1. 1. In what ways does your media
product use, develop or
challenge forms and
conventions of real media
products?
2. My music video and ancillary products…
FINAL MUSIC VIDEO
MIDDLE COVER’S
FRONT COVER BACK COVER
MAGAZINE COVER
ANCILLARY PRODUCTS
3. • Throughout the production of my music video and ancillary products, I have
adopted a hegemonic framework by using many codes and conventions of real
media products to produce my media products.
• I have embraced Henry Jenkin’s theory of poaching to poach ideas from existing
media texts and developing these in my products. I have adopted a similar
structure, as stated in Henry Jenkins book titled ‘Textual Poachers’ to poach existing
ideas.
• For example when producing the magazine advert, I poached the structure of the
magazine advert from an existing magazine advert and changed the image to best
fit my target audience.
• I also poached the idea of balloons from Meghan Trainor’s music video ‘All About
That Bass’ and used this in my music video.
4. MAGAZINE ADVERT
• Main image of artist that takes up the whole page
• Artists name and album name
• Where the album is available to access – CD /
download + ITunes
• Date of album release
• Website links to the artist
• Record label
• Iconic features + brand identity
6. MAIN IMAGE
• Most of the magazine adverts that I looked at had a main image of the artist that dominated the page.
• I found this convention to be the most important because it visually allows audiences to recognise who has
produced the artist.
• I have used direct mode of address to create a relationship with between the artist and the audience. The eye
contact personally addresses the specific reader reading the magazine and forms a connection with them.
• The image stands out amongst the writing because it gives the audience something to look at instead of
reading.
7. NAME OF ARTIST AND ALBUM
• Every single magazine advert that I looked at showed the name of the artist and the name of the album
that the artist had produced. This is a very important convention because it tells audiences what the
name of the artist is and the name of the new album.
• I have positioned the name of the artist at the top of the page, then the album name closer to the
bottom.
• The positioning of these titles varied in different magazine adverts. However I saw that the artists name
was more common where I had positioned the album name (towards the bottom of the page). I
developed Jenkins theory of poaching so I positioned the name of the artist at the top because I
replicated the codes and conventions of the format from an existing product.
• I think the positioning that I have chosen is more effective because it places a larger emphasis on the
name of the artist, rather than the name of the album.
• The bold font and plain pink background behind the artists name makes the artists name stand out the
most against anything else.
• The use of iconic fonts was another code and convention that I adopted. I used these iconic fonts to
uphold the artists star image and the bright colours to represent the pop genre.
9. • In a lot of the magazine adverts for an album that I looked at, dark colours were a common theme.
• I have challenged this convention because I wanted my magazine cover to be different and to stand out by
using bright colours to amplify the cover.
• I used a bright colour pink because it constructs my brand identity, but also so that it would maximise the
effect of appealing to teenage girls aged 14-17.
Magazine advert for CD covers from artists that produce POP music I have
challenged this
convention by
using bright
colours – pinks
/ yellow to
make it stand
out which
would maximise
audience
engagement.
COLOURS
10. DIGIPAK
FRONT COVER MIDDLE COVERS BACK COVERS
• Artist name
• Album name
• Main image of the artist in the
middle of the page
• Simplistic design
• Colour palette (yellows /
pinks)– to fit the genre of the
product – POP genre.
• No writing
• Bright colours – represent POP
genre.
• Shots from the music video
• List of song titles
• ‘FT’ – to promote other artists
• Barcode in the bottom right
hand corner
• Image of the artist
• Institutional information –
record company, production
company, copyright
• Logos to illustrate institutional
information.
In iconic
fonts
12. Front cover
• I found that the CD covers have a variety of different layouts but they
all contained the same information.
• The most important convention I recognised were the uses of the
main image, album name and artist name. All of these 3 features
makes it clear to audiences who produced the album and the name of
the album.
• The image breaks the text up on the page and allows audiences to
look at something else instead of just reading the text.
• I adopted this code and convention so that audiences would easily
recognise who made the album and the album name. This
information is a key feature to successfully promote the artist.
13. Middle covers
• As with many digipaks that I looked at, the middle covers contained
no text therefore I chose just to use pictures to show the middle
covers.
