The document provides a critical evaluation of a music campaign created for the band "United Freaks Organization" and their song "Take It". The campaign included a music video, Instagram page, and digipak.
The evaluation discusses how the campaign portrayed and challenged social representations of gender, youth rebellion, and personal branding. For gender, the female drummer was presented in a counter-typical way. For youth rebellion, the narrative and posts portrayed the band breaking rules. For personal branding, the band cultivated a charismatic but unconventional image to appeal to audiences.
Overall, the campaign aimed to attract younger audiences by using and challenging social representations in a realistic way through various media products and portrayals.
The document provides information about representation in media. It discusses how media constructs meanings about the world through representations rather than reflecting reality directly. Representations become familiar through constant reuse and come to feel natural. Representation is unavoidably selective, foregrounding some things and backgrounding others. Theories of representation discussed include those of Laura Mulvey on media positioning the audience as male, Antonio Gramsci on hegemony and dominant ways of seeing the world, and Stuart Hall on media constructing rather than reflecting reality. Key terms in representation like signifier, denotation, connotation, and binary oppositions are also defined.
The music video will focus on a girl going through a breakup, showing flashbacks of her and her ex together through photographs. Close-up shots will convey her emotions as she defaces the photos, portraying her inner pain. An actress around 19 years old, Emily Barrett, was chosen who fits the desired characteristics and can be available for filming between classes. Multiple locations will be used to show different memories from their relationship.
The document discusses the creation of a music video for the song "This Little Kitty" by the band The Toy Hearts. It describes how the video uses techniques like a constant 360 pan to match the fast tempo of the song. It also discusses the design of promotional materials like the album digipack and a magazine advert that were created to promote the band and establish their image. The document analyzes the band and song in relation to various theories about music stardom and the use of universal myths in lyrics.
This document analyzes Ariana Grande's "Into You" music video using various film and narrative theories. It discusses how the video follows Todorov's five stages of narrative (equilibrium, disequilibrium, acknowledgement, solving, new equilibrium). It also analyzes the video in terms of Propp's character archetypes, Levi-Strauss' concept of binary opposites, Barthes' narrative codes, and theories relating to gaze, ideology, and genre conventions.
The document discusses how youth cultures are portrayed in the film Quadrophenia. It begins by explaining that mods are the main youth culture represented in the film. It then analyzes several scenes from the opening sequence to illustrate how Jimmy's mod identity has become his defining characteristic and overwhelmed his sense of self. The summary shows how Jimmy's behavior and treatment of his childhood friend Kevin demonstrates how belonging to a youth culture can become destructive by removing one's true identity.
How are youth cultures represented in 'Quadrophenia'?rcmedia-kb
This document discusses how youth cultures are represented in the film Quadrophenia. It begins by defining youth culture and discussing how teenagers were viewed in post-war Britain, with both positive and negative stereotypes emerging. It then analyzes how the film represents the 1960s Mod and Rocker youth cultures through elements like the DVD cover design, soundtrack, and a key crash scene. Overall, the film portrays the youth cultures in a complex way, showing how they provided community and identity for teenagers like Jimmy, while also depicting the internal conflicts and risks they posed.
The document discusses Richard Dyer's theory of star image and how it can be applied to construct an image for a band. It explains that a star image involves portraying a band as both ordinary and extraordinary, and present and absent, to attract audiences. The document analyzes how the band's video, digipak cover, and magazine advert represent elements of youthfulness, rebellion, sexual magnetism, and talent/creativity to target a relevant demographic based on Dyer's theory of constructing a coherent yet incomplete star image.
This document discusses how the media product represents particular social groups through the main character. The character, named Ephesian, is dressed in a stereotypical assassin's outfit of a black suit and white shirt to portray an assassin. Additionally, the character is portrayed by the author's 18-year old brother, making him younger than most assassin characters and allowing for more storyline complexity. The target audience is identified as males aged 13 to 30, with those closer to the brother's age of 18 able to most directly relate to the young assassin character.
The document provides information about representation in media. It discusses how media constructs meanings about the world through representations rather than reflecting reality directly. Representations become familiar through constant reuse and come to feel natural. Representation is unavoidably selective, foregrounding some things and backgrounding others. Theories of representation discussed include those of Laura Mulvey on media positioning the audience as male, Antonio Gramsci on hegemony and dominant ways of seeing the world, and Stuart Hall on media constructing rather than reflecting reality. Key terms in representation like signifier, denotation, connotation, and binary oppositions are also defined.
The music video will focus on a girl going through a breakup, showing flashbacks of her and her ex together through photographs. Close-up shots will convey her emotions as she defaces the photos, portraying her inner pain. An actress around 19 years old, Emily Barrett, was chosen who fits the desired characteristics and can be available for filming between classes. Multiple locations will be used to show different memories from their relationship.
The document discusses the creation of a music video for the song "This Little Kitty" by the band The Toy Hearts. It describes how the video uses techniques like a constant 360 pan to match the fast tempo of the song. It also discusses the design of promotional materials like the album digipack and a magazine advert that were created to promote the band and establish their image. The document analyzes the band and song in relation to various theories about music stardom and the use of universal myths in lyrics.
This document analyzes Ariana Grande's "Into You" music video using various film and narrative theories. It discusses how the video follows Todorov's five stages of narrative (equilibrium, disequilibrium, acknowledgement, solving, new equilibrium). It also analyzes the video in terms of Propp's character archetypes, Levi-Strauss' concept of binary opposites, Barthes' narrative codes, and theories relating to gaze, ideology, and genre conventions.
