The document discusses the results of audience feedback received on a student's music video production and ancillary tasks. Key findings include:
1) The music video was identified as a hip hop production and was seen as unique while also incorporating enough generic conventions of the genre.
2) The ancillary tasks (a magazine poster and digipak) were recognized as successfully advertising the music video through similar design elements.
3) While the ancillary tasks provided sufficient information, 40% felt they could provide more details. The student plans to include more production details.
4) Overall the feedback showed the productions were successful at meeting the student's goals of being identifiable while also unique. Room for improvement was noted in
The document discusses the ways in which the author's music video, digipak, and magazine poster use, develop, or challenge conventions of real media texts. The author researched music video structure theory and incorporated generic camera shots and mid-range shots to visualize the artist's performance. They aimed to be partially conventional as a hip hop music video but also unique to appeal to viewers. Archetypes, repetition and difference, and promotion theories were also researched and applied to represent the artist as "troublesome" across all products through imagery like drugs and to reinforce this intended dominant reading. Both promotional products seamlessly integrated the same drug-related imagery to visually relate to the "Exile" album name and establish familiarity
The combination of the main music video production and ancillary texts (digipak and magazine poster) was effective in promoting recognition and synergy across mediums. Key elements like recurring imagery, camerawork, lighting, color scheme, and character representation were adapted from Eminem's "Curtain Call" album to construct visual and thematic relations between the products. While maintaining similar design formalities, the ancillary texts differentiated in information layout to distinguish the mediums but attract larger audiences through repetition and difference. This promoted the dominant reading of the artist's troublesome character through selective high visibility of conventions relating to drugs and social identity.
The document provides questions and guidance for answering a question about how a media product uses, develops, or challenges conventions of real media products. It begins by outlining what should be included in the introduction such as explaining the importance of genre conventions in media texts, particularly for music.
It then lists several points to address for both a music video and ancillary products, including what genre conventions were included/excluded and why, what was learned about conventions for real products and what was included/excluded. It suggests considering how conventions appeal to audiences and any conscious decisions to challenge conventions. Lastly, it recommends providing examples from the media products and using technical terms. The document concludes by offering advice on planning an answer and providing examples of
The document discusses the music video and promotional materials created for the artist "Roots Manuva" and their song "Stolen Youth". It examines how the music video uses conventions from existing rap music videos such as narratives, lip syncing, and cultural signifiers. The promotional poster incorporates conventions like the artist's name, album title, and magazine reviews. The digipak design includes elements like parental advisories, copyright information, and album art influenced by Drake's "Nothing Was the Same". Overall, the document analyzes how the project challenges and develops existing conventions in music videos and promotional packaging.
1) The document evaluates a music video and its ancillary texts through audience feedback.
2) A questionnaire was administered to 30 people in the target age group of 14-24. It contained closed and open-ended questions about the CD cover, advert, and music video.
3) The results showed that most respondents found the link between the ancillary texts and music video to be clear. They also said the video matched expectations of a typical hip hop video and that they would be willing to watch it after seeing the advert or CD cover.
The document provides an evaluation of a music video and its marketing. It summarizes the ways the music video both conformed to and challenged conventions of real hip hop music videos. It also discusses how the music video and ancillary texts like the CD cover and advert worked together. Feedback was gathered from the target audience through a questionnaire. The feedback showed that the ancillary texts successfully promoted and marketed the music video, as the target audience was interested in watching it after seeing the advert or CD cover. The creator learned that designing elements that appeal to the target audience and reflect genre conventions can help ensure a new media product is successful.
The document discusses the ways in which the author's music video, digipak, and magazine poster use, develop, or challenge conventions of real media texts. The author researched music video structure theory and incorporated generic camera shots and mid-range shots to visualize the artist's performance. They aimed to be partially conventional as a hip hop music video but also unique to appeal to viewers. Archetypes, repetition and difference, and promotion theories were also researched and applied to represent the artist as "troublesome" across all products through imagery like drugs and to reinforce this intended dominant reading. Both promotional products seamlessly integrated the same drug-related imagery to visually relate to the "Exile" album name and establish familiarity
The combination of the main music video production and ancillary texts (digipak and magazine poster) was effective in promoting recognition and synergy across mediums. Key elements like recurring imagery, camerawork, lighting, color scheme, and character representation were adapted from Eminem's "Curtain Call" album to construct visual and thematic relations between the products. While maintaining similar design formalities, the ancillary texts differentiated in information layout to distinguish the mediums but attract larger audiences through repetition and difference. This promoted the dominant reading of the artist's troublesome character through selective high visibility of conventions relating to drugs and social identity.
The document provides questions and guidance for answering a question about how a media product uses, develops, or challenges conventions of real media products. It begins by outlining what should be included in the introduction such as explaining the importance of genre conventions in media texts, particularly for music.
It then lists several points to address for both a music video and ancillary products, including what genre conventions were included/excluded and why, what was learned about conventions for real products and what was included/excluded. It suggests considering how conventions appeal to audiences and any conscious decisions to challenge conventions. Lastly, it recommends providing examples from the media products and using technical terms. The document concludes by offering advice on planning an answer and providing examples of
The document discusses the music video and promotional materials created for the artist "Roots Manuva" and their song "Stolen Youth". It examines how the music video uses conventions from existing rap music videos such as narratives, lip syncing, and cultural signifiers. The promotional poster incorporates conventions like the artist's name, album title, and magazine reviews. The digipak design includes elements like parental advisories, copyright information, and album art influenced by Drake's "Nothing Was the Same". Overall, the document analyzes how the project challenges and develops existing conventions in music videos and promotional packaging.
1) The document evaluates a music video and its ancillary texts through audience feedback.
2) A questionnaire was administered to 30 people in the target age group of 14-24. It contained closed and open-ended questions about the CD cover, advert, and music video.
3) The results showed that most respondents found the link between the ancillary texts and music video to be clear. They also said the video matched expectations of a typical hip hop video and that they would be willing to watch it after seeing the advert or CD cover.
The document provides an evaluation of a music video and its marketing. It summarizes the ways the music video both conformed to and challenged conventions of real hip hop music videos. It also discusses how the music video and ancillary texts like the CD cover and advert worked together. Feedback was gathered from the target audience through a questionnaire. The feedback showed that the ancillary texts successfully promoted and marketed the music video, as the target audience was interested in watching it after seeing the advert or CD cover. The creator learned that designing elements that appeal to the target audience and reflect genre conventions can help ensure a new media product is successful.
1) The document evaluates a music video and its ancillary texts through audience feedback.
2) A questionnaire was administered to 30 people in the target age group of 14-24. It contained closed and open-ended questions about the CD cover, advert, and music video.
3) The results showed that most respondents found the link between the ancillary texts and music video to be clear. They also said the video matched expectations of a typical hip hop video and that they would be willing to watch it after seeing the advert or CD cover.
The document discusses how a film trailer, magazine cover, and website for a dance film called "Breaking Pointe" both conforms to and challenges conventions of existing media products. The trailer generally conforms by using techniques like multiple songs and diegetic sounds. It challenges conventions by focusing on a single main character rather than a group. The magazine cover conforms to conventions like bold mastheads and film stills, but challenges conventions by using an LED background atypical for film magazines. The website conforms to conventions like story sections and galleries, but challenges conventions by having limited interactive features due to technology restrictions.
The document summarizes how the media product uses and challenges conventions of real media through techniques like camera shots, editing, sound, and mise-en-scene. It discusses using close-up shots of the artist and props to engage audiences and convey emotions. Feedback was gathered from audiences to understand how to improve the video and print products. A variety of media technologies were used in the research, planning, and evaluation stages.
The document discusses how the student's media products for a music video, print advert, and digipak for the song "Adrenaline Junkie" both utilize conventions of real media products in the indie rock genre as well as introduce some original, entropic elements.
The music video uses conventional techniques like close-up shots of musicians performing and lip syncing, but also employs unconventional color filters to signify mood and monochrome/color switching for visual interest. Audience feedback helped shape some unique elements. While following standard formats, the print materials also feature monochrome/color mixing not found in the student's research. The goal was to balance familiarity and novelty to engage the target audience.
The student evaluated their media products which included a digipak, advert, and music video for the band Daughter. For each product, the student discussed how they used, developed, or challenged conventions of real media. Across the products, the student aimed to maintain continuity through techniques like using similar fonts, colors, and motifs like polaroid photos. The student also discussed how audience feedback validated their efforts to effectively match the visuals to lyrics, illustrate themes through imagery and motifs, and incorporate intertextuality. The student learned they successfully conveyed their intended messages and storylines through their creative adaptations of conventions.
