Question 1

1. Question 1:
In what ways does your media product use,
develop or challenge forms and conventions of
real media products?
My Track = Roots,
Unsigned Artist = Orla Gartland,
Genre = Indie Folk.

2. Section 1 - Music Video: Conventions of the Medium
My use of using the whole track relates to the conventional aim of most music videos to market the track, so my
decision to use the whole track reflects this. I needed to ensure my music video remains engaging throughout
my 4 minute production; the genre convention of shot variation through a narrative storyline is portrayed is a
While creating my music video, I kept in mind the conventions of the medium, of a music video.
Usually, the aim of a music video is to market the artist or song to a potential audience. By the very nature of
music videos, they are usually an advertisement.
This is something I had to maintain a focus on when thinking about the portrayal and representation of my artist
through visuals and the relation to the lyrics.
My 4 minute long video conformed to the expected
conventions of length for a music video, ensuring it isn't
overly long and loses audience engagement.
I conformed to this marketing aim of music videos, illustrating lyrics with
visuals. Indie-folk music videos sometimes include a political statement;
this could be seen as a convention of this genre. The tone of my music
video could reflect that of an ecological perspective. Brining attention to
green issues, also focusing on greater awareness of environmental
factors. The political statement that may be interpreted from my
production is this enhancement of green issue awareness.
My music video being a production which markets Orla Gartland’s song ‘Roots’ alongside the possible
interpretations of a political message. I conformed to the conventions of the medium of a music video through
the length of my production.
convention that I used. I also tried to develop this with my own
experimentation of storytelling; which relied on conceptual
aspects, not performance (Goodwin). Intertextually, this
convention of conceptual storytelling links to ‘Daughter - How’
where the whole music video is centred around the story of the
young female and her isolation.

3. Section 1 - Music Video: Locations
The conventions of my music video as it is a British artist, is that of
representing British locations and images. Although this isn't a central part of
my production, the inclusive nature of British conventions this is reflected in
my use of Britishness. The British aspect of the train station location
represents the Britishness of my artists’ track. Using recognisably British
locations develops the conventions of actual British music videos. This
cultural signifier allowed me to reflect movement and travelling, a theme of
the production.
My track ‘Roots’ from Orla Gartland is from an indie-folk genre; the
conventions of this genre include exterior shots, suggesting the natural world
and the beauty of the scenic surroundings. This reinforces the ecological
theme that I have used. My locations include female movement as she holds
the growing sapling in her hands; the themes of caring and nurturing often a
theme in indie-folk music videos with the thematic link of nature. Although in
production when I encoded the text, it wasn't something I deliberately
intended to include, however, that may be an interpretation (Stuart Hall).
The theme of natural imagery is present in a lot of mainstream media;
Television shows such as Coast and Country File. This interest in nature and
ecological issues appeals to a large and wide variety of viewers, whether
they are interested for their business or their own enjoyment.
The concern over the ecological wellbeing of the planet could be viewed to
be involved with a political uprising; which could be seen as a convention
for indie-folk music which tried to be alternative.
This stance of political opposition can be seen in ‘AURORA’s music video
for ‘Running with the Wolves.’ The inhabited city in the future portrayed as
producing slave robots; the female character escaping. The idea of the
institution being corrupt, the music video presents the idea of us being
passive and controlled, this out of our control. (Hypodermic Needle Model)

4. Section 1 - Music Video: Lighting
Using lens flare is a convention of the genre,
alongside ambient lighting; presenting a more
raw portrayal onscreen, which is an ideology
that this genre does present. The use of
strong skylines and sunsets was a feature of
indie-folk productions which I wanted to use
and replicate.
Shadows are used in music videos as an
aspect of non-ambient lighting or for film
noir. I used ambient lighting through my
whole music video; so I had to ensure my
camera positioning did make the most of the
natural light. The medium of a music video
allow me to use and develop these lighting
techniques to illustrate the lyrics.
My choice of lighting which reflects chiaroscuro lighting with the contrast between
light and dark. The split-like effect of the definitive line across my female actress, the
convention of placing light next to dark. Having mainly ambient lighting is a
convention of indie-folk productions; I used this aspect in my own music video.
This links to this photography image of Ben Howard,
also part of the indie-folk genre; the contrast in lighting
chiaroscuro with the definitive shadow line.
My choice to use these type of shots which include this
lighting uses the conventions of light variation using
the available ambient light; making it seem at a higher
contrast; as displayed in Ben Howard’s photography.

