hiding In the lukewarm water of your loins </li></ul>I'm going to take the desert away from her Make her eat dust Of those who are not hungry anymore I'm going to take your pain Tell me what is science doing When (will there be) this bridge between our bellies If you feel pain where you are afraid Then you feel pain where I did not think you would What does that bitch want? Does she want her cake and eat it too? That you live or die? She had better die of happiness She had better change her shoes She had better fall into the flowers And change color I'm going to take your pain I'm going to play the doctor I'm going to take your pain Tell me what is science doing When (will there be) this bridge between our bellies If you feel pain where you are afraid Then you do not feel pain where I'm singing Ah right there, get up
Marie – The Fruit Defendu <ul><li>We chose Marie as her name because it is a typical french name and juxtaposes her rebellious attitude. The name Marie is associated with innocence, holy, etc. However our artist embodies characteristics such as danger, mysterious and enigmatic. These adjectives are also reinforced by the title of the album and tour: The Fruit Defendu - which means the forbidden fruit. She is the forbidden fruit. Even if she is so dangerous people have the admire and desire her. This is what we are trying to achieve by using Pop-Video. Digi-pak and Magazin Advert. </li></ul>
Our Objective <ul><li>Our objective was to establish a brand in order to make our artist a “star”. However we also thought about the question: What is and makes a Star? In order to answer this question we looked at Richard Dyer’s theory of a Star-Image. </li></ul>
Richard Dyer <ul><li>About Star Image: </li></ul><ul><li>“ In these terms it can be argued that stars are representations of persons which reinforce, legitimate or occasionally alter the prevalent preconceptions of what it is to be a human being in this society. There is a good deal at stake in such conceptions. On the one hand, our society stresses what makes them like others in the social group/class/gender to which they belong. This individualising stress involves a separation of the person’s “self” from his/her social “roles”, and hence poses the individual against society. On the other hand society suggest that certain norms of behaviour are appropriate to given groups of people, which many people in such groups would now wish to contest (e.g. the struggles over representation of blacks, women and gays in recent years). Stars are one of the ways on which conceptions of such persons are promulgated.” </li></ul><ul><li>Richard Dyer (Stars, BFI, 1981) </li></ul>
Richard Dyer <ul><li>The term “Star” refers to the semi-mythological set of meanings constructed around music performers in order to sell the performer to a large and loyal audience. </li></ul><ul><li>Dyer has written extensively about the role of stars in film, TV and music. </li></ul>
Richard Dyer <ul><li>A star is an image, not a real person, that is constructed (as any other aspect of fiction is) out of a range of material (e.g.. Pop-Video. Digi-Pak and Magazine Advert) </li></ul><ul><li>Stars are commodities and consumed on the strength of their meanings. </li></ul>
Richard Dyer <ul><li>Stars depend upon a range of subsidiary media – magazines, TV, radio, the internet - in order to construct an image for themselves which can be marketed to their target audiences. </li></ul><ul><li>The star image is made up of a range of meanings which are attractive to the target audience. </li></ul>
Some common values of music stardom <ul><li>Youthfulness </li></ul><ul><li>Rebellion </li></ul><ul><li>Sexual magnetism </li></ul><ul><li>An anti-authoritarian attitude </li></ul><ul><li>Originality </li></ul><ul><li>Creativity/talent </li></ul><ul><li>Aggression/anger </li></ul><ul><li>A disregard for social values relating to drugs, sex and polite behaviour </li></ul><ul><li>Conspicuous consumption, of sex, drugs and material goods </li></ul><ul><li>Success against the odds </li></ul><ul><li>The values in bold portrayed by our artist. </li></ul>
Richard Dyer <ul><li>Fundamentally, the star image is incoherent, that is incomplete and “open”. Dyer says that this is because it is based upon two key paradoxes. </li></ul>
Paradox 1 <ul><li>The star must be simultaneously ordinary and extraordinary for the consumer </li></ul><ul><li>We do this by establishing the extraordinary world in the Pop-Video and the ordinary in following interviews. </li></ul>
Paradox 2 <ul><li>The star must be simultaneously present and absent for the consumer </li></ul><ul><li>We would get the artist/star in to the public-sphere by making deals with various news papers etc. </li></ul>
Levi-Strauss <ul><li>The concept of Universal Myth </li></ul><ul><li>Myth are narratives which belong to be obscured by history </li></ul><ul><li>Myth are more than just “entertainment” for a culture. </li></ul><ul><li>Myth perform a valuable social function by embodying values and ideas which are important for particular societies, often in the form of binary oppositions. </li></ul><ul><li>Myth are a kind of UNIVERSAL LANGUAGE as much same narratives, characters, resolution for much the same dilemmas the world over </li></ul>
Universal Myths <ul><li>People are similar, languages are similar </li></ul><ul><li>World Map </li></ul><ul><li>Universal Myths are present the world over </li></ul><ul><li>Similarities between different cultures </li></ul><ul><li>Make the world manageable, understandable for people </li></ul><ul><li>Means we can work out our dilemmas through myth, and not possibly the hard way in real life </li></ul><ul><li>Not just trade links, more ELEMENTAL </li></ul><ul><li>Example: Good v Evil, and good wins out </li></ul><ul><li>Examples: Trickster Gods in India, Ancient Greece, Red Indians </li></ul>
Universal Myths <ul><li>Universal Myth are stories which answer the questions that any society anywhere in the world at any time, past, present, future has to answer. Such as: Why do we exist? What are we doing here? Etc. </li></ul><ul><li>A media production should discuss one ore more of these Universal Questions/Myth in order to reach an audience. </li></ul>
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