This document provides a codal analysis of three music videos:
1) "Storm" by Tim Minchin - An animated short film that depicts an argument at a dinner party through exaggerated animation.
2) "High Voltage" cover by Your Favourite Martian - An animated cover of the Linkin Park song featuring a post-apocalyptic narrative.
3) An unnamed non-animated video.
The analysis examines the videos' visual, audio, action, technical, and narrative codes and how they establish genre, mood, and expectations. Barthes' enigma code and Todorov's narrative theory are also referenced in relation to the videos.
The document discusses how the media producer's music video, digipak, and magazine ad use, develop, or challenge conventions of real media products.
The music video was influenced by "A Team" by Ed Sheeran and "Flashing Lights" by Chase&Status. It tells a narrative story of a girl's drug and alcohol addiction, using conventions like low-key lighting and close-ups. However, it challenges conventions by having a more upbeat music tone than the darker visuals.
The digipak links to the music video by using the same prop of an injected doll. However, it challenges conventions by not featuring the band on the cover.
The magazine ad follows conventions by
The document discusses various conventions used in film trailers for different genres. It explains that logos, titles, ratings information, social media links, character introductions, music, voiceovers, director/actor names, time lengths, and release dates are typical elements included in trailers. It then analyzes conventions for specific genres like action, romance, comedy, horror, documentary, and drama trailers, focusing on how sound, camera shots, colors, and editing are customized for each genre.
Tiffany Leung created a film noir thriller title sequence called "Forever" that uses conventions from real media products. The sequence is in black and white like political thrillers. It takes inspiration from Sin City, using its conventions of red representing danger and love. The sequence focuses on camera shots, lighting, costumes, sound and editing to create tension and suspense like in film noirs. An audience survey showed that most people who watched it enjoyed it and thought it was a thriller.
The document summarizes a student's title sequence evaluation project for a film noir thriller. It discusses how the student used conventions from real media products like Sin City in their sequence. They incorporated elements like black and white visuals, ominous music, and crime/love tropes. Camera angles, lighting, costumes, and editing were tailored to fit thriller conventions. An audience survey found the 15+ aged viewers largely enjoyed the sequence and thought it succeeded as a thriller. The student learned new technical skills and how planning and research are vital for a cohesive media product.
The document discusses how the media product uses and challenges conventions of the British social realism or "Brit Grit" film genre in its opening titles, camerawork, mise-en-scene, and sound design. Specifically, it keeps the simplistic white title design over black background of films like Football Factory but varies the positioning. Camera movement is minimal except for one tracking shot to involve the audience. Costumes and locations portray working-class characters and settings recognizably. Music and a voiceover introduce themes aggressively as in Rock n Rolla to set expectations for the film's sex, drugs and violence while critiquing modern life.
The document discusses how the media product follows conventions of the British social realism or "Brit Grit" film genre in its opening titles, camerawork, mise-en-scene, and sound design. Specifically, it keeps the simplistic white title design over black background of films like Football Factory. Camera movement is minimal except for one tracking shot to involve the audience. Costumes and locations portray working-class characters and settings accurately. Music and a voiceover are included to set the tone of chaos and criticism found in films like Rock 'n Rolla. The product challenges conventions only slightly through alternating title positioning and a more aggressive voiceover.
The document summarizes the process of creating a promotional music video and ancillary materials for a band called "Tangled Channel." Key details include:
- The video was inspired by the band Supergrass and aimed to both follow and challenge conventions of indie music videos.
- Ancillary materials included a magazine ad and CD digipack cover that maintained continuity with the video's style and color scheme.
- New media technologies like digital cameras, editing software, and online research platforms were used at all stages of planning, production, and evaluation.
- Audience feedback will be considered to improve future promotional efforts.
This document analyzes the music video for the song "Cigarette Daydreams" by Cage the Elephant. It discusses why the song was chosen, provides background on the band, and analyzes how the video applies communication theorist Goodwin's principles for successful music videos. These include illustrating genre characteristics through narrative and band performance, voyeuristic female imagery, cohesive music and visuals, promoting the artist's brand, and intertextual references. The concept is praised for its gripping narrative blend of storytelling and subtle band shots. Key techniques that could be applied to the student's own video include location, mise-en-scene, composition rules, monochrome filters, and exploring concepts
The document discusses how the media producer's music video, digipak, and magazine ad use, develop, or challenge conventions of real media products.
The music video was influenced by "A Team" by Ed Sheeran and "Flashing Lights" by Chase&Status. It tells a narrative story of a girl's drug and alcohol addiction, using conventions like low-key lighting and close-ups. However, it challenges conventions by having a more upbeat music tone than the darker visuals.
The digipak links to the music video by using the same prop of an injected doll. However, it challenges conventions by not featuring the band on the cover.
The magazine ad follows conventions by
The document discusses various conventions used in film trailers for different genres. It explains that logos, titles, ratings information, social media links, character introductions, music, voiceovers, director/actor names, time lengths, and release dates are typical elements included in trailers. It then analyzes conventions for specific genres like action, romance, comedy, horror, documentary, and drama trailers, focusing on how sound, camera shots, colors, and editing are customized for each genre.
Tiffany Leung created a film noir thriller title sequence called "Forever" that uses conventions from real media products. The sequence is in black and white like political thrillers. It takes inspiration from Sin City, using its conventions of red representing danger and love. The sequence focuses on camera shots, lighting, costumes, sound and editing to create tension and suspense like in film noirs. An audience survey showed that most people who watched it enjoyed it and thought it was a thriller.
The document summarizes a student's title sequence evaluation project for a film noir thriller. It discusses how the student used conventions from real media products like Sin City in their sequence. They incorporated elements like black and white visuals, ominous music, and crime/love tropes. Camera angles, lighting, costumes, and editing were tailored to fit thriller conventions. An audience survey found the 15+ aged viewers largely enjoyed the sequence and thought it succeeded as a thriller. The student learned new technical skills and how planning and research are vital for a cohesive media product.
The document discusses how the media product uses and challenges conventions of the British social realism or "Brit Grit" film genre in its opening titles, camerawork, mise-en-scene, and sound design. Specifically, it keeps the simplistic white title design over black background of films like Football Factory but varies the positioning. Camera movement is minimal except for one tracking shot to involve the audience. Costumes and locations portray working-class characters and settings recognizably. Music and a voiceover introduce themes aggressively as in Rock n Rolla to set expectations for the film's sex, drugs and violence while critiquing modern life.
The document discusses how the media product follows conventions of the British social realism or "Brit Grit" film genre in its opening titles, camerawork, mise-en-scene, and sound design. Specifically, it keeps the simplistic white title design over black background of films like Football Factory. Camera movement is minimal except for one tracking shot to involve the audience. Costumes and locations portray working-class characters and settings accurately. Music and a voiceover are included to set the tone of chaos and criticism found in films like Rock 'n Rolla. The product challenges conventions only slightly through alternating title positioning and a more aggressive voiceover.
