Jump out of your car
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The video analyzes a music video created by the authors. It uses various cinematography techniques like close-ups and mid-shots to introduce characters. Effects like ghosting were used to match movements to the beat. Costumes reference hip hop but also include non-conforming elements. The locations contrast what is typical for the genre. Only diegetic sound from the track is included. The narrative follows the band's introduction and performance. While having some genre elements, the video does not fully conform to predictability. It aims to represent today's youth culture. The intended teenage audience may be restricted by parents due to mature content.
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Presentation becca evaluation (2)
This document summarizes the creative choices made in producing a music video for the artist Jay-Z. Key points included choosing basketball as a theme due to its frequent use in rap/hip hop videos and Jay-Z's interest in the sport. Shots of an enthusiastic crowd were included to create an authentic concert feel and portray the artist as down to earth. Lyrics were displayed over some shots after finding success with this technique in other artists' videos. Research of Jay-Z's style informed design choices for the album cover, including a serious expression and the injection of some color into an otherwise black and white theme.
Evaluation question 1- music video
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How have you used, developed or challenged forms and conventions of real life...
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.
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Media Pitch
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Eval
The document discusses how the music video mimics conventions from other rock music videos by featuring the band playing in an isolated area. It also incorporates conventions like cuts between band performance and close-ups of the lead singer. However, the narrative portion of the video challenges conventions by telling a story that relates to the song lyrics and incorporates film influences. Specific effects were added to lyrics to make the video stand out compared to most current music videos.
Question1
This document discusses various conventions of music videos and how the media product described in Question 1 does or does not use these conventions. It identifies conventions such as showing the band performing, a link between lyrics and visuals, close-ups of artists, references to looking, intertextual references, shaky camera work. It then analyzes how the media product in question either employs these conventions, challenges them, or provides examples of other music videos that exemplify the conventions.
Director research
Spike Jonze is an American director, producer, actor and screenwriter who has been working in film and music videos since the late 1980s. He is known for directing visually creative and off-beat videos for artists like Weezer, Fatboy Slim, Kanye West and Beastie Boys. Some of his most famous music videos include "Sabotage" by Beastie Boys, which parodies 1970s cop shows, and "Otis" by Jay-Z and Kanye West, which features the artists customizing a Maybach car. Jonze's videos often incorporate comedy and eclectic visual styles through techniques like live-action, animation and puppetry. He typically works with rock and hip
Evaluation question 1
The document discusses a student media project creating a music video for the song "Thnks Fr Th Mmrs" by Fall Out Boy. It followed several conventions of pop punk music videos, such as showing the band performing in a studio and wearing casual clothing. It developed some conventions by including memories that coordinated with the song's lyrics. However, it also challenged conventions by adding black-and-white photoshoots of the band, which are uncommon in pop punk videos. The video related to theories about visuals linking to lyrics and focusing on the star image of the lead singer.
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Presentation becca evaluation (2)
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Evaluation question 1- music video
This document discusses the development of a music video for the band The Libertines. It summarizes how the creators followed conventions from existing Libertines music videos and indie music video styles more broadly, while also experimenting with some new elements. They incorporated locations, actors, lighting, editing techniques, and clothing styles seen in other Libertines videos to maintain similarities, but also explored unusual locations and a narrative storyline focused on a couple. The goal was to represent the band's style and appeal to young audiences while putting an original spin on typical music video conventions.
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Media Pitch
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Eval
The document discusses how the music video mimics conventions from other rock music videos by featuring the band playing in an isolated area. It also incorporates conventions like cuts between band performance and close-ups of the lead singer. However, the narrative portion of the video challenges conventions by telling a story that relates to the song lyrics and incorporates film influences. Specific effects were added to lyrics to make the video stand out compared to most current music videos.
Question1
This document discusses various conventions of music videos and how the media product described in Question 1 does or does not use these conventions. It identifies conventions such as showing the band performing, a link between lyrics and visuals, close-ups of artists, references to looking, intertextual references, shaky camera work. It then analyzes how the media product in question either employs these conventions, challenges them, or provides examples of other music videos that exemplify the conventions.
Director research
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Evaluation question 1
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Q1: IN WHAT WAYS DOES YOUR PRODUCT USE, DEVELOP OR CHALLENGE FORMS AND CONVEN...
This document discusses how the media product conforms to and challenges conventions of real music videos, digipaks, and album advertisements.
It conforms to conventions like including director names and titles in the music video, using cuts that match the tempo of the R&B song, and clearly stating the album title and artist on the digipak.
Some conventions are challenged, like omitting lip syncing in the music video to focus on story over lyrics, using illustrations instead of photos on the digipak, and having a darker, more contemporary style rather than expensive displays of wealth. Cross-promotion between the music video and other products is also used.
Q1
The document discusses conventions of indie music videos. It notes that typical conventions include a focus on love and break-ups, shots of young artists, scenic natural backgrounds, a mixture of narrative scenes and performance shots, close-ups of the artist, and references to instruments like guitars. However, the author chose to challenge some conventions for their own video. They focused heavily on linking the lyrics and visuals, unlike many other indie videos, to tell a clear narrative through the video.
Q1 evaluation (Pooja)
This document summarizes how a media product uses and challenges conventions of real music videos and genres. It analyzes how the created music video, magazine advertisement, and digital album packaging incorporate elements of grime music video conventions identified by Andrew Goodwin, such as developing an iconic motif through a hat worn by the artist. Some conventions are reinforced, such as linking lyrics to visuals and amplifying the music. Others are subverted, like sexualizing the male artist rather than females and contradicting optimistic lyrics with unlucky visuals. Real grime music videos are referenced for comparison. The marketing materials also incorporate conventions of their formats through consistent branding, imagery and information.
Evaluation question 1
Our music video uses and develops several forms and conventions of real music videos:
1) It tells a narrative story through its lyrics and visuals like other narrative music videos.
2) It includes some close-ups of the artist but fewer than typical, unintentionally challenging that convention.
3) The lyrics and visuals are well-matched, following the key convention of relating the two.
Skepta
This music video for "Shutdown" by Skepta is for a grime song. It shows Skepta surrounded by a large group of people wearing tracksuits, hats, and hoodies, typical of the grime genre. The video cuts between shots of Skepta rapping and group shots that rotate around him, presenting him as the central figure. There are references to other grime artists and songs. Overall it lacks a narrative and instead focuses on visually representing Skepta's lyrics and the grime music and culture.
Evaluation question 1
Our music video challenges conventions of real punk rock media products by portraying ourselves as a female punk rock band inspired by Joy Division in several ways. We shot the entire video in black and white like famous Joy Division photos to reference their aesthetic. We included anti-social behaviors and hard edged lighting and filming techniques like Joy Division and other punk bands. We also wrote words from the song title on our backs, referencing a scene from the Joy Division film Control, to draw intertextual connections and keep the audience's attention.
