This document provides information about a GCSE music video study day being held at the BFI Southbank on March 6th, 2019. The study day will include sessions on music video language, context, and understanding audiences, as well as guest speakers. Tom Woodcock will be the presenter and will introduce the study day. The program details the schedule and sessions. Biographies of the presenter and guest speakers are also included.
The document outlines the schedule and activities for a music video analysis workshop. The day begins with an introduction to music video language and techniques. Participants will analyze shot types, narrative structure, representation, and more in sample music videos. After a short break, the workshop will discuss the historical context and evolution of music videos. Lunch will include a Q&A with music video professionals. The afternoon session focuses on audience theory, including passive vs. active viewing and uses and gratifications theory. Participants are assigned take-away tasks to complete the workshop.
The document provides information and questions for a case study assignment on music video production. It is split into three tasks: the first addresses the purposes of music videos and strategies used by labels and artists; the second covers styles, techniques and conventions of music video production; the third involves analyzing at least three music videos considering what was discussed in the first two tasks. The document provides guidance on completing the case study and delves into each task with relevant questions.
Here is a potential structure for your response:
1. Describe the key conventions of music videos such as illustrating/amplifying lyrics, relationship between music and visuals, close ups of artists, developing star iconography. Use two examples such as Robert Palmer's "Addicted to Love" and Beyoncé's "Single Ladies" to illustrate.
2. Explain the techniques of intertextuality used in music videos such as parody, pastiche and homage. Provide an example of each such as Weird Al's parody of "White and Nerdy" or Joanna Newsom's homage to Van Gogh in "Sapokanikan." Discuss why artists use intertextuality to
Queen's 1975 music video for "Bohemian Rhapsody" was the first official music video as it was deliberately made to accompany the song, not just promote it. Before then, TV shows like Top of the Pops (UK) and Hullabaloo (US) showed artists performing live. David Bowie's 1980 video for "Ashes to Ashes" used groundbreaking effects to symbolize the effects of drugs. In 1981, MTV launched as the first 24-hour music channel, playing the Buggles' "Video Killed the Radio Star". Michael Jackson's 1983 "Thriller" video was released on VHS, the first to show a making-of, while A-ha's
The proposal is for a music video continuing the story from a previous video. It will show the prisoner being caught by police after escaping prison. CCTV footage will show the prisoner on the street as police search for him. The police will spot him and chase him, but the outcome is unclear. The student will research 5 music videos to choose one for inspiration. Evaluation will involve daily development diaries and screenshots of work to track progress. Conducting ongoing evaluation and reflection will help improve their work and media career.
This document provides guidance for completing a case study assignment on music video production. It is divided into four tasks. Task 1 addresses the purposes of music videos and strategies used by labels and artists. Task 2 covers common styles, techniques and conventions in music video production. Task 3 requires analyzing a minimum of three music videos by an artist of the student's choice, considering elements from Tasks 1 and 2. Task 4 prompts the student to discuss how they can apply techniques learned to their own music video project. The document emphasizes using illustrative examples from videos and linking ideas between different parts of the assignment.
This document provides guidance for completing a case study on music video production. It is split into 3 tasks. Task 1 addresses the purposes of music videos and branding strategies. Task 2 covers styles, techniques, and conventions in music video production. Task 3 involves analyzing at least 3 music videos considering what was discussed in Tasks 1 and 2. Questions provide prompts for each task, and notes encourage adding images, examples, and external references when responding.
This document provides guidance for completing a case study assignment on music video production. It is split into three tasks. Task 1 addresses the purposes of music videos and strategies used. Task 2 covers styles, techniques and conventions of music video production. Task 3 requires analyzing at least three music videos, discussing their use of techniques from Tasks 1 and 2. Students are expected to submit weekly responses and can seek tutor guidance if needed.
The document outlines the schedule and activities for a music video analysis workshop. The day begins with an introduction to music video language and techniques. Participants will analyze shot types, narrative structure, representation, and more in sample music videos. After a short break, the workshop will discuss the historical context and evolution of music videos. Lunch will include a Q&A with music video professionals. The afternoon session focuses on audience theory, including passive vs. active viewing and uses and gratifications theory. Participants are assigned take-away tasks to complete the workshop.
The document provides information and questions for a case study assignment on music video production. It is split into three tasks: the first addresses the purposes of music videos and strategies used by labels and artists; the second covers styles, techniques and conventions of music video production; the third involves analyzing at least three music videos considering what was discussed in the first two tasks. The document provides guidance on completing the case study and delves into each task with relevant questions.
Here is a potential structure for your response:
1. Describe the key conventions of music videos such as illustrating/amplifying lyrics, relationship between music and visuals, close ups of artists, developing star iconography. Use two examples such as Robert Palmer's "Addicted to Love" and Beyoncé's "Single Ladies" to illustrate.
