How deep is your love’ screenshot analysis
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The document discusses various elements of the Calvin Harris and Disciples music video "How Deep Is Your Love" that demonstrate postmodern concepts. It notes that the fast-paced video montage shown in different colors and speeds could represent magic realism and adds a hallucinative effect. Specific shots are also analyzed in terms of cultural flattening, narcissism, hyperreality, magic realism, and a lack of metanarrative, all of which are considered postmodern elements.
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Laura Mulvey argues that in narrative cinema, women are typically portrayed as objects of the male gaze. Women are styled and displayed for their visual and erotic impact, meant to signify and play to male desire. While the presence of women enhances spectacle, it can also freeze the action and flow of the narrative by provoking erotic contemplation of the male characters and spectators. Traditionally, women on screen function as erotic objects for both the characters within the story and the spectators watching.
Until The End Of The World
The document discusses video messaging phones that allow people to see and hear each other when communicating, highlighting the importance of seeing to understand others. It also discusses how in the film, the goal of perfecting a device is more important than the actual traveling. Typically in road movies, the journey is more important than the destination, but in this film the destination and goal take precedence. The document also examines different ways road movie journeys typically end.
Representation case study
M.I.A.'s music video "Borders" depicts the hazardous journey of refugees through European seas. Through its raw and blunt portrayal, the video aims to confront societal issues and tackle opposition to refugees. Various shots are analyzed for their representations of current affairs and the refugee experience. One striking shot shows refugees in focus with M.I.A. out of focus, suggesting their exploitation. Another shot shows refugees working together to spell "Life" on a border, emphasizing their struggle. Overall, the video uses stereotypical portrayals but also aims to depict refugees as more complex individuals in an effort to increase understanding and support for their situation.
How did we attract and address the audience?
The document discusses how the film targeted and attracted its audience. It targeted female audiences aged 16-22 by featuring an ordinary female main character that many could relate to. It also targeted male "slasher crowds" through its gory elements. Both male and female lead characters were used to allow both genders of the audience to identify with one of the main characters. Less obvious elements like mild, non-sinister bedrooms contrasted with typical horror movie bedrooms added surprise and unexpected twists.
Interpersonal Communication in Cars
The document analyzes interpersonal communication depicted in the Pixar film "Cars". It discusses the major characters like Lightening McQueen and Doc Hudson. It examines concepts like disclosure-privacy dialect, self-disclosure, self-talk, spatial use, empathy, and developing relationships. Key events and interactions between characters are described to illustrate communication styles and issues. In conclusion, the document praises the film for its delightful examination of interpersonal communication skills.
Poster research
This document discusses and analyzes posters for the film Sin City: A Dame to Kill For. It notes that the posters focus mainly on female characters, particularly Jessica Alba, in a way that appeals more to a male demographic. The posters also draw in fans of the original Sin City film by keeping the same font. Overall the document examines elements like main images, cinematography, mise-en-scene, and how posters target audiences.
Media messages- Burn the witch
The video has many intertextual references to works like The Wicker Man and the children's TV show Trumpton. It depicts a town where the upper classes hold power over the workers and foreigners. Scenes show the mayor controlling the townspeople and migrants being forced into unfair labor. The video comments on issues like xenophobia, authoritarianism, and differences in social class. It uses surreal puppet imagery and animation to portray these concepts in a way that references both nostalgia for childhood media and darker symbolic art styles.
The Separate Limitations of Abstract & Realism
Surreal comedy has few restrictions but may be too nonsensical for some audiences. In contrast, realist comedy must make contextual sense but can be more relatable. Surrealism rarely features character development while realism requires it to help audiences connect with characters as they change over time. Both styles have strengths and limitations in their comedic approaches and audience appeal.