The document summarizes the process of creating a promotional music video and ancillary materials for a band called "Tangled Channel." Key details include:
- The video was inspired by the band Supergrass and aimed to both follow and challenge conventions of indie music videos.
- Ancillary materials included a magazine ad and CD digipack cover that maintained continuity with the video's style and color scheme.
- New media technologies like digital cameras, editing software, and online research platforms were used at all stages of planning, production, and evaluation.
- Audience feedback will be considered to improve future promotional efforts.
This document analyzes the music video for the song "Cigarette Daydreams" by Cage the Elephant. It discusses why the song was chosen, provides background on the band, and analyzes how the video applies communication theorist Goodwin's principles for successful music videos. These include illustrating genre characteristics through narrative and band performance, voyeuristic female imagery, cohesive music and visuals, promoting the artist's brand, and intertextual references. The concept is praised for its gripping narrative blend of storytelling and subtle band shots. Key techniques that could be applied to the student's own video include location, mise-en-scene, composition rules, monochrome filters, and exploring concepts
The document discusses a student's music video project and accompanying promotional materials. The student produced a music video along with a magazine advertisement poster and CD digipack. For these ancillary materials, the student focused on consistency with the video's themes while experimenting with design conventions. Feedback on the project indicated that the humorous style of the video was well-received and helped audiences engage with the work.
The document discusses how the media producer's music video, digipak, and magazine ad used, developed, and challenged conventions of real media products.
The music video used conventions like depicting a relationship breakup narrative seen in other mainstream music videos. It developed conventions by using black and white filters to show heartbreak rather than create a vintage feel. Color filters were also used to highlight the artist throughout, challenging conventions.
The digipak used conventions like the artist and album name but developed conventions with a panoramic image of the artist across three panels. Bonus features were included, a convention of deluxe album packaging.
The magazine ad matched the digipak visually while including conventions like the record
The document discusses how the filmmakers attracted and engaged their target audience for a crime/gangster genre film. Their target audience was mainly males ages 16-40. To appeal to this audience, the film featured typical crime genre themes of violence, weapons, and displays of wealth. It began in a mundane way before taking a dramatic turn to surprise viewers. The main character was constructed to be appealing and glamorous like crime film protagonists. Authentic crime film music and camera angles from inside a bag were used to manipulate tone and make the character seem intimidating.
1) The document discusses the creation of a crime thriller trailer and magazine for a student project. Research was conducted on films like The Equalizer, The A-Team, and Limitless to identify genre conventions.
2) Both the created trailer and magazine were found to generally conform to crime thriller conventions through elements like dark color schemes, but also challenged some conventions through certain stylistic choices.
3) Feedback indicated that while the overall concept and style was generally well-received, some specific shots and acting aspects in the trailer could have been improved to better match audience expectations.
Final: In what ways does your media product use, develop or challenge forms a...GraceSpenceley
This document discusses how the media product challenges and develops conventions of real media. It summarizes that the music video takes an unconventional approach by including fairy tale elements rather than solely focusing on the artist's performance. It also discusses specific techniques like mise-en-scene and cinematography that help tell the narrative story in a way that mirrors other popular music videos. While some aspects follow conventions like close-ups of the artist, other elements like the use of lighting challenge expectations to convey a sense of hope in the story.
The document discusses the goals and inspirations behind a student film project. The film aimed to tell a modern fairy tale with a moral message, drawing inspiration from Cinderella but with an unexpected tragic ending. It was intended for teenage audiences to provide knowledge about common teenage experiences and satisfy curiosity. The filmmakers aimed to appeal to outsider teenagers and send a message about being true to oneself. Ancillary materials like the poster and radio trailer were designed to intrigue audiences without revealing too much of the plot. Comparisons were made to other fairy tales and Richard Dyer's Utopian theory of entertainment was considered in targeting the film to teenagers.
The document summarizes a mood board created by three students to help develop ideas for a teaser trailer for a romance film aimed at audiences aged 16-21. The mood board includes images from films like "Love Rosie" and "Never Let Me Go" representing elements of mise-en-scene, camera shots, editing, characters, and settings commonly found in romance films. It describes the inspiration taken from these elements to design scenes and convey the tone for their own teaser trailer about three friends where romantic relationships form between them.
The music video is for the song "Monster" by the indie rock band The Automatic. It features politicians playing a game of football. Throughout the video, the politicians transform into monsters, hinting at the corruption often associated with politicians. Colorful imagery and surreal transformations challenge conventions of how politicians are typically portrayed. Nicknames are used to make the prominent figures seem more casual and approachable.
The document discusses the effectiveness of the main film and its ancillary advertising products, a radio trailer and film poster. It was trying to portray a boy (Harry) liking a girl (Emily) but she likes his best friend (Callum) instead. Both the radio trailer and film poster reflect this complication. The film poster specifically shows Emily looking at Callum, not Harry, and Harry and Callum shaking hands. It uses bright colors and stars to attract attention and convey the film's genre. Comparisons are made to real film posters like Megamind and Definitely Maybe that also utilize central characters, bright colors, and complications to sell romantic comedy films.
Film posters aim to catch people's attention and promote films in public places like cinemas, buses and billboards. Effective posters clearly communicate the genre through icons and themes to attract the intended audience. Key elements of posters include the title, imagery, taglines, quotes, release dates, and credits for directors, producers and actors. Color schemes, character placements, and other compositional choices also convey a film's genre and tone to entice viewers.
The document summarizes a music video project that uses both narrative and performance elements to tell a story about domestic abuse in a way that challenges conventions. It includes four band members performing on a school roof to look unconventional. The narrative shows a relationship deteriorating through a series of shots meant to portray the abusive boyfriend as dominant and the girlfriend as vulnerable. Questions are left at the end to engage the target audience of 16-24 year olds.
The document discusses how the media product challenges conventions of the grime/R&B genre in its narrative structure and use of motifs. Specifically, it has a fragmented narrative broken up by a motif of the color red and ends unhappily rather than with the typical "boy meets girl" happy ending. This challenges the genre's usual narrative conventions while still using stylistic elements like urban clothing, close-up shots, and London locations. Intertextual links between the music video and other promotional materials are created through the shared motif of red.
The music video challenges some conventions of music videos but also uses several conventions:
- It tells a narrative story rather than showing a performance, though it uses point-of-view shots like music videos.
- The visuals have a loose relationship to the lyrics, showing some literal interpretations but focusing more on reflecting the song's tone.
- It includes intertextual references to Shrek to enhance the humor.
- It employs techniques like match cuts, split screens, and rhythmic editing associated with music videos.
The digipak challenges some conventions like numbering tracks but maintains others like listing the artist and title on the cover and including interior artwork and images. Overall, it aims to maintain
The document discusses audience feedback received during the planning, filming, and editing of a romantic comedy film. Research conducted during planning through a video questionnaire helped shape expectations for genre, certificate, locations, and music. Feedback on a rough cut identified needs for more music and improved quality. Most trial viewers understood the plot and would recommend it. The final film received positive feedback, with the only suggested improvement being to make dialogue louder in some scenes.