2. Explain the techniques of intertextuality used in music videos such as parody, pastiche and homage. Provide an example of each such as Weird Al's parody of "White and Nerdy" or Joanna Newsom's homage to Van Gogh in "Sapokanikan." Discuss why artists use intertextuality to
Queen's 1975 music video for "Bohemian Rhapsody" was the first official music video as it was deliberately made to accompany the song, not just promote it. Before then, TV shows like Top of the Pops (UK) and Hullabaloo (US) showed artists performing live. David Bowie's 1980 video for "Ashes to Ashes" used groundbreaking effects to symbolize the effects of drugs. In 1981, MTV launched as the first 24-hour music channel, playing the Buggles' "Video Killed the Radio Star". Michael Jackson's 1983 "Thriller" video was released on VHS, the first to show a making-of, while A-ha's
The proposal is for a music video continuing the story from a previous video. It will show the prisoner being caught by police after escaping prison. CCTV footage will show the prisoner on the street as police search for him. The police will spot him and chase him, but the outcome is unclear. The student will research 5 music videos to choose one for inspiration. Evaluation will involve daily development diaries and screenshots of work to track progress. Conducting ongoing evaluation and reflection will help improve their work and media career.
This document provides guidance for completing a case study assignment on music video production. It is divided into four tasks. Task 1 addresses the purposes of music videos and strategies used by labels and artists. Task 2 covers common styles, techniques and conventions in music video production. Task 3 requires analyzing a minimum of three music videos by an artist of the student's choice, considering elements from Tasks 1 and 2. Task 4 prompts the student to discuss how they can apply techniques learned to their own music video project. The document emphasizes using illustrative examples from videos and linking ideas between different parts of the assignment.
This document provides guidance for completing a case study on music video production. It is split into 3 tasks. Task 1 addresses the purposes of music videos and branding strategies. Task 2 covers styles, techniques, and conventions in music video production. Task 3 involves analyzing at least 3 music videos considering what was discussed in Tasks 1 and 2. Questions provide prompts for each task, and notes encourage adding images, examples, and external references when responding.
This document provides guidance for completing a case study assignment on music video production. It is split into three tasks. Task 1 addresses the purposes of music videos and strategies used. Task 2 covers styles, techniques and conventions of music video production. Task 3 requires analyzing at least three music videos, discussing their use of techniques from Tasks 1 and 2. Students are expected to submit weekly responses and can seek tutor guidance if needed.
Music Video assignment 01 2019 pro forma - Case StudiesDavidLee1474
This document provides information and questions for a case study on music video production. It is divided into three tasks. Task 1 addresses the purposes of music videos from promotional and artistic perspectives and asks questions about how artists represent themselves. Task 2 discusses camerawork, editing, and technical developments in music videos and asks students to analyze examples. Task 3 involves a case study of three music videos to discuss in relation to Tasks 1 and 2. The document emphasizes using images and examples to support points and adding extra slides or pages as needed.
The document discusses the purposes and techniques of music video production. The three main purposes are to entertain viewers, show the artist's brand/identity, and increase sales. Camerawork techniques discussed include close-ups of the artist's face to feel personal, wide shots to show the setting, and dynamic moving shots for excitement. Editing techniques include fast cut montages of various shots compiled together to make a continuous clip that transitions between shots in rhythm with the music.
Assignment 1: Biggie and Tupac Documentary (Draft 2)abigailmenzies
This documentary examines the unsolved murders of rappers Biggie and Tupac. The director, Nick Broomfield, acts as both narrator and interviewer as he investigates the cases. Archival footage and photographs provide historical context, while interviews with friends, family, and experts offer different perspectives on the rappers' lives and deaths. Handheld camera work and a mix of upbeat and tense background music help construct the documentary's realist tone.
The document outlines requirements for two questions on a music video analysis assignment. Question 1 asks students to analyze their own music videos by describing skills development and discussing at least two productions. Question 2 requires students to evaluate their work in relation to concepts of genre, narrative, representation, audience or media language. The document also discusses Andrew Goodwin's six key aspects of music videos, which include genre characteristics, relationships between visuals/lyrics and visuals/music, star power, notions of looking, and intertextual references.
This document provides a summary of several music videos and discusses their purposes, styles, and techniques. It analyzes videos by artists like Kid Rock, 1 Direction, Animal Collective, and Drake. Key points made include that mainstream videos by popular artists like 1 Direction likely had higher budgets and aimed to make money, while videos by less mainstream bands like Animal Collective had lower budgets and were more creative. The document also discusses techniques used in music videos like camera angles, editing, lighting, and how these vary by genre. Drake's videos are analyzed in depth, noting how some promote albums or songs while incorporating popular dances.
This document contains an audience research survey about music preferences and perceptions of music videos. It asks respondents about their preferred music genres, reactions to pop artists on the radio, their views on popular camera shot types in pop music videos, favorite artists, common storylines in traditional pop videos, and Beyonce's costumes. The survey aims to gather insights that could help with music video production and promotion strategies.
The document provides guidance for completing a case study assignment on music video production. It outlines 3 tasks: 1) examining the purposes and strategies of music videos, 2) exploring styles, techniques and conventions, and 3) an individual case study analyzing at least 3 music videos. For the case study, students must discuss the artistic and technical elements used as well as apply critical approaches. The document emphasizes using illustrative examples and linking ideas when analyzing and comparing different artists and genres of music videos.