5. Section 1 - Music Video: Props
Section 1 - Music Video: Performers
Both performers are female, but my
main performer is the younger
version of the character, the elder
portrayal only viewed right at the end
of the production. The convention of
female performers being objectified
is challenged in my production, not
using this stereotype.
My only, and main, prop in my music video production;
the sapling that my female character carries in her
hands throughout all of the locations she travels
through. I challenged the notion of props in indie-folk
music videos, as the usual prop convention is musical
instruments with a performance based aspect.
The prop I chose to use is somewhat symbolic; it may
be interpreted as her ambitions, or even her youth,
which she leaves at the end of the music video to
grown into something more. My convention
development of symbolism allowed me to experiment
with how relevant the sapling is.
Lucan’s identity theory links to this as audience members may see themselves reflected in this media text. My
production may reflect conventions of documentary and social realism; not adding theatricality. Both woman
viewed as independent, my genre and concept leaving no room for voyeuristic shots of the young female
performer (Goodwin).

6. Section 1 - Music Video: Sound
Section 1 - Music Video: Titles
The editing process of visuals included editing to incorporate the sound with what I had already filmed. This
stage was also present in my pre-production stage; I planned out visual aspects to match the track. So I
already had a rough plan for the editing process of timings alongside the track.
During the post-production stage one of my focuses was on ensuring that I edited the visuals in time with the
beat of the audio. The song definitely conforms to the acoustic like conventions of the indie-folk genre, I
reflects the genre conventions in my music video production with the ambient lighting, editing to the beat of
the music (Goodwin), shots of natural locations and a metaphorical narrative.
My use of title includes ‘Roots’ - the name of the track and ‘Orla Gartland’
- the artist of the song.
The authentic scripture hand-written like font references the generic
indie-folk convention of it being raw and natural; also present in the
acoustic sound of the track.
My choice of text placement at the start of the music video conforms to
the mediums conventions; being dominant and easily readable on
screen to achieve clear understanding.
Section 1 - Music Video: Costume
Thus, I designed my costume around the dress code to fit the aspirational young people who are interested int
he green movement, and my be able to identify with this. The green coloured top connoting environmental
issues. My minimal costume in its detail was something I deliberately chose so that there was not a focus on the
outfit of the female, not trying to emphasise a female dressed-up stereotype like Mulvey’s male gaze theory.
Intertextually, this relates to indie-folk artists like Bon Iver’s music video for ‘Holocene’
where the male character’s outfit isn't entirely relevant, but the minimalist design choices
makes the focus solely be on the narrative and visuals.

7. Section 1 - Music Video: Narrative Structure
Section 1 - Music Video: Use of Colour
These scenes dominated by the colour green; connotations of nature, this also
promoting the political statement I address, the choice of this dominating
colour is also reflected in her green top. The green coloration of the image that
I created also highlights her inclusive nature of being in this environment, her
position in the surrounding blends her into the background.
My narrative structure may be perceived differently depending on the individuals interpretation; some may see
it as a chronological narrative where in the end there’s a time-jump to may years later of the female in her elder
years. Continuity being the same and using match-on-action in some scenes with the plot.
On the other hand, some may see the majority of my music video to be a flashback, the ending being where
the actual events took place in the memories of the older woman.
This idea of my production being interpreted differently from my perspective of the production. As I create the
music video, I am the encoder of the text. The audience are the decoders of the text, their perceptions of the
events and their meaning may differ from the creators and even other audience members (Stuart Hall).
I have conformed to the conventions of moving image storytelling in the editing and creation of a plot line. I
have also used the continuity of editing in a montage style. This technique of motion-picture editing where
contrasting shots are used to effect my ay audience both emotionally and intellectually. My continuation of
symbolic association relies on my sapling prop; showing continuity physically with that prop. My symbolic
association of ideas, the sapling connoting the natural rural world distanced from the urban environment,
creates the effect or an intellectually formed response. Related to ecological issues.
Wendy Puerto’s abstract paintings reflect the beauty of
nature and sunset colour. The enhancement of these
bright oranges and reds are colours that dominated
some of my own shots including ambient sunset
lighting against my female silhouette.

