Costumes and Props

1. Mise en Scene,
Part 1:
Costumes and
Props
Across Main and Ancillary
Tasks

2. Introduction
The use of costumes, props, settings and objects across all
three elements of our production (Digipak, Poster and Music
Video) help to construct a general atmosphere that is
synergetic in providing an equal effectiveness for marketing.
Through spreading these elements amongst several pieces of
distributed media, an audience will recognise a multi-faceted
attempt to suggest the emotions connoted by mise en scene
is universal, not restricted to one media format or one text. In
essence, a level of cross-platform intertextuality is created
that effectively promotes both the basic purpose (music) and
the extended purposes (retail of Digipak; observation of
poster and observation of Music VIdeo) in an effective and
efficient way.

3. Costumes
The overarching use of costumes as a means to develop and refine the
personalities and characteristics of all of the protagonists, thus allowing
the audience to successfully identify a stylistic and aesthetic theme
running commonly throughout all elements, effectively developing a
cross-fashion statement that is important to the themes and concepts
of the video. Furthermore, the use of the same costumes across both
tasks provides sponsorship benefits and cross-company co-operation for
the production companies involved. Product placement (clothing
brands) across several different formats of media allow an association
to be crystallised, in the minds of the audience, between that specific
brand of clothing and the music-based productions themselves;
promoting all elements, continuously and amongst several different
forms of presentation, to the benefit of both the Digipak/Poster/Music
Video production company and the clothing manufacturer.

4. Props
Likewise, the use of props continuously promotes a sense of effective
synergy throughout the entire piece; the constant appearance of the
photograph of the couple, throughout all three tasks, centralises the
emotions being promoted by the actions of the character, the music
and the lyrics, into a singular object. This level of metaphysical
personification helps to make the object a recurring visual aesthetic
and a point of reference for the viewpoints of the main protagonist,
throughout all three elements. This constant promotion and
bombardment of its visual construction, through being presented on
both the main and ancillary tasks, elevates the importance of the
photograph and the emotional weight behind it, effectively
demonstrating the significance of props across all three elements.