The document discusses how youth cultures are portrayed in the film Quadrophenia. It begins by explaining that mods are the main youth culture represented in the film. It then analyzes several scenes from the opening sequence to illustrate how Jimmy's mod identity has become his defining characteristic and overwhelmed his sense of self. The summary shows how Jimmy's behavior and treatment of his childhood friend Kevin demonstrates how belonging to a youth culture can become destructive by removing one's true identity.
How are youth cultures represented in 'Quadrophenia'?rcmedia-kb
This document discusses how youth cultures are represented in the film Quadrophenia. It begins by defining youth culture and discussing how teenagers were viewed in post-war Britain, with both positive and negative stereotypes emerging. It then analyzes how the film represents the 1960s Mod and Rocker youth cultures through elements like the DVD cover design, soundtrack, and a key crash scene. Overall, the film portrays the youth cultures in a complex way, showing how they provided community and identity for teenagers like Jimmy, while also depicting the internal conflicts and risks they posed.
The document discusses Richard Dyer's theory of star image and how it can be applied to construct an image for a band. It explains that a star image involves portraying a band as both ordinary and extraordinary, and present and absent, to attract audiences. The document analyzes how the band's video, digipak cover, and magazine advert represent elements of youthfulness, rebellion, sexual magnetism, and talent/creativity to target a relevant demographic based on Dyer's theory of constructing a coherent yet incomplete star image.
This document discusses how the media product represents particular social groups through the main character. The character, named Ephesian, is dressed in a stereotypical assassin's outfit of a black suit and white shirt to portray an assassin. Additionally, the character is portrayed by the author's 18-year old brother, making him younger than most assassin characters and allowing for more storyline complexity. The target audience is identified as males aged 13 to 30, with those closer to the brother's age of 18 able to most directly relate to the young assassin character.
The document provides information about different film genres and audience profiling techniques:
1. It defines mainstream, alternative, and niche films, using Star Wars, Suicide Squad, and Nas' documentary as examples.
2. It discusses demographic profiling techniques like age, gender, socioeconomic status, and location that can be used to target specific audiences.
3. It analyzes the poster, trailer, and survey results for the film Blair Witch to understand how it targeted and appealed to its audience. It found the film attracted a younger demographic and had a positive reception.
The video for Robin Thicke's "Blurred Lines" portrays women in a sexualized and stereotypical manner through their revealing clothing, positioning as followers like goats, and portrayal as objects for the male gaze. Throughout the video, the men observe and sing to the women, treating them as animals and taking advantage of them sexually. The location is constantly pink/white, reinforcing stereotypes of femininity, and the lyrics further objectify and insult the women. Overall, the video uses its visuals and sounds to sexually objectify and assert male dominance over women.
Blurred lines post modern print screens 1SimonCheshire
The document provides an analysis of the music video for "Blurred Lines" by Robin Thicke. It analyzes various shots from the video and argues they promote the sexual objectification and domination of women. Specific shots are described where women perform acts to appease Thicke. The lyrics are also critiqued for suggesting a woman's silence implies consent. Though commercially successful, the video received significant criticism for its perceived sexism and portrayal of gender roles.
The document discusses the marketing materials created for a band called "Lilly and the Tea Leaves", including a music video, CD digipack, magazine advertisement, and how they work together synergistically. The video uses symbolic imagery of the singer in a birdcage to represent her psyche and feelings of guilt. The marketing elements were designed to attract different target audiences while maintaining a consistent aesthetic and theme around the birdcage imagery.
The document discusses several music videos and how they relate to postmodernism. It analyzes Jessie J's "Who's Laughing Now" music video, noting its use of intertextuality through references to other works and hyperreality through cuts between past and present. It also summarizes Ed Sheeran's "Don't" video and how it plays with traditional gender conventions. Finally, it analyzes aspects of Lady Gaga's "Judas" video that reflect postmodern ideals like challenging norms and mixing elements.
The music video for "Robbers" by The 1975 employs various narrative techniques. It tells the parallel stories of a couple robbing a store to fund their drug addiction, showing scenes that foreshadow their plans going wrong. While their love for each other is the central theme, the video also features elements like flashbacks, ambiguity, and symbolism that allow for multiple interpretations of the characters and plot. Fans enjoy piecing together the narrative codes and applying theories like Barthes' to understand the deeper meaning. Overall, the complex narrative styles used make the video a fascinating representation of the indie genre.
The document summarizes the digipak and magazine advertisements for Katy Perry's "Teenage Dream" album and Chris Brown's "F.A.M.E." album. For Katy Perry, the digipak uses bright colors representing her fun personality, and candy themes fitting her target audience. For Chris Brown, the digipak front shows a confident image while the back displays a softer side. Both artists' magazine ads aim to promote their albums and draw audiences using imagery from the digipaks.
The music video uses most conventions of the dance-pop genre by including both a performance and narrative aspect. It challenges conventions slightly by showing the artists playing instruments rather than just lip syncing. The use of color also challenges conventions by using darker colors rather than the typical bright colors. Additionally, it challenges the "male gaze" convention by focusing on empowering the three female characters rather than just their appearance.
The digipak cover uses some conventions by including the artist and title but challenges others by showing all three characters rather than just the main female artist. It also challenges conventions through its 6-panel format rather than the typical 2 or 4 panel format.
The digipak advert closely follows conventions by prominently
Uses and gratifications theory examines why people watch, enjoy, or discuss media. There are five main reasons: education, entertainment, escapism, social interaction, and personal identification. The document analyzes several music videos and album covers through these lenses. For education, videos may educate about social issues. For entertainment, videos feature dancing, narratives, or bright colors. Escapism videos depict parties or summer settings. Social interaction videos become topics of discussion. Personal identification videos feature relatable characters of different appearances that empower the target audience. The document concludes that an effective music video should both entertain and allow for personal identification by featuring a diversity of girls empowering each other.