8. Section 1 - Music Video: Representation
The representation of female gender; I have challenged the traditionally sexist portrayal of women. Promiscuity
and objectification isn't something that features in my music video, during the production of my much video, I
maintained awareness about Mulvey’s theory of the Male Gaze, at no point wanting to portray my female
character in a sexualised manner.
However, my incliner nature of traditional representation of femininity links to fertility with the metaphor of the
sapling. My performer connotes birth and growth which are feminine symbols, links to Neolithic prehistory and
evolution of humans.
Aspects of my production are associated with traditional feminine representations of nurturing and gentleness.
This female representation encompassing symbolic aspects of fertility and power are debatably seen in Eastern
Mediterranean Archaeological Relics. With woman seen as central to life.
The young female in my music video being gentle and passive, suggesting pagan beliefs about women as
metaphors for fertility. These beliefs adopted by Christianity and portrayed in the images of the Virgin Mary. My
music video doesn't reflect religion, but my representation which is perpetuated by the sapling prop and the
journeying links back to our preindustrial past. With my iconography of green ideology and the overall political
message that I represent in my music video, with uncluttered landscapes and the beautifully strong sunsets.
The representation of age in my music video is mainly centred around female youth. The promise and ambitions
of the young woman, with a positive outlook on her future. The symbolic nature of preserving the sapling, the
nurturing nature of her actions, as she carries it around with her. As a young producer myself, being able to
create reliability to people my age was a lot easier, and made sense to have a young actress.
Youth representation in my music video production portrays the group as an indecent age category, a time of
journeying and exploration. The freedom and development that comes with the teenage years is often
romanticised in media.
The transition into the older female may represent the
fear and apprehension of growing old, the nerves and
risks that come with this. The Peter Pan ideology of
never growing old an unachievable wish; the
inevitable staging of ageing reflected in one transition
in my production, using a time-jump convention.

9. Section 2 - Print Production: Text Integration
The use of text on my print production panels and magazine advert
conform to the conventions of these pieces being an advertisement,
marketing the artist and tracks.
The text on my print production panels is incorporated alongside the
image; shaped in order to fit in with the visuals. Institutional and
necessary information is provided; which uses the conventions of the
medium in order to promote the artist and track.
The font type for my print
production panels 1 and 4 are
the same; ‘Luna’ font which is
easily readable in its large and
eye-catching size, but also fits
in with its colour to the image
itself. The colour contrast to
the background of the image;
for my magazine the bring
white font against the dark
background pulls attention to
the text and drawings.
The large font side conforms to
the convention of the digipak
and magazine advert, being a
promotional text. The font
placement of necessary text
being the largest and at the
top or bottom of the piece to
gain the most attention from
the audience.

10. Section 2 - Print Productions: Panel Format
I have conformed to the tradition print production conventions for my first
panel; indie-folk album covers are often minimalist yet powerful, with only
the necessary text information provided. Like I have done with my titles,
showing the information in a large and bold text, highlighting the artist
and track name in order to promote the EP as a product. Also, using
colour enhancement to make the sunset lighting more powerful, a
brighter image in order to develop the aim of the medium; to advertise
the product.
This second panel of my digipak relates to my British artist with the railway
tracks being a location convention of British heritage and a cultural
signifier. I conformed to the medium of the digipak by integrating the over
female of nature with the trees lining the tracks; the colour green
emphasised here and in my female’s costume. I edited the image in order
for it to be sharper and more defined; a higher quality image conforming to
the high quality style of the indie-folk genre.
This use of a minimalist image from the front cover
can be seen in the ‘Prioy’ CD first panel as the
image’s focus is on the name and subject on the
front. The lighting contrast to enhance the audience’s
focus onto necessary text information is something I
gained inspiration from and developed in order for
my digipak to relate to the conventions of the genre.
This panel of James Bay’s album is very defined as an
image, the lighting choice highlights the artist. The font
and image sharp and defined, which connotes a high
quality finish to the product. Which links to the
convention of the genre; where the quality of music is
incredibly central to the genre and industry.