• I chose 1 image that appeared at the end of the music video
• The second image I chose, I added an affect to with a variety of bright
colours to further represent the pop genre.
14. Back cover
• The song list is the most important convention that I identified because it informs people of what they will be
listening to if they buy this album. I made a song list of 10 songs and for one of the songs I wrote ‘FT Lady
Gaga’ showing that the song featured another artist. This was another convention that I identified within the
song list section. This is an effective promotion technique both for my artist and Lady Gaga. This widens the
audience of the album, because it attracts audiences of Lady Gaga and the artist which I have created.
• Similarly another important code and convention I identified was the institutional information containing
information about the record label and production company. All of digipaks that I looked at, had logos. Logos
break the writing up on the page and give audiences something else to look at.
Institutional information Institutional information
‘FEAT’
17. Andrew Goodwin – music video theory
1. Music videos demonstrate genre characteristics (e.g. stage performance
in metal video, dance routine for boy/girl band)
2. There is a relationship between lyrics and visuals (either illustrative,
amplifying, contradicting)
3. There is a relationship between music and visuals
4. The demands of the record label will include the need for lots of close
ups of the artist and the artist may develop motifs which recur across
their work (a visual style)
5. There is frequently reference to notion of looking
6. There is often intertextual references (to films, TV programmes, other
music videos)
18. 1. Music videos demonstrate genre characteristics (e.g.
stage performance in metal video, dance routine for
boy/girl band)
• Previously on my blog, I listed the codes and conventions of pop
music after researching Andrew Goodwin’s music video theory.
• http://emilyilettadvancedportfolio2064.blogspot.co.uk/2016/07/pop-
music-conventions.html
• Throughout the production of my music video, I kept this list in mind
and adopted a number of codes and conventions.
19. Artist is portrayed as happy and enjoying life …
Dancing around
Messing about
Smiling
20. Mise en scène – the artist is wearing fashionable, mainstream clothing
throughout to anchor the basic nature of POP music.
Plain white T-shirt
Striped top
Black parka jacket with
red tartan scarf
Yellow striped top
21. Bright bold colours to signify pop genre
Bold pink lips Purple / blue SFX
Yellow / pink SFX
Bright orange top
Pink background, yellow
striped top Pink, yellow, orange,
green balloons
22. 2. There is a relationship between lyrics and
visuals
“Cos we want this night to last”
“We’re ready for the
afterglow” – the lips
stand out and glow.
“smoke and lasers”
AMPLIFYING
ILLUSTRATIVE
23. 3. There is a relationship between music and visuals
Fast paced upbeat music
– hand held camera –
shaky, jumpy shot.
Fast paced
visuals goes
with upbeat
music.
Slower paced music – artist
is sitting down throwing
balloons in slower motions
compared to when the
music is upbeat where the
artist is dancing and
throwing balloons quicker.
24. 4. The demands of the record label will include the need for lots of
close ups of the artist and the artist may develop motifs which recur
across their work (a visual style)
25. 5. There is frequently reference to notion of looking
26. 6. There is often intertextual references (to films,
TV programmes, other music videos)
• I have made intertextual references to my ancillary products to create
a brand identity.
• One of the middle covers in my digipak is the same image as the last
shot on my music video right at the end.
• Also the main images for my digipak and album appear multiple times
in the music video when the artist sings ‘Afterglow’ – the artist is
wearing the same clothing as has the artists iconic make up on the
lips.
28. NARRATIVE
• I chose not to create a narrative in my music video.
• I have challenged the hegemonic framework of having a boy and a girl which most pop music
videos have. This gave the music video a strong narrative in a lot of the videos that I analysed. I
have again challenged this because my music video doesn’t have a strong narrative at all.
• In a lot of the music videos that I looked at, they had a narrative that often included a second
person to be able to illustrate and represent a theme, often of love.
• The narrative frequently told a love story.
• I challenged this convention because I aimed to create a music video that represented happiness
instead of love.
• I also chose to challenge this because my target audience of girls only, was different to many
other pop videos which had an audience of boys and girls. therefore I didn’t feel the need to
include a male and create a narrative about love.