The document discusses how the media product utilizes, develops, or challenges conventions of real media forms. It analyzes conventions of music videos, digipaks, and magazine ads that were used in the product. Many conventions like narratives, color schemes, and imagery of the artist were employed to create recognizable genres and appeal to audiences. Some conventions like relationships were challenged to better suit the goals and story. Maintaining branding across formats helped develop the artist identity.
The document discusses the evaluation of a student's media studies project. It summarizes how the student used conventions from real hip hop music videos like Kanye West's "Two Words" to inform their own video. Feedback was generally positive about the main video and ancillary materials like the album and magazine covers. Throughout the project, the student used technologies like Final Cut Pro, Photoshop, Weebly, YouTube and a Canon camera. In conclusion, the student believes the project was generally successful at conveying their intended message while challenging some expectations of the hip hop genre.
This document discusses conventions of the indie rock music genre. It outlines characteristics commonly seen in indie rock music videos, such as outdoor locations, casual costumes, medium close-ups of the singer, and narratives focused on love and relationships. The document then discusses how the author's music video will incorporate many of these conventions, such as using outdoor locations and costumes to create a relatable yet distant "star image" for the band. It also explores concepts of redundancy and entropy in genre conventions.
The document discusses what the author has learned from audience feedback on their promotional package for an indie music artist. They collected qualitative feedback at various stages of the project via video interviews, a Facebook group, and a final video interview. The feedback helped the author identify redundant features that situated their work within the indie genre, as well as aspects that could be improved. Key lessons included ensuring continuity across all elements, having a clear stylistic cohesion, and telling a fully clear narrative. The audience feedback confirmed that the work conformed to expectations of the indie genre.
- The document discusses how the student's music video uses and challenges conventions of real music videos. It analyzes techniques like time-lapse and costume changes that are commonly used.
- Feedback indicated the video's narrative was weak without a clear story introduced. Most music videos effectively establish a narrative that audiences can relate to.
- Lessons were learned about gathering audience feedback. Questionnaires provided limited feedback while an open Facebook post allowed more natural comments from the target demographic.
1) The document discusses feedback the author received from their target audience on various creative works and products.
2) Focus groups and questionnaires were used to gather feedback, which helped the author understand what was confusing or unclear and make appropriate changes.
3) Key areas the feedback focused on included understanding the narrative, choosing appropriate platforms, deciding between advertising options, establishing branding, and fine-tuning elements like colors, fonts, and filters. The feedback helped the author strengthen the work and ensure it effectively engaged the target demographic.
Evaluation question 3 - what have you learned from your audience feedbackJayFranks
The student gathered feedback on their media projects through questionnaires. For their music video, most respondents said it fit the punk genre and liked the intense editing and passionate performance. One suggested smoother transitions. Teachers provided feedback that the narrative was too typical and needed to be more intense. The student considered several ideas and ended up re-shooting parts and emphasizing intensity based on teacher feedback. For magazine ads, most respondents were the target age and gender and felt they fit the punk genre. Respondents gave positive comments and rated the ads highly. The student was advised to make text more readable. For their CD digipak, most respondents again felt it fit the genre and gave it high ratings, with a suggestion to make text larger
The document outlines plans for creating a music video for a song that explores human conflict. It discusses researching different music video genres and conventions to incorporate narratives and live performances that better visually represent the song. The document also mentions obtaining permission to use a professional artist's song, as well as conducting further research on music video techniques through online tutorials to produce a high quality video with a limited budget.
The document discusses a group media project to create a music video and ancillary tasks promoting a fictional band called Funnel. It describes the contributions of each group member, including filming and editing the music video. Feedback from audiences found the video creative but could have more location variation. Various technologies like Photoshop, Final Cut Express, digital cameras and Blogger were used effectively in the construction, research, planning and evaluation of the project.
The document summarizes the key design elements and intentions behind the print productions for a music album. Some key points:
- The album cover features a close-up shot of the artist in black and white to emphasize their identity and reserved personality.
- Inner panels show half the faces of characters to add mystery and intrigue audiences. Newton's cradles also reference the music video.
- Typography, deep blue color, and minimalist style take inspiration from psychedelic art and indie genres to imply the music is an immersive experience.
- Shots and cropping focus attention on the artist to clearly establish their brand and presence over any logos.
The document discusses what the author has learned from collating target audience feedback on their promotional package for an indie music artist. Specifically, the author learned that their package successfully created continuity across the three components, had a clear stylistic cohesion, and was interpreted by audiences as fitting within the indie genre based on its use of conventions from other real indie products. The target audience feedback also identified areas for improvement, such as ensuring a clearer narrative in the music video. Overall, collating qualitative feedback helped the author create a professional promotional package that audiences received as expected for the indie genre.
The document discusses the coursework for a media studies class involving the creation of three related media products: a music video, digipak, and magazine advert based on an acoustic artist. It describes the tasks involved in researching, planning, constructing, and gathering feedback on the products. The document then analyzes how the author's music video both followed and challenged conventions for music videos through elements like a focus on the performer, mood set by black and white filming, and relationship between visuals and audio. Theories from scholars like Andrew Goodwin are also examined in relation to the music video.
This document summarizes how a student's music video project used, developed, and challenged conventions of real media products. The student researched conventions of genres like rap and nerd rap to appeal to different audiences. Inspired by YouTube Rewind's postmodern remixing, the student included smooth transitions and micro-narratives linked to lyrics. Conventions like close-ups, dark backgrounds, and fire visuals supported the lyrics. Film noir influences like lighting, angles, and an alienated protagonist conveyed themes of nerd suppression. The student also incorporated conventions from K-pop like audience interaction and seamless transitions. Intertextual references to other media products further reflected remix culture.
The candidate learned several important lessons from receiving feedback on their music video, magazine advertisement, and digipak from their target audience. They found that regularly incorporating feedback helped improve their work and make it more appealing. While not all feedback was applied, considering suggestions and finding compromises helped enhance the projects. The candidate discovered that pleasing all audience members can be difficult but that variability in elements like cutting pace kept most engaged.
The document discusses how the media product conforms to and challenges conventions of real music videos and the alternative rock genre. It follows conventions such as showing the relationship between the music and visuals, using close-ups of the band members, and choosing a gritty, abandoned location. However, it chooses not to focus on the relationship between lyrics and visuals or use a narrative concept to instead emphasize the band's musical skills. The document also discusses how the designed digipak and magazine advertisement conform to conventions like including lyrics but develop them by printing the lyrics under the CD rather than in a separate booklet.
The document discusses how media technologies were used at various stages of a media studies course project. During research, the internet and YouTube were used to analyze existing media texts. Microsoft Word, questionnaires, and Excel were used to conduct audience research. Adobe Photoshop and After Effects were used for logo and video productions. A smartphone was used to capture high-quality footage. Blogging platforms like Blogger were used to present work through slideshows and embedded videos.
The document discusses the effectiveness of connecting a main product like an album to ancillary products like music videos, posters, and digipaks. It analyzes how artists like Taylor Swift, Drake, and Ed Sheeran connect their different products through consistent branding elements like color schemes while also allowing for variety. The author's own ancillary products - a poster and digipak for a music video - have related but different designs, inspired by other artists, to appeal to wider audiences while still linking the products to the featured artist, Mike Swanson.
1) The document evaluates a music video and its ancillary texts through audience feedback.
2) A questionnaire was administered to 30 people in the target age group of 14-24. It contained closed and open-ended questions about the CD cover, advert, and music video.
3) The results showed that most respondents found the link between the ancillary texts and music video to be clear. They also said the video matched expectations of a typical hip hop video and that they would be willing to watch it after seeing the advert or CD cover.
The document discusses how a film trailer, magazine cover, and website for a dance film called "Breaking Pointe" both conforms to and challenges conventions of existing media products. The trailer generally conforms by using techniques like multiple songs and diegetic sounds. It challenges conventions by focusing on a single main character rather than a group. The magazine cover conforms to conventions like bold mastheads and film stills, but challenges conventions by using an LED background atypical for film magazines. The website conforms to conventions like story sections and galleries, but challenges conventions by having limited interactive features due to technology restrictions.
The document summarizes how the media product uses and challenges conventions of real media through techniques like camera shots, editing, sound, and mise-en-scene. It discusses using close-up shots of the artist and props to engage audiences and convey emotions. Feedback was gathered from audiences to understand how to improve the video and print products. A variety of media technologies were used in the research, planning, and evaluation stages.