11. Section 2 - Print Productions: Panel Format
My third digipak panel consists of a minimalist image, I chose this as the
image substance is located centrally; which is where the placement of
the CD is. Conforming to the medium’s conventions, incorporating the
CD placement to the image and how the consumer will experience it.
Also, the convention of marketing this as a product applies, the
audience’s attention drawn to the physical CD. I have used colour
correction to this image to highlight and add definition to make the
visuals sharper.
My design for panel 4 uses final panel conventions of a digipak. The
necessary institutional information of production company, artist name and
track list. I chose a matching font to panel 1, maintaining continuity, which
is also present in overall themes. Text centrally positioned to align with the
image of the tree trunk. I have used the convention of central alignment for
the track listing; but developed with the scrabble pieces variation; which
adds variation and makes the panel more interesting.
Linking to James Bay’s album; all the needed
institutional information present, but also the
track listing on his final panel is centrally
aligned and incorporated with the object in
shot. The chair and text arranged
harmoniously together; similar to what I have
chosen to do with my own final panel.
This centralised style is very present in the work of Ben
Howard; his production maintains symmetrical shots
throughout the entire video. The
composition, similar to mine, in its minimalist
style; the symmetry planned and executed
to match continuity of presentation.

12. Section 2 - Print Productions: Magazine Format
My magazine advert conforms to the conventions of
the medium in size of the text, displaying the artist and
her track as a professional purchase. This medium’s
aim is to advertise my artist, which I think it does
through genre characteristics like the inclusion of
natural imagery; the trees framing the background. As
well as the white drawing-style layer which is
foregrounded against the darker background, which
includes the outline of a woman’s face and her hands
holding the sapling. This references my music video,
but also conforms to the appealing convention of the
genre with my target audience predominantly being
young females who may have an interest or concern in
nature or environmental issues.
Additionally, my advertisement includes all of the
necessary institutional information information in the
form of the white coloured text. The font bold and
striking, the same colour as the drawing, allowing
them all to have relative connections visually.
The size of the text was also an important point of
reference from my text. The reviews of quality from
‘The Guardian’ and ‘NME’ being the smaller text. The
larger text includes the name of the artist and the track
which are the most important aspects to include for
the marketisation of the product.
An aspect of design that I challenged was the
magazine convention to include images of the artist;
instead my choice to have a focus on more detailed
visuals portraying themes of nature.

13. Section 2 - Print Productions: Intertextuality
Intertextually, my magazine advertisement links to the ‘Artic Monkeys’
with the dark background contrasting to the white foreground which
holds necessary information. However, I developed the conventional
background with my image having more detail, hopefully attracting
audience attention, the art being a more engaging piece.
My print production design intertextuality relates to the
conventions of The 1975’s CD cover with the minimalistic
presentation of needed information. Additionally, Daniel
Pearson’s album cover conforms to the same convention of
including the female character in the music video; appealing to
the potential loyal audience.
‘Imagine Dragons’ have used a similar
convention of the central positioning of
hands holding a relevant object to the
context. I developed this convention
by incorporating the CD into my
design, my visual layout designed
around CD positioning.
The back of Ed Sheeran’s
cover reflects the convention
of incorporating image to text.
Something I have tried to
replicate with my own design.
The text is stand-out different
from the background clolour,
something I also developed to
allow integration between
necessary text and visuals.
The use of intertextuality from my own productions to other
artists of similar genre has allowed me to develop
conventions and challenge what already exists.
My magazine also links to
Disclosure’s album art with the
white-line drawings. Conveying the shapes of
characters without having them actually visually
represented. I developed this convention to
include relevant props.