This document provides information about the end of year exam for AS Media Studies. It will be 1 hour and 45 minutes long and include two sections - Section A on Media Language and Representation, and Section B on Media Industry and Audience. Students will not be told which set texts will be included but are provided guidance on which set texts could fall under each section. Section A will be 75 minutes long and include viewing an unseen text and responding to representation questions. Section B will be 30 minutes long and include questions on industry and audience. The exam will focus on media forms studied, including advertising, film promotion, and music videos. Music videos could fall under Section A for language or representation analysis. The document outlines different types of music videos
This document provides a case study for a music video production unit. It includes 3 tasks to analyze the purposes, styles, techniques and conventions of music videos. Task 1 discusses the core purposes of music videos and strategies employed. Task 2 explores styles of camerawork, editing, technical developments and genre conventions. Task 3 requires a case study analysis of at least 3 music videos considering purposes, styles, techniques, intertextuality, camerawork/editing and genre. The document provides guidance on completing the tasks and assessment criteria.
This document provides guidance for a case study assignment on music video production. It outlines three tasks: 1) the purposes of music videos and strategies of labels/artists, 2) styles, techniques and conventions of music video production, and 3) a case study of at least three music videos analyzing them based on tasks 1 and 2. It provides questions to analyze music videos in terms of their purpose, branding, synergy practices, camerawork, editing, technical developments, genres, and intertextuality. The document emphasizes using examples and illustrations to support points.
This document provides information about music video genre theory and audience theory for a media studies exam. It discusses various theorists' perspectives on music video genres and conventions. It also explores concepts around audience theory, such as uses and gratifications, encoding/decoding, and active/passive audiences. Examples of music videos are analyzed in relation to concepts like representation, gender, and genre. Homework assignments involve applying these theories to analyze specific music videos.
The document discusses how the media product challenges conventions of real music videos in the POP genre. It challenges conventions by adding narrative about bullying, wearing more appropriate clothing for the target age group, and using uncommon camera angles like a moving shot. Developments include equalizing solo and group shots, adding more shot types, and modifying the use of split screens. Conventions from other music videos, like establishing performers and using fast editing, are largely used to make the media product feel like a real POP video.
The document discusses how the creator gained feedback from their target audience on various elements of their music project. This included feedback on shots and styling of the music video, use of typography, color correction, and effects. The feedback helped improve the music video and other media like advertisements and CD packaging. Audience research also helped the creator understand the target audience and genre of music so they could design products that would appeal to fans of similar bands.
The documentary examines the controversy of social media and its potential negative consequences. It profiles two individuals who experienced problems due to posts on social media. Curtis Woodhouse, a boxer, describes receiving mean tweets that negatively impacted his career, prompting him to drive to confront one of the users. A teenager, Jed, discusses how a false rumor spread online labeling him as a drug dealer, something that remains tied to his name online. The documentary uses interviews, voiceovers, and reconstructions to tell these stories and illustrate the issues people may face due to content shared on social media.
The document provides guidance for a student's music video project, including researching production techniques, analyzing examples, and experimenting. It instructs the student to look at a minimum of 3 related music videos, assess camera techniques, editing, and whether elements could be adopted or disregarded. It also prompts analyzing the genre, conventions, and style of their chosen artist to understand fan preferences. The student is to evidence their filming and editing experiments and reflect on which elements may be included in the final product.
The document provides guidance for a student's music video production research and experiments project. It includes directions to research production techniques, look at a minimum of 3 related music videos, collect relevant materials, and assess what techniques could be used or disregarded for the project. The student then analyzes 3 music videos based on camera work, story, special effects, and aspects that could inform their own video. Next, the document outlines conventions and characteristics to consider for the chosen genre and artist. It concludes with instructions for the student to document their camera, editing, and audio experiments and reflections.
This document provides tasks and theory related to analyzing music videos and genres for a media studies course. It includes tasks to analyze codes and conventions in different music video genres, examine narrative and performance approaches in sample videos, explore representation of social groups in various genres, and conduct a close analysis of a music video using relevant theory. The document also discusses theories related to genre from scholars like Robert Stam, Rick Altman, and Andrew Goodwin. Students are asked to apply these theories to their own video productions and examine how genres may be defined, conventions established, and meanings negotiated between text and audiences.
Assignment 17 – similar products and conventions completeChelseaFashole
The document lists the names of four students and provides a table for each student to record details of similar documentary products they have watched, including the name of the documentary, whether it was TV or film, the genre and mode, how much they watched, where and when they watched it, and what lessons they learned that could apply to their own documentary.
The document provides guidance on creating documentaries, including identifying different genres, social issues to cover, and the producer's potential purposes for creating a documentary such as to inform, entertain, persuade, educate, or for profit. It also discusses engaging audiences through techniques like camera work, music, interviews, and storyboarding.
