The document discusses how the music video challenges and develops conventions of genre. It tells the narrative of two long lost siblings reuniting, challenging the typical pop narrative of relationships. It adheres to gender stereotypes with the siblings' rooms. It captures the essence of pop through lip sync performance, allowing audience connection. The video has a softer feel than typical pop videos, without choreographed dance or partying. Elements of indie genre were also incorporated for audience preference. Flashbacks provide episodic elements in the otherwise linear narrative.

1. 1B- How did you use, develop
or challenge genre
conventions in your music
video?

2. Narrative/ content
 In regards to the narrative of regular pop music videos, they
are often emotive provoking reaction from audiences. We
aimed to use this convention with the storyline of two long
lost siblings finding eachother. However, we did challenge pop
conventions as narratives are very often based around
relationships and we decided to divert from doing this to
make our video different in terms of narrative doing
something the audience were unlikely to expect.
 My video also adheres to gender stereotypes as many other
pop videos do. Both of the siblings rooms authentically fit their
gender with the girls room containing a lot of soft pinks fitting
the aesthetic of the target audience which is young girls.

3. Live performance
 In my music video, I feel that through the performance
elements of the production, we enrapture the essence of
the pop genre. For example, the use of lip sync is a highly
common convention in pop categorised videos as it
allows the audience to connect with the characters and
band on a more personal level connecting the visuals to
the sound. It is a way of allowing fans to experience live
performance without actually going to see the artist.
 Taylor swift also fits into the pop genre and often imbeds
live performance into the narrative of her videos without it
creating a whole new narrative strand.

4. Pop continued
 The genre of pop is the main genre our video fits into categorically. One of the
themes often found in pop is teenage unity, coming together in a positive way.
This gave us a basis to plan off of when discussing the storyline as it was a
convention we found interesting. In order to do this, we had to support it with
technical elements to evoke the emotion such as close ups and motives as
Andrew Goodwin’s theory states. Also in regards to pop, our video maintained a
soft feel matching the lyrics and style of the song as pop is mainly listened to by
a female demographic, our female protagonist is intended to be relatable and
the character that the audience empathises with the most.
 The only way we challenge the pop genre is the way our video is very calm. Often
pop music videos contain a lot of choreographed dance or images of drinking
and general partying. We didn’t want to do this as we opted for a softer
approach that better matched our song choice.

5. The indie genre
 Having the indie genre as a secondary influence has been beneficial as my feedback
concluded the majority of my audience prefer the indie genre. This allows us to target
a mainstream teenage audience which has been the aim. The aged images of
childhood provide a stylistic that is certainly more indie in addition to the shots of the
stereo and some of the general soft mise en scene of the product. Additionally, the
artist refers to themselves as indie and as they are unsigned building their brand here
has been a priority so incorporating typically indie elements helped this. Finally, the
mixture of live performance and narrative is a common convention of both pop and
indie genres combining the two into a cohesive piece.

6. 1C- How did your print
productions use, challenge or
develop conventions of media
language and genre?

7.  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.

8.  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.

9.  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.

10. 1D- Narratological analysis of
your music video

11. 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.

12. 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

13.  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. This
aims to widen the context and enable the audience to develop
a deeper connection with the characters.
 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.