Evaluation 1

I N W H AT W AY S D O E S Y O U R
M E D I A P R O D U C T U S E , D E V E L O P
O R C H A L L E N G E F O R M S A N D
C O N V E N T I O N S O F R E A L M E D I A
P R O D U C T S ?
E V A L U A T I O N 1 P A R T O N E

MUSIC VIDEO: NARRATIVE, PERFORMANCE OR
CONCEPT?For our music video, we went through the process of selecting what type of music video we would create
before deciding on the overall premise of it. This meant deciding what type of video (e.g. narrative,
performance or concept) would be appropriate for our chosen genre, hip-hop. Based on our own
knowledge of hip hop artists that we liked and followed, the most mainstream approach for music videos
was a hybrid of performance and concept styles. The conceptual styles varied as there is always a theme
of fame and fortune that is displayed visually, however there are also hip hop videos where the concepts
can be symbolic. For example, an earlier video which I analysed, N*ggas in Paris by Jay Z & Kanye West
has subliminal imagery in their videos which have links to religion, which is something a lot of other
rappers allude to in there music whether in their lyrics or visually in their video (rappers such as Big Sean,
J Cole, Kendrick Lamar and others all reference religion in some of their songs e.g. Apparently by J Cole)
Shot of
Jay Z and
Kanye’s
video
showing
sublimina
l imagery
with
religious
reference
Other things included in the hybrid of the two was the
appearance of video vixens. This was quite prolific in the
videos we had seen as the hip hop genre sexualises and
glorifies women. An example of this include the video for
Drake’s Hotline Bling where the premise of the video is him
performing the song while also being seen dancing with other
video vixens.
Shot of the
video vixens
in Hotline
Bling video.
They are
posing in an
alluring way
which fits the
conventions
of hip hop
music videos

Originally, our plan was to have a hybrid of performance and symbolic conceptual elements as we wanted to highlight the themes talked about in the
song through subliminal imagery. As that idea was to be done in the editing process, we focused on how we could convey the performance element in
the video. We decided to replicate some of the original videos scenes as we felt they were simple to replicate the energy and hype of the song and they
were easy to do (again with our focus on the conceptual part equally as important). We included shots of RICO rapping Big Sean’s verses in one setting
and had another setting to keep the video from going stale so that Drake could have his space to rap with RICO also joining him. We had no special
effects for RICO’s first verse as we wanted to keep the attention on his rapping while we had cuts of RICO and the video vixen together which we would
add while we also planned to have cuts to subliminal images with references to religion (which links in with the song).
During the editing process, we were delayed by time from adding the subliminal images to our video as we had technical problems with the program. As
a result, we were not able to add these to the video. As we wanted to retain the conceptual element of the video, with it being a mainstream trend we
needed to follow, we had already arranged to have some themes explicitly explored through the lyrics. This was in the form of some shots including
RICO standing with the video vixen, a slow motion shot of him with his hands up as money falls around him and the overlaying slow motion shot of him
with smoke coming out of his mouth. We put these shots in the video to add the thematic concept which we had to now build. This turned our video in
to a hybrid of performance and thematic concept elements. We also included the jewellery and hat as part of the thematic element which suggests hip
hop affiliations.
CONCEPT?
=
=

In terms of how the video replicates the mainstream element of the performance and thematic styles, I feel that the video does the basics of these elements.
This video can be compared to an earlier video I analysed, Loyal by Chris Brown. Although it cannot be compared by industry standards, the ideas within
them are quite similar. For instance the combination of performance and thematic concept elements are clear as there are shots of the three artists (Brown, Lil
Wayne and Tyga) performing together with the same level of enthusiasm in their body language, while there are also shots of Tyga holding a cub in a
separate setting. These shots can be compared to the above shots which I mentioned in the previous slide. Both of these shots compared to our video can
both link to hip-hop themes of being dominant, rich and confident while the performance elements further emphasise the tempo of both songs. Although
our video pales in comparison to the Loyal video in terms of the quality of themes explored (we only just managed to get these shots included due to the
delay of technical problems coupled with the fact that we had planned to have symbolic concepts rather than thematic) I feel we covered most of the basics
of the hybrid (performance and thematic concept) elements as our video replicates the mainstream themes of hip hop to an extent while it also shows the
acting of the artists in the video fits the profile of a hip-hop artist with them being confident and expressive in their movement which contributed to the
performance elements. Although this didn’t initially contradict with any of the conventions of a hip-hop video, there were ideas we had and couldn’t make it
onto the final version that would challenge the conventions such as the shots of subliminal images, video vixens abstract positions and abstract items of
clothing along with props that indicated royalty (i.e. a throne for RICO to sit on).
CONCEPT?
=