The document discusses how the student's media products for a music video, print advert, and digipak for the song "Adrenaline Junkie" both utilize conventions of real media products in the indie rock genre as well as introduce some original, entropic elements.
The music video uses conventional techniques like close-up shots of musicians performing and lip syncing, but also employs unconventional color filters to signify mood and monochrome/color switching for visual interest. Audience feedback helped shape some unique elements. While following standard formats, the print materials also feature monochrome/color mixing not found in the student's research. The goal was to balance familiarity and novelty to engage the target audience.
The student evaluated their media products which included a digipak, advert, and music video for the band Daughter. For each product, the student discussed how they used, developed, or challenged conventions of real media. Across the products, the student aimed to maintain continuity through techniques like using similar fonts, colors, and motifs like polaroid photos. The student also discussed how audience feedback validated their efforts to effectively match the visuals to lyrics, illustrate themes through imagery and motifs, and incorporate intertextuality. The student learned they successfully conveyed their intended messages and storylines through their creative adaptations of conventions.
The document discusses how the media product utilizes, develops, or challenges conventions of real media forms. It analyzes conventions of music videos, digipaks, and magazine ads that were used in the product. Many conventions like narratives, color schemes, and imagery of the artist were employed to create recognizable genres and appeal to audiences. Some conventions like relationships were challenged to better suit the goals and story. Maintaining branding across formats helped develop the artist identity.
The document discusses the evaluation of a student's media studies project. It summarizes how the student used conventions from real hip hop music videos like Kanye West's "Two Words" to inform their own video. Feedback was generally positive about the main video and ancillary materials like the album and magazine covers. Throughout the project, the student used technologies like Final Cut Pro, Photoshop, Weebly, YouTube and a Canon camera. In conclusion, the student believes the project was generally successful at conveying their intended message while challenging some expectations of the hip hop genre.
This document discusses conventions of the indie rock music genre. It outlines characteristics commonly seen in indie rock music videos, such as outdoor locations, casual costumes, medium close-ups of the singer, and narratives focused on love and relationships. The document then discusses how the author's music video will incorporate many of these conventions, such as using outdoor locations and costumes to create a relatable yet distant "star image" for the band. It also explores concepts of redundancy and entropy in genre conventions.
The document discusses what the author has learned from audience feedback on their promotional package for an indie music artist. They collected qualitative feedback at various stages of the project via video interviews, a Facebook group, and a final video interview. The feedback helped the author identify redundant features that situated their work within the indie genre, as well as aspects that could be improved. Key lessons included ensuring continuity across all elements, having a clear stylistic cohesion, and telling a fully clear narrative. The audience feedback confirmed that the work conformed to expectations of the indie genre.
- The document discusses how the student's music video uses and challenges conventions of real music videos. It analyzes techniques like time-lapse and costume changes that are commonly used.
- Feedback indicated the video's narrative was weak without a clear story introduced. Most music videos effectively establish a narrative that audiences can relate to.
- Lessons were learned about gathering audience feedback. Questionnaires provided limited feedback while an open Facebook post allowed more natural comments from the target demographic.
1) The document discusses feedback the author received from their target audience on various creative works and products.
2) Focus groups and questionnaires were used to gather feedback, which helped the author understand what was confusing or unclear and make appropriate changes.
3) Key areas the feedback focused on included understanding the narrative, choosing appropriate platforms, deciding between advertising options, establishing branding, and fine-tuning elements like colors, fonts, and filters. The feedback helped the author strengthen the work and ensure it effectively engaged the target demographic.
Evaluation question 3 - what have you learned from your audience feedbackJayFranks
The student gathered feedback on their media projects through questionnaires. For their music video, most respondents said it fit the punk genre and liked the intense editing and passionate performance. One suggested smoother transitions. Teachers provided feedback that the narrative was too typical and needed to be more intense. The student considered several ideas and ended up re-shooting parts and emphasizing intensity based on teacher feedback. For magazine ads, most respondents were the target age and gender and felt they fit the punk genre. Respondents gave positive comments and rated the ads highly. The student was advised to make text more readable. For their CD digipak, most respondents again felt it fit the genre and gave it high ratings, with a suggestion to make text larger
The document outlines plans for creating a music video for a song that explores human conflict. It discusses researching different music video genres and conventions to incorporate narratives and live performances that better visually represent the song. The document also mentions obtaining permission to use a professional artist's song, as well as conducting further research on music video techniques through online tutorials to produce a high quality video with a limited budget.
The document discusses a group media project to create a music video and ancillary tasks promoting a fictional band called Funnel. It describes the contributions of each group member, including filming and editing the music video. Feedback from audiences found the video creative but could have more location variation. Various technologies like Photoshop, Final Cut Express, digital cameras and Blogger were used effectively in the construction, research, planning and evaluation of the project.
The document summarizes the key design elements and intentions behind the print productions for a music album. Some key points:
- The album cover features a close-up shot of the artist in black and white to emphasize their identity and reserved personality.
- Inner panels show half the faces of characters to add mystery and intrigue audiences. Newton's cradles also reference the music video.
- Typography, deep blue color, and minimalist style take inspiration from psychedelic art and indie genres to imply the music is an immersive experience.
- Shots and cropping focus attention on the artist to clearly establish their brand and presence over any logos.
The document discusses what the author has learned from collating target audience feedback on their promotional package for an indie music artist. Specifically, the author learned that their package successfully created continuity across the three components, had a clear stylistic cohesion, and was interpreted by audiences as fitting within the indie genre based on its use of conventions from other real indie products. The target audience feedback also identified areas for improvement, such as ensuring a clearer narrative in the music video. Overall, collating qualitative feedback helped the author create a professional promotional package that audiences received as expected for the indie genre.
The document discusses the coursework for a media studies class involving the creation of three related media products: a music video, digipak, and magazine advert based on an acoustic artist. It describes the tasks involved in researching, planning, constructing, and gathering feedback on the products. The document then analyzes how the author's music video both followed and challenged conventions for music videos through elements like a focus on the performer, mood set by black and white filming, and relationship between visuals and audio. Theories from scholars like Andrew Goodwin are also examined in relation to the music video.
This document summarizes how a student's music video project used, developed, and challenged conventions of real media products. The student researched conventions of genres like rap and nerd rap to appeal to different audiences. Inspired by YouTube Rewind's postmodern remixing, the student included smooth transitions and micro-narratives linked to lyrics. Conventions like close-ups, dark backgrounds, and fire visuals supported the lyrics. Film noir influences like lighting, angles, and an alienated protagonist conveyed themes of nerd suppression. The student also incorporated conventions from K-pop like audience interaction and seamless transitions. Intertextual references to other media products further reflected remix culture.
The candidate learned several important lessons from receiving feedback on their music video, magazine advertisement, and digipak from their target audience. They found that regularly incorporating feedback helped improve their work and make it more appealing. While not all feedback was applied, considering suggestions and finding compromises helped enhance the projects. The candidate discovered that pleasing all audience members can be difficult but that variability in elements like cutting pace kept most engaged.
The document discusses how the media product conforms to and challenges conventions of real music videos and the alternative rock genre. It follows conventions such as showing the relationship between the music and visuals, using close-ups of the band members, and choosing a gritty, abandoned location. However, it chooses not to focus on the relationship between lyrics and visuals or use a narrative concept to instead emphasize the band's musical skills. The document also discusses how the designed digipak and magazine advertisement conform to conventions like including lyrics but develop them by printing the lyrics under the CD rather than in a separate booklet.
The document discusses how media technologies were used at various stages of a media studies course project. During research, the internet and YouTube were used to analyze existing media texts. Microsoft Word, questionnaires, and Excel were used to conduct audience research. Adobe Photoshop and After Effects were used for logo and video productions. A smartphone was used to capture high-quality footage. Blogging platforms like Blogger were used to present work through slideshows and embedded videos.
The document discusses the effectiveness of connecting a main product like an album to ancillary products like music videos, posters, and digipaks. It analyzes how artists like Taylor Swift, Drake, and Ed Sheeran connect their different products through consistent branding elements like color schemes while also allowing for variety. The author's own ancillary products - a poster and digipak for a music video - have related but different designs, inspired by other artists, to appeal to wider audiences while still linking the products to the featured artist, Mike Swanson.