Student feedback for the first draft
Student filmmakers received feedback on their first draft music video from peers. The feedback included that some lip syncing was out of sync with the music, there was too much focus on just the artist and not enough additional people or cutaway shots of the location. To address these issues, the students will re-film sections to improve lip syncing, add more people and location establishing shots. They also received positive feedback that the artist's performance and behind the scenes footage was enjoyed.
question 1
This document discusses the creative decisions made in developing a music video. It describes taking inspiration from other music videos in terms of incorporating performance, using confined car scenes to focus on a couple, and including a narrative to make the song more relatable. Equilibrium theory was also applied to the narrative structure to start with the couple happy, introduce conflict, and resolve it to increase understandability. Inspiration was drawn from other album covers and posters to design promotional materials in a simple, effective way focused on the key information.
Evaluation: Conventions
The music video follows conventions of the rock/post-hardcore genre. It focuses on the band's performance and image through most shots being of the singer Dale Stow looking directly at the audience. A narrative was also included to portray the singer telling a story to the spectator. Band member Will Willis was dressed similarly to Dale as he was used as a puppet to portray Dale's story in the song. Red eyes were used to portray something as evil, leaving it ambiguous as to what type of monster Will was transformed into, following the conventions of the vague song.
Andrew Goodwin’s Theory
Andrew Goodwin identifies 5 key aspects of music videos that should be analyzed:
1) Thought beats - how the visuals represent the sound and structure of the song.
2) Narrative and performance - how the story and artist's performance engage the audience and increase authenticity.
3) Star image - how the video develops the artist's persona over multiple videos.
4) Relation of visuals to song - how the visuals illustrate, repeat, or ignore the lyrics and genre.
5) Technical aspects - how camera work, editing, lighting, and effects enhance the mood and emphasize moments in the song.
Q4 powerpoint
- The document discusses how the music video, digi-pak, and website for a band's promotional package both follow and challenge conventions of real rock music products.
- The music video includes both a narrative section and performance sections, as well as close-ups of instruments and the lead singer, drawing from conventions, but also uses unconventional elements like two performance locations and a narrative-focused protagonist.
- The digi-pak cover features the band, which is unconventional, but uses dark colors consistent with the genre, and expands on conventional elements like lyric booklets.
- The website connects to the other products with shared imagery and colors, and includes social media links as is now conventional,
Audience feedback question 3
The document summarizes audience feedback received on a music video. It discusses both positive and negative feedback across several areas:
1) Some audiences felt the original singer's performance was not believable, leading to changing the singer or chorus.
2) Audiences noted the video used a variety of shots like over the shoulder shots.
3) Some scenes were noticed to be out of sync, requiring re-filming or timing adjustments.
4) The narrative of a break up and reconciliation was seen as clear.
Styles, conventions and techniques
This document discusses various styles, conventions, and techniques used in music videos. It provides examples of different genres of music videos including indie/alternative rock, pop, and live concert footage. It also outlines several techniques like animation, narrative storytelling, surrealism, pastiche, parody, references to other works, impressionism, and green screen usage. The document aims to classify and describe diverse approaches to creating meaningful music videos across various styles and genres.
Evaluation 1 (1)
The document discusses various conventions and forms used in different types of media. It provides examples of conventions for music videos, websites, albums, and artists. For music videos, it discusses conventions like fast editing pace, close-ups during lip syncing, and using effects like slow motion. Website conventions mentioned include minimal designs with the artist's name prominently displayed and sections for tour dates. Album covers commonly feature a large individual image of the artist in black and white with colored text. Artists are often portrayed as rebellious or unique to stand out.
What is a music video
Music videos have been defined as short moving images that accompany pre-existing music to encourage music sales in other formats. They are often used to enhance an artist's image and establish them as part of a musical genre. There is usually a relationship between the visuals and lyrics of a music video, whether illustrating, amplifying, or contradicting the lyrics. Common elements of music videos include close-ups of the main artist, genre-specific styles and iconography, references to voyeurism and objectification of women, and intertextuality through references to other media.
Evalution Task 1 Presentation
This document discusses how a media product uses and develops conventions of real music videos and albums in the hip hop genre. It provides examples of editing techniques like rhythmic editing, elaborate editing, and double cranks that were used to match the pace of the music. Other conventions that were developed include the use of dolly shots, mid shots, handheld camera shots, graphic designs for the album cover resembling graffiti, and color schemes resembling the hip hop aesthetic. Specific music videos and albums are referenced that inspired each of these techniques and conventions.
Andrew Goodwin’s Theory
1. Andrew Goodwin identified 5 key aspects of music videos that audiences should look for: thought beats, narrative and performance, the star image, the relation of visuals to song, and technical aspects.
2. Goodwin recognized that there is often a relationship between the music video's visuals and the song's lyrics, either illustrating, amplifying, or contradicting them. Visuals are also commonly edited to the song's beats or changes in pace.
3. Different music genres have distinguishing styles and icons used in their music videos to represent the genre, and artists often repeat trademark actions to make their songs recognizable.
Andrew Goodwin’s Theory
Andrew Goodwin identifies key features that distinguish music videos:
1) Visuals can illustrate, amplify, or contradict the lyrics and music.
2) Music genres have characteristic video styles and iconography.
3) Videos often feature voyeurism, especially in the treatment of women, and close-ups of the main artist.
4) Videos may reference other videos or media through intertextuality.
Evaluation
1) The document discusses the appearance of rappers in music videos and how this depends on their level of fame and budget. Unknown rappers typically wear casual clothing while famous rappers wear expensive jewelry.
2) It describes the creator's music video, which featured their rapper in simple clothes to portray an unknown artist. They aimed to make a narrative video but had to modify this due to limited funds and equipment.
3) Audience feedback was generally positive and helped improve aspects like reducing lip syncing. Research involved analyzing successful music videos online and planning filming dates based on weather forecasts.
Pitch
This document outlines a pitch for a music video for the song "Ladykiller" by The Saturdays. It will tell a narrative story through an introduction and scenes filmed at various locations. It will feature two girls lip syncing the song and two boys chasing them. Shots will include a formal dinner party, lip syncing in front of a plain wall, and scenes of running outside. The video aims to be energetic and fun while connecting the visuals and lyrics to sell the artist. It will use different filming and editing techniques like split screens and speed adjustments.
Evaluation1
The document provides an evaluation of a media project involving the production of a music video. It discusses how the music video used conventions like depicting stereotypical scenes of teenagers in council estates using drugs and committing crimes. It also discusses how the ancillary texts like the digipak and magazine ad helped promote the music video. Feedback on the project noted positives like accurately portraying drug use across ethnicities, but also areas for improvement like making the stabbing scene more realistic. Throughout the project, technologies like YouTube, blogs, and editing software were used to conduct research, plan, construct, and evaluate the media product.
Evaluation[1] zayd h
The document discusses the evaluation of a media product - a music video. It describes how the music video used the genre of dubstep to develop conventions of how teenagers are typically portrayed. It included scenes of the main character causing trouble while wearing a hoodie. Feedback from the target audience of 15-20 year olds revealed they prefer music videos with a balance of performance and narrative over concept. The combination of the music video and accompanying materials like the album cover were effective in representing key elements of the video through imagery and text.
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What's hot
Q1: IN WHAT WAYS DOES YOUR PRODUCT USE, DEVELOP OR CHALLENGE FORMS AND CONVEN...
This document discusses how the media product conforms to and challenges conventions of real music videos, digipaks, and album advertisements.
It conforms to conventions like including director names and titles in the music video, using cuts that match the tempo of the R&B song, and clearly stating the album title and artist on the digipak.