The group chose to make a romantic comedy film as that genre fit their age range and interests. They aimed the film at a younger audience and used conventions of the genre like a breakup and struggle to get over it. However, they put a twist on conventions by having the male character be the one struggling after a breakup rather than the female. They used research on mise-en-scene, costumes, settings and music to match realistic romantic comedies. Audience feedback helped them name the film and shape it to interests. They used Premier Pro and Photoshop software in production and promotion.
The document provides a summary of Dick Hebdige's theory of subcultures and how members use style, music and other symbols to challenge dominant ideology and show resistance. It also discusses Stanley Cohen's concept of a moral panic, where the media portrays a group as a threat disproportionate to the actual problem. The document then summarizes the 1979 film Quadrophenia, which depicts the clash between British mod and rocker subcultures in the 1960s and examines the representation of characters and how they reinforce youth culture through elements like costumes, music and bikes.
The document discusses the concept of the male gaze and why it is important for media students to understand. It defines the male gaze as how audiences view characters or people from a heterosexual male perspective. It then analyzes Miley Cyrus' "Wrecking Ball" music video and argues it confirms the male gaze by focusing on her body and portraying her as a sexual object. Finally, it provides examples of lyrics that depict the male gaze through objectifying or sexualizing women.
This document summarizes an advertisement for Aerosmith's "The Very Best Of" album. The ad features a woman having her bra removed to appeal to male audiences. It uses a minimal color palette of grey, skin tones, and black with some white. There is little text to emphasize the sexual imagery and draw attention to the band name in large capital letters announcing a new hits compilation and release date.
The document is a summary and analysis of responses to a music video questionnaire. Some key findings:
- The target audience for the music video is teenagers aged 13-18, and over half of respondents fell within this age range.
- The vast majority (86.6%) of respondents were female, indicating the music video should be aimed at girls.
- Most respondents were in the "lower class" category like students, suggesting the music video and promotions should prioritize entertainment over information.
- The most popular music genres among respondents were musicals and pop music, so the music video will incorporate elements from these genres like drama and emotion.
- Blues, blacks, purples, pink
- The print productions and music video for the indie band share some visual and thematic links but could be strengthened.
- Visually, they share the same font and composition techniques, but differ in color with the video using bold colors and prints in black and white.
- Thematically, they both represent the theme of love in a negative way and feature a recurring mask image representing concepts of identity. However, the themes are not as directly linked between the pieces as they could be.
- Overall, the links provide a coherent message and brand identity, but could be improved by more directly visually representing the themes, like including ocean imagery related to the song title.
The target audience for the media product is 16-18 year olds. This age group can relate to and empathize with the teenage main characters. Having creators and characters of the same age means there is a deep understanding of appealing to other teenagers. Both male and female teenagers are targeted by including strong and capable characters of both genders that break stereotypes commonly seen in thriller films. The primary ethnicity targeted is white British, reflecting the creators and characters, but the story should still be relatable to all. Sexuality is not a focus, so all sexual orientations are included in the target audience. The target audience would enjoy thrillers and be interested in popular culture references included to make the characters more relatable.
This advertisement for Rihanna's album "Rated R" features a large image of her covering one eye, intriguing viewers about why she's doing so and enticing them to buy the album for context. Consistent with Rihanna's seductive style, she wears dark makeup and leather with what seems to be a knuckle duster. The singles "Russian Roulette" and "Hard" stand out in bold red text against the black-and-white backdrop, their titles suggesting danger and sexuality. The poster also prominently displays Rihanna's recognizable "R" logo trademark.
Research & planning signs & signifiers - textual analysisKeananAdams
This document analyzes signs and signifiers on magazine covers and contents pages related to the RnB music genre. Iconic signs include images of famous RnB artists and logos. Symbolic signs use colors, phrases and layout to emphasize importance. Indexical signs relate to the artists' backgrounds, styles and controversial topics through poses, costumes and settings. The document decodes meanings from both preferred and oppositional readings of these signs.
The document discusses representation in media and how the short film portrays teenagers. It focuses on representing the main character Ana as a realistic teenage girl rather than stereotypical portrayals. The film shows Ana's fears and worries over her boyfriend cheating in a way that most female viewers could relate to, making her more sophisticated than typical negative media representations of teenage girls. While Corey dies, it was accidentally, not deliberately done by Ana, avoiding portraying her as a horrible teenager.
Music videos serve several purposes: to promote the sale of music, tell the story or meaning of a song, and attract audiences. They have evolved over time from black and white to colorful videos. Now, many videos use sex, money, and stereotypes to interest viewers and increase profits. Artists also use synergy by expanding their brand across different media like films, books, and games to become more well-known.
The document discusses audience feedback received on a music video and album created for an unsigned R&B artist named Tyler Noel. Key elements of feedback included adding more scenes showing the male antagonist's disrespectful behavior, fixing issues with lip syncing, and changing some elements like a dance scene to better fit the R&B genre. The feedback helped improve the music video and other promotional materials to better target their young female audience and showcase Tyler Noel's message of female independence in the R&B genre.
The document discusses the production of a music video for an R&B artist named Tyler Noel. It summarizes the target audience research, considerations in constructing an audience feedback questionnaire, and ways to market the product using social media and online sharing platforms. It then details the effects of audience feedback on revising elements of the music video like character development, lip syncing, and color palette. Feedback was also gathered on draft album artwork designs. Overall, the document reflects on how maintaining some R&B conventions while challenging others helped guide the target audience, and how further revisions could improve the quality and success of the final product.