MUSIC VIDEO: CINEMATOGRAPHY AND MISE EN
SCENE
As we had chosen the song the song “Blessings” by Big Sean, we wanted to replicate the
mainstream style it had, the hybrid of performance and symbolic conceptual styles. The video
itself had several shots of the two artists Big Sean & Drake performing the song while they also
had some subliminal shots of a green-screen background showing a dark sky (alluding to the
album title of Big Sean’s, Dark Sky Paradise) with Big Sean surrounded by smoke, a shot of Big
Sean in a confession booth with himself and a shot of him walking up an endless flight of stairs.
These subliminal symbols add to themes of religion which Big Sean describes in his lyrics and
intrigues audiences into looking at the video to fully understand it. There is also a quick cut to a
video vixen in an ambiguous position which has further suggestions to the promiscuous themes
in hip-hop.
In terms of the multiple shots in the video, there are several types of shots included which all
contrast with each other. This adds to the abstract and conceptual theme of the video while also
adding to the tempo of the song as there are also several scenes where the camera shakes in
time with the artists performing the song. Other shots include an extreme close up of Big Sean’s
mouth before he begins rapping (showing off his grills) and long shots of him walking across the
setting. The are also medium shots of Big Sean in the confession booth while there are also
contrasting shots of Drake when he is alone in the dark room setting (long shots mixed with
medium shots)

Our variation of shots aren’t quite as clear as most other mainstream hip hop videos.
One of the main reasons for this was that when filming this, we had several shots that
differed from each other but at the same time were inappropriate to use either because
there were inconsistencies (i.e. we could see a table or parts of the room that wasn’t to
be seen) or there were parts of the lip syncing from the actor that were off. Aside from
this, the contrast in different shots are still evident towards the end of the video from the
end of Drake’s second hook into RICO’s 2nd verse, where there are cuts to the beat
between close up shots of RICO and Drake and long shots of them. The contrast of the
shots at least serve the conceptual elements which was intended from the beginning .
MUSIC VIDEO: CINEMATOGRAPHY AND MISE EN
SCENE

MUSIC VIDEO: MORE MISE EN SCENE
In terms of costume and props, there were also
indications of the mainstream hip hop genre being
filtered through in the original video. For example,
the dark clothes worn by Big Sean including the
large coat and dark skinny jeans with rips in them
are a part of the contemporary hip hop culture
now, with many artists in the genre being seen
wearing these items of clothing.
In terms of accessories, the main accessory rappers
are seen carrying are chains, which are normally
gold and quite thick, resembling the rappers
wealth. In the video, aside from wearing a chain,
Big Sean is seen wearing grills, a ring and earrings.
The excess of the accessories in this video fit the
conventions of mainstream hip hop as they
explicitly and openly express their wealth with a
confident attitude. This convention is seen in most
hip hop videos including DJ Khaled’s Gold Slugs
which is essentially about grills and his affiliation
with the jewellery and also in Rich Homie Quan’s
Milk Marie song where he is seen wearing
numerous gold items.

As was mentioned in our costume decision presentation, done by Bradley, we intended to have the artists wearing dark casual clothes
(including chinos/skinny jeans, and a casual jacket). We decided to go with this type of clothing as we didn’t want to include any flashy
brands in the video as at the time, we were looking to focus on the symbolic meanings of the songs lyrics. We wanted to use the dark
clothes as a contrast to the white clothes we intended our video vixens to wear. This contrast links to the songs title “blessings” as the
white clothes signify purity and innocence while the black clothes signified sin and darker themes that can be associated with religion
especially against the white clothes which was our intention. This contrast also adds to the symbolic conceptual element we intended to
go for, however due to the absence of one of the video vixens and the other not owning any white clothes, we had an alternative in them
wearing just plain black clothes. Although this didn’t exactly add to the conceptual element, it didn’t distract from that particular element
in the way flashy branded clothes would. Instead, audiences would be focused on the artist rapping (the performance element) and the
themes being explored in the video (conceptual element). Additionally, the dark clothes have hip-hop connotations to them, with the
adult themes having a darker tone to them and other hip-hop artists donning some of these colours in real life.
As mentioned before, one of our other props used before was the chain, which was coupled by the watch and the cap worn in the second
setting links to hip hop themes with the glistening of the chain reflecting the glorified lifestyle of hip-hop artists portrayed by the media
and the hat and watch adding to the materialism seen in