The document provides an analysis and evaluation of Andreas Mina's Irn Bru print and television advertisements. It discusses the structures, persuasive techniques, and styles used in both Mina's fictional advertisements and real Irn Bru advertisements. Key similarities and differences between Mina's ads and real Irn Bru ads are examined, including the themes, layouts, visual effects, and messages conveyed. Strengths and weaknesses of Mina's fictional television advertisement are also identified.
The document describes several media products created by the author, including a music video, magazine advertisement, and DigiPak. It discusses how these products use and challenge conventions of real hip hop/R&B media. The music video draws inspiration from Drake's "Find Your Love" by using red to connote romance and portraying the male lead as vulnerable. It aims to break conventions while retaining the genres' concepts. The representation of women challenges stereotypes by dressing the actress modestly and avoiding objectification. Editing and camera techniques from real music videos are employed while developing new approaches.
What is goodwin’s theory all about (1) (connor.southwell1)Connor Southwell
This document provides an analysis of the 1985 A-ha music video for "Take On Me" through the lens of music video theorist Andrew Goodwin's work. It discusses how the video conforms to several of Goodwin's theories, including having a relationship between the music and visuals, linking the lyrics and visuals, establishing the band's identity for the record label, using a narrative, and including intertextual references. The analysis also examines how the video relates to the genres of synthpop and new wave that were popular in the 1980s. Overall, the document demonstrates how "Take On Me" effectively uses music video conventions to promote the band and their hit song.
The document discusses the links between a digipak, advertisement, and music video created to promote an album. Key elements were carried over between the materials to tie them together, like using graffiti from the music video throughout the digipak and having the artist photographed in the same location for the advertisement and digipak back cover. Dark lighting and themes of depression from the narrative music video were also reflected in the print materials. This was to help audiences connect the different elements and understand the full story being told across the promotional campaign.
The document discusses how a student media group's music video project for a grime/R&B song develops and challenges conventions of the genre. It develops conventions through close-up shots of the artist, use of London locations, and themes of "rags to riches" depicted through clothing. It challenges conventions by having a narrative that ends unhappily rather than the typical "boy meets girl" happy ending. This twist was meant to make the story more creative and relatable.
Initial research completed before any planning of music video began. Including my knowledge with a brief overview of music video's, textual analysis', the link between visuals and rhythm, Promo Vs Art, Institutions, Controversy and Narrative.
The document discusses how media technologies were used at various stages of creating a music video. Web 2.0 sites like Facebook, SoundCloud, and forums were used to research the target audience and understand their preferences. Facebook specifically provided insight into the audience's demographics. YouTube tutorials helped with learning video editing skills. The planning process was also documented on a blog. Overall, media technologies played a key role in the research, planning, and evaluation of the music video project.
The document discusses several technical codes and elements used in popular music videos, including camerawork, editing, visual effects, and how they construct representations and meanings. It also covers how music videos contribute to constructing and maintaining artists' star images through narrative, voyeurism, and intertextuality. Music videos frequently reference cinema, television, art, fashion and more to spark recognition and pleasure in audiences through familiar visual references.
The document discusses a student's music video project and accompanying promotional materials. The student produced a music video along with a magazine advertisement poster and CD digipack. For these ancillary materials, the student focused on consistency with the video's themes while experimenting with design conventions. Feedback on the project indicated that the humorous style of the video was well-received and helped audiences engage with the work.
The document discusses how the media producer's music video, digipak, and magazine ad used, developed, and challenged conventions of real media products.
The music video used conventions like depicting a relationship breakup narrative seen in other mainstream music videos. It developed conventions by using black and white filters to show heartbreak rather than create a vintage feel. Color filters were also used to highlight the artist throughout, challenging conventions.
The digipak used conventions like the artist and album name but developed conventions with a panoramic image of the artist across three panels. Bonus features were included, a convention of deluxe album packaging.
The magazine ad matched the digipak visually while including conventions like the record
The document discusses how the filmmakers attracted and engaged their target audience for a crime/gangster genre film. Their target audience was mainly males ages 16-40. To appeal to this audience, the film featured typical crime genre themes of violence, weapons, and displays of wealth. It began in a mundane way before taking a dramatic turn to surprise viewers. The main character was constructed to be appealing and glamorous like crime film protagonists. Authentic crime film music and camera angles from inside a bag were used to manipulate tone and make the character seem intimidating.
1) The document discusses the creation of a crime thriller trailer and magazine for a student project. Research was conducted on films like The Equalizer, The A-Team, and Limitless to identify genre conventions.
2) Both the created trailer and magazine were found to generally conform to crime thriller conventions through elements like dark color schemes, but also challenged some conventions through certain stylistic choices.
3) Feedback indicated that while the overall concept and style was generally well-received, some specific shots and acting aspects in the trailer could have been improved to better match audience expectations.
Final: In what ways does your media product use, develop or challenge forms a...GraceSpenceley
This document discusses how the media product challenges and develops conventions of real media. It summarizes that the music video takes an unconventional approach by including fairy tale elements rather than solely focusing on the artist's performance. It also discusses specific techniques like mise-en-scene and cinematography that help tell the narrative story in a way that mirrors other popular music videos. While some aspects follow conventions like close-ups of the artist, other elements like the use of lighting challenge expectations to convey a sense of hope in the story.
The document discusses the goals and inspirations behind a student film project. The film aimed to tell a modern fairy tale with a moral message, drawing inspiration from Cinderella but with an unexpected tragic ending. It was intended for teenage audiences to provide knowledge about common teenage experiences and satisfy curiosity. The filmmakers aimed to appeal to outsider teenagers and send a message about being true to oneself. Ancillary materials like the poster and radio trailer were designed to intrigue audiences without revealing too much of the plot. Comparisons were made to other fairy tales and Richard Dyer's Utopian theory of entertainment was considered in targeting the film to teenagers.
The document summarizes a mood board created by three students to help develop ideas for a teaser trailer for a romance film aimed at audiences aged 16-21. The mood board includes images from films like "Love Rosie" and "Never Let Me Go" representing elements of mise-en-scene, camera shots, editing, characters, and settings commonly found in romance films. It describes the inspiration taken from these elements to design scenes and convey the tone for their own teaser trailer about three friends where romantic relationships form between them.
The music video is for the song "Monster" by the indie rock band The Automatic. It features politicians playing a game of football. Throughout the video, the politicians transform into monsters, hinting at the corruption often associated with politicians. Colorful imagery and surreal transformations challenge conventions of how politicians are typically portrayed. Nicknames are used to make the prominent figures seem more casual and approachable.