The document provides information about different film genres and audience profiling techniques:
1. It defines mainstream, alternative, and niche films, using Star Wars, Suicide Squad, and Nas' documentary as examples.
2. It discusses demographic profiling techniques like age, gender, socioeconomic status, and location that can be used to target specific audiences.
3. It analyzes the poster, trailer, and survey results for the film Blair Witch to understand how it targeted and appealed to its audience. It found the film attracted a younger demographic and had a positive reception.
The video for Robin Thicke's "Blurred Lines" portrays women in a sexualized and stereotypical manner through their revealing clothing, positioning as followers like goats, and portrayal as objects for the male gaze. Throughout the video, the men observe and sing to the women, treating them as animals and taking advantage of them sexually. The location is constantly pink/white, reinforcing stereotypes of femininity, and the lyrics further objectify and insult the women. Overall, the video uses its visuals and sounds to sexually objectify and assert male dominance over women.
Blurred lines post modern print screens 1SimonCheshire
The document provides an analysis of the music video for "Blurred Lines" by Robin Thicke. It analyzes various shots from the video and argues they promote the sexual objectification and domination of women. Specific shots are described where women perform acts to appease Thicke. The lyrics are also critiqued for suggesting a woman's silence implies consent. Though commercially successful, the video received significant criticism for its perceived sexism and portrayal of gender roles.
The document discusses the marketing materials created for a band called "Lilly and the Tea Leaves", including a music video, CD digipack, magazine advertisement, and how they work together synergistically. The video uses symbolic imagery of the singer in a birdcage to represent her psyche and feelings of guilt. The marketing elements were designed to attract different target audiences while maintaining a consistent aesthetic and theme around the birdcage imagery.
The document discusses several music videos and how they relate to postmodernism. It analyzes Jessie J's "Who's Laughing Now" music video, noting its use of intertextuality through references to other works and hyperreality through cuts between past and present. It also summarizes Ed Sheeran's "Don't" video and how it plays with traditional gender conventions. Finally, it analyzes aspects of Lady Gaga's "Judas" video that reflect postmodern ideals like challenging norms and mixing elements.
The music video for "Robbers" by The 1975 employs various narrative techniques. It tells the parallel stories of a couple robbing a store to fund their drug addiction, showing scenes that foreshadow their plans going wrong. While their love for each other is the central theme, the video also features elements like flashbacks, ambiguity, and symbolism that allow for multiple interpretations of the characters and plot. Fans enjoy piecing together the narrative codes and applying theories like Barthes' to understand the deeper meaning. Overall, the complex narrative styles used make the video a fascinating representation of the indie genre.
The document summarizes the digipak and magazine advertisements for Katy Perry's "Teenage Dream" album and Chris Brown's "F.A.M.E." album. For Katy Perry, the digipak uses bright colors representing her fun personality, and candy themes fitting her target audience. For Chris Brown, the digipak front shows a confident image while the back displays a softer side. Both artists' magazine ads aim to promote their albums and draw audiences using imagery from the digipaks.
The music video uses most conventions of the dance-pop genre by including both a performance and narrative aspect. It challenges conventions slightly by showing the artists playing instruments rather than just lip syncing. The use of color also challenges conventions by using darker colors rather than the typical bright colors. Additionally, it challenges the "male gaze" convention by focusing on empowering the three female characters rather than just their appearance.
The digipak cover uses some conventions by including the artist and title but challenges others by showing all three characters rather than just the main female artist. It also challenges conventions through its 6-panel format rather than the typical 2 or 4 panel format.
The digipak advert closely follows conventions by prominently
Uses and gratifications theory examines why people watch, enjoy, or discuss media. There are five main reasons: education, entertainment, escapism, social interaction, and personal identification. The document analyzes several music videos and album covers through these lenses. For education, videos may educate about social issues. For entertainment, videos feature dancing, narratives, or bright colors. Escapism videos depict parties or summer settings. Social interaction videos become topics of discussion. Personal identification videos feature relatable characters of different appearances that empower the target audience. The document concludes that an effective music video should both entertain and allow for personal identification by featuring a diversity of girls empowering each other.
The group chose to make a romantic comedy film as that genre fit their age range and interests. They aimed the film at a younger audience and used conventions of the genre like a breakup and struggle to get over it. However, they put a twist on conventions by having the male character be the one struggling after a breakup rather than the female. They used research on mise-en-scene, costumes, settings and music to match realistic romantic comedies. Audience feedback helped them name the film and shape it to interests. They used Premier Pro and Photoshop software in production and promotion.
The document provides a summary of Dick Hebdige's theory of subcultures and how members use style, music and other symbols to challenge dominant ideology and show resistance. It also discusses Stanley Cohen's concept of a moral panic, where the media portrays a group as a threat disproportionate to the actual problem. The document then summarizes the 1979 film Quadrophenia, which depicts the clash between British mod and rocker subcultures in the 1960s and examines the representation of characters and how they reinforce youth culture through elements like costumes, music and bikes.
The document discusses the concept of the male gaze and why it is important for media students to understand. It defines the male gaze as how audiences view characters or people from a heterosexual male perspective. It then analyzes Miley Cyrus' "Wrecking Ball" music video and argues it confirms the male gaze by focusing on her body and portraying her as a sexual object. Finally, it provides examples of lyrics that depict the male gaze through objectifying or sexualizing women.
This document summarizes an advertisement for Aerosmith's "The Very Best Of" album. The ad features a woman having her bra removed to appeal to male audiences. It uses a minimal color palette of grey, skin tones, and black with some white. There is little text to emphasize the sexual imagery and draw attention to the band name in large capital letters announcing a new hits compilation and release date.