The document discusses how a group presented their answers to question 3 about learning from audience feedback for their media project on homosexuality. They analyzed what worked well for their audience such as music choice and interviews, and areas for improvement like adding more statistics and diversity of interview subjects. The presentation also covered defining their target audience as ages 15-30, researching this audience, and selecting the appropriate TV channel and time slot to broadcast their documentary.
Music Video assignment 01 2019 pro forma - Case StudiesDavidLee1474
This document provides information and questions for a case study on music video production. It is divided into three tasks. Task 1 addresses the purposes of music videos from promotional and artistic perspectives and asks questions about how artists represent themselves. Task 2 discusses camerawork, editing, and technical developments in music videos and asks students to analyze examples. Task 3 involves a case study of three music videos to discuss in relation to Tasks 1 and 2. The document emphasizes using images and examples to support points and adding extra slides or pages as needed.
The document discusses the purposes and techniques of music video production. The three main purposes are to entertain viewers, show the artist's brand/identity, and increase sales. Camerawork techniques discussed include close-ups of the artist's face to feel personal, wide shots to show the setting, and dynamic moving shots for excitement. Editing techniques include fast cut montages of various shots compiled together to make a continuous clip that transitions between shots in rhythm with the music.
Assignment 1: Biggie and Tupac Documentary (Draft 2)abigailmenzies
This documentary examines the unsolved murders of rappers Biggie and Tupac. The director, Nick Broomfield, acts as both narrator and interviewer as he investigates the cases. Archival footage and photographs provide historical context, while interviews with friends, family, and experts offer different perspectives on the rappers' lives and deaths. Handheld camera work and a mix of upbeat and tense background music help construct the documentary's realist tone.
The document outlines requirements for two questions on a music video analysis assignment. Question 1 asks students to analyze their own music videos by describing skills development and discussing at least two productions. Question 2 requires students to evaluate their work in relation to concepts of genre, narrative, representation, audience or media language. The document also discusses Andrew Goodwin's six key aspects of music videos, which include genre characteristics, relationships between visuals/lyrics and visuals/music, star power, notions of looking, and intertextual references.
This document provides a summary of several music videos and discusses their purposes, styles, and techniques. It analyzes videos by artists like Kid Rock, 1 Direction, Animal Collective, and Drake. Key points made include that mainstream videos by popular artists like 1 Direction likely had higher budgets and aimed to make money, while videos by less mainstream bands like Animal Collective had lower budgets and were more creative. The document also discusses techniques used in music videos like camera angles, editing, lighting, and how these vary by genre. Drake's videos are analyzed in depth, noting how some promote albums or songs while incorporating popular dances.
This document contains an audience research survey about music preferences and perceptions of music videos. It asks respondents about their preferred music genres, reactions to pop artists on the radio, their views on popular camera shot types in pop music videos, favorite artists, common storylines in traditional pop videos, and Beyonce's costumes. The survey aims to gather insights that could help with music video production and promotion strategies.
The document provides guidance for completing a case study assignment on music video production. It outlines 3 tasks: 1) examining the purposes and strategies of music videos, 2) exploring styles, techniques and conventions, and 3) an individual case study analyzing at least 3 music videos. For the case study, students must discuss the artistic and technical elements used as well as apply critical approaches. The document emphasizes using illustrative examples and linking ideas when analyzing and comparing different artists and genres of music videos.
This document provides information about the end of year exam for AS Media Studies. It will be 1 hour and 45 minutes long and include two sections - Section A on Media Language and Representation, and Section B on Media Industry and Audience. Students will not be told which set texts will be included but are provided guidance on which set texts could fall under each section. Section A will be 75 minutes long and include viewing an unseen text and responding to representation questions. Section B will be 30 minutes long and include questions on industry and audience. The exam will focus on media forms studied, including advertising, film promotion, and music videos. Music videos could fall under Section A for language or representation analysis. The document outlines different types of music videos
This document provides a case study for a music video production unit. It includes 3 tasks to analyze the purposes, styles, techniques and conventions of music videos. Task 1 discusses the core purposes of music videos and strategies employed. Task 2 explores styles of camerawork, editing, technical developments and genre conventions. Task 3 requires a case study analysis of at least 3 music videos considering purposes, styles, techniques, intertextuality, camerawork/editing and genre. The document provides guidance on completing the tasks and assessment criteria.
This document provides guidance for a case study assignment on music video production. It outlines three tasks: 1) the purposes of music videos and strategies of labels/artists, 2) styles, techniques and conventions of music video production, and 3) a case study of at least three music videos analyzing them based on tasks 1 and 2. It provides questions to analyze music videos in terms of their purpose, branding, synergy practices, camerawork, editing, technical developments, genres, and intertextuality. The document emphasizes using examples and illustrations to support points.
This document provides information about music video genre theory and audience theory for a media studies exam. It discusses various theorists' perspectives on music video genres and conventions. It also explores concepts around audience theory, such as uses and gratifications, encoding/decoding, and active/passive audiences. Examples of music videos are analyzed in relation to concepts like representation, gender, and genre. Homework assignments involve applying these theories to analyze specific music videos.