There were also props to consider in the video. We discussed the use of props for our video earlier on and concluded that both
the use of product placement and other props that have connotations to hip-hop were appropriate for our video. As explained
on our blogs the three props we intended to use were the beats pill, a seat for RICO for one of our shots and printed out 100
dollar bills. Our original idea for the chair was that we would have a throne to symbolise royalty, prestige and importance which
are things that are emphasised in mainstream hip-hop culture, however the idea was not practical. We decided to use a low
key chair that would not be seen in the video. The purpose of the chair was to symbolise status in the video between RICO and
the video vixen. We wanted to establish RICO’s status in the video as dominant while the video vixen was subservient to him.
By having him sitting down on the chair while the video vixen looks over him while appearing to comfort him and not show her
face, it shows that he has the most dominant status in the shot.
With the Beats pill idea, we initially wanted to include it for product placement purposes. This was another convention in hip-
hop music videos which I previously analysed. Unfortunately, we weren’t able to acquire the prop in time to incorporate it into
our video.
The last prop however, was one that we could incorporate into our video easily. The fake money we attained in time for the
video was used in two ways, spread across the floor for RICO to walk on, and falling from the ceiling around him. This connoted
to having power and wealth as the amount of money that was used was an appropriate amount normally seen in hip-hop
music videos. This was primarily an idea we had all had in mind. One of my inspirations for that use was the video for Buzzin’ by
Mann where 50 Cent is seen with money falling around him.
=

In terms of mise en scene, I again feel that our group covered
the basic conventions of the mainstream hip-hop conventions
involved with costume and props. Although our original ideas
would’ve helped with our videos quality wise and serving the
videos intentions better, I feel that by at least sticking by the
basics of these conventions (having the correct costume and
props to go with) audiences will be able to identify with the
genre easily, as is the purpose of the mainstream hip-hop
genre.

MUSIC VIDEO: LOCATION
In terms of location, the mainstream hip-hop genre convention varies between the different
styles. For this particular style (hybrid of performance and concept), the videos normally have
no specific location, either sticking with a normal club scene, an expensive house setting, or a
monochromatic setting. Examples of this include Drake’s video for Energy, where he switches
between the completely white setting to a neighbourhood setting. Another example is
Omarion’s video for Post To Be where it switches between a completely white to a completely
black background. These settings fit the hybrid style as it doesn’t interfere too much with the
performance side of the video while also directing the focus more on the themes explored or
the subliminal messages in the video.
These conventions are used in the original video for Blessings. Throughout the first verse, Big
Sean is scene behind a computer generated background which is also seen on his album
cover, while on Drake’s verse, they can be seen in a dark room with a single spotlight.

For our music video, we wanted to stick to another hip-hop genre convention of not having may settings in many videos. This
was to keep the focus on the artists performance and also the themes being explored. For the first setting we chose, I was
inspired by both Drake’s Energy video and Jessie J’s video for Wild to use the monochromatic setting that would draw
attention to the artists performance rather than anything else and can also contrast to the black of the clothes that RICO would
be wearing. Unfortunately, another issue we encountered was that the background we had was not completely white; the
setting had a grey, reflective curtain. This was an issue as although we had access to a white backdrop, it wasn’t wide enough
to let the artist move around in his space which is what the artists needed. The curtain was wide enough and was mostly plain,
therefore we went along with that, with satisfying results as in black and white, audiences would be more focused on the artists
and video vixen rather than anything else.
Our second location contrasted with the first, which we thought would add to the thematic concept of the video, as the black
and white (or lighter) had connotations to the heaven and hell concept which links to the songs title. The second was to be
completely black and serve the same purpose as the first setting. This set closely resembled the set in the original which also
featured Drake. Replicating this setting was simpler as there was space to manipulate the lighting while also the editing and
camera movement too. Together, coupled with the location, we were able to show Drake and RICO rapping their verses in the
dark space, with multiple spotlights as opposed to the one spotlight in the original video
=