The document discusses the effectiveness of the main film and its ancillary advertising products, a radio trailer and film poster. It was trying to portray a boy (Harry) liking a girl (Emily) but she likes his best friend (Callum) instead. Both the radio trailer and film poster reflect this complication. The film poster specifically shows Emily looking at Callum, not Harry, and Harry and Callum shaking hands. It uses bright colors and stars to attract attention and convey the film's genre. Comparisons are made to real film posters like Megamind and Definitely Maybe that also utilize central characters, bright colors, and complications to sell romantic comedy films.
Film posters aim to catch people's attention and promote films in public places like cinemas, buses and billboards. Effective posters clearly communicate the genre through icons and themes to attract the intended audience. Key elements of posters include the title, imagery, taglines, quotes, release dates, and credits for directors, producers and actors. Color schemes, character placements, and other compositional choices also convey a film's genre and tone to entice viewers.
The document summarizes a music video project that uses both narrative and performance elements to tell a story about domestic abuse in a way that challenges conventions. It includes four band members performing on a school roof to look unconventional. The narrative shows a relationship deteriorating through a series of shots meant to portray the abusive boyfriend as dominant and the girlfriend as vulnerable. Questions are left at the end to engage the target audience of 16-24 year olds.
The document discusses how the media product challenges conventions of the grime/R&B genre in its narrative structure and use of motifs. Specifically, it has a fragmented narrative broken up by a motif of the color red and ends unhappily rather than with the typical "boy meets girl" happy ending. This challenges the genre's usual narrative conventions while still using stylistic elements like urban clothing, close-up shots, and London locations. Intertextual links between the music video and other promotional materials are created through the shared motif of red.
The music video challenges some conventions of music videos but also uses several conventions:
- It tells a narrative story rather than showing a performance, though it uses point-of-view shots like music videos.
- The visuals have a loose relationship to the lyrics, showing some literal interpretations but focusing more on reflecting the song's tone.
- It includes intertextual references to Shrek to enhance the humor.
- It employs techniques like match cuts, split screens, and rhythmic editing associated with music videos.
The digipak challenges some conventions like numbering tracks but maintains others like listing the artist and title on the cover and including interior artwork and images. Overall, it aims to maintain
The document discusses audience feedback received during the planning, filming, and editing of a romantic comedy film. Research conducted during planning through a video questionnaire helped shape expectations for genre, certificate, locations, and music. Feedback on a rough cut identified needs for more music and improved quality. Most trial viewers understood the plot and would recommend it. The final film received positive feedback, with the only suggested improvement being to make dialogue louder in some scenes.
The document provides an analysis and evaluation of Andreas Mina's Irn Bru print and television advertisements. It discusses the structures, persuasive techniques, and styles used in both Mina's fictional advertisements and real Irn Bru advertisements. Key similarities and differences between Mina's ads and real Irn Bru ads are examined, including the themes, layouts, visual effects, and messages conveyed. Strengths and weaknesses of Mina's fictional television advertisement are also identified.
The document describes several media products created by the author, including a music video, magazine advertisement, and DigiPak. It discusses how these products use and challenge conventions of real hip hop/R&B media. The music video draws inspiration from Drake's "Find Your Love" by using red to connote romance and portraying the male lead as vulnerable. It aims to break conventions while retaining the genres' concepts. The representation of women challenges stereotypes by dressing the actress modestly and avoiding objectification. Editing and camera techniques from real music videos are employed while developing new approaches.
What is goodwin’s theory all about (1) (connor.southwell1)Connor Southwell
This document provides an analysis of the 1985 A-ha music video for "Take On Me" through the lens of music video theorist Andrew Goodwin's work. It discusses how the video conforms to several of Goodwin's theories, including having a relationship between the music and visuals, linking the lyrics and visuals, establishing the band's identity for the record label, using a narrative, and including intertextual references. The analysis also examines how the video relates to the genres of synthpop and new wave that were popular in the 1980s. Overall, the document demonstrates how "Take On Me" effectively uses music video conventions to promote the band and their hit song.
The document discusses the links between a digipak, advertisement, and music video created to promote an album. Key elements were carried over between the materials to tie them together, like using graffiti from the music video throughout the digipak and having the artist photographed in the same location for the advertisement and digipak back cover. Dark lighting and themes of depression from the narrative music video were also reflected in the print materials. This was to help audiences connect the different elements and understand the full story being told across the promotional campaign.
The document discusses how a student media group's music video project for a grime/R&B song develops and challenges conventions of the genre. It develops conventions through close-up shots of the artist, use of London locations, and themes of "rags to riches" depicted through clothing. It challenges conventions by having a narrative that ends unhappily rather than the typical "boy meets girl" happy ending. This twist was meant to make the story more creative and relatable.
Initial research completed before any planning of music video began. Including my knowledge with a brief overview of music video's, textual analysis', the link between visuals and rhythm, Promo Vs Art, Institutions, Controversy and Narrative.
The document discusses how media technologies were used at various stages of creating a music video. Web 2.0 sites like Facebook, SoundCloud, and forums were used to research the target audience and understand their preferences. Facebook specifically provided insight into the audience's demographics. YouTube tutorials helped with learning video editing skills. The planning process was also documented on a blog. Overall, media technologies played a key role in the research, planning, and evaluation of the music video project.
The document discusses several technical codes and elements used in popular music videos, including camerawork, editing, visual effects, and how they construct representations and meanings. It also covers how music videos contribute to constructing and maintaining artists' star images through narrative, voyeurism, and intertextuality. Music videos frequently reference cinema, television, art, fashion and more to spark recognition and pleasure in audiences through familiar visual references.
1. The document describes the process of creating a music video for the heavy metal band Quad Damage to promote their song "Dead Side". Research was conducted online to inform choices around genre conventions, branding, and marketing strategies of similar bands.
2. Feedback was gathered from classmates during production and other project groups during editing to improve the video. Changes were made to shorten initial shots and clarify the storyline.
3. A variety of media technologies were used in the research, planning, production and evaluation stages including the internet, social media, video recording and editing software.
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.
This document summarizes the music promotional package created by the student. It discusses how the music video used conventions like narrative performance and cultural signifiers but took a more realistic approach. It also discusses how the editing, digi-pack cover, and promotional poster used conventions of existing media but added some unique elements. The package aimed to authentically represent the song about the struggles of urban youth.
Evaluation Question 1 - In what ways does your media product use, develop or ...Jack Topping
This document summarizes how the media producer's products used and developed conventions of real media forms within the indie genre. Through research of music videos, albums, and websites, conventions were identified around editing style, narrative/performance integration, band styling, album covers, and title themes. The music video incorporated conventions like shot length and cuts. It developed conventions by basing the narrative on song lyrics rather than just performance. Band styling and positioning drew from indie influences. The album cover and title developed conventions of mystery and rebellion themes common to indie artists. Overall, the products aimed to appear professional by strategically using and developing conventions of real indie media forms.