The document is a summary and analysis of responses to a music video questionnaire. Some key findings:
- The target audience for the music video is teenagers aged 13-18, and over half of respondents fell within this age range.
- The vast majority (86.6%) of respondents were female, indicating the music video should be aimed at girls.
- Most respondents were in the "lower class" category like students, suggesting the music video and promotions should prioritize entertainment over information.
- The most popular music genres among respondents were musicals and pop music, so the music video will incorporate elements from these genres like drama and emotion.
- Blues, blacks, purples, pink
- The print productions and music video for the indie band share some visual and thematic links but could be strengthened.
- Visually, they share the same font and composition techniques, but differ in color with the video using bold colors and prints in black and white.
- Thematically, they both represent the theme of love in a negative way and feature a recurring mask image representing concepts of identity. However, the themes are not as directly linked between the pieces as they could be.
- Overall, the links provide a coherent message and brand identity, but could be improved by more directly visually representing the themes, like including ocean imagery related to the song title.
The target audience for the media product is 16-18 year olds. This age group can relate to and empathize with the teenage main characters. Having creators and characters of the same age means there is a deep understanding of appealing to other teenagers. Both male and female teenagers are targeted by including strong and capable characters of both genders that break stereotypes commonly seen in thriller films. The primary ethnicity targeted is white British, reflecting the creators and characters, but the story should still be relatable to all. Sexuality is not a focus, so all sexual orientations are included in the target audience. The target audience would enjoy thrillers and be interested in popular culture references included to make the characters more relatable.
This advertisement for Rihanna's album "Rated R" features a large image of her covering one eye, intriguing viewers about why she's doing so and enticing them to buy the album for context. Consistent with Rihanna's seductive style, she wears dark makeup and leather with what seems to be a knuckle duster. The singles "Russian Roulette" and "Hard" stand out in bold red text against the black-and-white backdrop, their titles suggesting danger and sexuality. The poster also prominently displays Rihanna's recognizable "R" logo trademark.
Research & planning signs & signifiers - textual analysisKeananAdams
This document analyzes signs and signifiers on magazine covers and contents pages related to the RnB music genre. Iconic signs include images of famous RnB artists and logos. Symbolic signs use colors, phrases and layout to emphasize importance. Indexical signs relate to the artists' backgrounds, styles and controversial topics through poses, costumes and settings. The document decodes meanings from both preferred and oppositional readings of these signs.
The document discusses representation in media and how the short film portrays teenagers. It focuses on representing the main character Ana as a realistic teenage girl rather than stereotypical portrayals. The film shows Ana's fears and worries over her boyfriend cheating in a way that most female viewers could relate to, making her more sophisticated than typical negative media representations of teenage girls. While Corey dies, it was accidentally, not deliberately done by Ana, avoiding portraying her as a horrible teenager.
Music videos serve several purposes: to promote the sale of music, tell the story or meaning of a song, and attract audiences. They have evolved over time from black and white to colorful videos. Now, many videos use sex, money, and stereotypes to interest viewers and increase profits. Artists also use synergy by expanding their brand across different media like films, books, and games to become more well-known.
The document discusses audience feedback received on a music video and album created for an unsigned R&B artist named Tyler Noel. Key elements of feedback included adding more scenes showing the male antagonist's disrespectful behavior, fixing issues with lip syncing, and changing some elements like a dance scene to better fit the R&B genre. The feedback helped improve the music video and other promotional materials to better target their young female audience and showcase Tyler Noel's message of female independence in the R&B genre.
The document discusses the production of a music video for an R&B artist named Tyler Noel. It summarizes the target audience research, considerations in constructing an audience feedback questionnaire, and ways to market the product using social media and online sharing platforms. It then details the effects of audience feedback on revising elements of the music video like character development, lip syncing, and color palette. Feedback was also gathered on draft album artwork designs. Overall, the document reflects on how maintaining some R&B conventions while challenging others helped guide the target audience, and how further revisions could improve the quality and success of the final product.
Immy Murphy evaluated their media campaign for the band 'Sametime' which included creating a music video, digipak, and social media page. The music video portrayed diversity through its representation of gender, race, and relationships. Scenes showed the typical ups and downs of a relationship. The digipak and social media engaged fans through a consistent branding with colors, fonts, and language. Research into conventions helped make design choices but some elements were made unconventional. While some aspects succeeded, the social media and digipak could have been more creative.
Audience is the most important factor when producing media. A person's demographics like age, gender, religion, and class all influence what media they will enjoy. Producers aim media at assumed audiences by relying on stereotypes. For a new rock band, promoters would stereotype that younger, non-religious and working class people would be most interested and promote the band at rock concerts and online to reach the correct audience. The effectiveness of promotion depends on targeting the right demographic groups.
The document discusses the results of a questionnaire given to gather perspectives on youth and music videos. It summarizes that most respondents were teens, the target audience, and responses were primarily from females. Narrative and symbolic music video styles were preferred. Indie music and themes of grunge appearance and alcohol were popular. Props and costumes were seen as most essential to music videos, followed by location and lighting. Gender, ethnicity, and sexuality were seen as most important for characters. Most respondents said they would feel comfortable watching depictions of cigarettes, alcohol, and minor drug use in a music video.
The document discusses Richard Dyer's theory of star images and how manufactured stars balance two paradoxes to achieve success. The first paradox is that stars must seem both ordinary and relatable as well as extraordinary and idolized. The second is that stars must feel both present through their promotional materials and absent to leave audiences wanting more. The document then examines how a band portrayed in a case study balances these paradoxes to appeal to their target audience and achieve stardom.