The document discusses how the media product challenges conventions of real music videos in the POP genre. It challenges conventions by adding narrative about bullying, wearing more appropriate clothing for the target age group, and using uncommon camera angles like a moving shot. Developments include equalizing solo and group shots, adding more shot types, and modifying the use of split screens. Conventions from other music videos, like establishing performers and using fast editing, are largely used to make the media product feel like a real POP video.
The document discusses how the creator gained feedback from their target audience on various elements of their music project. This included feedback on shots and styling of the music video, use of typography, color correction, and effects. The feedback helped improve the music video and other media like advertisements and CD packaging. Audience research also helped the creator understand the target audience and genre of music so they could design products that would appeal to fans of similar bands.
The documentary examines the controversy of social media and its potential negative consequences. It profiles two individuals who experienced problems due to posts on social media. Curtis Woodhouse, a boxer, describes receiving mean tweets that negatively impacted his career, prompting him to drive to confront one of the users. A teenager, Jed, discusses how a false rumor spread online labeling him as a drug dealer, something that remains tied to his name online. The documentary uses interviews, voiceovers, and reconstructions to tell these stories and illustrate the issues people may face due to content shared on social media.
The document provides guidance for a student's music video project, including researching production techniques, analyzing examples, and experimenting. It instructs the student to look at a minimum of 3 related music videos, assess camera techniques, editing, and whether elements could be adopted or disregarded. It also prompts analyzing the genre, conventions, and style of their chosen artist to understand fan preferences. The student is to evidence their filming and editing experiments and reflect on which elements may be included in the final product.
The document provides guidance for a student's music video production research and experiments project. It includes directions to research production techniques, look at a minimum of 3 related music videos, collect relevant materials, and assess what techniques could be used or disregarded for the project. The student then analyzes 3 music videos based on camera work, story, special effects, and aspects that could inform their own video. Next, the document outlines conventions and characteristics to consider for the chosen genre and artist. It concludes with instructions for the student to document their camera, editing, and audio experiments and reflections.
This document provides tasks and theory related to analyzing music videos and genres for a media studies course. It includes tasks to analyze codes and conventions in different music video genres, examine narrative and performance approaches in sample videos, explore representation of social groups in various genres, and conduct a close analysis of a music video using relevant theory. The document also discusses theories related to genre from scholars like Robert Stam, Rick Altman, and Andrew Goodwin. Students are asked to apply these theories to their own video productions and examine how genres may be defined, conventions established, and meanings negotiated between text and audiences.
Assignment 17 – similar products and conventions completeChelseaFashole
The document lists the names of four students and provides a table for each student to record details of similar documentary products they have watched, including the name of the documentary, whether it was TV or film, the genre and mode, how much they watched, where and when they watched it, and what lessons they learned that could apply to their own documentary.
The document provides guidance on creating documentaries, including identifying different genres, social issues to cover, and the producer's potential purposes for creating a documentary such as to inform, entertain, persuade, educate, or for profit. It also discusses engaging audiences through techniques like camera work, music, interviews, and storyboarding.
The document discusses how a group presented their answers to question 3 about learning from audience feedback for their media project on homosexuality. They analyzed what worked well for their audience such as music choice and interviews, and areas for improvement like adding more statistics and diversity of interview subjects. The presentation also covered defining their target audience as ages 15-30, researching this audience, and selecting the appropriate TV channel and time slot to broadcast their documentary.
Assignment 17 – similar products and conventions complete (1)marishainoke3
Here are the conventions used in the documentaries discussed and how they were applied:
Chelsea's documentaries:
- Ladyboys: Narration to inform viewers, case studies following ladyboys' lives, professional interviews
- My Big Fat Gypsy Wedding: Interviews, titles throughout, case study following brides and families
- Miley: The Movement: Handheld camera, sound bridging, music when no dialogue
Rosalin's documentaries:
- Don't Blame Facebook: Archival footage of news instead of reconstructions, narrator instead of presenter
- The Culture Show: Presenter interacts directly with audience
- Food Unwrapped: Use of sound effects, transitions between topics
Assignment 17 – similar products and conventions completeRosiezein
Here are the conventions used in the documentaries discussed and how they were applied:
Chelsea's documentaries:
- Ladyboys: Narration to inform viewers, case studies following ladyboys' lives, professional interviews
- My Big Fat Gypsy Wedding: Interviews, titles throughout, case study following brides and families
- Miley: The Movement: Handheld camera, sound bridging, music when no dialogue
Rosalin's documentaries:
- Don't Blame Facebook: Archival footage instead of reconstructions, narrator instead of presenter, case studies
Russ' documentaries:
- Poor Us: Animation used for narration and story progression
- How TV Ruined
The document discusses a student's music video project analyzing Rizzle Kicks' song "When I Was a Youngster." The student conducted research on the Rizzle Kicks album "Stereotypical" and its conventions. The student analyzed how their music video developed conventions from real media through its storyline, scenes, and use of intertextuality. Audience research in the form of a questionnaire provided feedback, finding that the target audience mostly prefers pop music and storylines over dance routines in music videos.
