The document discusses a media evaluation of a music video for a drum and bass song. It analyzes how the music video conforms to characteristics of the drum and bass genre through its stylistic choices and theoretical frameworks. The video focuses on themes of anonymity, escapism, and non-conformity through the use of monkey masks, varied social class costumes, and skateboarding footage. Shots include close-ups of masks, handheld camera work, and fast-paced editing to match the song's rhythm. Lighting and locations away from crowds further reinforce themes of escaping normality and finding freedom through the music.

1. Media Evaluation

2. Genre Characteristics
• Our group chose to avoid using the mainstream commercial music videos layout and heavily conform to Goodwin’s theory,
but rather we conformed to our D’n’B common features to cater to our niche target audience predominantly being of young
adults urban areas.
• Therefore, it is clear in our music video, that instead of focusing on some of Goodwin’s concepts of voyeurism and meeting
the demands of the record label. On the other hand, we advocated for producing a unique music video which would consist
of abstract symbolism and imagery to compliment the concept based layout to suggest our main themes of anonymity and
escapism. Hence, we conformed to the Roland Barthes enigma theory as well as Stuart Halls encoding and decoding
theory, both the theories coincide with one another since they allow the audience to interpret signifiers to manifest a more
personal meaning, such as the skateboards possibly conveying the idea of self expression, since arguably D’n’B music
videos tend to focus more on the target audience rather than star image representation and brand identity. we successfully
reinforced D’n’B genre characteristics by doing this due to the fact the niche target audience demand unconventional music
videos which stray away from the mainstream Goodwin principles typically found in the hip hop genre such as ‘Rihanna –
Rudeboy’ .
• Our music video reinforced the common feature of D’n’B music videos which is to subvert the stereotypical mainstream
video based on Goodwin principles such as illustrating the lyrics. In contrast, ‘Naked Wookie – Second Hand Sandwidges’
doesn’t consist of lyrics, however it is a fast beat track arguably intended for a party atmosphere and dance environment
therefore, some might say we contradicted the tune by inserting a seemingly random set of skating clips which is unrelated
to the lyrics. Although, we could argue we amplified the high temp rhythm of the track by matching the music to the fast
montage effects achieved through fast paced cuts which is typical of the D’n’B and exemplified through other music videos
of the same genre such as Chase and Status – Pieces. This is because, this editing technique creates excitements and
conforms to D’n’B genre roots since it derived from the London underground party and dance scenes in the late 90’s in the
UK.
• Lastly, we conformed to the Goodwin theory of inter-textualality with the constant referencing to the monkey masks and their
symbolism, also it could be argued the clothing our characters representing the different social classes of life: doctors outfit –
high status, respectable and upper-middle class/ shirt and trousers suggesting the middle class and lastly the urban clothing
intertextual references to the working class and perhaps the sub-culture of the skater community. We ambitiously enhanced
these stereotypes and explored how contrasting them could contradict the idea of normality and instead introduce the
concept of escapism. This conforms to the D’n’B genre which tends to explore themes which are unconventional and niche.

3. Genre Characteristics
• Blumer and Katz gratification theory could arguably be attached to our music video, since we aim to gratify the
audiences needs of escaping the boring socially constructed normality and instead allow the viewers to escape to
a simplistic stress relief atmosphere where the characters are having fun portrayed through the pleasure of skating
and dancing clips, instead of Todorov’s narrative theory where the equilibrium is disrupted and regained at the
end. Thus, gratifying the needs of the audience is arguably a common feature of the D’n’B genre since it connotes
happiness and excitement from its party scene roots.
• Lastly, we conformed to the Goodwin theory of inter-textualality with the constant referencing to the monkey masks
and their symbolism, also it could be argued the clothing our characters representing the different social classes of
life: doctors outfit – high status, respectable and upper-middle class/ shirt and trousers suggesting the middle
class and lastly the urban clothing intertextual references to the working class and perhaps the sub-culture of the
skater community. We ambitiously enhanced these stereotypes and explored how contrasting them could
contradict the idea of normality and instead introduce the concept of escapism. This conforms to the D’n’B genre
which tends to explore themes which are unconventional and niche.