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Extract from laura mulvey
Laura Mulvey argues that in narrative cinema, women are typically portrayed as objects of the male gaze. Women are styled and displayed for their visual and erotic impact, meant to signify and play to male desire. While the presence of women enhances spectacle, it can also freeze the action and flow of the narrative by provoking erotic contemplation of the male characters and spectators. Traditionally, women on screen function as erotic objects for both the characters within the story and the spectators watching.
Until The End Of The World
The document discusses video messaging phones that allow people to see and hear each other when communicating, highlighting the importance of seeing to understand others. It also discusses how in the film, the goal of perfecting a device is more important than the actual traveling. Typically in road movies, the journey is more important than the destination, but in this film the destination and goal take precedence. The document also examines different ways road movie journeys typically end.
Representation case study
M.I.A.'s music video "Borders" depicts the hazardous journey of refugees through European seas. Through its raw and blunt portrayal, the video aims to confront societal issues and tackle opposition to refugees. Various shots are analyzed for their representations of current affairs and the refugee experience. One striking shot shows refugees in focus with M.I.A. out of focus, suggesting their exploitation. Another shot shows refugees working together to spell "Life" on a border, emphasizing their struggle. Overall, the video uses stereotypical portrayals but also aims to depict refugees as more complex individuals in an effort to increase understanding and support for their situation.
How did we attract and address the audience?
The document discusses how the film targeted and attracted its audience. It targeted female audiences aged 16-22 by featuring an ordinary female main character that many could relate to. It also targeted male "slasher crowds" through its gory elements. Both male and female lead characters were used to allow both genders of the audience to identify with one of the main characters. Less obvious elements like mild, non-sinister bedrooms contrasted with typical horror movie bedrooms added surprise and unexpected twists.
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Poster research
This document discusses and analyzes posters for the film Sin City: A Dame to Kill For. It notes that the posters focus mainly on female characters, particularly Jessica Alba, in a way that appeals more to a male demographic. The posters also draw in fans of the original Sin City film by keeping the same font. Overall the document examines elements like main images, cinematography, mise-en-scene, and how posters target audiences.
Media messages- Burn the witch
The video has many intertextual references to works like The Wicker Man and the children's TV show Trumpton. It depicts a town where the upper classes hold power over the workers and foreigners. Scenes show the mayor controlling the townspeople and migrants being forced into unfair labor. The video comments on issues like xenophobia, authoritarianism, and differences in social class. It uses surreal puppet imagery and animation to portray these concepts in a way that references both nostalgia for childhood media and darker symbolic art styles.
The Separate Limitations of Abstract & Realism
Surreal comedy has few restrictions but may be too nonsensical for some audiences. In contrast, realist comedy must make contextual sense but can be more relatable. Surrealism rarely features character development while realism requires it to help audiences connect with characters as they change over time. Both styles have strengths and limitations in their comedic approaches and audience appeal.
How deep is your love?
This video can be summarized as follows:
1) The music video does not establish a clear narrative but tries to create a trippy, hallucinatory atmosphere by showing the model Gigi Hadid wandering between random settings like a club, yacht, basement, and pool.
2) Elements of the video like fragmented settings and the protagonist's confused expression represent postmodern concepts like hyperreality, playfulness, and narcissism.
3) The video portrays Hadid in three ways - as an innocent, pure woman; a sex object focused on her appeal; and an isolated, confused woman.
Representation case study
This document provides an analysis of M.I.A.'s music video "Borders" which brings attention to the plight of refugees. The video depicts refugees in a hazardous sea journey and shows their exploitation and struggle to find sanctuary. It represents their vulnerability and reliance on each other. Images of refugees working together to spell out "Life" emphasizes their need to work hard to achieve basic standards of living. The video aims to convince viewers to help refugees and bring attention to issues beyond their ordinary lives. It conforms to theories about using stereotypes that are based in reality to depict refugees' situations powerfully and provide a sense of their community and humanity.
