Introduction to a2

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Introduction to a2

  1. 1. Introduction to A2<br />Advanced Portfolio<br />
  2. 2. Course Breakdown<br />Coursework 50%<br />Exam 50%<br />In the exam:<br /> Section A: reflecting on coursework<br /> Section B: We Media & Democracy<br />
  3. 3. Music Video<br />Blogging<br />More advanced use of technology<br />Creating a music video promo for a song that does not already have a video<br />Creating a Digipak and Magazine Advert<br />Individual or group work<br />One term<br />
  4. 4. How will it be different to AS?<br />You will learn media theories and apply them to both professional products and your own work<br />You will develop high level understanding of the impact media has on our everyday lives<br />
  5. 5. This Term’s Aims<br />To understand the language of music videos<br />To understand the narrative devices used in music videos<br />To understand how intertextuality is used<br />To explore representation of artists<br />To understand how audiences are targeted and how they are positioned by the producer<br />To learn how to use Final Cut Express!<br />
  6. 6. Let’s Get Started!<br />
  7. 7. What is a Music Video?<br />In pairs create a mind map of all the conventions of music video you can identify<br />Let’s watch these to see if you are correct!<br />
  8. 8. Andrew Goodwin: Our 1st Theorist!<br />A relationship between the lyrics and visuals (illustrating, amplifying or contradicting the lyrics)<br />A relationship between music and visuals<br />Particular genres may have their own video style and iconography<br />A demand from the record company for lots of close-ups of the main artist<br />Artist develops their own star iconography in and out of their videos<br />Reference to voyeurism (screen within screen, binoculars, cameras…)<br />Intertextual references<br />
  9. 9. John Stewart: Our 2nd Theorist!<br />music video has the aesthetics of a TV commercial, with lots of close-ups and lighting being used to focus on the star’s face<br />He sees visual reference in music video as coming from a range of sources, although the three most frequent are perhaps cinema, fashion and art photography<br />Stewart’s description of the music video as ‘incorporating, raiding and reconstructing’ is essentially the essence of Intertextuality, using something with which the audience may be familiar, to generate both nostalgic associations and new meanings.<br />The video allows more access to the performer than a stage performance can. The mise-en-scene, in particular, can be used to emphasise an aspirational lifestyle. <br />
  10. 10. Camerawork<br />Significant impact on meaning<br />Movement, angle and shot distance should all be analysed<br />Camera movement may accompany movement of performers or stage performance<br />Close up dominates because of the size of the screen and desire to create sense of intimacy<br />Lighting to focus on the artists face<br />
  11. 11. Editing<br />Mostly fast-cut montage<br />Images difficult to grasp on first viewing<br />Some videos slower pace and gentler shot transitions to establish mood<br />Dido, Mariah Carey…<br />Digital effects like split screen, CGI<br />
  12. 12. Intertextuality<br />Post-modern text<br />Drawing upon existing texts in order to spark recognition in the audience<br />Short hand<br />Not all audiences will spot the reference<br />Pleasure<br />Some draw upon cinema, TV genre, other music videos, video games…<br />
  13. 13. Task 1: <br />View Eminem’s Video Without Me<br />Note how far it proves Goodwin and Stewart’s theories<br />Use the grid<br />

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