4. Camera Shots
• The time lapse at the very start of our music video, is an establishing shot of our location being the roof of the car
park. However, since our D’n’B music video is innately intended to be subversive and unconventional, we placed
all three characters in front of the shots with their back to the camera – this suggests we are subverting
Goodwin’s theory of focusing on brand identity and star image representation from the start. Instead, like the
famous D’n’B artists Chase and Status who never appear in their music videos, we reinforced D’n’B genre
characteristic of concentrating on the concept rather than meeting the demands of the record label who typically
prefer the music video to objectify and glorify the artists to promote them further.
• I have used close ups on the protagonists masks within the music video ‘Secondhand Sandwidges’ to put
emphasis on the idea of anonymity and how the facial features are concealed takes away social stigma which
may be attached to particular image of the characters. Similar to the aritsts Daft Punk, this perhaps reinforces one
of our primary concept of escapism which is continuously illustrated through out our music video through different
mediums such as the unconventional settings of the car park roof and floor away from the crowds of people and
the constant chase of the skateboards perhaps representing the instability of the layout of our D’n’B music video.
To add to this, near the beginning of the music video, straight after the time lapse, close ups and medium shots
are used to visually exemplify the phrase of the monkey masks – ‘see no evil, speak no evil, hear no evil’ – we did
just to clarify to the audience the basis of our enigmatic music video.
• Perhaps the most significant aspect of our music video was the fact that the all of it was shot using the handheld
technique. We decided to do this, to challenge the high budget commercial music video which loses its originality
and just sticks to the Goodwin principles. On the other hand, similar to Rudimental – Waiting All Night being a
D’n’B group aswell, we opted to employ the representation of realism and we believed it aptly went with the
skateboarding footage. In addition to this, I strongly believe the handheld idea brings the niche target closer to the
artist and gives the music video a personal meaning since connotes that the artists have given thought and their
own input in contrast to being controlled by the record label. Furthermore, the brand identity is built and recognised
by the niche target audience through this method and due to the fact the audience are now constantly
associating the unconventional methods of production with the artist Naked Wookie similar to Daft Punk.

5. Camera Shots
• Our music video starts and ends with a time lapse. This significantly brings a smooth ending to our energetic,
funky, fast paced video.
• Moreover, some might say we subverted the D’n’B genre due to the fact instead of objectifying women through
voyeurism and using tilts and pans of females bodies which is typically found in energetic funky party D’n’B music
videos, we subverted this common trait and did not include no female characters, thus rejecting Laura Mulvey’s
‘male gaze’ theory.

6. Editing
• Initially, we concluded that the editing of our music video will be simplistic and minimal. Therefore, only fast paced
cuts to create a skate boarding montage effect and match the upbeat rhythm of the music track. This has been
generally successful amongst D’n’B music videos. Chase and Status – Lost and Found particularly successfully
used the minimal editing technique to keep their video unique and assert their ideas of being suspicious of
characters based solely on their image.
• Also, we used the time stretch tool and reverse the speed of the clip to smoothly put two cuts together, this was
exemplified in our second and final draft where we added the scene of the character in a doctor suit dancing. This
has the effect of making our product look to a professional standard.
• Moreover, the majority of jump cuts implemented in our music video conform to D’n’B genre characteristics to
create excitement and manifest a party atmosphere.

7. Mise-En-Scene
• Lastly, we conformed to the Goodwin theory of inter-textualality with the constant referencing to the monkey masks
and their symbolism, also it could be argued the clothing our characters representing the different social classes of
life: doctors outfit – high status, respectable and upper-middle class/ shirt and trousers suggesting the middle
class and lastly the urban clothing intertextual references to the working class and perhaps the sub-culture of the
skater community. We ambitiously enhanced these stereotypes and explored how contrasting them could
contradict the idea of normality and instead introduce the concept of escapism. This conforms to the D’n’B genre
which tends to explore themes which are unconventional and niche.
• The skateboard symbolises freedom, with its constant movement and mobility. Therefore, it could be argued that
the audience could perhaps escape and free themselves through the use of this leisure activity, thus conforming to
the D’n’B genre characteristic of people listening to the genre for leisure purposes.
• The lighting of our video right at the start of the time lapse and end is bright natural lighting, this possibly conveys
the positive connotations that comes with bright light, particularly freedom.
• Arguably the shot within the elevator is the use of a prop. We used this location to put emphasis of the
unconventional element of our music video to conform to the D’n’B genre. Also another interpretation may be how
we escaped from an enclosed environment such as the elevator to the open space car park which literally shows
the characters pursuing freedom. Some might say this, metaphorical expression is similar to the music video of
Coldplay – Paradise, since they used their unique mise en scene to ensure there themes of escapism.

8. Ancillary
• The conventions we followed to create the digipak and magazine advert were:
- House colours: the colours we implemented were simplistic primarily being contrasting colours of black and white.
This was for the reason that the two colours juxtaposed each other, similar to our idea of normality vs. escapism.
In addition to this, the two contrasting colours conforms to the D’n’B genre since is seemingly unique and
unconventional.
The overall dark tone of colours we used supports the image of the vague looking skull. The image of the skull on
the digipak possibly associated itself with the issues in society that we are highlighting through music video such
as not being happy and wanting to escape the stressful mundane life of all walks of life represented through the
different clothing of our characters.
To add to this, the centre image on the magazine advert was edited to rid it of its natural positive bright colours of
green and blue and instead we darkened the picture so it coincides with the rest of the ancillary tasks to manifest
the brand identity and message of the music video which could arguably be rebelling against society. Thus,
conforming the D’n’B genre since it is unconventional in comparison to mainstream genres such as hip hop.
- Typography: I have used the same font throughout the digipak and magazine advert which is funky and
unconventional. We picked this font because it conforms to the D’n’B genre which advocates playful font rather
than strict professional typeface.
- Rule of 3: We implemented the three monkey masks in the digipak to ensure our concept is constantly in the
audience mind and to link into the main product so it reinforces our brand identity. This is because through
industry research I came to the conclusion that brand identity was significant for D’n’B genre since we focus less
on star image representation.