Some conventions are challenged, like omitting lip syncing in the music video to focus on story over lyrics, using illustrations instead of photos on the digipak, and having a darker, more contemporary style rather than expensive displays of wealth. Cross-promotion between the music video and other products is also used.
Q1
The document discusses conventions of indie music videos. It notes that typical conventions include a focus on love and break-ups, shots of young artists, scenic natural backgrounds, a mixture of narrative scenes and performance shots, close-ups of the artist, and references to instruments like guitars. However, the author chose to challenge some conventions for their own video. They focused heavily on linking the lyrics and visuals, unlike many other indie videos, to tell a clear narrative through the video.
Q1 evaluation (Pooja)
This document summarizes how a media product uses and challenges conventions of real music videos and genres. It analyzes how the created music video, magazine advertisement, and digital album packaging incorporate elements of grime music video conventions identified by Andrew Goodwin, such as developing an iconic motif through a hat worn by the artist. Some conventions are reinforced, such as linking lyrics to visuals and amplifying the music. Others are subverted, like sexualizing the male artist rather than females and contradicting optimistic lyrics with unlucky visuals. Real grime music videos are referenced for comparison. The marketing materials also incorporate conventions of their formats through consistent branding, imagery and information.
Evaluation question 1
Our music video uses and develops several forms and conventions of real music videos:
1) It tells a narrative story through its lyrics and visuals like other narrative music videos.
2) It includes some close-ups of the artist but fewer than typical, unintentionally challenging that convention.
3) The lyrics and visuals are well-matched, following the key convention of relating the two.
Skepta
This music video for "Shutdown" by Skepta is for a grime song. It shows Skepta surrounded by a large group of people wearing tracksuits, hats, and hoodies, typical of the grime genre. The video cuts between shots of Skepta rapping and group shots that rotate around him, presenting him as the central figure. There are references to other grime artists and songs. Overall it lacks a narrative and instead focuses on visually representing Skepta's lyrics and the grime music and culture.
Evaluation question 1
Our music video challenges conventions of real punk rock media products by portraying ourselves as a female punk rock band inspired by Joy Division in several ways. We shot the entire video in black and white like famous Joy Division photos to reference their aesthetic. We included anti-social behaviors and hard edged lighting and filming techniques like Joy Division and other punk bands. We also wrote words from the song title on our backs, referencing a scene from the Joy Division film Control, to draw intertextual connections and keep the audience's attention.
Student feedback for the first draft
Student filmmakers received feedback on their first draft music video from peers. The feedback included that some lip syncing was out of sync with the music, there was too much focus on just the artist and not enough additional people or cutaway shots of the location. To address these issues, the students will re-film sections to improve lip syncing, add more people and location establishing shots. They also received positive feedback that the artist's performance and behind the scenes footage was enjoyed.
question 1
This document discusses the creative decisions made in developing a music video. It describes taking inspiration from other music videos in terms of incorporating performance, using confined car scenes to focus on a couple, and including a narrative to make the song more relatable. Equilibrium theory was also applied to the narrative structure to start with the couple happy, introduce conflict, and resolve it to increase understandability. Inspiration was drawn from other album covers and posters to design promotional materials in a simple, effective way focused on the key information.
Evaluation: Conventions
The music video follows conventions of the rock/post-hardcore genre. It focuses on the band's performance and image through most shots being of the singer Dale Stow looking directly at the audience. A narrative was also included to portray the singer telling a story to the spectator. Band member Will Willis was dressed similarly to Dale as he was used as a puppet to portray Dale's story in the song. Red eyes were used to portray something as evil, leaving it ambiguous as to what type of monster Will was transformed into, following the conventions of the vague song.
Andrew Goodwin’s Theory
Andrew Goodwin identifies 5 key aspects of music videos that should be analyzed:
1) Thought beats - how the visuals represent the sound and structure of the song.
2) Narrative and performance - how the story and artist's performance engage the audience and increase authenticity.
3) Star image - how the video develops the artist's persona over multiple videos.
4) Relation of visuals to song - how the visuals illustrate, repeat, or ignore the lyrics and genre.
5) Technical aspects - how camera work, editing, lighting, and effects enhance the mood and emphasize moments in the song.
Q4 powerpoint
- The document discusses how the music video, digi-pak, and website for a band's promotional package both follow and challenge conventions of real rock music products.
- The music video includes both a narrative section and performance sections, as well as close-ups of instruments and the lead singer, drawing from conventions, but also uses unconventional elements like two performance locations and a narrative-focused protagonist.
- The digi-pak cover features the band, which is unconventional, but uses dark colors consistent with the genre, and expands on conventional elements like lyric booklets.
- The website connects to the other products with shared imagery and colors, and includes social media links as is now conventional,
Audience feedback question 3
The document summarizes audience feedback received on a music video. It discusses both positive and negative feedback across several areas:
1) Some audiences felt the original singer's performance was not believable, leading to changing the singer or chorus.
2) Audiences noted the video used a variety of shots like over the shoulder shots.
3) Some scenes were noticed to be out of sync, requiring re-filming or timing adjustments.
4) The narrative of a break up and reconciliation was seen as clear.
Styles, conventions and techniques
This document discusses various styles, conventions, and techniques used in music videos. It provides examples of different genres of music videos including indie/alternative rock, pop, and live concert footage. It also outlines several techniques like animation, narrative storytelling, surrealism, pastiche, parody, references to other works, impressionism, and green screen usage. The document aims to classify and describe diverse approaches to creating meaningful music videos across various styles and genres.
Evaluation 1 (1)
The document discusses various conventions and forms used in different types of media. It provides examples of conventions for music videos, websites, albums, and artists. For music videos, it discusses conventions like fast editing pace, close-ups during lip syncing, and using effects like slow motion. Website conventions mentioned include minimal designs with the artist's name prominently displayed and sections for tour dates. Album covers commonly feature a large individual image of the artist in black and white with colored text. Artists are often portrayed as rebellious or unique to stand out.
What is a music video
Music videos have been defined as short moving images that accompany pre-existing music to encourage music sales in other formats. They are often used to enhance an artist's image and establish them as part of a musical genre. There is usually a relationship between the visuals and lyrics of a music video, whether illustrating, amplifying, or contradicting the lyrics. Common elements of music videos include close-ups of the main artist, genre-specific styles and iconography, references to voyeurism and objectification of women, and intertextuality through references to other media.
Evalution Task 1 Presentation
This document discusses how a media product uses and develops conventions of real music videos and albums in the hip hop genre. It provides examples of editing techniques like rhythmic editing, elaborate editing, and double cranks that were used to match the pace of the music. Other conventions that were developed include the use of dolly shots, mid shots, handheld camera shots, graphic designs for the album cover resembling graffiti, and color schemes resembling the hip hop aesthetic. Specific music videos and albums are referenced that inspired each of these techniques and conventions.
Andrew Goodwin’s Theory
1. Andrew Goodwin identified 5 key aspects of music videos that audiences should look for: thought beats, narrative and performance, the star image, the relation of visuals to song, and technical aspects.
2. Goodwin recognized that there is often a relationship between the music video's visuals and the song's lyrics, either illustrating, amplifying, or contradicting them. Visuals are also commonly edited to the song's beats or changes in pace.
