The document discusses conventions used in the production of a digipak and music video. For the digipak, a sans serif title was used to suggest a modern feel suiting the genre of the high-pitched song. The texture and filter on the digipak imply a post-modern superficiality. Pastel colors were used to match the style of soft Japanese pop music. The geometric shape symbolizes neo-Japanese minimalism. For the music video, a three-act structure was followed with a normality, disequilibrium, and new equilibrium. Symbolic codes like a childhood hedgehog were used to signify rebirth and the future. Flashbacks with an aging filter and a live performance give the narrative episod

1. 1C- How did your print
productions use, challenge or
develop conventions of media
language and genre?

2.  Beginning with the font selected, the sans serif title suggests a
modern feel which the genre suits as the high pitched notes in
the song can have futuristic connotations. It is also bold with all
capital letters making it clear to the audience. Where the font
crosses over the circle it is shiny and reflective where it catches
the light adding a 3D element to the digipak making its seem to
be tangible. The texture on the digipak with the filter also does
this as the filter implies a post-modern superficiality suggesting
that everything is on surface level and the post-production makes
this more tangible. The texture is also there to be coherent with
my music video as the shots of the children have a filter over
them that ages them.

3.  With my digipak, in planning I had intentions of
making it using only pastel colours. This uses the
conventions of a soft Japanese style pop as the
hazy vocal delivery is calming and the colour
palette reinforces this. Its also aesthetic which
matches the mise en scene of the music video.
 Furthermore, the geometric shape is there as a way
of symbolising neo-Japanese minimalism and the
beauty of simplicity with twists of complexity in the
colour palette whilst still remaining true to genre.
 This album cover does a similar thing taking pastels
and overlays using a softer ombre signifying the
representation of the pop genre further.

4.  I have also used media language in order for the
artist to find a method of communication with the
audience. Through the creation of this word
picture, the audience can interpolate their own
meanings and interpretations generating
conversations about the album widening their
growing fanbase.

5. 1D- Narratological analysis of
your music video

6. 3 act structure
 Toderov’s concept of narrative is useful when examining my music video as we
tried to ensure a very clear three act structure. The production can be split into
three. There is the normality which is the two teenagers leading their separate
lives. Disequilibrium occurs as they are unhappy as the video takes a reminiscent
tone as they look through childhood memory boxes. The new equilibrium is then
found when they arrange to reunite and become parts of one-anothers lives again.
This leaves the audience satisfied as the text is then closed as the ending is
comprehensive and ties together a lot of answers. It could, however, be argued
that the text is open as the audience do not see what the future is for the siblings
suggesting the ending may not be satisfactory.

7. Codes
 Roland Barthes codes are a way to examine the narrative devices I used in my
video. In my video, I use a lot of proairetic codes in order to drive the
narrative forwards. For example, the box of significant childhood items opens
insight as to what the narrative will entail as it then leads to the two siblings
finding eachother. The boxes open up the new chapter of the story driving it
forward.
 The video also use a lot of symbolic codes, some items obtain a lot of
meaning regarding the reoccurring theme of childhood.
 This hedgehog is the first item the audience see come out of the box. This is
symbolic as they connotate nature and growth. As they come out of
hibernation in the spring time, it signifies rebirth and the future standing as a
metaphor for the siblings in the production. However, the fact that it’s a
stuffed animal and not real implies to the audience that sometimes peoples
desires are hard to achieve and sometimes something can seem tangible but
may be further away than we think adding an air of mystery

8.  The music video I have made to accompany the song “Paper
Stars” can be described as having a linear narrative as it follows
a clear structure in regards to the events that occur within the
narrative. However the video does contain episodic elements.
These are the regular flashback shots that occur throughout
the video. They are clearly distinguishable from the regular
modern day shots as they have a filter that ages them.
 Another episodic element is the live performance that occurs
throughout bringing about a more meaningful sense of
connecting with the audience in the video linking the visuals
with the sound.