The document summarizes how new media technologies were used at different stages of creating a music video production. In the research stage, technologies like Prezi, YouTube, and PowerPoint were used. Planning utilized YouTube, Photoshop, DaFont, and Prezi. Production employed an SLR camera, Flip HD camera, iPhone, Final Cut Pro. Evaluation applied PowerPoint, SlideShare, and social media sites. New technologies played a key role in all aspects of the project from concept to completion.
This document provides an overview of the Media Studies course offered at Claremont High School. It summarizes the course content, assessments, and skills developed. The course covers 9 different media forms including television, film, newspapers, advertising, music, and online media. Assessments include written exams and a non-exam coursework assessment where students create their own media product. The course aims to enhance media literacy and develop practical skills in areas like video editing, blogging, and design software. Past students have achieved strong exam results, and the course prepares students for careers in journalism, media production, and creative industries.
The document discusses how the student's media documentary product uses and develops conventions of real documentaries. It examines several existing documentaries like Supersize Me and Miley: The Movement to identify conventions around shots, interviews, music, statistics, presenters/narrators, and more. The student incorporates many of these real conventions into their own documentary, magazine spread, and radio trailer while also challenging some conventions, like using their own survey statistics rather than online sources. The document analyzes how their multi-media product compares to real examples and ensures continuity across formats.
The documentary presents a biased negative view of social media from the beginning. It uses techniques like spark sound effects, quick cuts between clips, and a voiceover stating "some of us are just one click away from a cock-up" to establish this bias. Interviews focus on people who have faced trouble from social media, and facts are chosen to support the view that social media is overused. During the first 3 minutes, Curtis Woodhouse describes the negative impact of mean tweets on his boxing career, while reconstructions and music aim to elicit sympathy. Between 3-5 minutes, the documentary follows Curtis driving to confront his online harasser, using techniques like ping sounds and upbeat music to build anticipation in a way that presents
The document provides an analysis of Miley Cyrus' music video for "Wrecking Ball" based on Stuart Hall's reception theory. It summarizes the camera shots, sound, editing, and mise-en-scene of the video. It then discusses the encoded representations in the video and the reader's preferred decoding of those representations positively, agreeing with the producer's intentions. The preferred reading is attributed to the reader's age and social background.
http://videoplan.witness.org | This session introduces and reviews key principles of using storytelling for advocacy video.
WITNESS Training Curriculum - Part of module 5
The document summarizes the process of creating a documentary about bullying. It discusses how the group chose to focus on bullying occurring in schools in the Borough of Redbridge. They conducted research through questionnaires to learn more about bullying in the area and were given permission to film at a local school. Interviews were conducted with students, teachers, parents, and a bully to get different perspectives on bullying. Reenactment scenes were included to make the documentary more engaging. Music was chosen to set an emotional tone. The documentary was posted on YouTube to allow broad viewing and feedback. The group believes they followed the brief correctly and created a unique documentary that would educate viewers about bullying.
The document summarizes how new media technologies were used at different stages of creating a music video production. In the research stage, Prezi and YouTube were used to research artists and analyze other music videos. PowerPoint was used to create a questionnaire. During planning, YouTube, Photoshop, and Da Font were utilized. Final Cut Pro was key for editing the footage shot on SLR and flip cameras and adding effects to construct the final music video. Feedback was gathered through screenings and social media like Facebook.
The document discusses how the media product, a TV documentary, uses conventions from real documentaries. It includes three expert interviews, a voiceover, backing music, and opening montage to set up the topic. Vox pops from students are included to represent different opinions on the topic. Captions are used during interviews to identify the expert and their topic expertise. Transitions fade between clips to make them flow smoothly. The documentary follows conventions like those seen in documentaries like "Supersize Me" to appear professional and informative for the audience.
This document discusses the purpose, inspiration, and mode for a documentary on social media and culture. The purpose is to educate audiences about social media types and subcultures, and their positive and negative impacts. The filmmaker took inspiration from documentaries like "Don't Blame Facebook" which used techniques like voiceovers, cutaways, and interviews. The filmmaker will use an expository mode with a presenter directly addressing the audience, as well as a performer mode where the filmmaker participates through presenting and interviews.
The promotion and marketing of video gamesChris Hildrew
The document discusses how video games are promoted and marketed. It lists the top 10 video games of 2012 according to sales. Common promotion strategies for video games are then outlined, including print and television advertisements, websites, social media, merchandise, and more. Key concepts in media studies like media language, representation, audience and institutions are introduced in the context of analyzing a promotional video for Just Dance 4. Audience theory frameworks like uses and gratifications theory and Richard Dyer's ideas around utopian solutions and aspiration are applied to understand how the trailer promotes the game and appeals to its target audience.
The document outlines John Corner's five main elements of any documentary: 1) Observation, 2) Interview, 3) Dramatization, 4) Mise En Scène, and 5) Exposition. It then discusses each element in more detail and explains how they are used to structure narratives, introduce conflicts, and engage audiences. Documentaries also employ conventions like following a three-act structure, using music/sound effects, selecting footage that advances the theme, and employing techniques like the rule of thirds in interviews.