3. Different music genres have distinguishing styles and icons used in their music videos to represent the genre, and artists often repeat trademark actions to make their songs recognizable.
Andrew Goodwin’s Theory
Andrew Goodwin identifies key features that distinguish music videos:
1) Visuals can illustrate, amplify, or contradict the lyrics and music.
2) Music genres have characteristic video styles and iconography.
3) Videos often feature voyeurism, especially in the treatment of women, and close-ups of the main artist.
4) Videos may reference other videos or media through intertextuality.
Evaluation
1) The document discusses the appearance of rappers in music videos and how this depends on their level of fame and budget. Unknown rappers typically wear casual clothing while famous rappers wear expensive jewelry.
2) It describes the creator's music video, which featured their rapper in simple clothes to portray an unknown artist. They aimed to make a narrative video but had to modify this due to limited funds and equipment.
3) Audience feedback was generally positive and helped improve aspects like reducing lip syncing. Research involved analyzing successful music videos online and planning filming dates based on weather forecasts.
Pitch
This document outlines a pitch for a music video for the song "Ladykiller" by The Saturdays. It will tell a narrative story through an introduction and scenes filmed at various locations. It will feature two girls lip syncing the song and two boys chasing them. Shots will include a formal dinner party, lip syncing in front of a plain wall, and scenes of running outside. The video aims to be energetic and fun while connecting the visuals and lyrics to sell the artist. It will use different filming and editing techniques like split screens and speed adjustments.
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Similar to Jump out of your car
Evaluation1
The document provides an evaluation of a media project involving the production of a music video. It discusses how the music video used conventions like depicting stereotypical scenes of teenagers in council estates using drugs and committing crimes. It also discusses how the ancillary texts like the digipak and magazine ad helped promote the music video. Feedback on the project noted positives like accurately portraying drug use across ethnicities, but also areas for improvement like making the stabbing scene more realistic. Throughout the project, technologies like YouTube, blogs, and editing software were used to conduct research, plan, construct, and evaluate the media product.
Evaluation[1] zayd h
The document discusses the evaluation of a media product - a music video. It describes how the music video used the genre of dubstep to develop conventions of how teenagers are typically portrayed. It included scenes of the main character causing trouble while wearing a hoodie. Feedback from the target audience of 15-20 year olds revealed they prefer music videos with a balance of performance and narrative over concept. The combination of the music video and accompanying materials like the album cover were effective in representing key elements of the video through imagery and text.
Evaluation question 1
Our music video challenges conventions of real punk rock media products by portraying the band Joy Division through three female characters. We reference iconic black and white photos of Joy Division and emulate their aesthetic through clothing, lighting, and location. Specifically, we write words from the song on our backs, mirroring a scene from the Joy Division film Control. By gender swapping and modernizing tropes, our video comments on the typical portrayal of women in media while honoring Joy Division's style and message.
Evaluation question 1
The document discusses conventions of indie music videos that the media product draws from, develops, or challenges. It identifies typical conventions as:
1) Including both a musical performance and narrative elements, often shot in separate locations.
2) Featuring outdoor, urban settings to portray an indie DIY image.
3) Employing close-ups of band members and instruments to help audiences identify with the artist.
4) Centering the narrative on personal relationships or issues that young audiences can relate to.
5) Depicting the band's fashion and behavior as unique and recognizable to the indie genre.
The media product incorporates many of these conventions but aims to challenge expectations by
Question 1
The document discusses conventions used in a student music video project based on Andrew Goodwin's seven conventions for music videos. It describes how the video incorporated conventions of genre, star identification, voyeurism, lyrics and visuals, and locations to tell the story of two lovers. It also discusses challenges to conventions like not including inter-textual references or following all conventions. Inspiration was drawn from music videos by Lana Del Rey, Florence and the Machine, and Ed Sheeran that also challenged conventions.
N:\Missing You Pitch
The document is a pitch for a student media production project remaking the music video for the song "Missing You" by the girl group The Saturdays. The pitch discusses the pop genre and style influences of girl groups. It outlines the narrative structure of the video, which will include location changes and cutbacks telling a story of a dysfunctional relationship. It also describes the ancillary tasks of a digipack and magazine advertisement that will be created to promote the song. The students decided on equal team roles in filming, editing, styling, and directing extras in the production.
Recovered file 3
Jerome Blake analyzes how their group's three media projects for a music video, magazine advertisement, and CD packaging utilize and challenge conventions of real media in the R&B and hip hop genres. The music video draws from conventions like minimal female clothing, tattoos and jewelry for men, and sexualization of women but aims to challenge stereotypical objectification. Elements like lighting, camera angles, editing, and representation of the female actor are used to relate to but also push boundaries from typical music video tropes. Analysis of genre conventions and application of film theories helped inform the projects' approaches.
Recovered file 1
Jerome Blake analyzes how their group's three media projects for a music video, magazine advertisement, and CD packaging utilize and challenge conventions of real media in the R&B and hip-hop genres. The music video draws from conventions like minimal female clothing, tattoos and jewelry for men, and sexualized imagery but aims to challenge typical objectification of women. Elements like lighting, camera angles, editing, and representation of gender draw from examples like "Miss Independent" while updating representations. The analysis considers how conventions were both followed and updated to resonate with audiences.
Question 1
The document discusses how a music video project used and developed several conventions of real music videos. It analyzes the use of conventions like genre, star identification, voyeurism, lyrics and visuals, and location. It provides examples of how the project incorporated these conventions and drew inspiration from other music videos. However, it did not include the conventions of inter-textual references and star iconography, challenging those conventions.
A2 Media Evaluation
The document describes a music video created for the song "The World's Greatest" by R Kelly. It discusses the various conventions and techniques used in the music video to emulate those found in real hip hop music videos. Scenes include the artist Toby singing and training in a recording studio and gym. Close-ups, dissolves between shots, and syncing visuals to lyrics were incorporated. Feedback received praised the sequencing and portrayal of the artist but noted weaknesses in recording studio shots and overuse of slow motion.
Evaluation
This document discusses how a music video project followed and challenged conventions of the Adult Contemporary Pop genre. It followed conventions like close/mid shots of the artist, costumes showing latest fashion trends, and locations in luxurious settings. However, it challenged conventions by using dull lighting to show emotions, locations like schools instead of clubs, and representing struggles rather than partying. The goal was to represent the social issue of a judgmental society and how it affects people, targeting teenagers struggling with this issue.
A2 question 1
- The document discusses the conventions of funk music videos and how the author's group's music video both uses and challenges some of those conventions.
- Their video follows funk conventions like having a performance-based form and including dancing, but challenges conventions by not including the artist and having the women dress more conservatively.
- The video also challenges Laura Mulvey's "male gaze" theory by not objectifying or sexualizing the women.
A2 advanced portfolio in media evaluaton
Our media production uses conventions from R&B music videos such as scenes from Usher's "My Boo" video, but also develops the genre in some ways. Specific shots and angles are borrowed, like much of the video being filmed outdoors. However, we introduce a story element not seen in the original by including a black and white reminiscing scene. The entire video is also filmed outside, challenging conventions. We represent warmth and closure through nature scenes and winter clothing. Gender roles are less stereotypical with only two main characters instead of many scantily-clad women.