A storyboard is a series of frames that illustrate the sequence of events in a media production through drawings of shots, camera angles, movements, lengths and timings. Storyboarding is an important pre-production step that allows filmmakers to pre-visualize their production and discover potential problems before filming begins. The storyboard will include illustrations of the proposed camera shots and transitions within the music video from shot numbers one through thirty.
George conducted audience research through a questionnaire to understand preferences for music videos. The questionnaire was distributed to 11-18 year olds and included questions about preferred music video styles, the importance of music videos for a song's success, and viewing habits. Most respondents were 16-18 years old and the gender split was nearly even. Most respondents indicated they were drawn to performance-style music videos and felt music videos were important to a song's success. The majority also said they would watch a music video if they heard a song they enjoyed on the radio. The results provided insight into what this target audience engages with that will help George create an effective music video.
A PowerPoint explaining what a record label is, the difference between major and independent labels and an example of a record label my artist would sign on to.
This document summarizes the genre of trance music. It discusses the origins of trance in Germany, Belgium and the Netherlands in the late 1980s/early 1990s. Trance uses repeating melodic phrases and other musical effects to build tension. Early influential artists included Yuzo Koshiro and Motohiro Kawashima. Underground parties and nightclub scenes in the 1980s/1990s helped develop the genre. While early productions were distributed on vinyl, modern trance has benefited from a return to older sounds and practices. Videos often feature abstract visuals rather than the artists. Drugs have also had influence in nightclub scenes and enhancing the emotional aspects of trance music.
The combination of the main music video and ancillary texts (digipak and poster) is effective. Similar visuals and color schemes are used throughout to clearly identify all the pieces as being part of the same production. Both the ancillary texts and music video feature the artist "Run Down" facing backwards to create mystery and intrigue for the audience. Viewing the music video is needed to fully understand and decode the meaning presented in the ancillary texts. Together, the ancillary texts and music video work to promote each other by forcing the audience to engage with all elements of the overall production.
The document discusses casting choices for a music video. Dawid Jurkowski is chosen to play the main role of the artist "Run Down" because his relaxed posture suits the mood of the relaxing song. His fashion sense also suits the influence of fashion in music videos. Bartek Wielblad is chosen to play Dawid's friend because his calm posture further enhances the relaxed mood. However, Bartek will be shown as a potentially negative influence on Dawid through depicting drug use and negatively perceived behaviors and appearances.
The document discusses the development of a music video for Tupac's song "No Changes" that challenges conventions of typical hip hop music videos. The video portrays the death of an African American man killed due to racism and includes footage of police brutality to highlight ongoing social issues. Colors like red were chosen intentionally to represent danger and emotion, while black represents death and power. Unlike many hip hop videos, it does not include discrimination of women or material displays of wealth. The video follows a narrative format with some performance elements to convey the song's political and conscious messages.
The document outlines props that will be used in a music video to visualize and reinforce the lyrics and themes of the song. Mobile phones, plants containing marijuana, sunglasses, cigarettes, money, eggs, syrup, and bottles of alcohol will all be used as props. These props will reference lyrics about drug use, wealth, daily routines, and social events. They will portray typical elements and conventions of hip hop music videos like reinforcing social issues mentioned in lyrics and displaying wealth.
The document discusses location plans for a hip hop music video. It will feature three locations: a public park, house, and streets from the producer's local area of Bedford. The park will portray the artist smoking marijuana in a social setting. The house will show the artist smoking and drinking there to illustrate lyrics about laziness and absence from school. The streets will depict the artist socializing and handling marijuana to convey their mood and journey. All three generic hip hop music video locations will help viewers identify the genre of the production.
This document discusses the design choices made for the front and back covers and CD design of a digipak for an album. Recurring imagery from the artist's music video was used, including smoke imagery and the artist's clothing, to create synergy between the products and video. The front cover depicts the artist smoking with their name and album title in smoke. The back cover continues the smoke imagery and depicts the house environment from the video. The CD design shows the artist preparing drugs to reflect the main theme of the song and video. Green color was used throughout to associate the artist with marijuana.
The document provides a filming schedule for a music video over 4 days. It outlines the verses and lyrics being filmed each day, the camerawork and locations being used, as well as any props. It also includes a log of any problems encountered during filming and the solutions implemented. The schedule shows filming taking place across various outdoor street locations on days 1, 2 and 4, and at indoor house locations on day 3 and parts of day 4. Camerawork includes close-ups, mid and long shots. Props incorporate things like money, cigarettes, phones and food items. Issues such as poor weather, lighting and equipment are addressed and resolved to complete the filming.
The document discusses several techniques of postmodernism that may appear in music videos, including parody, intertextuality, pastiche, hyperconsciousness, fourth wall breaking, and homage. It then analyzes the music video for Halsey's "New Americana" and identifies several postmodern elements. Specifically, the video pays homage to young adult dystopian films through its aesthetic and narrative. Additionally, the song itself parodies pop culture by criticizing it while sounding like a pop song.
The combination of the main music video product and ancillary texts like the digipak and magazine poster were effective in promoting the new artist. The digipak and poster were designed to synergistically promote the video, which would in turn promote the artist. Similar greyscale color schemes and identifiable looks were used across products to clearly link them together. Influences from existing successful album designs were also drawn upon to create engaging and recognizable ancillary texts that complemented the core video product.
- The letter is a copyright permission request to Rostrum Records to use the song "Senior Skip Day" by Mac Miller in a student's A-Level media studies music video coursework.
- It acknowledges that the song is copyrighted by Rostrum Records and that permission is required to use it for educational, non-commercial purposes.
- The student promises to credit Rostrum Records and Mac Miller as the song's owner and artist.
The document discusses the planning and promotion of a new album by an artist named "Run Down". It describes various elements of the album's artwork, music videos, and social media presence that are intended to portray a rebellious lifestyle. This includes imagery implying smoking and drug use, as well as song titles and references that suggest unacceptable behaviors. The goal is to engage the artist's audience and increase awareness of the album's release through provocative imagery and themes.
The document discusses hip hop music genre research. It provides definitions and examples of key aspects of hip hop including subgenres, significant artists, representation of artists, ideologies represented in music videos, and generic conventions of hip hop music videos. Record labels important to hip hop like Def Jam and Cash Money are also discussed. The research will help inform the production of an original hip hop music video.
The document discusses the results of an audience survey conducted to provide feedback on a music video production. Some key findings:
- 98% of respondents felt the music video conformed to generic hip hop productions.
- 77.55% felt the video differentiated in certain ways from other hip hop videos, particularly through its lighting, artist presentation, and editing.
- Over 97.96% of respondents felt the video used enough conventions to be identified as a hip hop music video.
- The majority felt the ancillary promotional materials like a magazine poster and digital pack successfully advertised the main video and were clearly linked to the same production.
- The respondent created a survey to get feedback from their target audience on a music video, magazine poster, and digipak they created.
- The survey results showed that most respondents correctly identified the music video genre as R&B and felt the video generally conformed to R&B conventions, though some wanted more of a narrative story.
- Respondents also found the poster and digipak attractive and consistent in design, and many said they would be persuaded to purchase the album based on the ancillary materials.
- Overall, most respondents rated the music video and ancillary materials positively, though the respondent notes room for further improvements and more detailed feedback.
- The document discusses audience feedback from a questionnaire given to 30 students aged 17-18 about a hip hop music video.
- Key findings include that 77.8% found the video enjoyable, 80% felt it fit expectations of a hip hop video, and 100% felt it used enough hip hop conventions.
- However, the intended dominant reading of the negative aspects of drug life was less clear, with 73.3% interpreting the dominant reading as the rebellious lifestyle instead.
Evaluation 3 - What have you learned from audience feedback?Dawid Jurkowski
- The document discusses audience feedback from a questionnaire given to 30 students aged 17-18 about a hip hop music video.
- Key findings include that 77.8% found the video enjoyable, 80% felt it fit expectations of a hip hop video, and 100% felt it used enough hip hop conventions.
- However, the intended dominant reading of the negative aspects of drug life was less clear, with 73.3% interpreting the dominant reading as the rebellious lifestyle instead.
The document discusses the results of audience feedback gathered through a survey about a student's music video and ancillary texts (a digipak and magazine poster). Key findings from the feedback include: most people rated the music video highly; most felt it fit the hip hop genre; high lighting was seen as the biggest difference from other music videos; and the ancillary texts were seen as effectively promoting the music video. The student concludes some areas for improvement like adding more information to the ancillary texts based on feedback.