This document provides guidance on making music videos, including tips for equipment, lighting, sound, planning, shooting, and editing. It outlines a 10 step process: 1) assess resources 2) warm up 3) location recce 4) pitch 5) plan thoroughly 6) plan in detail 7) shoot with variety 8) edit with structure 9) document the process and 10) evaluate continually. Case studies are presented of student music videos and the class is tasked to pitch their own video ideas to practice for a real music video assignment.
The document provides a history of music videos from the 1930s to present day. It begins with early examples like films that paired music and image in the 1930s. Television and films helped spread music videos in the 1950s-60s as artists like the Beatles used them to build their image. MTV launched in 1981 and greatly increased the popularity and production of music videos. Today, videos like Adele's "Hello" can gain hundreds of millions of views on YouTube. The document examines examples like Whitney Houston's "I Wanna Dance With Somebody" to illustrate typical conventions for relating imagery to lyrics, sound, and establishing the artist as a star.
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Gcse mv 2019 handout
1. Produce this booklet at the BFI shop to receive a 10% discount.
Music Video:
A GCSE Level Study Day
BFI Southbank
Wednesday 6th March 2019
Teacher / Student Pack
Guest Speakers: Mathy Tremewan and Fran Broadhurst
Presenter: Tom Woodcock
3. Produce this booklet at the BFI shop to receive a 10% discount.
Music Video: a GCSE Study Day
Wednesday 6th March 2019
NFT 1, BFI Southbank, 10:30am – 3:30pm
PROGRAMME
10:30 Welcome and introduction to BFI Southbank (Nikki Parchment)
10:35 Introduction to the Study Day (Tom Woodcock)
10:40 Session 1: Music Video Language
(Tom Woodcock)
11:30 Short break
11:45 Session 2: Music Video in Context
(Tom Woodcock)
13.30 Lunch (45 mins)
13.15 Intro to the afternoon and Q&A guest speakers (Tom Woodcock)
14:30 Session 3: Understanding Audiences
15:20 Summary
15:30 End of Study Day
Biographies:
Tom Woodcock: Tom has taught for the last 18 years and is currently at Long Road Sixth Form,
Cambridge. He writes and tutors for the National Film and Television Schools online courses and delivers
professional development course for the English and Media Centre. Tom is also a principal moderator on
the CIE Media Studies A Level.
Mathy Tremewan and Fran Broadhurst are a directing and writing duo based in London. Their projects
span commercials, music videos, narrative and documentary. Fascinated by color, Mathy & Fran produce
work with a meticulous eye for detail and a glorious sense of the absurd.
6. Task B)
Try to imagine you are a music video producer/director. Can you pitch the video concept and story idea
in three sentences or 9 bullet points? What happens in the video? Is there a beginning middle and end?
Be as positive about the artist/star that you are trying to promote. Think about how you are going to make
the video sound good!
Beginning (set the scene?) - Equilibrium
Middle (is there any conflict? ) Disruption
End ( has anything changed?) - Resolution
CASE STUDY 1:
Mark Ronson - Uptown Funk ft. Bruno Mars
(Dir. Cameron Duddy, 2014)
Beginning (set the scene?) - Equilibrium
Middle (is there any conflict?) Disruption
End ( has anything changed?) - Resolution
CASE STUDY 2:
Avril Lavigne - Sk8er Boi
(Dir. Francis Lawrence, 2002)
7. framing
extreme close up
close up
medium close up
medium shot
medium long shot
long shot
extreme long shot
low angle
high angle
camera movement
‘Music videos reinforce gender stereotypes’ How far is this true in the music videos
you have studied?
In your response, you must:
• explore representations of gender in the music videos you have studied
• use detailed examples
• consider whether you agree or disagree with the statement. (6)
mise en scene
costume
props
setting
lighting
colour
composition
editing
juxtopostion
representation
gender
male
female
non binary
sexuality
hetrosexual
ethnicity
race
class
age
lifestyle
genre
convention
stereotype
vocabulary and terminology typecast
narrative
performance
equilibrium
disruption
conflict
resolution
liniear
non-liniear
hero/heroine
star (power?)
8. Task C) Form & Representation
Using the other images below make notes on the meanings being created?
• Would expect to see this type of shot in other music videos?
• Who are the most important people in the shot? How can you tell?
• What does the shot say about the person/people in it? Is ‘star power’ being created?
• Are there elements in the shot that are specific to this kind (genre) of music? What are they?
• Does the image reinforce or challenge any stereotypes (Gender, Sexuality, Race, Ethnicity, Class)
9.
10. 1948
LP Records
1949
7” Singles (45s)
1968
Audio Cassette
1970
1976
VHS
1965
Super 8 Home movies
1/2 Network Primetime to
be broadcast in colour
Black and White
Analogue TV
First home satalite TV
1958
Scopitone
Film Jukebox
The most expensive music video is released costing $7 million.
Music streaming revenue overtakes physical sales (CDs)
Global music industry revenue peaks at $25 billion.