Influential videos: Research into the Indie/Folk Genre
The document discusses music videos from several artists in the same genre as the author's chosen song. It summarizes Daughter's "Still" video, which features a confusing narrative about a dysfunctional couple and uses screens and mirrors heavily. Ben Howard's "I Forget Where We Are" is also described, taking place on a beach and featuring the male character as the focus through tracking shots. Elle Mary & the Bad Men's "Ocean" is discussed as having a non-linear narrative, black and white visuals, and slow pacing to match the song. The author indicates they want to avoid negative female stereotypes and use a non-linear narrative, and be influenced by the color palette from Ben Howard's video and use of screens
T swift case study
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Representation Theory Evaluation
This document discusses how the music video draws from several influences in its narrative and visual elements:
1) It references the documentary "The Duct Tape Messiah" and the song "Reverend" through its use of duct tape.
2) Scenes were inspired by the music video for "Take Me To Church" by Hozier, including close-ups of a church fence and bars representing confinement.
3) Walking scenes reference the protagonist's journey, as seen in the music video for "Daydreaming" by Radiohead.
4) The portrayal of the reverend challenges stereotypes as seen in the film "Ted" by subverting expectations of religious figures.
Representation Case Study
Miley Cyrus defended the concept of her "Wrecking Ball" music video, stating that while she appears naked, she aims to portray a vulnerable and broken emotional state that is deeper than just the lyrics of the song suggest. The video was a more emotional experience to film than recording the song. The video received criticism for objectifying Cyrus and catering to the male gaze through sexualizing her and focusing heavily on her body rather than her emotional expression or talent. However, Cyrus argues that through close-ups of her crying face, the video also aims to convey her fragile inner emotional state.
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Video hybirds and Marxist
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2) It represents Missy Elliott's larger figure as shapeless but dominant compared to the doll-like dancers, subverting the usual "video girl" look and giving a post-feminist, positive portrayal of larger women.
3) These hybrid methods allow the artist to potentially gain a wider audience by appealing to more people.
Evamuation question 1 pt 1
The music video uses conventions of the alternative indie genre such as a surrealist approach to real issues and a focus on relationships. It presents a realistic storyline about a broken relationship from the perspectives of both characters using techniques like parallel editing. Lighting, camerawork, and other elements are used symbolically, such as casting the male in darker shots to represent his hidden emotions. Overall, the video challenges conventions by presenting a complex narrative that allows multiple interpretations while maintaining a relatable tone through techniques like mid-shot framing.
Evaluation Q1 P3 - Representation
The document discusses representation and intertextuality in the video for an AI artist named AI Chika. It summarizes how the video draws inspiration from other music videos through similar imagery, filters, and locations to represent themes of the American Dream and female empowerment. Specifically, it references videos by Sleeping With Sirens, Kid Ink, Leona Lewis, and the feminist film Thelma and Louise. The document aims to portray the artist in an unconventional way that avoids objectifying women and instead brings attention to women's rights and equality.
Music videos and post modernity
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.
Music videos and post modernity
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, hyperreality shown through constant cutting between past and present, and postmodern irony in not being able to distinguish reality. It also summarizes Ed Sheeran's "Don't" video and how it plays with gender stereotypes. Finally, it analyzes aspects of Coldplay's "Up&Up" video that reflect postmodern concepts like playfulness, different perspectives, and collage-like mixing of styles.
Laura mulvey
Women are often portrayed in one of two ways in music videos: the virgin or the whore. The virgin is innocent and not associated with men, while the whore is highly sexualized through clothing, poses, and camera angles. Examples given are The Neighbourhood's "Afraid" depicting a crying woman, and Robin Thicke's "Blurred Lines" showing women as objects for the male gaze. Traditional gender roles present women as passive objects that advance the male narrative. However, artists like Taylor Swift and Kesha have seen success challenging these traditions by giving women more active roles.