Question 4 powerpoint - CONVENTIONS
The document discusses conventions in the indie music genre and how the creators of a promotional package for a musician followed and subverted conventions. It aimed to appeal to its target 16-30 year old audience by using conventions of existing successful artists like Arctic Monkeys and The 1975 as inspiration for the narrative, costume, and other elements of the music video. However, it also tried to make the package unique by subverting some conventions and developing its own brand identity for the artist through elements like customizing his guitar. Performance shots were included to link back to the narrative and convey the artist's emotions, while also portraying him as a professional musician.
Media evaluation
The document discusses a music video created by the author for their band called "Boy In The Element" for their song "I'm In Love". The video aims to represent the London themes of the song through locations along the River Thames and imagery of the lead singer Peter. It was challenging to define a genre for the song, which incorporates elements of various genres like techno, electro, and alternative. The video uses techniques like added lyrics via Live Type, stop motion, and speed adjustments to connect the visuals to the music and lyrics. Feedback indicated the video appealed to both male and female audiences.
Evaluation question 1
The document discusses how the music video for the song "Common People" by Pulp addresses elements of Laura Mulvey's theory of the male gaze. Specifically, it avoids objectifying or sexualizing the female character. It uses a variety of camera shots and editing techniques to tell a narrative that loosely follows the song lyrics. It includes both a narrative section and a performance section showing the band playing, following conventions of Britpop music videos. Brick walls and other stereotypically British images and locations are featured throughout to emphasize the British nature of the genre.
Question 1 evaluation
This document compares the media student's video and ancillary texts for their song "Louder" to real music videos and albums by artists like Little Mix and Neon Jungle. It discusses how they used similar shots and styles seen in popular music videos, such as close-ups and group shots, but also challenged conventions by not including revealing costumes and not featuring the artists on the album cover. The document also analyzes similarities between their album design and real albums in terms of fonts, logos and essential information.
Evaluation Question 1
The group decided to create a performance-based music video to fit their deep house song and genre. They filmed various performance clips but realized they didn't flow together or make sense without context. So they added a narrative to provide meaning to the artist's actions and locations. They also considered Goodwin's music video conventions like relationships between visuals/music and lyrics. Close-ups of the artist's performance allowed them to showcase her style at different locations. Their 'Opium Records' production company aims to produce music like 'Geko' for 15-24 year olds, the target of both the real song and their video. They will showcase their video on TV music channels, radio stations, and online platforms like
Amy charlotte and lyndsay's shadow pitch
1) The group Tous Les Monde Chante Productions will produce a music video for the Britney Spears song "Shadow".
2) The video will tell a story of unrequited love through dance between a male and female dancer in both a dance studio and street location.
3) Key elements of the production include using minimalist styling, natural makeup, and shooting some scenes in black and white to highlight emotion.
Amy charlotte and lyndsay's shadow
1) The group Tous Les Monde Chante Productions will produce a music video for the Britney Spears song "Shadow".
2) The video will tell a story of unrequited love through dance between a male and female dancer in both a dance studio and street location.
3) Key elements of the production include using minimalist styling, natural makeup, and shooting some scenes in black and white to highlight emotion.
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一比一原版(mcmaste毕业证书)加拿大麦克马斯特大学毕业证如何办理
原版一模一样【微信：741003700 】【(mcmaste毕业证书)加拿大麦克马斯特大学毕业证成绩单】【微信：741003700 】学位证，留信认证（真实可查，永久存档）原件一模一样纸张工艺/offer、雅思、外壳等材料/诚信可靠,可直接看成品样本，帮您解决无法毕业带来的各种难题！外壳，原版制作，诚信可靠，可直接看成品样本。行业标杆！精益求精，诚心合作，真诚制作！多年品质 ,按需精细制作，24小时接单,全套进口原装设备。十五年致力于帮助留学生解决难题，包您满意。
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三.真实教育部学历学位认证（教育部存档！教育部留服网站永久可查）
四.办理各国各大学文凭(一对一专业服务,可全程监控跟踪进度)
如果您处于以下几种情况：
◇在校期间，因各种原因未能顺利毕业……拿不到官方毕业证【q/微741003700】
◇面对父母的压力，希望尽快拿到；
◇不清楚认证流程以及材料该如何准备；
◇回国时间很长，忘记办理；
◇回国马上就要找工作，办给用人单位看；
◇企事业单位必须要求办理的
◇需要报考公务员、购买免税车、落转户口
◇申请留学生创业基金
留信网认证的作用:
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2:同时对留学生所学专业登记给予评定
3:国家专业人才认证中心颁发入库证书
4:这个认证书并且可以归档倒地方
5:凡事获得留信网入网的信息将会逐步更新到个人身份内，将在公安局网内查询个人身份证信息后，同步读取人才网入库信息
6:个人职称评审加20分
7:个人信誉贷款加10分
8:在国家人才网主办的国家网络招聘大会中纳入资料，供国家高端企业选择人才
办理(mcmaste毕业证书)加拿大麦克马斯特大学毕业证【微信：741003700 】外观非常简单，由纸质材料制成，上面印有校徽、校名、毕业生姓名、专业等信息。
办理(mcmaste毕业证书)加拿大麦克马斯特大学毕业证【微信：741003700 】格式相对统一，各专业都有相应的模板。通常包括以下部分：
校徽：象征着学校的荣誉和传承。
校名:学校英文全称
授予学位：本部分将注明获得的具体学位名称。
毕业生姓名：这是最重要的信息之一，标志着该证书是由特定人员获得的。
颁发日期：这是毕业正式生效的时间，也代表着毕业生学业的结束。
其他信息：根据不同的专业和学位，可能会有一些特定的信息或章节。
办理(mcmaste毕业证书)加拿大麦克马斯特大学毕业证【微信：741003700 】价值很高，需要妥善保管。一般来说，应放置在安全、干燥、防潮的地方，避免长时间暴露在阳光下。如需使用，最好使用复印件而不是原件，以免丢失。
综上所述，办理(mcmaste毕业证书)加拿大麦克马斯特大学毕业证【微信：741003700 】是证明身份和学历的高价值文件。外观简单庄重，格式统一，包括重要的个人信息和发布日期。对持有人来说，妥善保管是非常重要的。
原版制作(MUN毕业证书)纽芬兰纪念大学毕业证PDF成绩单一模一样
学校原件一模一样【微信：741003700 】《(MUN毕业证书)纽芬兰纪念大学毕业证》【微信：741003700 】学位证，留信认证（真实可查，永久存档）原件一模一样纸张工艺/offer、雅思、外壳等材料/诚信可靠,可直接看成品样本，帮您解决无法毕业带来的各种难题！外壳，原版制作，诚信可靠，可直接看成品样本。行业标杆！精益求精，诚心合作，真诚制作！多年品质 ,按需精细制作，24小时接单,全套进口原装设备。十五年致力于帮助留学生解决难题，包您满意。
本公司拥有海外各大学样板无数，能完美还原。
1:1完美还原海外各大学毕业材料上的工艺：水印，阴影底纹，钢印LOGO烫金烫银，LOGO烫金烫银复合重叠。文字图案浮雕、激光镭射、紫外荧光、温感、复印防伪等防伪工艺。材料咨询办理、认证咨询办理请加学历顾问Q/微741003700
【主营项目】
一.毕业证【q微741003700】成绩单、使馆认证、教育部认证、雅思托福成绩单、学生卡等！
二.真实使馆公证(即留学回国人员证明,不成功不收费)
三.真实教育部学历学位认证（教育部存档！教育部留服网站永久可查）
四.办理各国各大学文凭(一对一专业服务,可全程监控跟踪进度)
如果您处于以下几种情况：
◇在校期间，因各种原因未能顺利毕业……拿不到官方毕业证【q/微741003700】
◇面对父母的压力，希望尽快拿到；
◇不清楚认证流程以及材料该如何准备；
◇回国时间很长，忘记办理；
◇回国马上就要找工作，办给用人单位看；
◇企事业单位必须要求办理的
◇需要报考公务员、购买免税车、落转户口
◇申请留学生创业基金
留信网认证的作用:
1:该专业认证可证明留学生真实身份
2:同时对留学生所学专业登记给予评定
3:国家专业人才认证中心颁发入库证书
4:这个认证书并且可以归档倒地方
5:凡事获得留信网入网的信息将会逐步更新到个人身份内，将在公安局网内查询个人身份证信息后，同步读取人才网入库信息
6:个人职称评审加20分
7:个人信誉贷款加10分
8:在国家人才网主办的国家网络招聘大会中纳入资料，供国家高端企业选择人才
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Leonardo DiCaprio House: A Journey Through His Extravagant Real Estate Portfolio
Introduction
Leonardo DiCaprio, A name synonymous with Hollywood excellence. is not only known for his stellar acting career but also for his impressive real estate investments. The "Leonardo DiCaprio house" is a topic that piques the interest of many. as the Oscar-winning actor has amassed a diverse portfolio of luxurious properties. DiCaprio's homes reflect his varied tastes and commitment to sustainability. from retreats to historic mansions. This article will delve into the fascinating world of Leonardo DiCaprio's real estate. Exploring the details of his most notable residences. and the unique aspects that make them stand out.