In terms of location, I feel that our group had chosen the second setting appropriately,
choosing to replicate the setting of the original idea with some alterations to fit our
interpretation of it. We had used the video vixen in this location more than in the original
video an we had also used multiple spotlights that were directed down at different
positions of the floor. This was so that the artists had space to move into where they
would also be seen in the shot. It was also so that we could manipulate the lighting in
the video while we were filming and create some add to the energy and hype of the
video which was something we intended to do by also shaking the camera movement in
the video.
For the first setting, I believe that we had done a less satisfactory job on creating the
monochromatic effect for the first setting as the grey background, although satisfactory
in the sense it did not take any attention away from the artist, was not as appropriate for
the video as it created a dark atmosphere for the video which was vaguely similar to the
second setting. However, it does still serve its purpose in sticking to the mainstream
conventions of the elements of performance and thematic concepts which is a common
hybrid in hip-hop music videos.

MUSIC VIDEO: ARTIST REPRESENTATIONS
In mainstream hip hop, the main representation of artists in the genre are young black males. This is evident in the original video for
Blessings as Big Sean (27) is an example of a young black male, while Drake (29) is of a mixed background. Other artists include Kendrick
Lamar (28) and YG (25).
There is also a convention for the names of hip-hop artists as they usually are short, catchy and easy to remember. Names such as YG, 2
Chainz and Big Sean are easy names to remember and can have connotations to hip hop themes for example 2 Chainz can also be
recognised as a symbolic hip-hop trend which most rappers follow in which they carry around chains.
Big Sean Drake Kendrick Lamar YG

With the name, we chose to have an easy name to remember which had some
link to hip-hop. RICO became the name due to the popularity of the song
name by Meek Mill ft. Drake which was recent at the time. This was also an
easy name to remember.
With the physical representation, we had originally planned to have a young
black male, Kyle (actor) as RICO and Abul as Drake due to the similarities in
their facial features and stature. However, due to the unreliability of Kyle
(actor) we had to recast the roles of RICO and Drake so that we had actors
that were at least vaguely relatable to the names/roles. We recast Abul as
RICO as we felt that his appearance suited the name RICO while. Even though
he would not be cast as a young black male, he would fit the description of
young and male while there were plenty of rappers of similar colour G-Easy,
Logic etc.. Amann was cast as Drake as we felt his flamboyant persona
matched the real life attitude of the real Drake who in his videos, appears to
have that confidence and swagger about him.
With the video vixens, there were no specific preferences for their
representations as they varied in most hip-hop videos, from the obscene to
the casual appearance. We wanted for a more casual appearance but one that
added to the themes of being “blessed”, with the video vixens representing
the theme of being blessed with the ability to attract girls. The actors we cast
as the video vixens were both of similar ages and stature so that they were
not taller than the main artist, which although wouldn’t seem like a problem,
was something which we needed to consider so as not undermine the artists.
Our video can also be linked to bell hook’s theory on colour codes as our
video vixens were light skinned. According to her, lighter skin is seen as more
desirable in the medias western ideology. Examples if this are seen in most
hip hop music videos for example, Omarion’s video for “I’m Up” features
mostly lighter skinned girls.

I feel that even with the recasting of the roles in our video, we were
able to replicate the mainstream hip-hop conventions of artists who
have a swagger about them and a presence that audiences can relate,
especially those who look for the stereotypical features of the rapper
including the facial expressions, movement and gestures which are
some of the things we instructed to the actors as we filmed.
Despite our best to replicate mainstream representations, our
representation of a hip-hop artists actually went against the typical
conventions as the actor we had playing RICO was Arab/Persian which
doesn’t fit the description of a typical hip-hop artist. These typical
representations consist of a black male artist, something that we didn’t
have in our video. Despite the fact that we were forced to go against
this convention due to unforeseen events, this had worked out for us as
the other representations of a hip-hop artist including his flashy and
confident body language, his clothing and his aggressive and dominant
facial expression, something which most other hip-hop artists embody
in music videos. These characteristics of a typical hip-hop artist stem
from a lack of popularity with political rap according to Michael Eric
Dyson’s theory. He argues that because political rap was not getting
the mainstream attention it deserved, it reverted to the flashy,
materialistic pop style which we see today. This is supported by the
image from Drake’s Started Fro The Bottom video where he is seen
with several chains, which is also something we replicated as shown in
the image above.

