The document analyzes how a music video conforms to and challenges conventions of form. It summarizes how the video uses conventions such as lip sync, varied dancing, narrative structure, editing, featuring the artist, varied framing, camera movements, and depth of field. While conforming to these conventions overall, it also challenges some in unconventional ways such as using different dance styles or focusing on a syringe rather than the artist to show loss of control.
This document summarizes how the media product uses, develops and challenges conventions of real media forms.
It discusses how shots from the music video illustrate concepts through mise-en-scene, lighting, camera angles and intertextual references to other artists' work. Conventionally, music videos aim to sell the artist through close-ups and positioning them as the focus. However, some shots separate or contrast the male and female artists to reflect the narrative.
Conventions of album packaging, like bold font and band imagery, are employed but developed through additional effects. Inspiration is drawn from The 1975's simplistic yet effective style. Magazine adverts employ typical promotional techniques and inclusion of social media to engage target audiences
This document discusses the conventions used and challenged in a music video project. It examines the use of narrative, character portrayals and costumes, locations of the artist, solo shots, and effects. The music video uses conventions such as a relationship narrative, male characters displaying a range of emotions, and artists appearing where the narrative takes place. However, it also challenges conventions by giving equal screen time to both characters, portraying typical teenage clothing, and using color changes to represent emotions rather than being explicit. The document provides examples to support how the project employs and adjusts conventions of mainstream music video forms.
The document analyzes the conventions used in a music video created by the author. It discusses how the narrative, characters, artist, and other elements employ conventions of mainstream music videos, while also challenging some conventions. The male character displays a range of emotions conventionally seen in male roles. Costumes are more realistic than trend-setting. Effects are used to represent emotions subtly rather than leaving interpretation to the audience. The overall product strives to balance conventions with original techniques and representation of relatable characters.
The video analyzes Childish Gambino's "3005" music video. The introspective song appears to be about assuring a girl of his presence, but has deeper existential meanings. The surreal video features Gambino expressionless on a Ferris wheel with a teddy bear, contradicting the song's appearance as a love song. Through its minimalist single shot and Gambino's exploration of feeling alone despite being in a crowd, the video reflects the song's meaning of not wanting to be alone without purpose.
This document provides an analysis of the music video for Dua Lipa's song "New Rules". It discusses several features of the video in relation to typical conventions of music video genres. It notes that the video demonstrates characteristics of the pop genre through its minimal scenery, bright coloring, close-ups of the artist, and emphasis on Dua Lipa's styling and appearance. It also analyzes how the video creates relationships between the lyrics, music, and visuals to engage the audience. Motifs like Dua Lipa's consistent visual style and the use of "screen within screen" are also discussed.
The document discusses how the media product uses and challenges conventions of real media forms.
It summarizes how the music video uses settings like a house, park, and bedroom to tell the story of a deteriorating relationship, drawing on conventions from real music videos. It also discusses costume and prop choices meant to portray the characters and advance the narrative.
The editing, camera work, and visual style are described as conforming to or challenging conventions of real R&B music videos. Specifically, it challenges conventions by focusing on the female character and portraying her as strong and dominant rather than weak.
The magazine ad and album packaging are said to challenge conventions by not showing the artist's face and focusing more on his
The document discusses how the music video for an R&B song by Tavonga conforms to, challenges, and develops conventions of the R&B genre. It uses typical R&B settings like an urban brick wall backdrop but also challenges conventions by filming in a house. Costumes conform to trendy urban styles but challenge conventions through Tavonga's glasses. Props like phones conform but a motif of a rose challenges conventions. Camerawork mainly conforms to typical R&B performance shots but challenges conventions through a time lapse. The digipak and magazine ad conform through layouts but challenge conventions through font, color scheme, and synergizing pieces through a rose motif.
This document summarizes how the media product uses, develops and challenges conventions of real media forms.
It discusses how shots from the music video illustrate concepts through mise-en-scene, lighting, camera angles and intertextual references to other artists' work. Conventionally, music videos aim to sell the artist through close-ups and positioning them as the focus. However, some shots separate or contrast the male and female artists to reflect the narrative.
Conventions of album packaging, like bold font and band imagery, are employed but developed through additional effects. Inspiration is drawn from The 1975's simplistic yet effective style. Magazine adverts employ typical promotional techniques and inclusion of social media to engage target audiences
This document discusses the conventions used and challenged in a music video project. It examines the use of narrative, character portrayals and costumes, locations of the artist, solo shots, and effects. The music video uses conventions such as a relationship narrative, male characters displaying a range of emotions, and artists appearing where the narrative takes place. However, it also challenges conventions by giving equal screen time to both characters, portraying typical teenage clothing, and using color changes to represent emotions rather than being explicit. The document provides examples to support how the project employs and adjusts conventions of mainstream music video forms.
The document analyzes the conventions used in a music video created by the author. It discusses how the narrative, characters, artist, and other elements employ conventions of mainstream music videos, while also challenging some conventions. The male character displays a range of emotions conventionally seen in male roles. Costumes are more realistic than trend-setting. Effects are used to represent emotions subtly rather than leaving interpretation to the audience. The overall product strives to balance conventions with original techniques and representation of relatable characters.
The video analyzes Childish Gambino's "3005" music video. The introspective song appears to be about assuring a girl of his presence, but has deeper existential meanings. The surreal video features Gambino expressionless on a Ferris wheel with a teddy bear, contradicting the song's appearance as a love song. Through its minimalist single shot and Gambino's exploration of feeling alone despite being in a crowd, the video reflects the song's meaning of not wanting to be alone without purpose.
This document provides an analysis of the music video for Dua Lipa's song "New Rules". It discusses several features of the video in relation to typical conventions of music video genres. It notes that the video demonstrates characteristics of the pop genre through its minimal scenery, bright coloring, close-ups of the artist, and emphasis on Dua Lipa's styling and appearance. It also analyzes how the video creates relationships between the lyrics, music, and visuals to engage the audience. Motifs like Dua Lipa's consistent visual style and the use of "screen within screen" are also discussed.
The document discusses how the media product uses and challenges conventions of real media forms.
It summarizes how the music video uses settings like a house, park, and bedroom to tell the story of a deteriorating relationship, drawing on conventions from real music videos. It also discusses costume and prop choices meant to portray the characters and advance the narrative.
The editing, camera work, and visual style are described as conforming to or challenging conventions of real R&B music videos. Specifically, it challenges conventions by focusing on the female character and portraying her as strong and dominant rather than weak.
The magazine ad and album packaging are said to challenge conventions by not showing the artist's face and focusing more on his
The document discusses how the music video for an R&B song by Tavonga conforms to, challenges, and develops conventions of the R&B genre. It uses typical R&B settings like an urban brick wall backdrop but also challenges conventions by filming in a house. Costumes conform to trendy urban styles but challenge conventions through Tavonga's glasses. Props like phones conform but a motif of a rose challenges conventions. Camerawork mainly conforms to typical R&B performance shots but challenges conventions through a time lapse. The digipak and magazine ad conform through layouts but challenge conventions through font, color scheme, and synergizing pieces through a rose motif.
1. The document discusses the ways in which a music video project challenges conventions of real media products. It analyzes the opening, setting/location, costumes/props, camera work/editing, style, storytelling, genre, artist portrayal, and special effects used in the video.
2. The opening immediately introduces the characters and bullying storyline to engage audiences. Locations contrast happiness and sadness, and costumes represent themes of innocence, peace, and being "at peace." Editing builds climax and camera work shows character vulnerability and strength.
3. The video uses both performance and narrative styles to give deeper insight into the character's emotions and story. The pop genre and cute couple appeal to wide audiences. Special effects
This document discusses the filmmaker's research into conventions of the psychological horror genre and how it informed their creative choices in developing a horror film trailer. Key points discussed include:
- Researching conventions from trailers like "The Purge" and "The Strangers" to establish common elements like settings, shots, and character representations.