The document summarizes audience feedback received from surveys about a student film project to create a music video for The 1975 song "Milk." The surveys helped the students decide on the song and understand their target audience. Most respondents were younger students. Feedback indicated a preference for a developed storyline over lip syncing. The students incorporated symbols, props, and locations to tell a story about a woman's heartbreak and drug use without overtly showing drugs. They included a plot twist where the woman is shown as an elderly person, implying she overcame her struggles. The document discusses how the feedback informed their creative choices for the music video.
The document summarizes audience feedback from a questionnaire about a music video and related print productions targeting 16-20 year old white females and males. Key findings include:
- 40% of respondents identified with the male protagonist in the video while 20% identified with the female protagonist, matching the gender breakdown of survey respondents.
- The majority found the video's messages of love and reconnection relatable and central to the story.
- Respondents generally found the video interesting and enjoyed the climax scene on the beach.
- Print productions were seen as fitting well with the video and 60% said they would influence purchasing the album.
The document discusses research conducted to identify the target audience for a comedy film. It analyzes popular films like Superbad, Role Models, and Step Brothers to see that they were most popular with audiences in demographic groups D and E, consisting mainly of students and young workers aged 15-20. Key aspects that appeal to this audience, like memorable quotes and costumes, are discussed. The research examined magazines, music, technology, hobbies and clothing preferences of stereotypical teenage boys and girls to help shape the film's content, style and marketing to resonate most effectively with its intended 15-certificate audience.
The document discusses various promotion methods for music artists and bands, including social media teases, posters, promotional podcasts, album covers, logos, and existing media examples. It then provides details on two bands - Red Remedy and Pretty Velvet - including their members, releases, performances, and promotion activities. Finally, it discusses plans for a band meeting and client meeting to discuss promotion goals and a music video concept.
The document discusses research conducted to determine the target audience for a comedy film. It analyzes popular films in the same genre and finds that they target teenagers ages 15-18 (rating 15). The researcher examines magazines, music, technology, hobbies and clothing preferences of stereotypical male and female teenagers. Specifically, the film aims to attract groups D and E, consisting of students, unskilled workers and "mainstreamers" around ages 15-20. Inspiration is drawn from films like Role Models, Superbad and Step Brothers that were popular and influential for a similar target demographic.
The document discusses how the media product challenges conventions of the indie music genre. It aimed to amplify the lyrics visually rather than illustrate them literally. This was done by focusing more on the performer than other actors, and having the performer lip sync for only a few seconds. Gender roles and feminist views were also portrayed through the protagonist's emotional changes. Camera angles like close-ups were used to focus on contrasting emotions. The white dress of the main character was altered to show a change in her innocent character. Masks were also used with camera angles to convey emotions abstractly without relying on acting ability alone.
My project summarizes a media product about a group of middle-class teenage males who commit a robbery. It explores controversial issues like the influences of gangsters on ordinary people and the issue of crime. While the people shown could simply be in the wrong place at the wrong time, they are quite young which is unconventional as men associated with crime are usually older. The costumes of the characters do not change for the robbery, suggesting they are amateur criminals from a social group not used to crime like working class men.
My project summarizes a media product about a group of middle-class teenage males who commit a robbery. It explores controversial issues like the influences of gangsters on ordinary people and the issue of crime. While the people shown could simply be in the wrong place at the wrong time, they are quite young which is unconventional as men associated with crime are usually older. The project aims to show that these teenagers may be more likely to commit crimes but are not necessarily bad people.
The document discusses the design choices for a digipak for a single by the band Bastille. It aimed to target a young audience by using images related to partying and nightlife that they could relate to, and showing the improvement in quality of life over the course of the music video. Different edits of photos of a woman's eyes open and closed were used to represent themes in the narrative. The design aims to appeal to younger people through its use of intriguing images and references to the band's past success at the Brit Awards.
The target audience for the media products was 16-26 year old British and American females from working class backgrounds. To attract this demographic, the music video drew inspiration from empowering videos like Beyoncé's "Single Ladies" and included a female-dominated dance routine. Scenes were filmed in busy city centers and parks to appeal to younger audiences. Feedback identified strong casting choices that matched the target age and relationships/dance scenes that maintained a youthful feel. Weaker aspects included a lack of wealth/fame conventions typically shown in pop videos and not utilizing revealing clothing or "male gaze" enough. It is important to consider audience feedback to ensure the product appeals to and is marketed towards the intended viewers.
The target audience for the media products was 16-26 year old British and American females from working class backgrounds. To attract this demographic, the music video drew inspiration from empowering videos like Beyoncé's "Single Ladies" and included a female-dominated dance routine. Scenes were filmed in busy city centers and parks to appeal to younger audiences. Feedback identified strong casting choices that matched the target age and relatable relationship and dance scenes. However, conventions of wealth and uncovered flesh were deemed weaker aspects that did not align with the realistic themes aimed at the 16-25 age range. Taking audience feedback is important to create engaging products that people want to watch and will generate sales and promotion opportunities.
The target audience for the media products was 16-26 year old British and American females from working class backgrounds. To attract this demographic, the music video drew inspiration from empowering videos like Beyoncé's "Single Ladies" and included a female-dominated dance routine. Feedback identified casting of similar-aged talent and scenes set in popular youth locations as strong aspects that resonated well. Weaker conventions included a lack of wealth, fame and sensuality typically featured in pop music. It's important to consider audience feedback to ensure the product appeals to and is marketed towards the intended demographic.
This document summarizes Natasha Mack's responses to four questions about her media project. It discusses how her project both developed and challenged conventions of real media products. It explored how she dressed her artists to attract audiences but not promote unhealthy ideals. While some conventions were followed to be successful, others were challenged, such as stereotypes about race and gender. Feedback was considered to improve the project while still conveying its intended message.