Track title
The music video is for the song "Halka Halka Suroor" by Farhan Saeed from 2013. It tells a narrative of a lover intoxicated by his beloved's presence. Scenes show the protagonist claiming to be addicted to her overwhelming effect. While romanticizing their relationship, it can also be interpreted as a metaphor for spiritual love of God. The video represents typical Pakistani culture, portraying the male as powerful and the woman as objective and weak. Costumes and locations further reinforce cultural and spiritual themes.
Representation of social groups in media productions
The document discusses the representation of teenagers in films. It notes that unlike many horror films, the film opening did not sexualize the teenage characters. In contrast to Paris Hilton's role in House of Wax, the teenager in this film is depicted in a modest, non-stereotypical way without any sexualization or scenes implying sexual tension. While the teenager is shown in casual clothing, potentially feeding the lazy stereotype, this was intended to better connect with the target teenage audience.
Representation in Music Videos
The document analyzes the representation of subjects, stereotypes, and camera work in several music videos. It discusses how two sisters are represented in one video to show their feeling of isolation from society. It also examines how NWA presents themselves as bold and brave in opposing societal norms. The document discusses potential stereotypes around teenagers feeling alone and finding belonging through partying. It also analyzes the representation of gender in indie music videos.
Theories in hip hop music videos
The document discusses several theories related to genre in hip-hop music videos. It analyzes the music video for Dr. Dre and Snoop Dogg's "Still D.R.E." using these theories. Jason Mittel's genre theory claims that genres help sell products to targeted audiences. The "Still D.R.E." video clearly uses themes like flashy clothing, cars, and women associated with the hip-hop genre. Christian Melzer argued genres evolve over time, which the document agrees some conventions like baggy clothes have changed while core themes of wealth and boasting remain. The document notes the video does not fit Todorov or Levi-Strauss' narrative theories. It examines stereotypes of
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This music video tells a narrative about an outsider artist who tries to fit in at a party but is rejected. It uses various cinematic and musical techniques to convey this story. During the party scenes, the artist is ignored and faces gestures that show he is unwelcome. When performing music, he finds confidence and belonging. In the final shot, alone with a woman, he accepts his inability to conform and difference from others. The video references classic American teen films but subverts expectations of acceptance, instead portraying the reality of remaining an outsider.
Conventions of music videos paramore
This music video by Paramore uses symbols and stereotypes to represent different characters and convey meaning. The bully wears boots and red lipstick to symbolize her aggression and danger. When she cuts a girl's pink sweater, representing innocence, it shows her disrupting peace. Hayley Williams stands out with her brightly colored hair, symbolic of her artistic personality. The video also employs common stereotypes like the bully, geek, and couple to create recognizable hyper-realistic characters and reinforce differences through their styling and interactions. Overall the symbols and stereotypes link the visual themes to the song's lyrics to clearly portray meaning.
Short film proposal: Clara Barroso
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Character mise-en-scene: Clara Barroso
The document discusses the character mise-en-scene for the filmmaker's short film. It describes the two main characters, Joana and Margarida Goncalves, who are sisters. Joana, age 9, represents next generation kids and was chosen for her colorful dress that helps her stand out in nature scenes. Margarida, age 13, represents today's teenagers and was chosen for a dark blue dress that adds shadows as she walks alone near water. The filmmaker wanted the characters to be themselves but represent specific groups for the audience to relate to.
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Similar to How deep is your love’ screenshot analysis
How deep is your love?
This video can be summarized as follows:
1) The music video does not establish a clear narrative but tries to create a trippy, hallucinatory atmosphere by showing the model Gigi Hadid wandering between random settings like a club, yacht, basement, and pool.
2) Elements of the video like fragmented settings and the protagonist's confused expression represent postmodern concepts like hyperreality, playfulness, and narcissism.
3) The video portrays Hadid in three ways - as an innocent, pure woman; a sex object focused on her appeal; and an isolated, confused woman.