- Choosing to set the film in a house to conform to genre conventions while allowing realistic filming locations.
- Dressing the female protagonist in tight but casual clothing to appear feminine without being overly sexualized, as inspired by films like "What I Did Last Summer".
- Costuming the antagonists in masks and casual clothing but dressing the female antagonist in a revealing
The document summarizes Andrew Goodwin's theory on characteristics commonly found in music videos. Some key points include:
1) Music videos often demonstrate genre characteristics through their visuals, such as stage performances for metal videos and dance routines for boy bands.
2) There is frequent emphasis on notions of looking and voyeuristic treatment of the female body through props like mirrors and cameras.
3) Lyrics are commonly represented through visuals in illustrative, amplifying or contradictory ways.
The document then provides examples to illustrate these and other common music video techniques.
The document discusses how the author's music video challenges and adheres to conventions of real media products. The video uses a narrative style to tell the story of a girl who is bullied and ultimately commits suicide. It incorporates various techniques seen in other popular music videos, such as introducing the characters and conflict at the beginning, using flashbacks, and portraying the protagonist as vulnerable through camera angles and costumes. The author aimed to effectively portray emotion through editing, locations, and a balance of performance and narrative styles.
The music video for "On the Floor" by Jennifer Lopez featuring Pitbull depicts a dance party scene in Los Angeles featuring elaborate choreography and costumes. It draws from various dance music genres like electro house, electropop, eurodance, and Latin music. Fans were able to vote on their preferred ending for the video, allowing audience participation.
The document summarizes the key elements of a music video the author created. It discusses how the opening immediately introduces the characters and story to stick to conventions. Flashbacks are used to portray emotions, and locations are chosen to contrast happiness and sadness. Costumes represent everyday fashion or symbolize themes. Fast editing during climactic parts helps the story flow. Both performance and narrative styles are used to give deeper insight into the character's life. The story follows a typical narrative structure and genre conventions to appeal to a wide audience. Effects like black and white and slowed/sped up clips enhance the story without being overused.
The director discusses how he used and challenged conventions in G-Money's music video "Space Bound". He incorporated conventions of the rap genre like dark themes and color grading. However, he challenged conventions by filming in a cinematic ratio atypical for music videos. The director also represented social issues like domestic violence and women's empowerment through the characters. While touching on controversial topics, the director aimed to spark discussion through his artistic interpretation in the video.
The document analyzes the conventions used and challenged in a music video the author created. It discusses how the video represents conventions of pop music videos through its use of people, places, objects and identities. It also draws on theories by Andrew Goodwin, Roland Barthes, Ferdinand de Saussure, and Laura Mulvey to discuss how the video uses and develops conventions related to the representation of the artist, relationships between audio and visuals, use of signs and meanings, and the male gaze. The video also reflects conventions of Will.I.Am's music videos but challenges typical conventions around the sexualization and submissiveness of female characters.
The document discusses screenshots from a music video and how it uses and develops conventions from other music videos.
It includes 9 screenshots from the video with explanations of how each shot draws from other music videos. Shots are compared to videos by Kanye West, Ariana Grande, Beyonce, Taylor Swift, Calvin Harris, and Selena Gomez.
The video challenges conventions by focusing on visual elements like glitter rather than the artist. It also experiments with focus and uses symbols like glitter throughout in an unconventional way. In summary, the document analyzes the video's intertextual references and how it develops conventions from other popular music videos.
Evaluation- In what ways does your product use,develop or challenge forms and...Joehardyofficial
This document summarizes how the media product uses and challenges conventions of real media products in various ways:
1) It subverts stereotypes by portraying the male artist as upset about the female cheating rather than being the cheater.
2) It challenges conventions like not adding effects and focusing on realism rather than flashbacks.
3) It both conforms to and challenges conventions around depicting money, drugs, isolation, and other themes in unconventional ways.
4) Shots and framing are used that conform to conventions like close-ups but settings and lack of movement also challenge conventions.
5) Symbols and imagery are used and recontextualized to challenge expectations around depicting wealth
The document summarizes the creation of a music video by the author for Lana Del Rey's song "Serial Killer". It discusses influences from other electro-pop artists like Melanie Martinez and Troye Sivan. The author analyzes existing music video conventions and genres. Ancillary materials like the album digipak and poster were also designed to promote the artist and music video while connecting different elements of the project.
This document provides an analysis of the conventions used and challenged in the creation of a music video for evaluation purposes. Key points:
- The music video uses conventions like teenagers as subjects, a 3-5 minute length, and close-up shots to focus on facial expressions. It challenges conventions like sexualization and the "male gaze" by keeping the artist's look natural.
- The concept aims to show how people can feel lonely and upset without knowing the full story behind actions. It uses bright colors and lighting changes to symbolize emotional progression.
- Feedback showed the audience interpreted the narrative differently, as theorized by Stuart Hall. Richard Dyer's theory of creating a sellable artist image through styling
This document discusses conventions and theories related to music video analysis. It summarizes how the author's music video conforms to various conventions for indie pop music videos. Some key conventions it follows include having locations that are simple, like houses and gardens; having the artist lip-sync to promote their image and lyrics; and using filters and color grading to set mood. Narrative theories the video draws from include having an inferred story formed from explicit events, and having both a narrative and performance elements as defined by Sven Carlson's theory of music video structure.
The document discusses various conventions used in music videos that the author referenced when creating their own music video. These conventions include using photographs to portray a narrative, including both narrative and performance elements, employing editing techniques like dissolves and reverse speed, distinguishing costumes between narrative and performance, incorporating choreography, considering lighting choices, editing to the beat, and utilizing different camera shots. The author analyzed existing popular music videos that demonstrated these conventions in order to create a professional-looking final product that would appeal to audiences and meet expectations.
This document provides an analysis of various music video shots and techniques used in indie pop music videos that inspired and informed the creation of the author's own music video. The author summarizes shots and techniques they found effective from music videos by artists like Hayley Kiyoko, Melanie Martinez, MS MR, and Bjorn. These include close-ups, two-shots, point-of-view shots, the use of props, color grading, and more. The author explains how they incorporated similar shots and techniques into their own video to tell the narrative and convey emotion.
The music video for James Blunt's "Goodbye My Lover" uses cinematography to contrast passionate moments in the past with the present sadness of a breakup. Extreme close-ups show intimacy, while wider shots of James alone convey loneliness. Symbolism like white curtains and crumpled sheets represent freedom and emptiness. Though not indie rock, the video effectively uses visuals to enhance emotions from the song. The author wants to incorporate similar techniques to elicit viewer connection in their own indie rock video.
The document provides an analysis of the music video for the song "Homesick" by the indie rock band Catfish and the Bottlemen. It discusses several characteristics of the music video that demonstrate genres, including the band's clothing, hairstyles, and choice of instruments that are typical of indie rock. It also analyzes relationships between the music, lyrics, and visual elements of the video in terms of illustrating, amplifying, or contradicting different aspects. Intertextual references are made to other films featuring indie rock bands.
The music video for James Blunt's "Goodbye My Lover" uses cinematography to contrast passionate moments in the past with the present sadness of a breakup. Extreme close-ups show intimacy, while wider shots of James alone convey loneliness. Symbolism like white curtains and crumpled sheets represent freedom and emptiness. Though not indie rock, the video effectively uses visuals to enhance emotions from the song. The author wants to incorporate similar techniques to make their own indie rock video more impactful.