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Leonardo DiCaprio House: Malibu Beachfront Retreat
A Prime Location
His Malibu beachfront house is one of the most famous properties in Leonardo DiCaprio's real estate portfolio. Situated in the exclusive Carbon Beach. also known as "Billionaire's Beach," this property boasts stunning ocean views and private beach access. The "Leonardo DiCaprio house" in Malibu is a testament to the actor's love for the sea and his penchant for luxurious living.
Architectural Highlights
The Malibu house features a modern design with clean lines, large windows. and open spaces blending indoor and outdoor living. The expansive deck and patio areas provide ample space for entertaining guests or enjoying a quiet sunset. The house has state-of-the-art amenities. including a gourmet kitchen, a home theatre, and many guest suites.
Sustainable Features
Leonardo DiCaprio is a well-known environmental activist. whose Malibu house reflects his commitment to sustainability. The property incorporates solar panels, energy-efficient appliances, and sustainable building materials. The landscaping around the house is also designed to be water-efficient. featuring drought-resistant plants and intelligent irrigation systems.
Leonardo DiCaprio House: Hollywood Hills Hideaway
Privacy and Seclusion
Another remarkable property in Leonardo DiCaprio's collection is his Hollywood Hills house. This secluded retreat offers privacy and tranquility. making it an ideal escape from the hustle and bustle of Los Angeles. The "Leonardo DiCaprio house" in Hollywood Hills nestled among lush greenery. and offers panoramic views of the city and surrounding landscapes.
Design and Amenities
The Hollywood Hills house is a mid-century modern gem characterized by its sleek design and floor-to-ceiling windows. The open-concept living space is perfect for entertaining. while the cozy bedrooms provide a comfortable retreat. The property also features a swimming pool, and outdoor dining area. and a spacious deck that overlooks the cityscape.
Environmental Initiatives
The Hollywood Hills house incorporates several green features that are in line with DiCaprio's environmental values. The home has solar panels, energy-efficient lighting, and a rainwater harvesting system. Additionally, the landscaping designed to support local wildlife and promote
University of Western Sydney degree offer diploma Transcript
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Morgan Freeman is Jimi Hendrix: Unveiling the Intriguing Hypothesis
In celebrity mysteries and urban legends. Few narratives capture the imagination as the hypothesis that Morgan Freeman is Jimi Hendrix. This fascinating theory posits that the iconic actor and the legendary guitarist are, in fact, the same person. While this might seem like a far-fetched notion at first glance. a deeper exploration reveals a rich tapestry of coincidences, speculative connections. and a surprising alignment of life events fueling this captivating hypothesis.
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Introduction to the Hypothesis: Morgan Freeman is Jimi Hendrix
The idea that Morgan Freeman is Jimi Hendrix stems from a mix of historical anomalies, physical resemblances. and a penchant for myth-making that surrounds celebrities. While Jimi Hendrix's official death in 1970 is well-documented. some theorists suggest that Hendrix did not die but instead reinvented himself as Morgan Freeman. a man who would become one of Hollywood's most revered actors. This article aims to delve into the various aspects of this hypothesis. examining its origins, the supporting arguments. and the cultural impact of such a theory.
The Genesis of the Theory
Early Life Parallels
The hypothesis that Morgan Freeman is Jimi Hendrix begins by comparing their early lives. Jimi Hendrix, born Johnny Allen Hendrix in Seattle, Washington, on November 27, 1942. and Morgan Freeman, born on June 1, 1937, in Memphis, Tennessee, have lived very different lives. But, proponents of the theory suggest that the five-year age difference is negligible and point to Freeman's late start in his acting career as evidence of a life lived before under a different identity.
The Disappearance and Reappearance
Jimi Hendrix's death in 1970 at the age of 27 is a well-documented event. But, theorists argue that Hendrix's death staged. and he reemerged as Morgan Freeman. They highlight Freeman's rise to prominence in the early 1970s. coinciding with Hendrix's supposed death. Freeman's first significant acting role came in 1971 on the children's television show "The Electric Company," a mere year after Hendrix's passing.
Physical Resemblances
Facial Structure and Features
One of the most compelling arguments for the hypothesis that Morgan Freeman is Jimi Hendrix lies in the physical resemblance between the two men. Analyzing photographs, proponents point out similarities in facial structure. particularly the cheekbones and jawline. Both men have a distinctive gap between their front teeth. which is rare and often highlighted as a critical point of similarity.
Voice and Mannerisms
Supporters of the theory also draw attention to the similarities in their voices. Jimi Hendrix known for his smooth, distinctive speaking voice. which, according to some, resembles Morgan Freeman's iconic, deep, and soothing voice. Additionally, both men share certain mannerisms. such as their calm demeanor and eloquent speech patterns.