Representation case study
This document provides an analysis of M.I.A.'s music video "Borders" which brings attention to the plight of refugees. The video depicts refugees in a hazardous sea journey and shows their exploitation and struggle to find sanctuary. It represents their vulnerability and reliance on each other. Images of refugees working together to spell out "Life" emphasizes their need to work hard to achieve basic standards of living. The video aims to convince viewers to help refugees and bring attention to issues beyond their ordinary lives. It conforms to theories about using stereotypes that are based in reality to depict refugees' situations powerfully and provide a sense of their community and humanity.
Influential videos: Research into the Indie/Folk Genre
The document discusses music videos from several artists in the same genre as the author's chosen song. It summarizes Daughter's "Still" video, which features a confusing narrative about a dysfunctional couple and uses screens and mirrors heavily. Ben Howard's "I Forget Where We Are" is also described, taking place on a beach and featuring the male character as the focus through tracking shots. Elle Mary & the Bad Men's "Ocean" is discussed as having a non-linear narrative, black and white visuals, and slow pacing to match the song. The author indicates they want to avoid negative female stereotypes and use a non-linear narrative, and be influenced by the color palette from Ben Howard's video and use of screens
T swift case study
The music video for Taylor Swift's "Blank Space" both acknowledges and challenges the media's portrayal of her as a "serial dater" who can't maintain relationships. It does this through the use of symbolism and imagery. Swift is often positioned centrally in shots, showing her awareness that she is the focus of media attention. While the video presents an initially perfect world through symmetrical shots, Swift's black clothing suggests she sees the reality as darker. Props like an unopened champagne bottle imply she cannot fully commit to relationships. Through editing and blocking, the video also portrays the pain of relationships ending, challenging the idea that Swift casually moves between partners. Overall, the video aims to generate audience sympathy for Swift by providing
Daley work
The document discusses narrative structure in music videos through analyzing the author's music video for "Hey There Delilah" by Plain White T's. It examines how the author used techniques like editing, camerawork, and symbolism to portray a retrospective narrative about the artist's experiences with a girlfriend in London. The narrative was conveyed through dreamlike flashbacks, extreme close-ups comparing the male and female subjects, and linking shots to the song lyrics. Postmodernism is then defined as rejecting objective truth and global narratives in favor of difference, plurality and skepticism. Examples discussed include parody and pastiche in Katy Perry's "This Is How We Do" video and the nonlinear, identity-exploring nature of the video game The
Representation Theory Evaluation
This document discusses how the music video draws from several influences in its narrative and visual elements:
1) It references the documentary "The Duct Tape Messiah" and the song "Reverend" through its use of duct tape.
2) Scenes were inspired by the music video for "Take Me To Church" by Hozier, including close-ups of a church fence and bars representing confinement.
3) Walking scenes reference the protagonist's journey, as seen in the music video for "Daydreaming" by Radiohead.
4) The portrayal of the reverend challenges stereotypes as seen in the film "Ted" by subverting expectations of religious figures.
Representation Case Study
Miley Cyrus defended the concept of her "Wrecking Ball" music video, stating that while she appears naked, she aims to portray a vulnerable and broken emotional state that is deeper than just the lyrics of the song suggest. The video was a more emotional experience to film than recording the song. The video received criticism for objectifying Cyrus and catering to the male gaze through sexualizing her and focusing heavily on her body rather than her emotional expression or talent. However, Cyrus argues that through close-ups of her crying face, the video also aims to convey her fragile inner emotional state.
linkedInPortfolio
This artist statement discusses Shanna Ferris' conceptual interests which focus on facets of everyday life that seem unusual and subverting societal norms and culture. Her art aims to bring new perspectives and engage viewers in discussions about socially and culturally relevant topics. She summarizes several of her video and digital artwork projects which explore ideas of identity, conflict, and the nature of virtual versus physical experiences.
Video hybirds and Marxist
1) The video uses hybrid methods like a concept-based narrative and shapes Missy Elliott's figure as dominant to subvert stereotypes of female rap videos while still adhering to genre conventions.