The document summarizes the results of a 2015 survey on proctoring and learner authentication. It finds that the most common proctoring modality is an approved human proctor. The highest psychological deterrent to cheating according to both faculty and students is instructor proctoring. 38% of faculty see issues with proctoring as a major threat to the quality of eLearning.
This document is a resume for Mohammad Awais providing contact information, career objective, education history, computer skills, work experience, skills and specialties, personal information, and references. It summarizes his experience working in sales, marketing, and management roles over 14 years for companies like Union Bank, Metro Cash and Carry, and Chenone Stores Ltd. He is currently working as the Sales and Marketing Business Unit Manager for Caanchi & Lugari, a leading fashion retailer.
1. The document discusses the ways in which a music video project challenges conventions of real media products. It analyzes the opening, setting/location, costumes/props, camera work/editing, style, storytelling, genre, artist portrayal, and special effects used in the video.
2. The opening immediately introduces the characters and bullying storyline to engage audiences. Locations contrast happiness and sadness, and costumes represent themes of innocence, peace, and being "at peace." Editing builds climax and camera work shows character vulnerability and strength.
3. The video uses both performance and narrative styles to give deeper insight into the character's emotions and story. The pop genre and cute couple appeal to wide audiences. Special effects
This document discusses the filmmaker's research into conventions of the psychological horror genre and how it informed their creative choices in developing a horror film trailer. Key points discussed include:
- Researching conventions from trailers like "The Purge" and "The Strangers" to establish common elements like settings, shots, and character representations.
- Choosing to set the film in a house to conform to genre conventions while allowing realistic filming locations.
- Dressing the female protagonist in tight but casual clothing to appear feminine without being overly sexualized, as inspired by films like "What I Did Last Summer".
- Costuming the antagonists in masks and casual clothing but dressing the female antagonist in a revealing
The document summarizes Andrew Goodwin's theory on characteristics commonly found in music videos. Some key points include:
1) Music videos often demonstrate genre characteristics through their visuals, such as stage performances for metal videos and dance routines for boy bands.
2) There is frequent emphasis on notions of looking and voyeuristic treatment of the female body through props like mirrors and cameras.
3) Lyrics are commonly represented through visuals in illustrative, amplifying or contradictory ways.
The document then provides examples to illustrate these and other common music video techniques.
The document discusses how the author's music video challenges and adheres to conventions of real media products. The video uses a narrative style to tell the story of a girl who is bullied and ultimately commits suicide. It incorporates various techniques seen in other popular music videos, such as introducing the characters and conflict at the beginning, using flashbacks, and portraying the protagonist as vulnerable through camera angles and costumes. The author aimed to effectively portray emotion through editing, locations, and a balance of performance and narrative styles.
The music video for "On the Floor" by Jennifer Lopez featuring Pitbull depicts a dance party scene in Los Angeles featuring elaborate choreography and costumes. It draws from various dance music genres like electro house, electropop, eurodance, and Latin music. Fans were able to vote on their preferred ending for the video, allowing audience participation.
The document summarizes the key elements of a music video the author created. It discusses how the opening immediately introduces the characters and story to stick to conventions. Flashbacks are used to portray emotions, and locations are chosen to contrast happiness and sadness. Costumes represent everyday fashion or symbolize themes. Fast editing during climactic parts helps the story flow. Both performance and narrative styles are used to give deeper insight into the character's life. The story follows a typical narrative structure and genre conventions to appeal to a wide audience. Effects like black and white and slowed/sped up clips enhance the story without being overused.
The director discusses how he used and challenged conventions in G-Money's music video "Space Bound". He incorporated conventions of the rap genre like dark themes and color grading. However, he challenged conventions by filming in a cinematic ratio atypical for music videos. The director also represented social issues like domestic violence and women's empowerment through the characters. While touching on controversial topics, the director aimed to spark discussion through his artistic interpretation in the video.
The document analyzes the conventions used and challenged in a music video the author created. It discusses how the video represents conventions of pop music videos through its use of people, places, objects and identities. It also draws on theories by Andrew Goodwin, Roland Barthes, Ferdinand de Saussure, and Laura Mulvey to discuss how the video uses and develops conventions related to the representation of the artist, relationships between audio and visuals, use of signs and meanings, and the male gaze. The video also reflects conventions of Will.I.Am's music videos but challenges typical conventions around the sexualization and submissiveness of female characters.
The document discusses screenshots from a music video and how it uses and develops conventions from other music videos.
It includes 9 screenshots from the video with explanations of how each shot draws from other music videos. Shots are compared to videos by Kanye West, Ariana Grande, Beyonce, Taylor Swift, Calvin Harris, and Selena Gomez.
The video challenges conventions by focusing on visual elements like glitter rather than the artist. It also experiments with focus and uses symbols like glitter throughout in an unconventional way. In summary, the document analyzes the video's intertextual references and how it develops conventions from other popular music videos.
Evaluation- In what ways does your product use,develop or challenge forms and...Joehardyofficial
This document summarizes how the media product uses and challenges conventions of real media products in various ways:
1) It subverts stereotypes by portraying the male artist as upset about the female cheating rather than being the cheater.
2) It challenges conventions like not adding effects and focusing on realism rather than flashbacks.
3) It both conforms to and challenges conventions around depicting money, drugs, isolation, and other themes in unconventional ways.
4) Shots and framing are used that conform to conventions like close-ups but settings and lack of movement also challenge conventions.
5) Symbols and imagery are used and recontextualized to challenge expectations around depicting wealth
The document summarizes the creation of a music video by the author for Lana Del Rey's song "Serial Killer". It discusses influences from other electro-pop artists like Melanie Martinez and Troye Sivan. The author analyzes existing music video conventions and genres. Ancillary materials like the album digipak and poster were also designed to promote the artist and music video while connecting different elements of the project.
This document provides an analysis of the conventions used and challenged in the creation of a music video for evaluation purposes. Key points:
- The music video uses conventions like teenagers as subjects, a 3-5 minute length, and close-up shots to focus on facial expressions. It challenges conventions like sexualization and the "male gaze" by keeping the artist's look natural.
- The concept aims to show how people can feel lonely and upset without knowing the full story behind actions. It uses bright colors and lighting changes to symbolize emotional progression.
- Feedback showed the audience interpreted the narrative differently, as theorized by Stuart Hall. Richard Dyer's theory of creating a sellable artist image through styling
This document discusses conventions and theories related to music video analysis. It summarizes how the author's music video conforms to various conventions for indie pop music videos. Some key conventions it follows include having locations that are simple, like houses and gardens; having the artist lip-sync to promote their image and lyrics; and using filters and color grading to set mood. Narrative theories the video draws from include having an inferred story formed from explicit events, and having both a narrative and performance elements as defined by Sven Carlson's theory of music video structure.
The document discusses various conventions used in music videos that the author referenced when creating their own music video. These conventions include using photographs to portray a narrative, including both narrative and performance elements, employing editing techniques like dissolves and reverse speed, distinguishing costumes between narrative and performance, incorporating choreography, considering lighting choices, editing to the beat, and utilizing different camera shots. The author analyzed existing popular music videos that demonstrated these conventions in order to create a professional-looking final product that would appeal to audiences and meet expectations.
This document provides an analysis of various music video shots and techniques used in indie pop music videos that inspired and informed the creation of the author's own music video. The author summarizes shots and techniques they found effective from music videos by artists like Hayley Kiyoko, Melanie Martinez, MS MR, and Bjorn. These include close-ups, two-shots, point-of-view shots, the use of props, color grading, and more. The author explains how they incorporated similar shots and techniques into their own video to tell the narrative and convey emotion.