K-POP artist has first music video to hit 1 billion Youtube views.
What is now recognised as the first music video is released.
The first video by a black artist to receive heavy rotation on MTV.
MUSIC VIDEO TECHNOLOGY DISTRIBUTION & EXHIBITION
Can you fit the facts to the empty date boxes on the timeline ?
1975
First music video to hit 5 billion views on You Tube is released -
becoming by far the most watched MV of all time.
The Baby Boomers (born 1946-1964) Generation X (born 1965-1981)
MTV (USA) is first 24 hour TV channel dedicated to music video.
Spotify becomes first web app to stream music commercially.
Youtube starts, making video upload available on the WWW.
Napster launches file sharing site for downloading music.
19601950
11. 1982
Compact Disc
1980 1990 2000 2010
1995
MP3/Download
1996
DVD
Digital Broadcast BeginsSKY TV launch in UK Smart TV
2001
iPod Launch
2007
I Phone Launch
1987
MTV Europe
On Demand Age
1999
DVR
1998
WiFi
1991
World Wide Web
goes public
2009
Age of TV
Music Video Age
2004
I Tunes
1995
1999
2012
2018
1983 2017
The late 20th and early 21st century have
seen rapid technological advancements
and increasing media convergence.
Millennials (born 1982-1995) Generation Z (born 1996-2016)
1981
2005
2008
1999
13. Lyrics
(solo artist)
Pitch
iconic images from your video
Every now and then I fall
Every now and then I lose control
In your eyes I see your thoughts
surrounding me
And I've a little bit of thought for you
'Cause every now and then I fall a bit
behind
Every time I stare into your eyes
Your thrills I find
It's not hard to be left behind
So I'll run, you'll hide
We know better than to stay outside
You're cold and your awake
You said I should have never of stayed
But there's no better place for me
'Cause every now and then I fall a bit
behind
Every time I stare into your eyes
Beginning (set the scene?) - Equilibrium
Middle (is there any conflict?) Disruption
End ( has anything changed?) - Resolution
14. APPLYING AUDIENCE THEORY
Uses and Gratification Theory - Blumler & Katz
Jay Blumler and Elihu Katz argue that media audiences are active. They say that consumers of
media are goal orientated. In other words,audiences know what they like and seek out specific
pleasures from media consumption. They argue that only the audience can really tell us what
they experience from media consumption. They grouped audience goals into areas.
Reason Description Media you use to meet
this this goal
Entertainment
and diversion
Audiences consume media texts
to escape from their everyday
lives. They choose entertaining
texts that allow them to divert
their attention from the real world.
Information
and
education
Some media texts are consumed
by audiences when they want to be
informed and educated. They help
the audience to find out what is
happening in the world.
Social
interaction
Some media texts are consumed
together in a social way or provide
topics for conversation with others.
Other media and texts allow
audiences interaction or participaton.
Personal
identity
Some audiences like to engage
with media texts because they can
compare their life experiences with
those represented in it. Audience
pleasure comes from empathising
and identifying with characters or
content represented in them.
Criticism of ‘Use and Gratification’ theory.
Some media use may have nothing to do with the pursuit of gratification - it may be forced
upon us for example.
The theory is too concerned with audiences choices at the cost of understanding the
meanings they actually get out of their media use.
17. RESEARCHING YOUR OWN CASE STUDY
10 things you must find out about your own case studies
When was the video made?
Who is the director?
What else have they made?
The artist, the track and the label.
The budget for the video.
The number of You Tube/Vevo
views & the speed reached them.
Intertextual & cultural references.
Audience response, fan art and
answer videos.
Criticism and controversy
Technology used to distribute
the video (Vynal, CD, Download)
Look at the timeline - what is happening in the industry?
Information on artist web presence
(website and social media)
18. Across
3. Analytical term concerned with how media depicts thing (14).
4. Company who popularised peer to peer file sharing of music (7).
5. Record label not owned by a media conglomerate (11).
6. Person who introduces music videos on TV (6).
7. Audience consuming popular media, with broad appeal (10).
8. Media theorists concerned with active audiences and their consumption goal (7, 3, 4).
10. Music industry platform for publishing online video content (4).
13. Korean pop star with billions of You Tube views (3).
14. Fan base that reaches many national territories (6, 8).
16. Media in which audiences generate content and interact with other users (13).
19. French term for ‘putting on stage’, used to describe sets, costumes, props and lighting (4, 2, 5).
20. By far the most viewed Youtube video (9).
21. 24 hour pop channel launched in 1981 (3).
22. Video editing style in which images or shots are paces in quick succession (7).
23. Framing the camera to view a subject in detail (5, 2).
Down
1. Media theory that believes audience actively seek their consumption goals (4, 3, 13).
2. Format for distributing or selling music without a physical product (8).
9. Industry term for music video (3, 5).
11. fizzy drink, mainstream music (3).
12. Web application in which users interact with each other and generate the content (6, 5).
15. Describing look or visual appeal (9).
17. Video sharing website (7)
18. Person calling the shots on a music video (8).
CROSSWORD
For the way home!