Artistic Parallels
Musical and Acting Talents
Jimi Hendrix was regarded as one of t
一比一原版(UCSF毕业证)旧金山分校毕业证如何办理
原件一模一样【微信：95270640】【旧金山分校毕业证UCSF学位证成绩单】【微信：95270640】（留信学历认证永久存档查询）采用学校原版纸张、特殊工艺完全按照原版一比一制作（包括：隐形水印，阴影底纹，钢印LOGO烫金烫银，LOGO烫金烫银复合重叠，文字图案浮雕，激光镭射，紫外荧光，温感，复印防伪）行业标杆！精益求精，诚心合作，真诚制作！多年品质 ,按需精细制作，24小时接单,全套进口原装设备，十五年致力于帮助留学生解决难题，业务范围有加拿大、英国、澳洲、韩国、美国、新加坡，新西兰等学历材料，包您满意。
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三、进国企，银行，事业单位，考公务员等等，这些单位是必需要提供真实教育部认证的，办理教育部认证所需资料众多且烦琐，所有材料您都必须提供原件，我们凭借丰富的经验，快捷的绿色通道帮您快速整合材料，让您少走弯路。
留信网认证的作用:
1:该专业认证可证明留学生真实身份【微信：95270640】
2:同时对留学生所学专业登记给予评定
3:国家专业人才认证中心颁发入库证书
4:这个认证书并且可以归档倒地方
5:凡事获得留信网入网的信息将会逐步更新到个人身份内，将在公安局网内查询个人身份证信息后，同步读取人才网入库信息
6:个人职称评审加20分
7:个人信誉贷款加10分
8:在国家人才网主办的国家网络招聘大会中纳入资料，供国家高端企业选择人才
→ 【关于价格问题（保证一手价格）
我们所定的价格是非常合理的，而且我们现在做得单子大多数都是代理和回头客户介绍的所以一般现在有新的单子 我给客户的都是第一手的代理价格，因为我想坦诚对待大家 不想跟大家在价格方面浪费时间
对于老客户或者被老客户介绍过来的朋友，我们都会适当给一些优惠。
选择实体注册公司办理，更放心，更安全！我们的承诺：可来公司面谈，可签订合同，会陪同客户一起到教育部认证窗口递交认证材料，客户在教育部官方认证查询网站查询到认证通过结果后付款，不成功不收费！
办理旧金山分校毕业证毕业证offerUCSF学位证【微信：95270640 】外观非常精致，由特殊纸质材料制成，上面印有校徽、校名、毕业生姓名、专业等信息。
办理旧金山分校毕业证UCSF学位证毕业证offer【微信：95270640 】格式相对统一，各专业都有相应的模板。通常包括以下部分：
校徽：象征着学校的荣誉和传承。
校名:学校英文全称
授予学位：本部分将注明获得的具体学位名称。
毕业生姓名：这是最重要的信息之一，标志着该证书是由特定人员获得的。
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Abraham Laboriel Records ‘The Bass Walk’ at Evergreen Stage
A legendary musician records an intricate song designed to show off his expert bass guitar chops at a historical Los Angeles studio.
Leonardo DiCaprio Super Bowl: Hollywood Meets America’s Favorite Game
Introduction
Leonardo DiCaprio is synonymous with Hollywood stardom and acclaimed performances. has a unique connection with one of America's most beloved sports events—the Super Bowl. The "Leonardo DiCaprio Super Bowl" phenomenon combines the worlds of cinema and sports. drawing attention from fans of both domains. This article delves into the multifaceted relationship between DiCaprio and the Super Bowl. exploring his appearances at the event, His involvement in Super Bowl advertisements. and his cultural impact that bridges the gap between these two massive entertainment industries.
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Leonardo DiCaprio: The Hollywood Icon
Early Life and Career Beginnings
Leonardo Wilhelm DiCaprio was born in Los Angeles, California, on November 11, 1974. His journey to stardom began at a young age with roles in television commercials and educational programs. DiCaprio's breakthrough came with his portrayal of Luke Brower in the sitcom "Growing Pains" and later as Tobias Wolff in "This Boy's Life" (1993). where he starred alongside Robert De Niro.
Rise to Stardom
DiCaprio's career skyrocketed with his performance in "What's Eating Gilbert Grape" (1993). earning him his first Academy Award nomination. He continued to gain acclaim with roles in "Romeo + Juliet" (1996) and "Titanic" (1997). the latter of which cemented his status as a global superstar. Over the years, DiCaprio has showcased his versatility in films like "The Aviator" (2004). "Start" (2010), and "The Revenant" (2015), for which he finally won an Academy Award for Best Actor.
Environmental Activism
Beyond his film career, DiCaprio is also renowned for his environmental activism. He established the Leonardo DiCaprio Foundation in 1998, focusing on global conservation efforts. His commitment to ecological issues often intersects with his public appearances. including those related to the Super Bowl.
The Super Bowl: An American Institution
History and Significance
The Super Bowl is the National Football League (NFL) championship game. is one of the most-watched sporting events in the world. First played in 1967, the Super Bowl has evolved into a cultural phenomenon. featuring high-profile halftime shows, memorable advertisements, and significant media coverage. The event attracts a diverse audience, from avid sports fans to casual viewers. making it a prime platform for celebrities to appear.
Entertainment and Advertisements
The Super Bowl is not only about football but also about entertainment. The halftime show features performances by some of the biggest names in the music industry. while the commercials are often as anticipated as the game itself. Companies invest millions in Super Bowl ads. creating iconic and sometimes controversial commercials that capture public attention.
Leonardo DiCaprio's Super Bowl Appearances
A Celebrity Among the Fans
Leonardo DiCaprio's presence at the Super Bowl has noted several times. As a high-profile celebrity. DiCaprio attracts
Tom Cruise Daughter: An Insight into the Life of Suri Cruise
Tom Cruise is a name that resonates with global audiences for his iconic roles in blockbuster films and his dynamic presence in Hollywood. But, beyond his illustrious career, Tom Cruise's personal life. especially his relationship with his daughter has been a subject of public fascination and media scrutiny. This article delves deep into the life of Tom Cruise daughter, Suri Cruise. Exploring her upbringing, the influence of her parents, and her current life.
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Introduction: The Fame Surrounding Tom Cruise Daughter
Suri Cruise, the daughter of Tom Cruise and Katie Holmes, has been in the public eye since her birth on April 18, 2006. Thanks to the media's relentless coverage, the world watched her grow up. As the daughter of one of Hollywood's most renowned actors. Suri has had a unique upbringing marked by privilege and scrutiny. This article aims to provide a comprehensive overview of Suri Cruise's life. Her relationship with her parents, and her journey so far.
Early Life of Tom Cruise Daughter
Birth and Immediate Fame
Suri Cruise was born in Santa Monica, California. and from the moment she came into the world, she was thrust into the limelight. Her parents, Tom Cruise and Katie Holmes. Were one of Hollywood's most talked-about couples at the time. The birth of their daughter was a anticipated event. and Suri's first public appearance in Vanity Fair magazine set the tone for her life in the public eye.
The Impact of Celebrity Parents
Having celebrity parents like Tom Cruise and Katie Holmes comes with its own set of challenges and privileges. Suri Cruise's early life marked by a whirlwind of media attention. paparazzi, and public interest. Despite the constant spotlight. Her parents tried to provide her with an upbringing that was as normal as possible.
The Influence of Tom Cruise and Katie Holmes
Tom Cruise's Parenting Style
Tom Cruise known for his dedication and passion in both his professional and personal life. As a father, Cruise has described as loving and protective. His involvement in the Church of Scientology, but, has been a point of contention and has influenced his relationship with Suri. Cruise's commitment to Scientology has reported to be a significant factor in his and Holmes' divorce and his limited public interactions with Suri.