The music video for James Blunt's "Goodbye My Lover" uses cinematography to contrast passionate moments in the past with the present sadness of a breakup. Extreme close-ups show intimacy, while wider shots of James alone convey loneliness. Symbolism like white curtains and crumpled sheets represent freedom and emptiness. Though not indie rock, the video effectively uses visuals to enhance emotions from the song. The author wants to incorporate similar techniques to elicit viewer connection in their own indie rock video.
The document provides an analysis of the music video for the song "Homesick" by the indie rock band Catfish and the Bottlemen. It discusses several characteristics of the music video that demonstrate genres, including the band's clothing, hairstyles, and choice of instruments that are typical of indie rock. It also analyzes relationships between the music, lyrics, and visual elements of the video in terms of illustrating, amplifying, or contradicting different aspects. Intertextual references are made to other films featuring indie rock bands.
The music video for James Blunt's "Goodbye My Lover" uses cinematography to contrast passionate moments in the past with the present sadness of a breakup. Extreme close-ups show intimacy, while wider shots of James alone convey loneliness. Symbolism like white curtains and crumpled sheets represent freedom and emptiness. Though not indie rock, the video effectively uses visuals to enhance emotions from the song. The author wants to incorporate similar techniques to make their own indie rock video more impactful.
The document summarizes the results of a 2015 survey on proctoring and learner authentication. It finds that the most common proctoring modality is an approved human proctor. The highest psychological deterrent to cheating according to both faculty and students is instructor proctoring. 38% of faculty see issues with proctoring as a major threat to the quality of eLearning.
This document is a resume for Mohammad Awais providing contact information, career objective, education history, computer skills, work experience, skills and specialties, personal information, and references. It summarizes his experience working in sales, marketing, and management roles over 14 years for companies like Union Bank, Metro Cash and Carry, and Chenone Stores Ltd. He is currently working as the Sales and Marketing Business Unit Manager for Caanchi & Lugari, a leading fashion retailer.
Becoming a Better "ME" Virginia RPS 2015Tom O'Rourke
Tom O'Rourke presents on becoming a better version of yourself through focusing on career, relationships, and integrity. He discusses choosing a career aligned with your values like learning and contributing to others. For relationships, he recommends being a giver over a taker by generously helping others. Living with integrity involves knowing your leadership style and paying attention to how it matches with others. The overall presentation provides strategies for improving different areas of your life through self-reflection and goal-setting.
The document evaluates the marketing strategy of Promedica's meeting products by analyzing target customers, marketing channels, email marketing data, and registration rates. It finds that May had the highest open and click-through rates for email campaigns advertising specialty-focused meeting series. A regression model showed the subject content variable had a significant correlation with registration rates. The conclusion recommends scheduling additional meetings in May and improving subject lines based on the findings.
Rick Altman argues that genres provide audiences with a set of pleasures, including visceral pleasures that elicit physical responses like revulsion or a feeling of speed, emotional pleasures from genres like thrillers that allow audiences to try and solve a mystery or puzzle, and the pleasure of either predicting the ending or being surprised by the unexpected ending. Certain genres are particularly effective at generating strong audience responses through these visceral and emotional pleasures.
This document provides biographical information about Arnaud including his educational background and work experience. It includes a timeline of his studies and jobs in various fields such as graphic design, marketing, multimedia, web development, and strategic intelligence. The document also lists some of his roles founding organizations and events related to media, technology, music promotion and more.
A technical report on BioFuels GenerationMohit Rajput
This document provides an overview of biofuels, including:
1. Biofuels are divided into three generations - first from sugars/starches, second from non-edible plants, third from algae/microbes.
2. First generation includes bioethanol from crops like corn, sugar cane.
3. Second generation includes biodiesel made from vegetable/plant oils or animal fats.
4. The document discusses production methods and feedstocks for different biofuels.
Problems associated with urban locationchloeallenby
Crowding, substandard housing, and homelessness are prevalent problems in cities due to the large number of people living in a small area. Traffic congestion is also a major issue, as urban residents experience long commutes on crowded roads and public transportation. These urban problems contribute to increased stress, mental health issues, crime, and substance abuse among city dwellers compared to rural residents.
- EOG Resources Inc. is acquiring Yates Petroleum Corporation for $2.5 billion, adding 1.6 million net acres to its portfolio.
- The acquisition significantly increases EOG's core positions in the Delaware Basin, Powder River Basin, and Northwest Shelf, providing an additional 1,740 net premium drilling locations and estimated premium net resource potential of 1.6 billion barrels of oil equivalent.
- The transaction will be completed through the issuance of $2.3 billion in EOG equity and $151 million in cash and debt assumption, and is expected to close in early October.
Pembelajaran yang dibuat khas untuk pegawai perkhidmatan awam tanpa hadir ke satu kursus . Dengan itu , sekadar dengan menggunakan hujung jari mempelajari kursus yg disenaraikan ..
Dokumen tersebut membahas sejarah Lebanon dan amalan terbaik dalam pembangunan bandar di Lebanon. Lebanon terletak di Timur Laut Mediterranean dan memiliki pegunungan yang berjalan sejajar dengan pantai barat. Prancis diberi mandat atas Lebanon setelah Perang Dunia 1. Lebanon memperoleh kemerdekaan penuh secara bertahap. Amalan terbaik dalam pembangunan bandar di Lebanon termasuk pembangunan institusi-institusi pendidikan bertaraf antarabangsa
MANAGEMENT OF ACUTE UTERINE INVERSION BY DR SHASHWAT JANIDR SHASHWAT JANI
1) Acute uterine inversion occurs within 24 hours of delivery when the uterus turns inside out, often due to fundal placenta insertion and uterine atony.
2) Immediate manual replacement of the inverted uterus without anesthesia has the highest chance of success and should be attempted promptly.
3) If manual replacement fails or the patient presents later, general anesthesia and tocolytic agents like nitroglycerin are administered to relax the uterus before again attempting manual replacement while controlling hemorrhage. Prompt treatment is critical to prevent complications like shock.
The document discusses conventions in music videos and how the author's music video for Lady Gaga's "Till It Happens to You" adheres to and develops conventions. The author researched conventions like shot types, camera angles, editing, and mise-en-scene. They filmed the video using mostly close-ups and a tripod to convey emotion. They also included sexualized makeup and revealing clothing to portray the song's message about exploitation while conforming to industry demands. Overall, the author felt their video adhered to conventions through its use of techniques like performance, editing, and visual elements.
The document discusses conventions of music videos including editing clips to match the beat of the song, using visual effects, lip syncing/miming, different camera shots and movements, and various camera angles. It provides examples for each convention from specific music videos. The response discusses including conventions of lip syncing/miming, different camera shots and angles, and visual effects in their own music video while also learning about typical conventions from real music videos and genres.
The document discusses how the media product uses and develops conventions of real Hip-Hop/Rap music videos. It explores conventions around cinematography, camera angles, lighting, setting, facial expressions, costumes, and editing. The product aims to represent the artist as a star through these conventions. It also analyzes how the ancillary products like the album packaging and advertisement develop conventions through a focus on the artist, serious expressions, and warm colors consistent with the genre.
The music video challenges conventions by using a sad indie-pop song to tell a story about domestic abuse and its impacts. It follows typical music video length and uses only indoor, British locations to represent the lack of freedom and control the main character experiences. Flashbacks and reversing the video add mystery and leave the ending open to interpretation. The album cover is inspired by films like Black Swan that portray psychological impacts, and blends track names with images to be original. The magazine ad follows a popular style to appeal to audiences.
The document discusses how the student's music video project uses and develops conventions of real music videos. It provides details on the research conducted into music video conventions and genres. It then analyzes the different elements of the student's music video, including themes, characters, artists' representation, locations, theory, editing, cinematography, lighting, costumes, and more. The student believes their music video both follows conventions through these elements but also challenges conventions in original ways. The document aims to show how the student's music video applies their understanding of real music video conventions in a creative project.