2) It represents Missy Elliott's larger figure as shapeless but dominant compared to the doll-like dancers, subverting the usual "video girl" look and giving a post-feminist, positive portrayal of larger women.
3) These hybrid methods allow the artist to potentially gain a wider audience by appealing to more people.
Evamuation question 1 pt 1
The music video uses conventions of the alternative indie genre such as a surrealist approach to real issues and a focus on relationships. It presents a realistic storyline about a broken relationship from the perspectives of both characters using techniques like parallel editing. Lighting, camerawork, and other elements are used symbolically, such as casting the male in darker shots to represent his hidden emotions. Overall, the video challenges conventions by presenting a complex narrative that allows multiple interpretations while maintaining a relatable tone through techniques like mid-shot framing.
Evaluation Q1 P3 - Representation
The document discusses representation and intertextuality in the video for an AI artist named AI Chika. It summarizes how the video draws inspiration from other music videos through similar imagery, filters, and locations to represent themes of the American Dream and female empowerment. Specifically, it references videos by Sleeping With Sirens, Kid Ink, Leona Lewis, and the feminist film Thelma and Louise. The document aims to portray the artist in an unconventional way that avoids objectifying women and instead brings attention to women's rights and equality.
Music videos and post modernity
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.
Music videos and post modernity
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, hyperreality shown through constant cutting between past and present, and postmodern irony in not being able to distinguish reality. It also summarizes Ed Sheeran's "Don't" video and how it plays with gender stereotypes. Finally, it analyzes aspects of Coldplay's "Up&Up" video that reflect postmodern concepts like playfulness, different perspectives, and collage-like mixing of styles.
Laura mulvey
Women are often portrayed in one of two ways in music videos: the virgin or the whore. The virgin is innocent and not associated with men, while the whore is highly sexualized through clothing, poses, and camera angles. Examples given are The Neighbourhood's "Afraid" depicting a crying woman, and Robin Thicke's "Blurred Lines" showing women as objects for the male gaze. Traditional gender roles present women as passive objects that advance the male narrative. However, artists like Taylor Swift and Kesha have seen success challenging these traditions by giving women more active roles.
Track title
The music video is for the song "Halka Halka Suroor" by Farhan Saeed from 2013. It tells a narrative of a lover intoxicated by his beloved's presence. Scenes show the protagonist claiming to be addicted to her overwhelming effect. While romanticizing their relationship, it can also be interpreted as a metaphor for spiritual love of God. The video represents typical Pakistani culture, portraying the male as powerful and the woman as objective and weak. Costumes and locations further reinforce cultural and spiritual themes.
Representation of social groups in media productions
The document discusses the representation of teenagers in films. It notes that unlike many horror films, the film opening did not sexualize the teenage characters. In contrast to Paris Hilton's role in House of Wax, the teenager in this film is depicted in a modest, non-stereotypical way without any sexualization or scenes implying sexual tension. While the teenager is shown in casual clothing, potentially feeding the lazy stereotype, this was intended to better connect with the target teenage audience.
Representation in Music Videos
The document analyzes the representation of subjects, stereotypes, and camera work in several music videos. It discusses how two sisters are represented in one video to show their feeling of isolation from society. It also examines how NWA presents themselves as bold and brave in opposing societal norms. The document discusses potential stereotypes around teenagers feeling alone and finding belonging through partying. It also analyzes the representation of gender in indie music videos.
