1. The document analyzes how the music video for the song "London" uses and challenges conventions of real-life music video products based on Goodwin's five components of a music video. 2. These components include lyrics and visuals having a link, voyeurism, star image, being intertextual, and maintaining genre identity. 3. For the "London" music video, conventions like amplification of lyrics and short narrative were used, while others like heavy sexualization and solely featuring the artist were challenged.

1. How have you used, Developed or challenged forms and conventions of real life media products By Denzie Nkemnacho In order to analyse and answer the question, I am going to be looking closely at the Goodwin Theory. Goodwin had five things he defined as the components of a music video.

2. The first was lyrics and visual, saying that there must be a link between the two to either illustrate, amplify or contradict. In the chipmunk song diamond rings it mostly amplifies and illustrates. This is because in the song he talks of diamonds so it is amplified by having it set in the era where it was becoming increasingly popular for diamond thieves and chipmunk is a diamond thief. We used the convention of amplification in our music video in terms of the concept. The song refers to London as a jungle so we decided to have the two gangs in our video wearing animal masks in order to amplify the jungle comparison

3. The second component was voyeurism which is the idea of having the audience seeing whilst unseen. This is done by using sexualisation, Disjecta Membra and having the audience as voyeurs. We looked at the context of the song, genre and accessibility and decided that specifying on sexualisation may not work on our video. We did not specifically intend to make our audience appear as voyeurs as we wanted to feel like they are supposed to be watching this like an educational experience. However at the end we did want them to appear as voyeurs. Like Plan-B’s prayin’ fight scene we wanted the audience to feel like they were watching a fight they should not be watching.

4. The next component was star image. If we look at Wiley’s music video, never be your woman, we’d find Wiley was not in the video. As music videos our a form of advertising it appears it would make sense to show who your advertising right? In some cases yes however I believe it is not a necessary. Like Wiley we advertising through telling a story so essentially we weren't advertising his image but his name and music

5. The fourth component was that the music video had to be intertextual. Our video referenced a film known as One day which begins with the two gangs rapping and is shot very similarly to our video. This was done because the film received a lot of good feedback who like Pro Green’s genre of music, so we decided by shooting it similarly to them we would be able to tap into there target audience.

6. The final component was genre identity. Most Hip-hop videos such as Dizzee Rascal’s I Luv u tend to be performed by the star. We used this to an extent however to make our video stand out we challenged this by adding a short narrative and have a child to perform it rather than the artist. Videos of this genre are usually shot hand held so we used this by shooting the whole video like this in order to get that messy/shaky effect you see in Hip-hop videos. The Mis-en-scene also usually reflects street hoodlums wearing tracksuits, hoodies yet. We used this however to develop the idea of the jungle we implemented jungle masks to the costume. It was also edited so there is a constant change of shots so that it appears fats paced like Dizzee Rascal’s I Luv u and most videos of that genre.