Q1: IN WHAT WAYS DOES YOUR MEDIA PRODUCT USE, DEVELOP OR CHALLENGE FORMS AND ...laralawal
Lara Lawal created a music video and campaign for an R&B artist that both uses and challenges conventions of real music products in the genre. She researched conventions around cinematography, locations, costumes, and more from artists like Jay-Z and Kanye West. While including typical elements like close-ups and casual clothing, she also challenged norms by showing the artist creating music rather than just performing it. Her goal was to represent the artist as hard-working while still entertaining audiences with familiar genre traits. She applied theories from scholars like Dyer and Goodwin to develop the artist's image and include intertextual references.
This document summarizes a music video that was created to promote the song "Here We Are" by Michael Reeve. The 3-sentence summary is:
The music video uses conventions of indie pop genres to tell a story about domestic violence and its impacts. It features a linear narrative with flashbacks and reversed scenes to convey the protagonist's pain from an abusive relationship. While utilizing some stereotypes about gender roles, the video aims to challenge hypersexualization and focus more on the female protagonist's emotions to avoid objectification.
The document discusses how the media product uses and develops conventions of real music videos. It follows conventions such as using a narrative/performance structure, similar representations of the artist, lighting techniques, locations, costumes and makeup, cinematography like close-ups, and editing that matches the song's pace. However, it also challenges some conventions like not portraying the female character in a sexualized way. Overall, the product aims to appeal to audiences by following genre conventions while also updating them for the song's themes.
The document discusses how the creator's music video product developed and challenged conventions of the hip hop and soul genres. It combined elements from real music videos to tell a narrative involving themes of drugs, pills, and suicide that are uncommon in typical soul videos. It represented the main artist in a way that followed expectations for how female artists are typically portrayed. The cinematography, editing, sound, lighting, iconography, and theories of representation were all employed in a way that developed conventions from other successful music videos while also challenging expectations in some ways. The product aimed to engage audiences and represent the artist and narrative effectively.
The document discusses how the media product uses, develops, or challenges conventions of real media products in various ways:
1) It subverts stereotypes by portraying the female as unfaithful rather than the male. It also shows the male looking sorrowful rather than guilty.
2) It links visuals to lyrics through symbols like a clock representing inability to turn back time, and drugs representing the artist dealing with the relationship.
3) It recycles conventions like money representing wealth but challenges them by pairing money with a falling rose to represent love and wealth falling.
4) It uses props like masks to represent hiding emotions and books to show the artist learning, challenging conventions of uneducated artists
Appying inspirational music videos to my own work- Post productionsabrinasaks
The document discusses how various music videos inspired the use of symbols and techniques in the author's own music video. It summarizes how Tori Amos' "Spark" used a blindfold and hand tie to represent depression and helplessness over losing a baby. The author applied a mouth cover in their video to represent lack of voice. Linkin Park's "Numb" showed isolation through sped-up background people, which the author replicated. Close-ups in RÁJ's "Ghost" emphasized sadness, which the author also included. The document discusses using various locations and tints to represent isolation and sadness. It concludes by noting how Kanye West left a message at the end of "Diamonds From Sierra Le
The document discusses how a music video project used, developed, and challenged conventions of real music videos. It summarizes the key stages of research, planning, production and evaluation. It describes how the group chose the alternative R&B genre and researched conventions by watching other music videos. Their planning incorporated knowledge of music video theory and industry practices. The production applied conventions like unique locations, costumes, and editing techniques while also challenging conventions such as avoiding the male gaze. Overall, the project strategically used and developed conventions to make the music video appealing while also making it unique.
This document discusses the conventions of indie pop and R&B music videos and how the author's music video followed or challenged those conventions. It begins by outlining some typical elements of indie pop and R&B music videos such as lower production values, live performances, narrative storytelling, and sexualization of characters. It then analyzes how the author's music video for the song "Thinking of You" incorporated conventions like close-ups, slow motion, and layering videos while also subverting conventions by not oversexualizing characters and featuring various unique locations. The document concludes by discussing the conventions of indie pop/R&B album digipaks and how the author's digipak design fits those conventions with a close
Martelle Kumar created a music video for their indie pop artist Tegan Liburd. In the presentation, Martelle evaluates how aspects of the music video conform to conventions of the indie pop genre to make the product appear authentic. Martelle represented the artist as glamorous and trendy by dressing them in designer clothes and makeup. Martelle also introduced the artist with medium shots, included close-ups of the artist's performance to show facial expressions, used outdoor rural settings at sunset, and added special effects like rewinding to match conventions of other indie pop music videos. By following these genre conventions, Martelle aimed to establish a connection with the audience and have the music video successfully convey the indie pop genre.
This document discusses how the student's music video project develops and follows conventions of real music videos. It analyzes elements like themes, characters, artists' representation, locations, theory, editing, cinematography, lighting, costumes, and sound. Conventions from the R&B genre are examined in other artists' music videos and applied, such as themes of drinking and smoking, close-ups of the artist, and pacing editing to the song. Overall, the document aims to show how researching conventions allowed the student to create an authentic music video that will appeal to audiences.
The document discusses how the media product uses and develops conventions of real music videos. It begins by explaining that research into Neo-Soul music videos helped with planning and understanding conventions. Elements like themes, character representation, artist representation, locations, and editing were developed conventionally. Theory from Goodwin, Dyer, and Mulvey informed cinematography choices like close-ups of the artist to develop their star image. Angles challenged ideas of vulnerability conventionally. Mise-en-scene aspects like lighting, setting, and costume also developed conventions typically seen in Neo-Soul videos to represent the genre and themes.
This document discusses various conventions of music videos, albums, and artist websites. It provides examples of conventions like having a clear narrative, outfit changes, and location changes in music videos. Digipacks typically include details like the artist photo, song list, and album theme. Websites usually have pages for shopping, photos, and promoting new releases. The document then discusses how the creator's music video for the artist Monetté follows conventions like establishing shots, outfit changes, and close-ups while also challenging some conventions like not sexualizing the artist. Real media products like Adele albums and Nicki Minaja's website provided inspiration.
The document discusses various forms and conventions used in real music videos and how the author's music video does or does not utilize these conventions. It discusses the following conventions:
1) Voyeurism is not used as the focus is on the narrative relationship rather than attractiveness of actors.
2) Close-ups are used to connect with characters and show their feelings/emotions as seen in videos like "Hello" by Adele.
3) Music and visuals are linked so shots match tempo/lyrics as in "All of the Lights" and "Pretender".
4) Star iconography prominently features the artist to inspire fans as seen in videos like "Shake it Off
In what ways does your media product usekab09077651
The document discusses Andrew Goodwin's theory of music video conventions and how the student's music video for their artist Jamie Lynch both uses and challenges some of these conventions. Specifically, the video incorporates a narrative and performance as is common in music videos. It portrays the soulful hip hop genre through street culture imagery but challenges stereotypes often seen in that genre. Close-ups of the artist are used to make him recognizable while not exploiting the female body as is common. The accompanying CD cover and advert follow standard conventions like featuring the artist.
Similar to How my music video conforms to the conventions (20)
1) The document describes the process of designing a magazine advertisement in Photoshop and PowerPoint, including setting the paper size to A4, duplicating flower layers, and saving designs as JPEGs and PNGs.
2) Various design elements were added like stripes of flower patterns, graffiti text with flower backgrounds, 'Lukatar' text in different fonts and colors, images, logos, and social media info to make the ad more attention-grabbing.
3) The background color and fonts were adjusted based on feedback to better attract the target female audience, with the goal of the final ad being cohesive, edgy, and attention-grabbing.