1) The author conducted market research early in the planning process through questionnaires, focus groups, and secondary research to better understand the target audience and shape the music video proposal.
2) Questionnaire responses showed that 58% of the audience supported music videos with themes/issues and rated the importance of the proposed topic of self-image pressures on young people as 8.1/10, reinforcing the proposed topic.
3) Focus group feedback suggested marketing the artist as relatable rather than idealized, in line with changing audience preferences compared to past decades.
- The questionnaire found that YouTube is the most viewed platform, with 17-21 year olds being the biggest users. Performance-based music videos and hip hop music were the most popular.
- Social media is the main way people learn about new music video releases. Mobile phones are the most used device to watch music videos.
- The vox pop interviews found audiences expect hip hop music videos to be fast paced and include conventions like violence, drugs, and portrayals of women.
1) The author conducted market research early in the planning process through questionnaires, focus groups, and secondary research to better understand the audience and shape the music video concept.
2) Questionnaire responses showed that 58% of the audience supported music videos with themes/issues and rated the importance of the self-image theme highly. This encouraged pursuing the planned theme.
3) Focus group feedback emphasized making the artist seem relatable rather than idealized, to better connect with the audience on the self-image theme.
4) Secondary research profiled typical demographics, interests and media consumption of the target Beyoncé fan audience, which aligned well with the planned music video themes.
G324 Media Studies Evaluation - Question 3: What did you learn from your Audi...jwestonf0wj
G324 Media Studies Evaluation - Question 3: What did you learn from your Audience Feedback?
Joe Weston
Candidate No: 4231
www.joewestona2media.blogspot.com
Media A2 General Market Research Surveynattsuchecki
- A survey was conducted on social media asking people interested in rock music videos about their viewing habits and preferences.
- The majority of respondents were female aged 14-17, indicating the target audience is youthful females.
- Most respondents watch music videos regularly and feel they contribute to an artist's success by increasing awareness, sales, and interest in the artist.
- Live performances were viewed as the most appealing and effective type of music video, though some respondents also liked behind-the-scenes footage and storylines.
q3 - What have you learned from your audience feedback roboobeat
The document discusses surveys the author conducted to gather feedback on a music video they created. They used SurveyMonkey to collect information from a wide audience about music video preferences. The results showed most respondents were men aged 16-25 who liked hip hop. This informed the author's decision to include partying, money in their narrative and performance-based video. A second survey of the author's target audience provided more useful feedback, with most respondents liking the video's performance and editing. This positive feedback meant the author did not need to change the final cut and could move to other tasks.
The document discusses the audience feedback the author received for a music video project. It describes conducting an online survey to profile the target audience, which was found to be 18-25 year old fans of singer-songwriter music from northwest England. The survey asked about music preferences, lifestyle, and preferred video styles. This informed the creation of the first draft video, which focused on themes of songwriting and seeking inspiration. A focus group provided feedback on the draft that helped clarify the narrative and identify additional shots needed.
Hugo Field evaluated his media campaign through focus groups, questionnaires, and YouTube statistics. The focus group of 17-24 year olds provided qualitative feedback on themes and design elements. Questionnaires gathered responses from a larger audience. YouTube stats showed the video attracted many 18-30 year old females due to the masculine lead singer. However, over half of viewers stopped watching after 55 seconds, indicating the need to further engage audiences. Overall, the evaluation revealed both strengths in targeting the right demographics but also weaknesses in fully captivating viewers.
The document summarizes the results of a 30 question questionnaire about music video and CD cover preferences. It finds that the sample of respondents was evenly split between male and female, mostly aged 16-18, and preferred R&B and pop music genres. Most respondents said they liked to watch MTV Base and preferred performance-based music videos that featured their favorite artist. They expected to see genres and choreography in R&B music videos and consumed music mostly online or through TV advertisements. The analysis suggests targeting 16-18 year olds for an R&B or pop music video to be promoted on MTV Base featuring genres and choreography.
What have you learned from your audience feedbackNajat Hachem
The document discusses the importance of audience feedback at different stages of creating media products. It summarizes the feedback received from pre-production surveys, a focus group, and post-production surveys about a music video and related promotional materials. The feedback helped the creator understand their target audience, make choices about genre and representations, and identify areas for improvement.
The artist conducted audience research through an online questionnaire to understand what would appeal to their target audience of people who enjoy synthpop and new wave genres. The questionnaire asked about respondents' music preferences, why they watch music videos, and their preferences for video styles. Though the response was low, it helped the artist refine their plans for the music video, packaging, and advertising. Feedback from showing an early cut to classmates also provided useful guidance on lighting, shots, and capturing the mood of the song. This additional research helped the artist further improve their work.
The document discusses audience feedback that was gathered during the production of a music video, poster, and digipak for rising artist Isaiah Dreads. Research showed Isaiah's main fan base was 18-24 year old males. Questionnaires and focus groups with this target audience helped decide to create a heavily performance-based music video for the song "Hype in the Booth." Feedback guided location and concept choices. Though some non-target feedback disagreed, following the target audience ensured a professional product fitting the grime genre. Further target audience feedback confirmed the high quality of the final products and their synergy across formats. Audience research was crucial throughout to shape the products for maximum success and profits.
The document discusses the audience feedback Ben Winter received for his media studies project creating a music video. He conducted audience profiling to define his target audience, distributed online questionnaires, and received feedback from a focus group. The feedback informed aspects of the music video like including more narrative elements over performance elements. It also helped refine ideas for related materials like the album packaging. The feedback demonstrated how media theories and targeting the intended audience are important for an effective media product.
Q3 - What have you learned from your audience feedbackwolfgang13
The document discusses research conducted to build an audience profile for a potential electronic music artist. Surveys of Daft Punk fans provided insights into the target demographic's interests, values, and music consumption habits. Key findings included that the demographic was younger (15-24), interested in sci-fi and technology but less interested in manga/anime than assumed. Based on this research, the creator aimed their music video and other products at similar audiences to Daft Punk and the record label Ed Banger Records. Further surveys gathered feedback on rough cuts and final products, which informed changes such as emphasizing the concept narrative and suggested magazines for advertising.
The document summarizes the results of audience research conducted to help plan a music video project. A questionnaire was administered to 20 people to understand preferences around music genres, video conventions, and technology used for music consumption. Tally charts were used to analyze responses, which were then displayed in pie charts and bar graphs in Excel. Key findings included indie/soul and pop being most popular genres and over three-quarters of people watching music videos for entertainment. Narrative structure and multiple locations were preferred for videos. An audience profile was then created to apply the helpful research to project planning.
Similar to A2 Media Studies - Evaluation post 3 (20)
The document analyzes and summarizes the key visual elements and implied meanings across three images from the album packaging of Eminem's "Curtain Call". The front cover depicts Eminem bowing, surrounded by roses, implying he is being applauded for a successful performance. The inside cover shows artists in a studio, with one looking frustrated, suggesting the effort that went into making the album. The back cover again features Eminem among roses and track titles, indicating the songs led to his success and form his legacy, while extensive shadowing implies they are from past albums.
Within the music video, Dawid Jurkowski will portray the artist "Run Down" and Bartek Wielblad will portray his associate. Both will wear casual clothing typically seen in hip hop videos - tracksuit bottoms, plain t-shirts, and trainers. Run Down will also wear sunglasses, a snapback hat, and necklace to identify him as the main artist. Their outfits aim to portray them as rebellious teenagers associated with troublesome social groups to enhance the story. The costumes were chosen to be generically recognizable as hip hop style to identify the music video genre.
Within the music video, Dawid Jurkowski will portray the artist "Run Down" and Bartek Wielblad will portray his associate. Both will wear casual clothing typically seen in hip hop videos - tracksuit bottoms, plain t-shirts, and trainers. Run Down will also wear sunglasses, a snapback hat, and necklace to identify him as the main artist. Their outfits aim to portray them as rebellious teenagers associated with troublesome social groups to enhance the story. The costumes were chosen to be generically recognizable as hip hop style to identify the music video genre.