The document provides information on several music video and music industry theories including Andrew Goodwin's five points of music videos, Pete Fraser's theory on music genre conventions, and Laura Mulvey's Male Gaze theory. It also gives biographical information on music video director James Copeman and record label Universal Music Group. Finally, it discusses how to apply these theories and best practices when creating a music video, album cover, and magazine advertisement.
The document discusses the effectiveness of combining a film project with two ancillary tasks of a poster and radio trailer for a media course. The student aimed to create continuity across the projects by basing them all in the horror genre. For the film, they chose to include stereotypical horror conventions and themes. Both the poster and radio trailer were designed to represent elements from the film and intrigue audiences to watch the plot unfold. Key links between the projects included using music and imagery from the film in the trailer and poster.
The document discusses conventions of EDM and pop music videos and how the student's media product challenges and combines these conventions. Specifically:
1) EDM videos are typically more narrative-driven while pop videos emphasize performance and focus on love/relationships. The student's video tells a story relative to the song's lyrics (EDM convention) about a relationship (pop convention).
2) Scenes with flashing colors were included to relate to times/emotions, drawing from EDM video conventions. Dancing was omitted to connect audiences emotionally rather than through performance.
3) The student's video develops real media conventions by combining EDM and pop genres through its story, visuals, and appeal to audiences.
The document provides an evaluation of Rosie Wishart's opening sequence for her psychological thriller film "Crystalline". It analyzes how the opening establishes the genre through its use of conventions from similar films. It discusses how the setting, sound, character, and costume are used, developed or challenged to signify the thriller genre. Momentum Pictures is identified as the ideal distribution partner due to their success distributing similar genre films to the intended young adult audience. Rosie reflects on how the preliminary tasks helped her learn skills that improved the production quality of her full opening sequence.
This document discusses several music video directors and their works. It provides information on directors David Wilson, Alexandre Courtes, and Cameron Duddy. It discusses some of their most notable music videos and the concepts and styles used. It also discusses the Uses and Gratification theory and how it relates to interpreting media. Finally, it reflects on how studying these directors' works could provide inspiration for the author's own music video production on the song "Living in America."
The document discusses the filmmakers' media product "Deception" and how it draws from conventions of crime/mystery thrillers like CSI. They used dramatic music and flashbacks to tell the story effectively. The filmmakers aimed their product at fans of the thriller genre, particularly teenagers like themselves. They believe Summit Entertainment would be a good distributor as it has distributed similar films appealing to young adults and teens, capturing the target audience for "Deception" which was inspired by CSI. Through making the product, the filmmakers learned about using technologies like music and editing to craft an engaging thriller.
This document summarizes information on three music video directors - David Wilson, Alexandre Courtes, and Cameron Duddy - and discusses how their work can provide inspiration. It also provides an overview of the Uses and Gratification theory and how it relates to music videos. The director explores using split screens of American photos in their own music video for "Living in America" based on the video for "Go Up." Dancing scenes may also be included, inspired by successful videos like "Uptown Funk." The conclusion reaffirms showing a realistic modern America without editing out issues.
This document summarizes information about three music video directors - David Wilson, Alexandre Courtes, and Cameron Duddy - and discusses how their work is inspiring for creating a successful music video production. It provides details about some of their notable music videos and awards. It also reviews the Uses and Gratification theory and how it relates to interpreting media. The document concludes that combining images in a split screen like Courtes' "Go Up" video and including dancing scenes could help make the production successful, and filming authentic footage in America will help depict modern life in the country.
Our music video for the band The Crookes uses animation to tell a story and challenge conventions. We created a collage-like video through animation instead of typical live performances. This fits the band's poetic lyrics and nostalgic style. Feedback showed the video effectively captures the band's essence and communicates the narrative through visuals that relate to the song.
Music videos serve several purposes including marketing songs and artists to promote music sales. They keep artists in the public eye for longer which can boost album sales months after release. Music videos also allow artists to creatively express themselves and provide fans insight into the meaning of songs. They can further showcase other talents of artists like Michael Jackson's dancing in "Thriller".
Music Video Creative critical reflection Omar Farooqui
The document discusses a music video created for the song "Renaissance" by Steve James featuring Clairity. It describes the process of choosing the song, syncing scenes to the lyrics, and conducting research for the storyboard. It then discusses how the music video uses conventions like limited main characters and symbolic objects while challenging conventions by portraying the breakup being the guy's fault rather than the girl's. It represents modern youth culture and relationships. Elements like characters, costumes, color scheme and font create a coherent branding. The music video engages audiences through online distribution and promotion. Technologies like Canon cameras, Adobe Premiere Pro and online tutorials were used to integrate hardware, software and online aspects into the project.
Creative critical reflection of Music VideoOmar Farooqui
The document discusses a music video created for the song "Renaissance" by Steve James featuring Clairity. It describes the process of choosing the song, syncing scenes to the lyrics, and conducting research for the storyboard. It then discusses how the music video challenges conventions by showing a misunderstanding that leads to a breakup being the guy's fault rather than the girl's. Finally, it details the equipment used to shoot the video, including a Canon 6D DSLR camera and various lenses.
Similar to Codal analysis and detailed research (20)
The document discusses the benefits of exercise for mental health. Regular physical activity can help reduce anxiety and depression and improve mood and cognitive functioning. Exercise causes chemical changes in the brain that may help boost feelings of calmness, happiness and focus.
Digital Portraitmanipulation explores digital photomanipulation capabilities for portraiture. The document discusses manipulating photos through techniques like airbrushing, compositing, and surreal manipulations. Several artists who experiment with manipulation, like Christoffer Relander and Jamie Ibarra, provide inspiration. The author plans to experiment with both technical and creative retouches to test manipulation's limits and potential future developments.
This document appears to be a list of photos but provides no details about the photos. It mentions "Top 40(ish) Photos" but only lists that heading, with no photos described. The document abruptly ends with "End of Top 20" despite the heading indicating there should be around 40 photos listed.
The document discusses how different social groups are represented in the media product. It describes the representation of gender and ethnicity. For gender, it describes the male protagonist as portraying an "action man" stereotype, while the genderless character obscures their gender through clothing. The female character initially conforms to stereotypes of weakness but also shows strength. For ethnicity, both main characters are portrayed as white British, reflecting the filmmaker's own ethnicity and representing it in a negative but accurate way, showing confrontation and aggression alongside carefreeness.
Using a major distribution company like Paramount Pictures or one of its subsidiaries would allow the filmmaker to distribute their film "Last Man Standing" to a very large audience without significantly increasing production costs, potentially increasing profits. Major companies have experience promoting and distributing similar genre films effectively. Alternatively, a smaller UK company like Hammer Films could also distribute the film while still reaching a large audience and maximizing profits on a small budget, as demonstrated by the financial success of films they have distributed. The best distribution strategy may be to use online platforms like Netflix for broad digital release, as this approach helped the film "Ill Manors" attract a large audience.