The document analyzes the conventions used in hip hop album artwork known as "Digi Packs" and how the creator's own design for an album both conforms to and challenges some of these conventions. Some conventions it follows include using sans serif fonts, brightly colored text, sportswear outfits, and poses showing power or action. Some conventions it challenges include unconventional backgrounds, framings, and inclusion of props, cartoon images, and themes of fame and substance use. The goal was to create something attention-grabbing for a young, urban audience while still relating to hip hop styles.
Chloe Allenby created a digital packaging (Digi Pack) for her artist Lukatar's album. She imported and manipulated various images to design the front cover. These included a street background, leaves, circles, and other shapes layered together. Text was added identifying the artist and album. The inside pages included more manipulated images and text for track listings. Disk designs were made with flowers, graffiti text, and images of the artist. The process involved tools like lasso, brush, and layers to design a colorful, cartoon-style Digi Pack promoting Lukatar's album in a visually exciting way.
Lukatar produces products that are featured in various media including an iPhone, iPad, billboard, and Spotify. Their Baby B product is shown being used on an iPhone, iPad, in a billboard advertisement, and within a Spotify promotion. Lukatar's Baby B product seems to be their main offering that is receiving advertising exposure across multiple channels.
This document analyzes the conventions used in digital packaging (digi-packs) for female hip-hop artists. It examines the digi-packs of Nicki Minaj, Beyoncé, and Lady Leshurr, identifying similarities and differences. Key conventions highlighted include using bright colors, revealing costumes that conform to the "male gaze", poses emphasizing status and power, and continuity between the packaging, music videos, and brand. Variations from these conventions are also noted, such as Beyoncé's more classy, monochrome style.
1. The document outlines the cinematography, mise-en-scene, sound, and editing techniques used in a music video featuring an artist named Lukatar. It provides descriptions for 60 scenes in the video.
2. The video begins by establishing Lukatar at school, then shows her gaining fame and wealth as a musician. Scenes showcase her dancing, rapping, and flashy outfits against backgrounds like graffiti walls and money.
3. As the video progresses, it depicts Lukatar enjoying the lavish lifestyle that fame provides but also facing negativity from others. She begins drinking heavily and partying excessively in an attempt to cope with the downsides of her celebrity status.
The document outlines various prop ideas that could be used in a music video to tell the story of an artist's career from success to struggles with drugs and alcohol. Props like money, CDs, food, musical instruments, newspapers, alcohol, and syringes would symbolize themes from the artist's lyrics and career trajectory, such as status, criticism from the press, pressures of fame, and deterioration from substance abuse. The props are meant to both advance the narrative and match the quirky, abstract tone of the music video in a conceptual yet lyrically linked way.
The document provides details on makeup ideas for different phases of an artist's career and music video. Phase 1 depicts the artist as successful with contour, highlighter, red lipstick and smoky eyes. Phase 2 shows the artist experimenting with partying through heavier black eyeliner, colorful lipstick and eyeshadow. Phase 3 portrays the artist's breakdown with messy, dark makeup around tired eyes and a pale face. Face paint will also represent different career stages.
Teens prefer streaming music on YouTube and iTunes over traditional radio or CDs. While some teens still listen to the radio, most would rather choose their own music through free streaming sites. Nearly all teens have internet access at home or school and spend time on social media sites like Facebook, as it allows them to interact with friends. Rap music is popular among teens but the lyrics often discuss topics like sex and drugs that concern parents. Many teens watch music videos regularly, with over 75% of 4th-6th graders viewing videos and 60% reporting they watch "pretty much" or "a lot." MTV remains a popular source of music videos for teens.
The document discusses research into gender differences in music video preferences. It aims to help develop a media product that appeals to females, the target audience. The research found that females prefer media from female artists and dislike overly sexualized portrayals. Females also enjoyed a variety of dance styles, narrative music videos, and emotionally relatable content. Based on these findings, the document recommends focusing on a female artist with implicit rather than explicit sexuality, incorporating different dance styles and a narrative storyline involving fame and redemption.
There are several common conventions in hip-hop and rap music videos. Low camera angles are used to portray the artist as powerful by looking up at them. Status, wealth, and power are common narrative themes, especially for artists from poor backgrounds. Sex is also a frequent theme, using shots to convey sensuality and portray the artist's desirability. Women are often presented as sexual objects or empowered figures. References to wealth through props demonstrate status, and taboo subjects like drugs and sex are commonly explored.
The document discusses the design conventions of music magazine covers and pages. It analyzes the front covers of different genre magazines, noting how each cover visually conveys the genre through images and layouts. Contents pages are usually the first pages and show the magazine structure through a combination of images and text. Double page spreads typically feature the main cover image and story, with variations in how the image and text are presented.
The survey responses showed that the target audience of females aged 11-16 liked the pop music magazine cover. Specifically:
- The colorful and bright design caught respondents' eyes.
- The modern and trendy clothes worn by the models were seen as stylish and something respondents would wear.
- The variety of articles advertised interested respondents and made them want to read the magazine.
- Respondents enjoyed the bold and bright color scheme which made the magazine stand out.
- The layout balanced including everything without looking crowded.
Overall, the target audience responded positively to the magazine cover and its contents.
The document discusses what makes an effective slogan for pop music magazines. It analyzes existing slogans such as "Don't Bore Us. Get to the Chorus" and "Squeezing stars' juicy bits" which are memorable due to their simplicity, use of rhyme or alliteration, and reference to music or gossip. Conventions for these slogans include using genre references, describing the purpose of reading, and simplistic language. The document then provides some possible new slogans and analyzes why the creator chose "The Hits and The Juicy Bits", which references music and gossip while using rhyme and being simple.
The parental survey asked parents if they would buy the OMG magazine for their 11-16 year old daughters. Most parents said they would because the magazine looks fun and colorful, appealing to teenage girls. They thought the images, features and language were suitable and easy to understand. Parents felt their daughters would like the magazine because it covers topics like fashion, music and celebrities that interest teenage girls.
The document discusses potential props that could be used on the cover of a pop music magazine, including telephones, fruit, microphones, sunglasses, shapes, comical props like bunny ears and mustaches, and hats. Telephones represent gossip and chatting, while fruit conveys health and juiciness. Microphones symbolize singing and stardom. Sunglasses suggest youth and fame. Shapes and comical props could add fun elements. Hats relate to fashion and styles popular with the target audience.
The document describes photo editing steps taken to enhance features of a woman named Daniela for a fashion magazine cover. The editor used selection and painting tools to emphasize Daniela's eyes, define and darken her eyebrows, and make her lips pinker. Large hoop earrings were added to make Daniela look more fashionable. Background removal, imperfection fixing, and cheekbone highlighting completed the edits intended to portray Daniela as trendy and visually appealing.
The document discusses the design choices for a magazine masthead. It was designed to target 11-16 year old girls who enjoy pop music. Bright colors like pink and yellow were chosen to represent happiness and catch attention. Speech bubbles and doodled stars were included to relate to social media, celebrities, and give a fun, informal feel. A heart in the "O" adds girliness in line with the target audience. The bold, easy-to-read font allows the masthead to be recognized from a distance. Overall, the design aims to represent the fun, celebrity-focused tone of the magazine through its bright colors, doodled elements, and girly touches.
The document discusses the design choices for a magazine masthead. It was designed to be bold and eye-catching using block colors only, specifically pink and yellow, which represent the happy, girly tone of the pop genre and target female audience aged 11-16. Speech bubbles and hand-drawn stars and hearts were incorporated to symbolize gossip and give a youthful, informal feel. The font is bold and easy to read to ensure the masthead is recognizable from a distance.