MUSIC VIDEO: EDITINGOne of the most prominent editing techniques used in hip hop music videos is the cutting to the beat technique. This technique has become
prominent feature as the videos look to become more attractive in line with the main style of performance and conceptual elements. The
technique used has different variations. In the video for N*ggas in Paris, the cuts to the beat are to subliminal images which serve the
conceptual styles purpose, whereas in Big Sean’s video for Guap, at the end of the last hook, there are several cuts to the beat of the same Big
Sean shot either mirrored or its colour edited.
Other editing techniques also include slow motion shots of artists. They can either be of them in motion or of them simply looking into the
camera. This creates a surreal element to the video which serves the purpose of the conceptual element of the video while it also gives the
audiences a longer glimpse at the expression on their faces, the expensive items they carry and the women in the video. Examples of this
include Drake’s Started From The Bottom where Drake is seen dancing with his friends, while in Kendrick Lamar’s Bitch Don’t Kill My Vibe,
there are slow motion medium close ups of people, showing their facial expression.

For our video, we tried to incorporate many of these techniques that were part of the mainstream hip-hop conventions
including the ones mentioned in the previous slide. Our main technique we wanted to incorporate was the cutting to the beat
technique. Although we didn’t incorporate as much as we could’ve with this mid tempo song, I feel that the subtle use in first
verse, the chorus, Drake’s verse and the 2nd chorus fitted into the mainstream conventions of the genre and added to the
videos atmosphere (dark and gritty).
We also used the slow motion takes of the artist including the overlaying shot of him with smoke coming out of his mouth and
the shot of him with the money falling all around him. I feel that this technique not only follows the conventions of mainstream
hip-hop, it also serves the videos thematic purposes of money and power as the slow motion allows the audiences time to take
in the shot of the artist being surrounded by these materialistic ideals.
Another editing technique we included was the overlay technique where on shot was seen over the next. This was not our
intention to include it in the video however, as we stumbled upon it during the editing process we felt that it added a surreal
atmosphere to our video which would serve a purpose in the conceptual element of the videos style. This worked out for us as
the video had variations of shots that served both elements in the hybrid style video which would essentially keep viewers
interested in the shots. I believe that this technique fits with the mainstream hip-hop convention as there are videos with the
same technique, although it is used differently, for example in Meek Mills video for “Amen” which is also a hybrid of
performance and thematic conceptual elements, the overlay is used as more of a transition between shots.
MUSIC VIDEO: EDITING
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MUSIC VIDEO:
ANDREW GOODWIN
AND MUSIC VIDEO
CONVENTIONS
Our music video aimed to
follow the conventions of
mainstream hip hop. With this
in mind, we completed a task
before hand pertaining to the
6 different music video
conventions according to
Andrew Goodwin. I feel that
our music video accomplishes
the 1st, 2nd, 3rd and 4th
convention listed in the
image.

MUSIC VIDEO: ANDREW GOODWIN AND
MUSIC VIDEO CONVENTIONS
• 1st convention: As explained in the previous slides, the mainstream hip hop genre has some conventions which are
only followed by them in music videos, for example the dark clothes that symbolise the darker themes in hip-hop
(crime, violence, gangs money etc.) compared to the more cheery pop genre. Our music video follows this
convention and therefore follows the 1st convention of Andrew Goodwin’s theory.
• 2nd convention: We timed some of the shots in the video to also fit in with the lyrics of the song at the moment it is
heard. On the line “…and I just gotta thank God that we got it” we included the slow motion shot of RICO with his
hands in the air as money fall from the ceiling and around him. The money links to the idea in the lyrics about
getting “it”. There is also a religious reference in the lyrics in which he thanks God. This is further emphasised by the
way he is standing in the shot and the money falling down on him as it if was falling from heaven.
• 3rd convention: Another convention we explored through editing, we had the shots cut in time with the beat of the
song. For example, during Drake’s verse where there is a short pause, there is a cut to Drake and the video vixen.
There are more examples of this cutting to the beat technique and these examples add up to fit into the third
convention of this theory.
• 4th convention. Although we didn’t get to add any product placement in our video, we had the close up shot of the
artist at the beginning and a shot of him dancing to his own song at the end. Throughout the video there he
remains present as well as he performs his song. This fits into this convention then because of the fact that he is
advertising his own face and image constantly in front of the camera.

Evaluation 1

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