The document analyzes the opening sequences of three horror films - As Above, So Below, World War Z, and Resident Evil: Apocalypse - based on various cinematic codes and conventions. It examines the visual, audio, technical, narrative, and enigma codes used in each opening. The visual codes analyzed include title design, lighting, shot composition, and setting. Audio codes cover music choice and volume. Technical codes focus on shot types. Narrative and enigma codes look at how much information is directly provided versus left mysterious.
This document discusses genre conventions for horror/comedy films. It notes that horror stories often take place in isolated or abandoned locations to portray feelings of being alone. The camerawork aims to be unnatural using techniques like high and low angles, point-of-view shots, and handheld cameras to make the viewer feel involved. Lighting is typically low-key to create dark shadows and unfamiliar shapes. Common props include masks to conceal identities and weapons ranging from melee to firearms.
The document discusses the evolution of the horror genre from its origins in 18th century literature to modern Hollywood films. It notes how the genre began with Gothic novels like "The Castle of Otranto" in 1764 and was further developed through books such as "Frankenstein" in 1818. One of the earliest horror films was "Le Manoir Du Diable" from 1896, though the genre truly began to take shape with advances in film technology and the development of color film in later decades. The document provides a brief overview of the key developments in horror across literature and film over centuries.
This document discusses Luke Sams' best photography work. Luke Sams is an amateur photographer who enjoys capturing scenic landscapes and wildlife with his camera. His favorite photos include shots of a sunset over a mountain lake, birds in flight at the local nature preserve, and a deer in the forest at dawn.
বাংলাদেশের অর্থনৈতিক সমীক্ষা ২০২৪ [Bangladesh Economic Review 2024 Bangla.pdf] কম্পিউটার , ট্যাব ও স্মার্ট ফোন ভার্সন সহ সম্পূর্ণ বাংলা ই-বুক বা pdf বই " সুচিপত্র ...বুকমার্ক মেনু 🔖 ও হাইপার লিংক মেনু 📝👆 যুক্ত ..
আমাদের সবার জন্য খুব খুব গুরুত্বপূর্ণ একটি বই ..বিসিএস, ব্যাংক, ইউনিভার্সিটি ভর্তি ও যে কোন প্রতিযোগিতা মূলক পরীক্ষার জন্য এর খুব ইম্পরট্যান্ট একটি বিষয় ...তাছাড়া বাংলাদেশের সাম্প্রতিক যে কোন ডাটা বা তথ্য এই বইতে পাবেন ...
তাই একজন নাগরিক হিসাবে এই তথ্য গুলো আপনার জানা প্রয়োজন ...।
বিসিএস ও ব্যাংক এর লিখিত পরীক্ষা ...+এছাড়া মাধ্যমিক ও উচ্চমাধ্যমিকের স্টুডেন্টদের জন্য অনেক কাজে আসবে ...
A Strategic Approach: GenAI in EducationPeter Windle
Artificial Intelligence (AI) technologies such as Generative AI, Image Generators and Large Language Models have had a dramatic impact on teaching, learning and assessment over the past 18 months. The most immediate threat AI posed was to Academic Integrity with Higher Education Institutes (HEIs) focusing their efforts on combating the use of GenAI in assessment. Guidelines were developed for staff and students, policies put in place too. Innovative educators have forged paths in the use of Generative AI for teaching, learning and assessments leading to pockets of transformation springing up across HEIs, often with little or no top-down guidance, support or direction.
This Gasta posits a strategic approach to integrating AI into HEIs to prepare staff, students and the curriculum for an evolving world and workplace. We will highlight the advantages of working with these technologies beyond the realm of teaching, learning and assessment by considering prompt engineering skills, industry impact, curriculum changes, and the need for staff upskilling. In contrast, not engaging strategically with Generative AI poses risks, including falling behind peers, missed opportunities and failing to ensure our graduates remain employable. The rapid evolution of AI technologies necessitates a proactive and strategic approach if we are to remain relevant.
Strategies for Effective Upskilling is a presentation by Chinwendu Peace in a Your Skill Boost Masterclass organisation by the Excellence Foundation for South Sudan on 08th and 09th June 2024 from 1 PM to 3 PM on each day.
ISO/IEC 27001, ISO/IEC 42001, and GDPR: Best Practices for Implementation and...PECB
Denis is a dynamic and results-driven Chief Information Officer (CIO) with a distinguished career spanning information systems analysis and technical project management. With a proven track record of spearheading the design and delivery of cutting-edge Information Management solutions, he has consistently elevated business operations, streamlined reporting functions, and maximized process efficiency.
Certified as an ISO/IEC 27001: Information Security Management Systems (ISMS) Lead Implementer, Data Protection Officer, and Cyber Risks Analyst, Denis brings a heightened focus on data security, privacy, and cyber resilience to every endeavor.
His expertise extends across a diverse spectrum of reporting, database, and web development applications, underpinned by an exceptional grasp of data storage and virtualization technologies. His proficiency in application testing, database administration, and data cleansing ensures seamless execution of complex projects.
What sets Denis apart is his comprehensive understanding of Business and Systems Analysis technologies, honed through involvement in all phases of the Software Development Lifecycle (SDLC). From meticulous requirements gathering to precise analysis, innovative design, rigorous development, thorough testing, and successful implementation, he has consistently delivered exceptional results.
Throughout his career, he has taken on multifaceted roles, from leading technical project management teams to owning solutions that drive operational excellence. His conscientious and proactive approach is unwavering, whether he is working independently or collaboratively within a team. His ability to connect with colleagues on a personal level underscores his commitment to fostering a harmonious and productive workplace environment.
Date: May 29, 2024
Tags: Information Security, ISO/IEC 27001, ISO/IEC 42001, Artificial Intelligence, GDPR
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Macroeconomics- Movie Location
This will be used as part of your Personal Professional Portfolio once graded.
Objective:
Prepare a presentation or a paper using research, basic comparative analysis, data organization and application of economic information. You will make an informed assessment of an economic climate outside of the United States to accomplish an entertainment industry objective.
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
A workshop hosted by the South African Journal of Science aimed at postgraduate students and early career researchers with little or no experience in writing and publishing journal articles.
How to Fix the Import Error in the Odoo 17Celine George
An import error occurs when a program fails to import a module or library, disrupting its execution. In languages like Python, this issue arises when the specified module cannot be found or accessed, hindering the program's functionality. Resolving import errors is crucial for maintaining smooth software operation and uninterrupted development processes.
Physiology and chemistry of skin and pigmentation, hairs, scalp, lips and nail, Cleansing cream, Lotions, Face powders, Face packs, Lipsticks, Bath products, soaps and baby product,
Preparation and standardization of the following : Tonic, Bleaches, Dentifrices and Mouth washes & Tooth Pastes, Cosmetics for Nails.
4. Identify the institution for this video
and the institutional codes
employed by the institution: This video was directed by Dan Charles Turner (DC Turner) and produced by Tracy
King who are the founder and co-founder for an animation and game development
company called KerShoot.