The document discusses costume planning for a music video. Dawid Jurkowski will portray the artist "Run Down" wearing casual hip hop style clothing like tracksuit bottoms, plain t-shirt, sneakers, sunglasses, hat and necklace to identify him as a hip hop artist. Bartek Wielblad will portray Run Down's associate, also in casual hip hop style clothing of tracksuit bottoms, hooded jacket and sneakers, but without accessories. Their outfits are meant to portray rebellious teenagers and reinforce stereotypes appealing to the presentation of a 'thug' to match the social issues explored in the video. The costumes were chosen to be generically recognizable from existing hip hop music
The production log summarizes the footage gathering, editing, and photoshoot processes for a music video. Footage was collected over four days in various environments to incorporate different camera angles, shots, and movements. Some indoor footage appeared yellow due to artificial lighting and required a reshoot. Editing took three days to align footage, add transitions and basic/advanced effects, and refine the video. Rendering failed initially due to insufficient RAM but was resolved by installing more RAM. Photos were taken over two days in various locations to capture the artist's poses and reinforce their image, and lighting issues during one shoot required fluorescent lighting.
The document discusses four major record labels - EMI, Sony BMG, Universal Music Group, and Warner Music Group. It provides details on their market shares, associated labels, ownership histories, and genres. Some key details include:
- EMI had a market share of 9.62% and was formerly owned by Citigroup, Terra Firma Capital Partners, and Time Warner before being sold to Universal and Warner Music.
- Sony BMG (now Sony Music Entertainment) had a 29.29% market share and was a joint venture between Sony and Bertelsmann before Sony bought out Bertelsmann.
- Universal Music Group has a 29.85% share and is owned by Viv
The document provides information on several major record labels, including their market share, associated labels, ownership history, and genres. It discusses EMI's history from 1897 to its acquisition by Universal Music Group and Warner Music in 2012. It also outlines the histories of Sony Music Entertainment from 1929 to 2008, Universal Music Group from 1934 to 2014, and Warner Music Group from 1958 to the present. The document concludes with a section on copyright policies and considerations for a potential hip hop music video production using content from these major labels.
The document discusses the history and development of hip hop music and culture. It covers the origins of hip hop in the 1970s in New York City, the emergence of rapping and DJing, and how hip hop grew into a mainstream genre in the 1980s. The document also discusses significant artists who helped develop hip hop such as DJ Kool Herc, Run-DMC, N.W.A., and Grandmaster Flash. It notes how hip hop influenced and was influenced by other genres like pop music. Finally, it discusses how artists are portrayed in hip hop music videos and culture, including the objectification of women and glorification of wealth.
Richard Dyer's star theory proposes that a pop star's image is a constructed fiction formed through various media like advertising, magazines, and films. A star becomes a commodity and brand that fans can identify with, and stars can influence fans' views, acting as ideologists. One Direction is discussed as an example that fits the model of a pop star. Their image was carefully constructed through TV performances and social media campaigns. They became hugely popular and influential through merchandise, charity work, and social media interactions with fans. However, the departure of Zayn Malik damaged their image, showing how fragile a constructed pop star persona can be.
One Direction is presented as an example that fits Richard Dyer's theory of a pop star. They were formed on The X Factor and gained widespread popularity. Their debut single and album were major commercial successes in the UK and internationally. Through their music, social media presence, charity work, and merchandising deals, they constructed an image as idealistic and influential pop stars with a large, devoted fan base. However, the departure of member Zayn Malik briefly obscured their image and led to some concerning reactions from fans online. Overall, One Direction demonstrates the characteristics of constructed, commercially successful pop stars with cultural influence according to Dyer's star theory.
This document provides background information on several major record labels: EMI, Sony BMG, Universal Music Group, and Warner Music Group. It details their market shares, associated labels, ownership histories, and genres. EMI was formed in 1931 through a merger and had success in the 1960s before facing challenges. It was later acquired by other companies. Sony BMG was formed in 2004 through a merger as well. Universal Music Group was associated with film studios and formed through acquisitions. Warner Music Group was founded in 1958 and went through several ownership changes over time as well. All of the labels represent a variety of genres but Warner is noted as associating most with hip hop, R&B, and pop. Copyright permissions
Record labels are responsible for marketing, producing, and distributing music and music videos. They help publicize artists and songs through budgets for advertising and quality music productions. Our artist would be best suited to a major record label like Def Jam Records, which has successfully publicized over 150 charting singles and 48 charting artists over the past 30 years. Def Jam was founded in 1983 and helped launch the careers of artists like LL Cool J and Beastie Boys. While record labels hold copyrights to promote artists' content, fair use of copyrighted music is allowed for educational purposes with proper permissions.
Record labels are responsible for marketing, producing, and distributing music and music videos. They help publicize artists and songs through budgets for advertising and quality music productions. Our artist would be best suited to a major record label like Def Jam Records, which has successfully publicized over 150 charting singles and 48 charting artists over the past 30 years. Def Jam was founded in 1983 and helped launch the careers of artists like LL Cool J and Beastie Boys. While record labels hold copyrights to promote artists' content, fair use of copyrighted music is allowed for educational purposes with proper permissions. This knowledge of copyright and record labels will help ensure any unique content I create to brand my own label avoids claims while obtaining the necessary appro
Richard Dyer developed the star theory in his 1979 book, which argued that audiences experience films based on the publicized figures (stars) that promote them. He analyzed magazines, advertising, films, and reviews to understand how popular figures influence audience perception. A true pop star's image is constructed through various materials like advertising and social media to become a recognizable brand and commodity that influences fans. One Direction exemplifies Dyer's definition of pop stars through their rise to fame on The X Factor, large social media following, ideologies promoted through charity work, and commercial merchandise.
Hip hop formed in the 1970s in New York City among young African Americans and Puerto Ricans. DJs would play funk and disco music and MCs would rhythmically speak or rap over the music. The Sugarhill Gang's "Rapper's Delight" in 1979 was a top hit and helped popularize hip hop. Grandmaster Flash and the Furious Five's "The Message" in 1982 incorporated social messages about issues like poverty and crime. In the 1980s, rappers added melodies and hip hop production moved to studios using instruments like drum machines. Politically conscious hip hop also emerged. In the 1990s, digital editing software altered hip hop styles and gangsta rap from Los Angeles featuring explicit lyrics became
This document defines and describes various film techniques including shots (extreme close up, close up, medium, long, extreme long), camera movements (track shot, pan shot, zoom shot), editing techniques (jump cut), and other elements (pace, performance, diegetic sounds, non-diegetic sounds, mise-en-scene). It provides explanations for each technique and their purposes in filmmaking such as to emphasize significance, show emotional state or surroundings, set the scene, or create different perspectives.
This document defines and describes various film techniques including shots (extreme close up, close up, medium, long, extreme long), camera movements (track shot, pan shot, zoom shot), editing techniques (jump cut), and other elements (pace, performance, diegetic and non-diegetic sounds, mise-en-scene). It provides the definitions of these techniques and what purpose they serve, such as using an extreme close up shot to emphasize details or a close up shot to show a subject's emotions.
This presentation was provided by Steph Pollock of The American Psychological Association’s Journals Program, and Damita Snow, of The American Society of Civil Engineers (ASCE), for the initial session of NISO's 2024 Training Series "DEIA in the Scholarly Landscape." Session One: 'Setting Expectations: a DEIA Primer,' was held June 6, 2024.
How to Add Chatter in the odoo 17 ERP ModuleCeline George
In Odoo, the chatter is like a chat tool that helps you work together on records. You can leave notes and track things, making it easier to talk with your team and partners. Inside chatter, all communication history, activity, and changes will be displayed.
How to Manage Your Lost Opportunities in Odoo 17 CRMCeline George
Odoo 17 CRM allows us to track why we lose sales opportunities with "Lost Reasons." This helps analyze our sales process and identify areas for improvement. Here's how to configure lost reasons in Odoo 17 CRM
This slide is special for master students (MIBS & MIFB) in UUM. Also useful for readers who are interested in the topic of contemporary Islamic banking.
The simplified electron and muon model, Oscillating Spacetime: The Foundation...RitikBhardwaj56
Discover the Simplified Electron and Muon Model: A New Wave-Based Approach to Understanding Particles delves into a groundbreaking theory that presents electrons and muons as rotating soliton waves within oscillating spacetime. Geared towards students, researchers, and science buffs, this book breaks down complex ideas into simple explanations. It covers topics such as electron waves, temporal dynamics, and the implications of this model on particle physics. With clear illustrations and easy-to-follow explanations, readers will gain a new outlook on the universe's fundamental nature.
How to Build a Module in Odoo 17 Using the Scaffold MethodCeline George
Odoo provides an option for creating a module by using a single line command. By using this command the user can make a whole structure of a module. It is very easy for a beginner to make a module. There is no need to make each file manually. This slide will show how to create a module using the scaffold method.