The document discusses feedback on three songs considered for a music video project. TOOL by Chemicalia was deemed too slow with complicated lyrics and was too long. On My Own by Zach Diamond faced copyright issues due to its streaming numbers and would be difficult to film as a hip hop video. TAKE IT by Chemicalia received positive feedback for its fast pace, tempo changes, potential cast, and group agreement, leading it to be chosen for the project.
The document provides details on 3 potential song ideas for music videos, including the number of listens or streams each song has received on Soundcloud, their musical genres, whether they currently have existing music videos, potential challenges for making each video, and brief descriptions of the themes or messages of each song. The songs discussed are "TAKE IT" by Chemicalia about drug addiction, "TOOL" by Chemicalia about work not paying off, and "On My Own" by Zach Diamond about doing better without support from others.
The song "Wrong Way" by the band Yakul is about a boy who falls in love with a girl but pursues her in the wrong way and ends up feeling like a fool. The song has a jazz-infused neo-soul sound featuring vocals, bass, keyboard, drums and guitar. The music video idea involves the band members chasing the girl keyboardist through different rooms and obstacles as they try to win her affection, while continually going the "wrong way."
The song is about drugs and addiction and coping with mental health problems. The music video inspiration is to make it seem chaotic and almost violent to fit the heavy alternative rock genre. Potential ideas for the video include bursting through a dry wall, lying in a ring of fire, and exaggerated facial expressions during the chorus to portray a clustered mind.
This document discusses conventions used in thriller films and compares them to an opening sequence created by the author. Typical conventions include quick cuts, low lighting, shadows, and tense music. The opening of American Psycho uses zooms, over-the-shoulder shots, and classical music. The author's sequence features close-ups, a bird's eye view, and unsettling music. It takes place in a dimly-lit bathroom and uses mise-en-scene like blue lighting to create an unsettling mood. Editing includes matching action and cuts between shots. The sequence aims to raise awareness of issues like gender inequality, catfishing, stalking, poverty, alcoholism and their impacts on relationships.
The document discusses target audiences for three films - American Psycho, The Conjuring, and Shutter Island. It provides details on the age ratings and content of each film that appeals to certain demographics. For example, American Psycho appeals to both men and women due to its satire of masculinity. The Conjuring intrigues audiences with its true story elements. Shutter Island confuses audiences with its psychological thriller plot. The document then discusses distribution methods and the importance of marketing a film to engage its target audience.
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Manual despiece Yamaha fuera de borda pc_e40x_02.pdf
Fabian warriner (1)
1. Name: Fabian Warriner
Candidate number: 3525
Critical Evaluation
We have worked on producing a music campaign for a band named ‘United Freaks Organization’
with a song named ‘Take It’. We have attempted to follow and challenge social representations
through the use of media products such as social media, a digipak and a social media page. In this
essay, I will discuss the decisions made and how they were designed to represent different social
groups.
One social representation presented by our
music video is Gender. You could say that we
have presented gender stereotypically in terms
of the masculine gender, however this is
contradicted by our use of a female drummer,
the only female cast member in our band. Our
drummer Neave has been presented as a ‘tomboy’, in the sense that she is involved in a group of
four, with three other boys. We decided to give Neave a counter typical outfit which matched the
outfits of the boys in the group. This consists of baggy black jeans which have been distressed with
graffiti on the legs, as well as a black sleeveless jacket which also has the same graffiti styling on the
back and front, with cuts and slits to make it look a bit more rugged. We also chose not to give
Neave a full face of makeup as we felt that this would help to assist the counter typical idea that we
were going for. In the narrative for our video, we had our cast running away from police. This gives
light to the social norms of young teens getting into trouble and being rebellious against the law,
2. however this is usually subject to the male gender stereotypically, which helps to define the counter
typical view of our female drummer. During these running scenes, we have a shot of the cast
running up a skate ramp. In this part we can see the 3
boys running up first which gives the archetypical
impression that boys are more agile and sporty than girls
can be. We also perceive the boys helping Neave up the
ramp which insinuates the idea that the boys are
protective of the girl and that she needs help. This decision to create both stereotypical images as
well as counter typical, shows the audience that girls can be mischievous and rebellious as much as
boys which can help to entice the female audience who don’t feel as comfortable being ‘girly’ and
can help to attract a female audience as well as male.
Another social group portrayed in our video could be that young people are traditionally rebellious
and conflict rules and regulations given to them. This idea comes from teenagers and children not
wanting to be controlled or told what to do, which we have presented through the
narrative aspect of our video. We have also produced an Instagram page in
order to simulate band promotion as it would be in real life. On our page
we have posts of our lead singer and band pulling outlandish facial
expressions and poses in order to attract our younger male demographic.
Boys typically show more expression and bigger body language than girls,
as well as not being self-conscious about how they look online or in real
life, so these types of posts promote that idea well. We also have posts of
our band standing on a wall which could be seen as an off-limits area, which could also
help to produce an idea of the band breaking the rules, even if it is something smaller, as well as it
standing out from a normal Instagram post. This rebellious stereotype could also relate to the
3. protests against the authorities after the death of George Floyd. As much as this was massively a
racially motivated movement, it still gives a clear image as to how our generation has helped to
make this protest such a big deal, compared to how big this story may have been if it had been 10 or
20 years prior to when it happened.