This company is based in London and was founded in 2011 after the success of the
short film/music video of Tim Minchin’s beat poem ‘Storm’.
They have the aim to ‘create beautiful artwork, animation, code and music for a range
of clients and in-house productions.’ spanning several creative industries.
Their clients include Tim Minchin, Honeyslug (game developer), Nature magazine,
Dreamworks and EUMETSAT (the European Organisation for the Exploitation of
Meteorological Satellites.
5. Identify the institution for this video
and the institutional codes
employed by the institution:Being a relatively small independent UK
based company they do not have a very
large portfolio of work but it is
impressive and spans a broad range of
subject and has a rather consistent style
throughout their work.
Most of Kershoot’s work share the
same unique and semi-realistic art style
whether it be for a book, game or film.
Although working for several different
clients the overall finish including the
feel and effect of each piece is
different. (different colour palettes,
techniques or angles)
6. What are the key selling points of
this video?
The video is of an entirely animated nature which is a fairly unique concept for music
videos and I think would definitely help to sell the song and video to a range of
different audience demographics as it would stand out a lot from other music videos.
The content of the poem contains some controversial issues about industrialisation
and alternative solutions in a society where science and reason are portrayed as the
enemy of belief but it is adapted to have comical value. This could help people relate
to the story and increase sales.
The content is also quite personal to the performer Tim Minchin as it portrays some
of his views and has him and his wife animated as two of the characters within the
story. The video supposedly depicts a night that Tim and his wife spent around a
friends for dinner during which Tim has a confrontation with a hippy named Storm.
This could be a very appealing point of sale for any avid fan of the comedian.
7. How does the video establish genre,
mood and expectation of the CD?
Genre: The song/poem is a Tim Minchin original and is described as musical comedy
which is portrayed through the clever word play and the out of proportion section of
the video and in some cases the way in which the words themselves are animated.
This could also be indicated by the dramatic transitions between some of the scene or
‘camera’ angles.
Mood: The general mood of the song is humorous while at the same time being quite
dark and mysterious which is clearly depicted through the animated visuals and the
interactions between the ‘characters’. Because the song is essentially a comical beat
poem the mood is primarily brought through with the clever word play but also by
some of the animated actions and the way that they are extremely exaggerated.
8. How does the video establish genre,
mood and expectation of the CD?
Expectations of the CD: I think that this music video really compliments the album
and does give an accurate expectation to the target audience as the album is defined
as being comedy and all of the songs are of a similar comical style, although they do
vary in song format from beat poems to really upbeat musical songs featuring 66
piece orchestras. It could mislead some peoples expectations of the album as some
people who don’t know Tim Minchin and his work very well may be expecting that
the rest of the album would be constructed from other beat poems.
9. How successful is this video?
Identify which elements work and
which do not work for you?I personally really like this video and think that it is was
amazing successful – I think that the animation style used is
really unique and fits the song fantastically. The animation
was BAFTA-longlisted and premiered at Bristol's Animated
Encounters, and in 2015 was reimagined as an illustrated
book which kind of proves its successfulness.
However I think that there are some parts that an animated
visual using the characters would have been a lot better and
helped explain the ‘story’ more especially in some key points
of the poem (like at 5:45) but the animators decided to go
with stylised animated words instead.
I do however think that the mix of animated narrative along
side the use of stylised text animation works amazingly well
and the effects and transitions used are really effective and
really help to keep the audiences attention focused. The
colour palette used and the use of ‘setting’ so to speak works
really well in relation to the song and its genre and accurately
reflects what the song is trying to portray.
10. What appears to be the target
audience for the music video?
Scientists?
Religious
People? (not so
much)
Target Audience
Ages 16 - 28 Mainly
students
Mostly Males
Fans of Tim
MinchinPeople who like
stand up comedy
People interested in
the debate between
religion and science
Dark sense of humour
11. How is the audience specifically
targeted in the video?
There are specific characteristics of the target audience
represented through both the video in order to make it more
targeted towards them and more relatable. For example the large
majority of the target audience is likely to have a dark and slightly
twisted sense of humour, and this segment is targeted through the
use of the dark and mysterious animated sections – some things
are considered as a taboo area for comedy to touch on but if they
are approached correctly are likely to make this audience laugh.
I think that this video also targets the age section of the target
audience as it visualises concepts and contains content the I feel is
more relevant to the younger generations as we are the ones that
tend to push boundaries and challenge traditional concepts more
often – the age is likely to be older teenagers (about 16) to
university age perhaps slightly older (around 24-28). The content
links almost directly to these people as the main concept is the
battle between beliefs and the ‘industrial monster’ that is science,
which is something I think young people are often caught up in.
13. Identify the institution for this video
and the institutional codes
employed by the institution:This video was created by a company called cosmic toast studios, with animation
producers Kenny Gage and Andy Pagana, producer Phil Haney and director Edward
Tran. With the music cover created by you tubers Ray William Johnson and
McSwagger.
Cosmic toast studios is based in America, Sherman Oaks
They are a fully in-house, state-of-the-art production facility specializing in everything
needed to bring animated, live-action or puppetry projects from concept to
completion.
There clients include Hasbro, MGA Entertainment, Maker Studios, Zynga, Fishbowl
Media and Your Favourite Martian.
14. Identify the institution for this video
and the institutional codes
employed by the institution: This is a page from there portfolio and
contains snap shots of all the work they have
done for ‘Your Favourite Martian’ with links
to watch each video.
They are a relatively small but independent
American company, but still have a fairly
large portfolio of work
Most of their work has a fairly consistent
style – the ones that differ I believe that they
are client specific styles, and despite working
for a long list of clients the overall finish and
feel is pretty consistent.
15. What are the key selling points of
this video?
The video is entirely animated which is a fairly unique concept for music videos
(although hybrids are starting to become more common) and I think would definitely
help to sell the song and video to a range of different audience demographics as it
would stand out a lot from other music videos.
It is a cover of a song by a pretty well known and liked band ‘Linkin Park’ so this would
have a good chance of attracting some of Linkin Park’s fan base as they know that it
will be similar to what they like.
The content of the video itself contains zombies and cyborgs which is likely to appeal
to a large portion of younger generations.
16. How does the video establish genre,
mood and expectation of the CD?
Genre: The song is a cover version of Linkin Park’s ‘High Voltage’ (2000) from their first album
‘Hybrid Theory’ and is described as alternative rock, which I think is shown by the fast pace
cuts between different ‘shots’/angles. The genre is also shown through the characters as they
are depicted as a typical looking rock band all be it in a stylised futuristic way. I think the
interesting narrative used, being apocalyptic themed also helps show its alternative nature.
Mood: The general mood of the song is quite fast and upbeat, but the visual element depicts
a darker more depressing plot which compliments the lyrics and meaning of the song.