Theories in hip hop music videos
The document discusses several theories related to genre in hip-hop music videos. It analyzes the music video for Dr. Dre and Snoop Dogg's "Still D.R.E." using these theories. Jason Mittel's genre theory claims that genres help sell products to targeted audiences. The "Still D.R.E." video clearly uses themes like flashy clothing, cars, and women associated with the hip-hop genre. Christian Melzer argued genres evolve over time, which the document agrees some conventions like baggy clothes have changed while core themes of wealth and boasting remain. The document notes the video does not fit Todorov or Levi-Strauss' narrative theories. It examines stereotypes of
The city and horses 17
This music video tells a narrative about an outsider artist who tries to fit in at a party but is rejected. It uses various cinematic and musical techniques to convey this story. During the party scenes, the artist is ignored and faces gestures that show he is unwelcome. When performing music, he finds confidence and belonging. In the final shot, alone with a woman, he accepts his inability to conform and difference from others. The video references classic American teen films but subverts expectations of acceptance, instead portraying the reality of remaining an outsider.
Conventions of music videos paramore
This music video by Paramore uses symbols and stereotypes to represent different characters and convey meaning. The bully wears boots and red lipstick to symbolize her aggression and danger. When she cuts a girl's pink sweater, representing innocence, it shows her disrupting peace. Hayley Williams stands out with her brightly colored hair, symbolic of her artistic personality. The video also employs common stereotypes like the bully, geek, and couple to create recognizable hyper-realistic characters and reinforce differences through their styling and interactions. Overall the symbols and stereotypes link the visual themes to the song's lyrics to clearly portray meaning.
Similar to How deep is your love’ screenshot analysis (20)
Influential videos: Research into the Indie/Folk Genre
Influential videos: Research into the Indie/Folk Genre
Representation of social groups in media productions
Representation of social groups in media productions
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Side by side
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Rushes log for short film- Clara Barroso
This document provides a rushes log for the short film "Believe" with descriptions and technical notes for various video clips. It contains over 30 video clips ranging from 1 second to 1 minute 30 seconds in length, with descriptions of the camera angles, subjects, and technical issues like focus, lighting, or shakiness. The notes provide instructions on how to trim, speed up, or stabilize clips for optimal use in the final short film product.
Shot list- Clara Barroso
This document provides a shot list for the short film "Believe" with details on 65 shots including location, shot type, focus, movement, subjects, and timing. The shots cover a range of types including close-ups, medium shots, long shots, and establish establishing shots. Subjects include candles, people, instruments, beaches, churches and more. Shot lengths vary from 2 to 25 seconds with most between 2-10 seconds. The shot list shows coverage of multiple scenes and characters to tell the story.
Short film script
This is the script for my short film, I wrote the short film script from scratch. Work done by Clara Barroso.
Stages/Processes
The document outlines stages in a production process including drafting, magazine advertisements, and digipaks. It refers to different formats for promotional materials like advertisements and packaged media like digipaks. The stages are part of a larger workflow or production cycle.
Rushes log
This document contains a rushes log for the music video production of AKMU's Dinosaur by producer Mina Yakinya. It lists 20 video clips by filename, duration, description, and any relevant comments on usage. Most clips will be used after trimming or fixes like stabilization, color correction, or reducing shakiness. A few clips are deemed not usable due to issues like being out of focus, cutting off subjects, or unstable footage.
Creating my title
Creating my title requires planning during the pre-production phase. This initial stage involves determining the overall vision and scope for the project, including researching the topic, developing a treatment, creating a schedule and budget, and assembling a team.
Image manipulation
Editing involves two main processes - production editing and post-production editing. Production editing occurs during filming and ensures the shots and scenes being filmed will effectively tell the story. Post-production editing assembles all of the filmed material into the final cut by organizing shots, removing unwanted footage, and determining pacing and flow.
Editing processes
Editing involves careful planning and consideration. The editor must first analyze the document to understand its key points and structure. They then determine how to best refine and improve the content to make it clear, concise, and effective for the intended audience.