Katie Holmes' Role in Suri's Life
Katie Holmes has been Suri's primary caregiver since her separation from Tom Cruise in 2012. Holmes has provided a stable and grounded environment for her daughter. She moved to New York City with Suri to start a new chapter in their lives away from the intense scrutiny of Hollywood.
Suri Cruise: Growing Up in the Spotlight
Media Attention and Public Interest
From stylish outfits to everyday activities. Suri Cruise has been a favorite subject for tabloids and entertainment news. The constant media attention has shaped her childhood. Despite this, Suri has managed to maintain a level of normalcy, thanks to her mother's efforts.
The Evolution and Impact of Tom Cruise Long Hair
Tom Cruise is one of Hollywood's most iconic figures, known for his versatility, charisma, and dedication to his craft. Over the decades, his appearance has been almost as dynamic as his filmography, with one aspect often drawing significant attention: his hair. In particular, Tom Cruise long hair has become a defining feature in various phases of his career. symbolizing different roles and adding layers to his on-screen characters. This article delves into the evolution of Tom Cruise long hair, its impact on his roles. and its influence on popular culture.
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Introduction
Tom Cruise long hair has often been more than a style choice. it has been a significant element of his persona both on and off the screen. From the tousled locks of the rebellious Maverick in "Top Gun" to the sleek, sophisticated mane in "Mission: Impossible II." Cruise's hair has played a pivotal role in shaping his image and the characters he portrays. This article explores the various stages of Tom Cruise long hair. Examining how this iconic look has evolved and influenced his career and broader fashion trends.
Early Days: The Emergence of a Style Icon
The 1980s: The Birth of a Star
In the early stages of his career during the 1980s, Tom Cruise sported a range of hairstyles. but in "Top Gun" (1986), his hair began to gain significant attention. Though not long by later standards, his hair in this film was longer than the military crew cuts associated with fighter pilots. adding a rebellious edge to his character, Pete "Maverick" Mitchell.
Risky Business: The Transition Begins
In "Risky Business" (1983). Tom Cruise's hair was short but longer than the clean-cut styles dominant at the time. This look complemented his role as a high school student stepping into adulthood. embodying a sense of youthful freedom and experimentation. It was a precursor to the more dramatic hair transformations in his career.
The 1990s: Experimentation and Iconic Roles
Far and Away: Embracing Length
One of the first films in which Tom Cruise embraced long hair was "Far and Away" (1992). Playing the role of Joseph. an Irish immigrant in 1890s America, Cruise's long, hair added authenticity to his character's rugged and determined persona. This look was a stark departure from his earlier. more polished styles and marked the beginning of a more adventurous phase in his hairstyle choices.
Interview with the Vampire: Gothic Elegance
In "Interview with the Vampire" (1994). Tom Cruise long hair reached new lengths of sophistication and elegance. Portraying the vampire Lestat. Cruise's flowing blonde locks were integral to the character's ethereal and timeless allure. This hairstyle not only suited the gothic aesthetic of the film but also showcased Cruise's ability to transform his appearance for a role.
Mission: Impossible II: The Pinnacle of Long Hair
One of the most memorable instances of Tom Cruise long hair came in "Mission: Impossible II" (2000). His character, Ethan
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对于老客户或者被老客户介绍过来的朋友，我们都会适当给一些优惠。
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The Enigmatic Portrait, In the heart of a sleepy town
In the heart of a sleepy town nestled between rolling hills and whispering pines …
created with AI assistance…
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Jump out of your car
- 1. Music Video Analysis By Cy, Josh I, Fredi and Josh B
- 3. Comparison!
- 4. Media Language Cinematography The framing of our video is very gender biased towards men. We have included absolutely no females in any way whatsoever. This is a representation of the fact that this genre is dominated by men. At the start of the video, close ups are used to introduce two of the four characters. Mid shots are then used to introduce Josh I and Josh B as the two singers of the group and a duo. There is a big range of different shots used in the video to show the characters and the scenes used in the video. We also used Low shots to illustrate an era of dominance over the listeners from the singers. The way they move and the gestures they make also strengthen the image of a higher place m8.
- 5. Editing We used different effects in the first half of our video. We used a slow effect called ghosting for when Josh B was making the hand movements in the air. This was so that the movements were in time with the beat. We also used other effects to show that the people in the band are fun and that the video isn’t very serious. Some of the video had a colour tint of Black and White whist the rest of the video is normal colour with a Glow and Bloom effect on it. The video is not always edited to the beat of the song however there are parts of the song for Eg. At the beginning with the guitar strumming performed superbly by Fred and the clips frequently relate to the lyrics of the choon.
- 6. Mise-en-Scene We used different costumes in our video to show the genre of our video, such as hoodies, which are frequently seen in hip hop videos. We did, however, not conform fully to the genre with our costumes as we wore suits for our live performance, which you don’t see much in hip hop videos. We also wore sunglasses a lot, which became a motif for our group and was a way for our audience to recognise us. The pink ones in particular were important as they are on the front cover of our digipack and we use pink and black a lot in our video and ancillary products. The locations that we used were in contrast to what is normally associated with videos of this genre.
- 7. Sound Our video contains only diegetic sound, from the track. There are parts in the video when the lyrics match the image on the screen, such as when the leaves are falling on Josh I, or Josh B’s hand is motioning to the sky. There are also instances when the visuals match the music, such as the part when Josh B’s hands are ‘ghosting’.
- 8. Narrative Our version of Todorov’s 5 point Structure The characters are introduced (Apart from Cy, who rolls in late as per usual) Cy finally arrives at the Live performance. Josh B makes obscene gesture at Josh I (It was rude) The crowd that we definitely organised and didn’t steal from YouTube rocking out at our gig. The resolution of Josh & Josh walking in to the sunset like lovers.
- 9. Genre We do have a little bit of genre classification with the hoodies and the glasses. These are seen in a lot of hip hop videos. They also help with the marketing of the video as the glasses are used in our ancillary products as well. Our video isn’t really conforming to the genre, which means that the audience cannot predict what will happen next.
- 10. Representation I think that we have gone some way to representing today’s Youth Culture in our video. The costumes (Hoodies, shades) identify with the fashion of young people today (apart from Josh’s leather coat). Also, a lot of the scenes in the video are just out-takes which the Youth of today will find well funny. We are young as well, which identifies with people who are also young.
- 11. Some Pictures Theses images show the fun nature of our video and also depict some of The scenery used in the video, which in uncharacteristic of the hip hop genre.
- 12. Audience Location, Location, Location Parents may want to control what their children view and may not want them to watch our video as it contains swearing, spitting, sexually suggestive gestures and references to ganja. If this video was shown in a cinema, there would be control over the accessibility as there would be a strict age (15) certification in place, which no one would dare cheat. This wouldn’t happen at home, so the video is much more accessible. consumption, consumption, consumption The audience of our video could be people that enjoy music of our particular genre or they could just be people who enjoy a diverse range of genres. Our audience would most likely be young people in their teens.
- 13. SIZE, SIZE, SIZE We have a niche audience, that’s about it.