Executive Directors Chat Leveraging AI for Diversity, Equity, and InclusionTechSoup
Let’s explore the intersection of technology and equity in the final session of our DEI series. Discover how AI tools, like ChatGPT, can be used to support and enhance your nonprofit's DEI initiatives. Participants will gain insights into practical AI applications and get tips for leveraging technology to advance their DEI goals.
Thinking of getting a dog? Be aware that breeds like Pit Bulls, Rottweilers, and German Shepherds can be loyal and dangerous. Proper training and socialization are crucial to preventing aggressive behaviors. Ensure safety by understanding their needs and always supervising interactions. Stay safe, and enjoy your furry friends!
हिंदी वर्णमाला पीपीटी, hindi alphabet PPT presentation, hindi varnamala PPT, Hindi Varnamala pdf, हिंदी स्वर, हिंदी व्यंजन, sikhiye hindi varnmala, dr. mulla adam ali, hindi language and literature, hindi alphabet with drawing, hindi alphabet pdf, hindi varnamala for childrens, hindi language, hindi varnamala practice for kids, https://www.drmullaadamali.com
Exploiting Artificial Intelligence for Empowering Researchers and Faculty, In...Dr. Vinod Kumar Kanvaria
Exploiting Artificial Intelligence for Empowering Researchers and Faculty,
International FDP on Fundamentals of Research in Social Sciences
at Integral University, Lucknow, 06.06.2024
By Dr. Vinod Kumar Kanvaria
2. What is the purpose of audience feedback?
I had conducted audience feedback to discover whether my target audience acknowledges that my
productions suit their purpose. In which, the music video production is based upon their most mentioned
ideals of a music video; these ideals were gathered within my audience research tasks. Furthermore,
audience feedback was also considered as a source of information which would determine the interest of my
target audience, in relation to my music video production. This would provide an indication of the production's
success, via suggesting an audience size.
Audience is significant to the success of a media text. Whereby, audiences have many responses and
interactions in relation to a media text. This is discussed within Blumler and Katz uses and gratifications
theory, which proposes that audiences of media texts are not passive. And instead, actively interpret and
integrate media texts into their own lives. Moreover, the theory mentions that people have different uses and
gratifications of media texts. In relation to the theory’s model, my ancillary tasks were primarily aimed to be
recognised as promotional products of the same music video production; which relates to the ‘identity’ tier of
the model. This was inevitably questioned within my audience feedback survey, to understand whether the
products achieved their purpose as advertisements. Furthermore, my primary intention of the music video
production was to ‘educate’ yet ‘entertain’ my audience; by highlighting the social issues which youth
generations interact with. As social issues are generic themes of the genre, I questioned whether there were
enough generic conventions within the music video production. This was required to gain an understanding, of
my music video production; whether it can be identified as a hip hop production.
3. How did I conduct my audience feedback?
To conduct my audience feedback, I had issued an online questionnaire to a niche market; being my target
audience(aged between sixteen and eighteen). I had chosen the same sample demographic as within my
research stages, to discover the development and impact of my products on my target audience. In which, I
had systematically emailed the questionnaire to all my colleagues within my Sixth Form; allowing only a
sample frame of fifty people to answer my questionnaire. I believed that fifty people was a moderately sized
sample frame to obtain accurate results, whereby fifty samples enabled me to construct data trends within the
results and draw conclusions. Furthermore, I believed that such sample demographic is most appropriate for
my feedback, as the products are targeted to the same demographic(bands D and E); meaning that the
feedback is most relevant.
In consideration of David Gauntlett’s theory of Web 2.0, I had become a ‘prosumer’. Which, as a consumer of
surveys, I have become a producer of them also. Whereby, I had utilised online tools such as SurveyMonkey
to create a survey, and had distributed it via email protocol in order to obtain results. Notably, online issued
questionnaires allowed me to obtain and present data quicker, in comparison to my physical methodology of
audience research previously. Moreover, issuing online questionnaires provided the convenience of allowing
all my products to be integrated into the questionnaire, further providing an ease-of-access to my sample
frame.
5. “How well does the music video relate to existing hip hop
productions?”. From this question I intended to obtain
results focusing upon the music videos recognisability,
as being a hip hop production.
In relation to the data, the results have clearly reflected
that the production is very generic; being similar to
existing hip hop productions. Over the sample frame of
fifty people, the average rating was eight. The figure
eight, indicates that the production is well-identified, by
the means of showing similarities between existing hip
hop productions. This is what I intended of the music
video; being generic, so that the production can be
identified as a hip hop music video. This ideal was
adopted from Steve Neale’s theory of “genres are
instances of repetition and difference”. Which, suggests
that productions should be repetitive, so that they can be
identified as a certain production. Through which I had
chosen to adopt generic props, camerawork, transitions
and artist iconography to achieve this.
Q1
6. “Does the music video differentiate from existing
productions?”. From this question I intended to obtain
results focusing upon the music videos uniqueness, in
comparison to other hip hop productions.
In relation to the data, the results have clearly reflected
that the production is mostly regarded as being a unique
production; being somewhat different to existing hip hop
productions. Over the sample frame of fifty people, the
percentage of people regarding the production as unique
is accountable for nearly three-quarters of the
sample(68%). Thirty-two percent of the sample regard
the production as being more identical to existing hip-hop
music video productions. This indicates that the
production conforms to and yet is different to existing hip
hop productions. This is what I intended of music video,
to be unique. This ideal of my production become
apparent after discovering Steve Neale’s theory of
repetition and difference; which concludes that repetition
will not attract an audience. With this in consideration, I
proposed to create a unique production that is also
identified as a hip hop music video production; through
the inclusion of high-key lit environments, a vast amount
of abstract shots and uncommonly used editing effects.
Q2
7. Does the music video differentiate from existing
productions? “If so, in what way does the production
differentiate ‘mostly’?”. From this question I intended to
obtain results focusing upon, the elements of the
production which created the ideal of uniqueness, in
comparison to other hip hop productions.
In relation to the data, the results have clearly reflected
that the production is mostly regarded as being unique via
the use of lighting; this ideal was intended due to lyrical
reference. Moreover the application of editing in terms of
transitions and effects(25.64%), is voted as being the
second most differentiation; throughout the post-
production stages of the music video, editing was only
intended to account for a subtle difference. Over the
sample frame of fifty people, the highest differentiating
element of the product is the lighting. This percentage of
people that voted lighting, is accountable for nearly one-
third of the sample(30.77%). This is what I intended of the
music video; to illustrate uniqueness, yet maintains the
identification as a hip hop production. The lighting subverts
genre expectancies as the lyrics referred to a daytime
setting, high-key lighting was implemented to visually
present the lyrics; which reinforces the production as being
performance based. Moreover, Andrew Goodwin explores
the visual and lyrical match within productions; which was
a concept I had wanted to apply.
Q3
8. “Does the music video utilise enough generic conventions
to be identified as a hip hop music video?”. From this
question I intended to obtain results focusing upon the
music videos recognisability, as being a hip hop
production; through the application of generic
conventions.
In relation to the data, the results have clearly reflected
that the production contains plentiful amounts of generic
conventions; enough to be identified as a hip hop
production. Over the sample frame of fifty people, the
percentage of people that identified the production as a
hip hop music video; is nearly accountable for the whole
sample frame(96%). This indicates that the production is
easily identifiable as a hip hop music video.
Recognisability is what I wanted to achieve as of the
music video, the numerous amount of generic conventions
achieves this. Whereby, the production can be identified
as a hip hop music video production. Notably, this ideal
was adopted from Steve Neale’s theory of “genres are
instances of repetition and difference”. Whereby suggests
that productions should be repetitive, so that they can be
identified as a certain production. To achieve this, my
production incorporates a typical hip hop artist
iconography - casual wear, fast transitioning, generic
props - drugs, alcohol and money, environments and
camera techniques - mid and close up shots.
Q4
9. “How ‘successful’ are the ancillary tasks, in terms of
advertising the main production?”. From this question I
intended to obtain results focusing upon the success of
advertising, in regards to my music video production;
through the advertising mediums of a digipak and magazine
poster.
In relation to the data, the results have clearly reflected that
the ancillary tasks are generally successful; no
‘unsuccessful’ votes were accounted for. Evidently over the
sample frame of fifty people, both tasks were at minimum
‘successful’ with advertising the music video production.