Brand guidelines
The document provides an overview of the brand guidelines the student created for an indie artist named Samina Roka. The guidelines focused on conveying authenticity, linking the magazine ad, digipak, and music video visually and conceptually, and presenting the materials in a natural style. For the magazine ad and digipak, the student used similar imagery of the artist at St. Paul's Cathedral and a mix of fonts to look polished yet personal. Shots of the same location and color palette were used in the music video to further link the elements while maintaining a feeling of authenticity through natural poses, fades between shots, and consideration of the music.
Personnel for short film
Clara Barroso is producing a short film called "Believe" and has assembled a crew. She will serve as the producer and director to ensure smooth production. Bernardo Lima will model for the film poster representing young characters. Margarida and Joana Goncalves will play main characters representing teenagers and young kids. Roger Bulkeley will provide voiceover by reading the script. Fernando Valezquez's song may be used if permission is granted. Pedro Barroso will assist with lighting using a reflector.
Location recce 4- Praia Fluvial de Merelim
This document provides location details for Praia Fluvial de Merelim beach in Portugal. It will be used to photograph the film poster and shoot footage to include at the end of the short film. The beach has no waves, warm water, and is busy in the summer. Shooting there around sunset provided clear water and shadows, making it the perfect location for the poster image. Permission is not required as it is a public beach. Safety and ensuring the crew does not get injured needs to be considered. It is an hour drive but transporting equipment was not an issue.
Location recce 3-Apulia
This document provides location details for Apúlia beach in Portugal to be used for shooting a short film. The beach is a public location that is 30 minutes from the producer's home, offering different areas to film by the beach and rocks. As it is a public beach, no permissions are needed but safety precautions must be taken around the cliffs and when filming young models. Weather could impact the shoot so planning will be needed to use the location on good days.
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- 2. This element to the video shows up often throughout. This fast paced video montage appears in different colours and at different speeds. It could be considered Postmodern due to the element of magic realism. The entire concept of the video montage between shots of the protagonist in her surroundings add a slightly exaggerated hallucinative effect to the video as a whole. It also suggests a more vivid world than the one we live in which connects to the idea of playfulness- this is a huge part of postmodern music videos. Furthermore, a large part of the video revolves around constructing an unreal world, one that is seamlessly connected to locations that otherwise wouldn’t be. This concept can be identified as ‘hyper reality/consciousness’. Also narcissism plays a large part in this as these scenes in HDIYL merely encourage the audience to acknowledge Hadid’s beauty and focus on that; also the lack of a metanarrative is highly considered postmodern.
- 3. For me, I see the main postmodern elements of this scene being the concept of cultural flattening and magic realism. In a way, it can be considered cultural flattening as it is showing parts of wealth culture. It could be viewed in one of tow ways: either as something to envy or something which is pointless. Postmodernism’s lack of a central set of beliefs mean that this is up to the viewer to decide. It is magic realism as this is something which would almost never happen in everyday life- you wouldn’t get several jet skis creating patterns across the ocean’s surface while a model stands alone on top of a boat. This also links in with a metanarrative as there is not really any point to this scene.
- 4. In this shot, the main elements of postmodernism which are immediately evident are cultural flattening and narcissism. It draws attention to the way our society sexualises women and the presence of women shows that it isn’t just men doing this. They all stare at Hadid as she undresses from a translucent dress- this, from a feminist perspective, would be frowned upon as they’re seeing her as nothing more than a sex object. This was filmed using Mulvey’s ‘Male Gaze’; the camera focuses on Hadid’s body rather than her face which encourages people to see her as a sex object as not showing her face as much means she loses her identity. It is narcissism in this sense as the focus is on how she looks.
- 5. Hyper reality and magic realism are really drawn to the forefront in this sequence of shots in terms of postmodernity. Emil Nava (the director) has cleverly used a combination of thought out camera shots, mise en scene, and editing to seamlessly transition the video into a sequence which has a strong element of magic realism as this would never happen in real life. The hyper reality concept ties in with this as it shows the transition of Hadid suddenly finding herself in different situations that could in no way occur one after another in a sequence. This also happens to link in with the idea of playfulness.