The document discusses the design choices for a magazine masthead. It was designed to be bold and eye-catching using block colors only, specifically pink and yellow, which represent the happy, girly tone of the pop genre and target female audience aged 11-16. Speech bubbles and hand-drawn stars and hearts were incorporated to symbolize gossip and give a youthful, informal feel. The font is bold and easy to read to ensure the masthead is recognizable from a distance.
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1. How My Music Video Conforms
to the Conventions of Form.
Evaluation Question 1
2.
3. Lip Sync
My music video conformed to the convention of including Lip Sync. Lip
sync is seen at the start of the music video when the artist an up and
coming celebrity in the narrative, she is in control of her life and happy.
However, I challenge this convention during the drug and alcohol use
scenes, where lip sync is not used to symbolise that the artist has lost
control of her life, which is now in chaos.
4. Dancing
I included dance in my music video so conformed to this convention. However, I
challenged I the sense that I included different dance types. For example I included
street dance in early scenes to connote confidence and power, then drunken style
dancing in the later scenes. Typical music videos conventionally include one dance
style only. (See below in Beyonce’s video ‘run the world’ street dance only is seen,
and in ‘7/11 solely drunken dance is seen)
6. Narrative to Follow
My product conformed to the convention of having a narrative to
follow, the artist begins in an inner city deprived area, then becomes
rich and famous through rapping, she spends her money on alcohol
and drugs, the press then turn on her, but the artist manages to turn
her life around.
7. Editing
The vast majority of music videos have medium – fast paced editing.
I conformed to this convention as the song was upbeat therefore fast
paced editing complemented this. The fast editing pace was also used
to reflect some of the mayhem in the artist’s life e.g. in the drinking
scene. Where possible I had my editing follow the rhythm of the song,
another convention of form.
8. Features the Artist
I conformed to this convention. It allowed me to create a brand which
people could buy into to generate a profit (Dyer). To ensure a brand
was created my artist was the sole person to star in the music video.
9. Performers
Many music videos contain a larger cast. I challenged this convention, only
having my artist feature, I believe this suits the Hip Hop genre where themes of
power and status are also explored (having additional cast members would make
Baby B seem less dominant).
It also reflected the narrative, where we go on a journey with Baby B throughout
her tough time on her rise to fame (therefore the story is more personal if only
she features).
See Below, Nicki Minaj has a large cast in Anaconda and Katy Perry in TGIF
10. Because there was only my artist in the music videos, some frames seemed plain or
bland, because of this I used editing effects to fill the frame (e.g. duplicating the
artist or using split screen). These meant more of the frae was filled, and ensured
my video was visually exciting despite only including one cast member. Duplicating
the artist also meant she looked dominant on the screen conforming to Hip Hop’s
representations of status and power. It linked to the narrative, where initially the
artist is confident and enjoying press attention. By stacking green screen images on
top of each other I was able to create the illusion that my artist was dancing in a
troupe, yet all group members were herself. This reflects her independence, power
and success. I chose to do a split screen, this makes the artist more dominant in the
frame as she is seen twice, it makes her seem more influential as she takes up more
of the screen.
11. Many of the techniques used are similar to those in Zara Larson’s ‘Lush
Life’ music video, where she is also the sole performer.
12. Varied framings
There is usually a variety of framing types within a music video, to
create a sense of different distances between the artist and audience,
emphasise some emotions of mise-en-scene aspects, and create a
visually exciting and varied product. I conformed to the convention of
having a variety of frames in my product, and many of the framings I
used are used for similar purposes in existing products.
13. Extreme Close Up
I included the convention of an Extreme Close Up. However, I developed it. In most existing music videos the
extreme close up is used to create a sexual tone by focusing on body parts which have sexual connotations. E.g.
in Rihanna’s Rude Boy (See below). However, I used it to focus on the artist’s eyes, to convey a sense of
desperation and sadness in the drug use scene.
14. Close Up
I used the convention of a close up. Particularly when I needed to clearly show facial expressions or for lip sync. For
example this clip is a close up shot which allows the audience to clearly see the journalist’s disgusted facial expression.
Simmilarly in Katy Perry’s TGIF a close up shot is used to establish the nerd’s facial expression as he admires Katy.
15. Medium Close Up
I believe this to be the most common framing used, as the artist still looks large and is recognisable, but mise en
scene can still be seen. I used many in my video and have seen many in existing videos. See below – Emeli Sande
‘Clown’.
16. Medium Long Shot
I used the conventional framing of a medium long shot in the music video. I found that it gave the best of
both worlds – distance whilst the artist’s expression and face were still clearly visable. I chose to use a
medium long shot, compared to the medium close up used with the journalist, this allows for baby B to
look small thus vulnerable. It means we can see her costume whilst also seeing her shocked and hurt facial
expression.
In Sledge Hammer by
Fifth Harmony we also
see a MLS. Again this
allows for the exquisite
costume to be seen,
yet the artist’s face is
still clearly visible for
the lip sync and
recognisable to create
a brand.
17. Long Shot
Long shots are extremely useful if you wish for an artist’s whole outfit to be seen, or for the frame to be including the
background. E.g. in the red carpet clip a long shot allowed for the artist’s whole exquisite outfit to be seen, and also for
the red carpet back ground to be seen. Simmilarly in Jessie J’s Bang Bang a long shot allows the whole outfit to be seen
including the helicopter in the background.
18. Varied Angles
To make my product visually exciting I chose to conform to incorporate
a variety of angles. These also aided me in creating the narrative.
This low angle shows dominance, status and
confidence.
This high angle shows vulnerability and
naivety.
19. In Adele’s ‘Hello’ a high angle is also
used to show how she was vunerable
and naïve to believe her partner would
never leave her.
Simmilar to my video, her partner is
portrayed as dominant using a low
angle.
20. Varied Movements - Zoom
I conformed to the convention of having varied movements as again
this makes the product more exciting to watch, and different
movements can be used to symbolise different aspects of the narrative.
In Katy Perry’s ‘Part of me’ a zoom is used to
show intense emotion, similarly I used a zoom in
the drug use scene to emphasise the desperation
of Baby B. However, a difference is I also used
zooms to show dominance (as the subject gets
gradually bigger in the frame) e.g. in the
journalist scene where Baby B is unaware of her
negative representations in the press.
21. Zoom
A zoom in also seems intrusive. In the journalist scene fast zooms in and out were used to represent the constant
attention the artist gets from the press as she poses. Simmilarly in ‘Bo$$’ by fifth harmony a zoom in is used as the
girls are walking down a catwalk and posing, again representing the great deal of attention they get from the press
and public.
22. Tilt
A tilt is a conventional camera movement seen in music videos of
all genres. In my music video I used it to represent people ‘looking
up and down’ the artist – to lyrics such as ‘lukatar then look at me’
or ‘checkin out my clothes’. I believe it was successful as it acted as
a point of view shot for those literally looking at Baby B and what
she is wearing. An upwards tilt suggests looking up to the artist
thus a sense of admiration.
23. Tilt cont.
A tilt is used in Queen’s Speech 4 by Lady Leshur,
also to give a sense of admiration and that people
are looking up to, and at her. As in my video, the
upwards tilt makes the audience feel as though they
are below the artist, creating a dominant,
authorative tone.
24. Zoom Out
I used the conventional technique of a zoom out to create a sense of
distance between the artist and the audience, suggesting that the real
Baby B (e.g. successful and motivated) was slipping away due to drugs
and alcohol. This is an unconventional way to utilitse zoom outs, with
more conventional music videos using them in different ways.
25. Zoom Out Cont.
In Nicki Minaj’s anaconda the zoom out is used
very differently, to establish the location by
focusing on trees, before revealing the cast by
zooming out.