Expectation of the CD: This music video gives perfect representation of the CD as this was
only released as a single by Your Favourite Martian and so is the only song but to compare it
to Linkin Park’s original album it gives an accurate expectation of the genre as it is fairly
monotone in this respect but everything else is ‘false’ so to say, due to the fact that none of
Linkin Park’s music has animated videos and parts of the song have been stylised to make
them sound robotic which doesn’t fit in with Linkin Park’s style.
17. How successful is this video?
Identify which elements work and
which do not work for you?Again I think that the animation is a really great idea and
the way it has been done fits this genre of music,
although I think a ‘live action’ music video has the
potential to be better for this genre.
I especially like the way that the animated characters are
not only there to play out the narrative but they are also
depicted playing the music creating a performance
element to the video. I also like the angles that are used
and the regular close-ups of different characters
emphasising different actions within the narrative.
I didn’t really like the robotic parts that they added to
the song I feel that it didn’t properly fit in with the rest
of the song or the genre of music and subtracted from
the original.
18. What appears to be the target
audience for the music video?
Target Audience
Ages 16 - 28 Mainly students
Mostly Males
Fans of Linkin
ParkPeople who like
alternative rock
Fans of Your
Favourite Martian
19. How is the audience specifically
targeted in the video?
One way in which the target audience has been targeted is
through the content of the video itself as it contains zombies
and cyborg like stuff which is most commonly associate with
and liked by males specifically those of the younger
generations.
The fans of Linkin Park are targeted through the use of Linkin
Park’s song, although it may be slightly different to what they
are expecting or what they have previously listened to.
Also all of the ‘characters’ at least the main ones are males
which could make the music video more relatable to them.
21. Codal Analysis
In the following codal analyses I will take three music videos of two
genres, as I am still unsure as to whether I would be capable of creating
a full length animated music video, and look at the different codes and
conventions for music videos.
Visual
Audio
Action
Technical
Narrative
Enigma
For animated videos I have chosen:
Tim Minchin’s ‘Storm’ the animated movie
High Voltage (Linkin Park cover) by Your Favourite Martian
And for a non-animated video I have chosen:
22. Barthe’s Enigma Code
This is the theory that suggests a text (whether
that is television, film, a poster etc..) portrays a
mystery to draw the audience in, pose questions
and become intrigued in the text. For instance a
murder mystery would not reveal the killer at
the start of the story otherwise there is no
mystery to keep the audiences attention until
the end of the story.
23. Todorov’s narrative theory
Todorov’s theory is that the majority of stories or plots follow the same pattern from start to
end. These 5 steps are:
Equilibrium – The first part of the story, this would depict the ordinary life of the characters
where they are usually happy and content with everything as it should be in its place.
A disruption – The second stage will feature the problem or something that disrupts the
norm.
Realisation – This is the part in the story where everyone realises the problem and chaos
generally follows.
Restored order – The fourth part of the plot is when the characters attempt to restore the
norm by removing or solving the problem.
Equilibrium again – This is the final stage of the story where the problem is resolved and
normality is restored and resumed.
26. Audio
Code
Some music videos like this one might include other audio codes such as dialogue and
diegetic and non-diegetic sounds, this video contains the actual poem/song
accompanied by an instrumental track throughout most of the video although there
are also some added in sound effect to help retain audience attention and give it a sort
of movie like feel to it as it is ten minute long.
Todorov’s narrative theory can be applied to this music video to an extent and in a
fairly general sense as at the start everything is good but when ‘Storm’ shows up
things start to become disrupted. Tim Minchin being the main character then realises
this and takes steps to remove the problem, and by the end of the video equilibrium is
as restored as it can be.
Narrative
Code
27. Action
CodeThe action codes within this video are fairly basic and help to reflect a lot of the
comical value of the video while keeping the dark undertone. The basic action is
the ‘dinner party’ that the song is supposed to tell the story of, with the start of the
video showing all of the guest arriving. The only other actions shown are the
depictions of the argument between Tim and ‘Storm’ at the dinner party.
Enigma
codeWith this video there aren’t really any enigma codes as the setting is laid out pretty
clearly through both the words and the visuals and the question about ‘what are
they arguing about?’ has a pretty obvious answer and is pretty much answered for
us. The downside is that there isn’t much of a hook to draw in the audience and
retain their interest.
28. Technical Code
Technical codes include the editing (pace, special effects,…), camerawork and shot
types used within the video. Given the animated nature of Tim Minchin’s ‘Storm’
there isn’t really any camerawork to comment on but there are different shot types in
a way and plenty of special effects. The video includes a lot of ‘camera’ movement
and techniques such as pans, tilts, zooms and tracking shot to enhance the action of
the characters and add to the overall feel of the video.
The entire video could technically be classified as a collection of special effects that
have been bolted together to form a video, although it does translate quite well into
‘normal’ shots and ‘special effects’ and ‘transition’. The transitional parts are all done
in an interesting way that flows well helping to keep the audience entertained and
focused on the video.
30. Visual Code
The video begins with a montage of shots showing the characters doing various things
with a strange looking object. Alternative rock songs often have the focus of the
video at the start on either something other than the performers or a hybrid between
a narrative act and a performance sequence – High Voltage (Linkin Park cover)
conforms to this.
Rock and Alternative rock can be about a whole range of different things from
breakups to Nazi invasions with no real focus on any particular topic and have had a
variety of different settings from plain black backdrops to open fields and circuses,
although a large part of the video often focuses on the band/performance and
whatever they are doing. This music video conforms to these parts as most of the
shots include the characters generally in hybrid performance/narrative shots.
31. Audio
Code
This video only includes the actual song as its audio the narrative is merely a muted
visual tool to depict the story while the song plays over the top. Where the two merge
they are synced together to give the illusion that the characters are playing the song.
I would say that this video does not conform to Todorov’s narrative theory as his
theory begins and ends with equilibrium which doesn’t feature at all throughout the
video, at the start it has already been disrupted and it is not restore by the end of the
video.
Narrative
Code
32. Action
Code There is not really any kind of action element to this video that changes the
direction of the narrative and that there are not really any key action points that
are vital to the understanding of the meaning behind the lyrics. The actions are
independent of the song and are not entirely necessary but provide something to
retain the audiences attention and keep them watching until the end of the video.
Enigma
code There aren’t really any enigma codes within this video the only real questions are
‘what are the characters doing?’ and ‘what is the strange device that they have?’
both of which have not been answered in any real way by the end of the video and
don’t seem to have any correlation with song.
33. Technical Code
Given the animated nature of video the creator did a good job of simulated
professional camerawork with it using a variety of different shot types and camera
angles as well as different camera movements and techniques like pans, tilts and
zooms to emulate the music video feel and keep the attention of the audience
The animation does translate really well into ‘traditional/normal’ film and music video
techniques and could most likely work as a ‘live action’ music video as well, as it does
follow the same style of other narrative music videos in terms of camerawork, editing
and to an limited extent things like props/costumes/setting.