Successful advertisement is what I wanted to achieve as of
the ancillary tasks. Which, suits their purpose of ‘informing’
audiences of the album's release, and more so my music
video productions release. In relation to Blumler and Katz
uses and gratifications model, the ancillary tasks fulfill the
audience's gratification of being able to ‘identify’ the
production. To convey this ideology, I have recreated similar
design formats, imagery and artist iconography as seen
within the music video across both texts - which are generic
techniques of ancillary products. To ensure that such
formality was achieved, I had adopted a shot from within my
music video, as the focus; from my research into existing hip
hop products, I had observed that this was a recurring
technique also - this determined its appropriateness for my
own ancillary products.
Q5
10. “Are the ancillary tasks ‘recognised’ as being
advertisements of the same production?” From this
question I intended to obtain results focusing upon the
whether both ancillary tasks were recognised, as being
two separate mediums that were advertising the same
production.
In relation to the data, the results have clearly reflected
that the ancillary tasks were recognised as
advertisement devices of the same production. This is
proven as the whole sample frame of fifty people; voted
the ancillary tasks as being recognised as
advertisements of the same production(100%). The
recognisability of different advertisements promoting the
same production, is what was intended. Evidently, this
has been achieved, through the means of synergy; I
have incorporated similar design formalities, images and
colour coordination, and artist iconography as seen
within the music video across both texts. Inevitably using
similar techniques across the products is generic, and
enhances identification. In accordance to Blumler and
Katz uses and gratifications model, the ancillary tasks
fulfill the gratification of ‘identity’; where the products are
recognised as being advertisements of the same
production.
Q6
Yes
(100%)
11. Are the ancillary tasks ‘recognised’ as being
advertisements of the same production? “Does the music
video utilise enough generic conventions to be identified
as a hip hop music video?”. From this question I intended
to obtain results focusing upon which elements of the
ancillary tasks were most identifiable, in terms of
showing similarities between the products.
In relation to the data, the results have clearly reflected
that the most identified element between the tasks, over
the sample frame of fifty people is the colour
scheme(89.36%). Moreover, the data also shows the
artist's iconography as being the second most identified
element of the tasks(85.11%). In consideration of all the
elements, indicates that the tasks are similar; this is
gathered as most of the production elements mentioned,
were identified as similarities by half or more of the
sample frame. This proves that both tasks are
moderately recognised as being related to each other, to
say the least. Recognisability is what I wanted to achieve
between the ancillary tasks. Whereby, will allow my
music video production to be more identifiable; through
incorporating similar relations - a synergy. As mentioned
previously, I had recreated similar image concepts to
achieve this ideal; fulfilling the audience gratification of
‘identity’ in relation to Blumler and Katz uses and
gratifications model.
Q7
12. “Do the ancillary tasks provide ‘enough’ information that
is relevant to the music video production?”. From this
question I intended to obtain results focusing upon the
whether both ancillary tasks provide sufficient information
regarding the music video production.
In relation to the data, the results have clearly reflected
that the ancillary tasks provide sufficient amounts of
information about the music video production. This is
proven as the whole sample frame of fifty people; voted
the ancillary tasks as providing ‘enough’ information.
Whereby, no persons of the sample voted ‘no’(0%). It is
certain that the ancillary tasks suit their purpose, to
inform audiences about my music video production.
Recognisability of music video production is what I
intended to achieve - as stated previously; the ancillary
tasks evidently achieve this. In relation to Blumler and
Katz uses and gratifications theory, the ancillary tasks do
not fulfill the audience gratification of ‘education’. This is
supported by forty percent of the sample size, agreeing
that the tasks ‘somewhat’ provide enough information
about the music video production. ‘Somewhat’ is a term
that suggests minimal quantities, meaning that more
information can be included. Hence the gratification of
information is not fulfilled; in response to the data, my
products should include more information to suit
audience desires.
Q8
13. How was my audience feedback successful?
In relation to Stuart Hall’s reception theory, I intended my target audience to share the dominant reading of my media texts. Such
reading intended that my music video production could be recognised as being unique, yet can be identified as a production of
the hip hop genre. Moreover, in terms of my digipak and magazine poster products, I intended both products to be recognised as
effective advertising devices of the same production - a music video. Which would enable the music video production to be easily
identified, by viewers that have seen the promotional products. Conclusively this reading was mostly accepted, and is illustrated
from the questionnaire data trends.
However, to achieve such reading I had to understand the audience requirements of a music video production. Whereby, I had
previously instigated an audience research task, which queried the concept of the production. This included conducting a
questionnaire and VOX POP to obtain information of the preferred genre of production, preferred visual structure(performance,
abstract and narrative) and genre expectancies(hip hop) of the video. To produce a media text that would appeal to my target
audience, I acknowledged that I had to focus my music video production upon the most popularised answers in accordance to
the questions. As they were the most demanded concepts of a music video production; meaning a larger audience can be
attracted if a production adopts viewer interests. Relating my production to the feedback has evidently enabled all of my
productions to be successful; this was achieved as the feedback acted as a criteria for the productions. Whereby, my ancillary
tasks had adopted similar concepts of imagery from the music video production; enabling the products to be recognised as
advertisements of the same production.
14. What improvements could I make in relation to my
audience feedback?
In relation to my audience feedback, question eight within my questionnaire investigates whether my “ancillary tasks provide
‘enough’ information that is relevant to the music video production”. In relation to the data, the results highlight that the ancillary
tasks provide a ‘sufficient’ amount of information; that is relevant to the music video production. Which is shown by the whole
sample frame of fifty people, voting the ancillary tasks as providing ‘enough’ information. Inevitably, no one within the sample
voted ‘no’. However, around forty percent of the sample size voted ‘somewhat’, as their answer to the question. Whereby, the
term ‘somewhat’ infers to a minimal amount, indicating that near half of the sample size believe that there could be additional
information to be included within the products. In relation to Blumler and Katz uses and gratifications model, my ancillary
products do not fulfill the gratification of ‘educating’ people; being that more information is required by my audience. In response
to the feedback, I could potentially include information regarding the record label that the artist is signed to, within the magazine
poster. Additionally, text formats of the album name and artist could be implemented, to enhance the clarity of information within
the digipak. Furthermore, the album's year of release could also be included within both ancillary tasks.
In terms of demographics, I chose to neglect the construction of representations of data, based upon identity(such as gender
and age). Reasons being that my production(s) focused upon the target audience of youthful demographics - targeting bands D
and E. In which, my productions do not relate to multiple stereotypes of identities; focusing only upon the rebellious stereotype of
the youth. Hence, comparing results would not be relevant to my findings.
15. Concluding my audience feedback...
Within my audience feedback, it is conclusive that my productions are successful. Whereby, my ancillary tasks ‘successfully’
advertise my music video production. This is achieved as my ancillary tasks are “recognised as being advertisements of the same
production”, whereby, the use of similarity within the product's “colour scheme” and “artist iconography” establishes their relation.
Meanwhile, my music video production is identified as a hip hop production, and is also seen as a unique production; rather than a
duplicate. This is gathered as my music video production incorporates “enough generic conventions to be identified as a hip hop
music video”. Moreover, through the use of media language, my music video “production differentiates from existing productions”
mostly by “lighting”; allowing it to be identified as a unique production of the genre. This ideal of uniqueness was adopted from
Steve Neale’s theory of repetition and difference; suggesting that difference encourages a larger audience, to a media text.
Furthermore, as the productions are recognised as being similar to each other and they educate audiences (regarding youth
interactions with social issues); they fulfill the audience's gratifications, of ‘identity’ and to ‘educate’. Which corresponds to Blumler
and Katz uses and gratifications model.
However, within my ancillary tasks the gratification to ‘educate’ an audience is “somewhat” fulfilled. Whereby, nearly half of my
sample size(40.43%) suggest that more information can be included within my ancillary tasks; no sample regarded my product as
not achieving this gratification. Evidently, my ancillary tasks provide a sufficient amount of information, that relates to my music
video production(according to 59.57% of the sample size), but fewer people differ. In response to this feedback, more information
and an increased clarity of the information can be implemented into these products, to completely fulfill the ‘educate’ gratification of
my audience.
In consideration of my results, I have generated an understanding that people have various readings of media texts. This is shown
within my results through data deviation, whereby not all sampling participants agreed with the same answers. Meaning that
people have pluralistic views; conforming to the dominant, oppositional and aberrant readings of the media texts - according to
Stuart Hall’s theory of reception. Notably, the majority of my sampling population shared my preferred reading of the media texts,
which demonstrates that the media texts suit their purpose of production; concluding that all of my productions were successful.