My next point I’d like to discuss is the production of brand image we have created through the use
of our products in order to appeal to the attitudes of our audience through understanding the
psychographic. A media theorist named Richard Dyer said that an artist is a construction rather than
a person, which describes the artist themselves as a product. In our music video we have tried to
promote a charismatic and mischievous image especially in our narrative which gives the impression
that our band are running from authorities. This image gives the idea that our band are
unconventional and don’t abide by the rules set for them. This gives a relatable idea for our
audience, as, as previously mentioned, the younger demographic is becoming more and more
rebellious to the police after recent years of the
police being visualised as the real criminals after
more recognition to police brutality. We have
also produced an idea that our band are rather
abstract, similarly but a more contained version
of the band Prodigy. We felt that this type of
band persona keeps our band from mixing in
with all of the others and helps them to stand out
above the typical alternative rock band. In terms of
Mise En Scene, our cast have typical haircuts for a
rock band such as a mullet or unnatural hair dye, to
add to the connotations of a rock band. On top of
this, our distressed and spray-painted black denim
outfits further promotes the depiction that our band
4. aren’t concerned about how they look and don’t have a problem with looking messy. This may help
to minimalize the typical clothes and looks of a ‘Good – looking’ man or
woman. This is specifically directed at girls as a social issue which has be
created alongside social media is that they have to look a certain way, so you
could say that our female drummer and how she is dressed in the video aims
to break down these common social barriers created by the media. The spray
paint on our costumes could also help to connote rule breaking and
vandalism, which links back to the mischievous image which we are
conveying. This could also relate to the skate park scenes where we can see
spray paint on the ramps, possibly suggesting that they have done this
themselves which is the reason they are running from the police.
We also have attempted to present our band
having fun together through our narrative, with
happy facial expressions and
shots of them having
conversations and laughing
with each other. This
represents an almost ‘down to earth’ image where even if they are a big band
per say, they still meet up as friends as stereotypical people of this age range
would. This also helps our audience to relate to the band as these are typical
things for this demographic to be doing. We also promote the band having fun
in our Instagram posts, as well as meeting up for ‘jam sessions’, which relates to
the audience members who play musical instruments themselves and meet up
to have fun and improvise together. We have also produced a cool and serious
5. side to our band where we have them showing less lively expressions to demonstrate a more
dangerous side to them to show that they also have a persona where they are more dedicated to
their music. This is presented in our Instagram, where we have a post of our lead singer looking into
the camera with a serious expression along with the rest of the band behind him. Richard Dyer
suggests that the star or band is the commodity which is sold to the consumer.
Jay Blummer and Elihu Katz have presented us with the uses and gratification theory. This describes
how the main reasons which our audience consume media is entertainment or diversion, personal
identity, personal relationships and education. A large portion of the entertainment aspect for our
young male and female demographic would come from the music and the music video. This is the
main product which would generate recognition for the band rather than the Instagram or the
digipak, however these products will also play their part. Both our Instagram and music video will
help to target the personal identity aspect of the theory. When our audience visualises, our band
running from police and breaking the rules, and
even just spending time together, it generates a
more personal connection as there can begin to
see similar attributes which they themselves
might possess. Through this, individual audience
members begin to idolize members of the band
and might begin to copy or mimic their actions which helps to spread a new image and style in a viral
manner. In the scene where each band member is running towards the camera with the fish eye
lens, we can begin to develop an emotional attachment to our audience through the clear images of
their emotions and how they are feeling when filming this scene, because they look directly into the
camera, this acts as a direct address to the audience and makes it feel personal to them. Our
Instagram assists personal connection, as our posts have captions which speak directly to our
6. audience such as ‘Who’s ready for the drop of our music video?’. By asking questions to
our audience, they begin to feel more included in the production and are able to
comment on the post in order to generate this association between artist and consumer.
Our digipak also has some input in terms of social interaction as on the inside cover it
says, ‘Thank you for buying this compact disk’, which has the opportunity to feel like a
personal thank you to each and every member of the audience who has bought the
compact disk and gives them a sense of gratitude from the band themselves.
We deliberately chose to be conventional yet still unconventional with our video as a
media theorist, Steve Neale, thinks that audiences enjoy the familiar aspects to a genre as well as
the forever dynamic attributes which are constantly occurring with the endless release of new music
and other types of media. Our music video has both challenged and met the typical conventions of
an alternative/indie rock music video. In terms of the performance section, typically in a lot of indie
rock videos we can see a live performance aspect to the video, however this would have been
difficult in order to build a set and hire a
massive cast or even edit the audience in.
This is why we decided that filming our
performance in a real shop window would
work, as we can include real life people
who have come to do their shopping in
our video with very little difficulty. We
have also included a narrative in our video as this is represented across a lot alternative rock videos.
Our digipak helps to meet typical conventions as usually they are quite abstract and strange as it fits
the type of music. It also however, challenges the fact that normally the band isn’t shown on the
front of an alternative rock digipak, yet we felt that by showing the band we can generate more
recognition for the individual performers, as well as demonstrating their diverse personalities
through dramatic facial expressions. Our social media has been roughly based off of the Instagram
7. page for the band ‘5 Seconds of Summer’. This is because they represent a similar type of music and
has interesting posts which stand out from other bands. We recreated posts from this band to a
similar but not identical level and created our own promotional captions as they have. These are
posts from much closer to the start of their career as our band are, as this will be a lot more realistic
than posting about a worldwide tour they will be going on.
In essence, we have used and challenged social representations by distributing visual and literate
examples of each mentioned group. This is how we have attempted to attract our younger
demographic and appealed to this audience in an appropriate manner, as it may have been
conducted in a real situation. If I was to do this entire production process again, I would have
attempted to promote the problems faced by young people when rebelling and challenging the law,
and how this may have affected them in the long term.
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