26. Twist
A twist is an unconventional cinematography technique seen
in music videos as it can make the audience feel
disorientated. I chose to challenge this and include twisting
camera movements in the alcohol and drug use scenes as
this made the audience feel disorientated, reflecting how
Baby B had lost control over her life in the narrative, and
represent her confusion. A twist is used in Beyonce’s 7/11
for a similar effect.
27. Depth of Field
Depth of field is a conventional cinematography
technique seen in music videos. Conventionally the
artist seen is in focus whereas the background is
blurry. For example in Katy Perry ‘part of me’ she is in
focus but the background is blurry, representing that
she has had an epiphany, and is now going to focus
only on what is best for herself. In Katy Perry
‘Firework’ the subject is in focus, yet the background
of a pool party blurry to represent how she is a social
outcast and does not fit in the crowd.
28. Depth of Field cont.
I chose also to use depth of field in my music
video. However, I challenged the convention of
having the subject / artist in focus and the
background blurry. Instead I chose to have a
syringe in focus and the artist in the background
blurry. This is to show that the drugs are
controlling the artist’s life, and now define who
she is.
29. Editing Techniques
Whilst editing the drinking scenes I incorporated moments where the screen was only black to create a flickering
effect. This reflects the lighting in a club so is a conventional technique used in many music videos where the
atmosphere of partying is created, including Let Me Take A Selfie (see below). However, in my music video it was
also used to reflect the artist’s disjointed life since turning to drugs and alcohol.
30. Editing Techniques
I used coloured filters in the drunk scene to create a fun, happy atmosphere and also to reflect the lighting in a club.
I believe such vibrant editing will appeal to a young target audience. Coloured filters are uncommon in music videos,
they were used decades ago when they were fashionable but have since fallen out of use. I challenged this
convention. A red filter is seen in the ‘Hey Mama’ music video but for a different purpose to my usage – it is seen to
convey a sense of fear and danger to complement the ‘dare devil’ mise en scene.
31. Editing Techniques
I also used coloured filters to create fast coloured flashes during the scene leading up to
the drug use to foreshadow mayhem and represent the artist’s life turning chaotic.
32. Editing Techniques
I challenged editing conventions by using the unusual effect ‘squares’. I added the ‘background
squares’ effect as this adds movement to what was a previously still and slightly boring clip. I also
believe the squares resemble screens e.g. TVs and phones, which foreshadows the media taking
over the artist’s life. I reduced the number of squared to ensure the image was not distorted.
33. Reverse
I conformed to the conventions of existing products by including some reverse clips. During the lyrics ‘reverse that like
I’m parking the car, rac eth gnikrap mi rkil taht esrever’ The audio rewinds itself. To make the visuals match the audio I
used the ‘reverse clip’ tool. This also meant lip sync was in time without getting my artist to rap backwards. It is also a
post modern technique, it shows that celebrities in media products are not real / living normal lives (you can’t rewind
real life). To reinforce this idea I used a TV filter over the reversed clip.
34. Reverse cont.
However, unlike my music video, many of those using a reverse effect use it consistently
through the whole video. In this aspect I challenged a convention as I only used it
momentarily at small points throughout the video. See examples below:
35. Flashes
I chose to include various flashes or fast and bright light movements in the music video. For example the
Highlights effect, which makes a flash travel across the screen. Not only does this mimac lights in a club, it also
reflects how the artist is constantly in the spotlight with the paparazzi due to her fame. Or the ‘Intro Flashes’ used
in the red carpet scene which mimick lights seen when cameras take pictures of people. This effect is also seen in
‘Bo$$’ by fifth harmony when the band is on the catwalk, again to stimulate media attention.
36. Retime - Fast
I followed the convention of speeding up some of the footage, for similar reasons to many other existing products.
I sped up the artist dancing. I retimed the dancing to make it fast and thus more impressive and striking. It also
makes the dancing stand out and adds variation to the editing (something my feedback frim the first draft stated
needed working on). This technique is also seen in Beyonce’s 7/11.
37. Retime - Fast
I also retimed some of the footage in the alcohol scene. The footage was made faster to reflect the mayhem in
the artist’s life, but also to create a wild atmosphere as she is enjoying herself in a club. Simmilarly, footage of a
wild house party is sped up in Katy Perry’s TGIF.
38. Retime - Slow
I conformed to the convention of retiming some of my footage to make it slower. believe this helps to emphasise
the whip which was a very fast movement and easy to miss. A hair whip can be seen as sexual, conforming to
Mulvey’s male gaze theory, thus slowing down the footage creates a more sexualised portrayal of the artist. In Hip-
Hop, stereotypically females are portrayed in this way, therefore my product is now better suited to the genre.
Overall, the retime (slow) makes the video more aesthetically pleasing as a hair whip is impressive in slow motion
as you see the individual hairs move. In Willow Smith’s ‘Whip My Hair’ this technique is also used.
39. Black and White
As my footage came out blue, I realised I would need to put filters on it to
correct the colouring. Black and white worked to do this.
I also believe that black and white reflects that despite having lots of
money the artist is still not completely happy.
Although not really common, black and white is a conventional filter used
in music videos. It is often used to suggest sadness, so in using the filter
the way I did I conformed to the conventions of existing products. An
example is ‘Breakeven’ the narrator is unhappy since breaking up with his
girlfriend so is pictured in black and white. On the other hand, his
girlfriend is still happy and has moved on so is pictured in colour.
40. Costume Changes
I conformed to the convention of having many costume changes in the music video. This is to represent the
different stages of the artist’s journey to fame.
41. Location Changes
I also conformed to the convention of having location changes to reflect the narrative, the red carpet at the end of
the video acts as a stark contrast to the graffiti wall seen at the beginging.
42. Complementary Lighting
For the most part I conformed to the convention of having complementary lighting. Bright, white lights were used and
then an auto enhancer used to ensure the artist and all colours in the mise-en-scene were vibrant, stood out and
looked professional. I believe the white background contrasting with the enhanced artist looks like many professional
videos lighting, including Justin Bieber ‘sorry’ and Nicki Minaj’s anaconda (See below for examples).
43. Complementary Lighting
A scene where I chose not to conform to the convention of having complementary lighting was the drug use scene. I
realised that I would not need to colour correct these scenes, as the blue tint helps to make the artist look ill, and
stand out illuminated against the black background. I think the blue edge creates a sinister tone, suiting the taboo
theme. Some other music videos also challenge the convention, for example ‘When your gone’ by Avril Levigne where
blue tones in the lighting are also seen to create a sad tone as several people are seen to be dealing with the loss of a
loved one.
44. Hair and Makeup reflecting either the artist
or narrative of both.
To create a successful narrative and a ‘brand’ I chose to conform to this convention of music videos. For
example: My artist wore typical club wear, a black crop top and flowery pencil skirt, allowing the young
audience to relate to the narrative, and understand that the artist is now living a party lifestyle.
Makeup was exaggerated e.g. dark lipstick and eye makeup, again reflecting what is typically worn in clubs.
45. Narrative reflects the lyrics
It is conventional for music video’s content to reflect the lyrics of the song in some way. I ensured this
was the case in my music video. Whilst the artist was popular, successful and loved by the press we hear
lyrics such as ‘Lukatar, Lukatar then look at me’ and ‘theres no match can’t compare’. When the artist
becomes successful and rich we hear references to her performing to large crowds, and references to
clothes she can now buy what people envy. ‘When I do a show they be like Lukatar’ and ‘Checkin out my
my clothes they be like Lukatar’. When the artists lives a party lifestyle due to her excess money we hear
negative lyrics, in a third person voice to mimick what the press is saying about her: ‘just look at her, I
cant stand the look of her’ ‘what are you doing’ we also hear references to alcohol ‘90’s bubbler’. During
the journalist scene, many of the lines reflect things which would actually be said about the artist in the
press: ‘Stop rapping’ ‘wheres your album’.