1. In which ways does your media
product use, develop, or challenge
forms and conventions of real
media products?

2. Synaesthesia
• In order to find out peoples thoughts of our
song choice we decided to do a synaesthesia
task whereby, we asked Year 9 students to
listen to Pompeii by Bastille and to tell us what
comes to mind. When Coco and I compared
our images to theirs we had similar images
and emotions towards the song. This
confirmed our view on the correct song choice
to pick. Hence, our target audience being
teens.

3. Mode of address
Pompeii is a song that can be seen as an uplifting song, or
an emotional song whereby, you notice that the song is
referring to the disaster that happened in Pompeii. A lot
of people don’t realise this and just listen to it like any
other song. The way we portrayed it was in a neat, tidy
outdoor location whereby the audience can connect with
the song and the outdoor scenery. Secondly, we were
able to view the song as being quite ‘streety’ too.
Because of this, we went to Shoreditch (East London) and
did filming there in more casual clothing. This gave the
music video two different views which both work with
our song choice and our mise en scene.

4. Types Of Signs
In our Music Video we had an indexical sign with
the graffiti on the wall representing the ‘streety’
feel and look. Rafi our actor, was wearing jeans,
purple hoody, and a flat-cap which was symbolic for
the location and setting we used whilst filming in
Shoreditch.
Likewise, in Hampstead our setting was clean,
modern and smart. Rafi was dressed smartly to
represent the location in the way we wanted it to
come across to our audience.

5. Laura Mulvey – Theory
• According to feedback, Rafi is said to be good
looking man. He is used in our Music video to
draw attention from the audience. Young females
may think he is good looking and therefore want
to watch the video purely for that reason. This is
known as the Female Gaze, where women may
see it as a visual pleasure. The female gaze is not
restricted to just viewing good looking men, but
more importantly about the expectations of how
the audience relates to the music video.

6. Intertextuality - Pastiche
• There is no reference to pastiche or parody in
our music video as there is no imitation of the
original and we weren’t trying to imitate the
style of the original. Moreover, there is no
parody as there is no comical element to our
music video. Additionally, our music video is
multi-layered. This is because we have two
very different locations with different scenery
therefore, our music video can be interpreted
to have a variety of meanings.

7. Andrew Goodwin – Typical elements
Andrew Goodwin speculates on some of the images associated with music
videos. I have referred to his semiological breakdown. He states how
listeners see images when music is heard. This concept I have already
spoken about and researched for myself. It is the synaesthesia concept. He
has a further concept where there is a relationship between lyrics and
visuals and the lyrics are represented with images. This has been included
in our music video. An example of this is when the lyrics quote “but if you
close your eyes”. Our actor – Rafi, closes his eyes, with his hands out to the
side and face up to the sky, which shows and suggests meaning to those
words as he is emphasising them with actions and movement. Something
that Goodwin doesn’t talk about is that the music video cuts are in time
with a new part of the song, so that it doesn’t get too boring for the
audience and that the choice of clips can be varied. We also put in a few
shots of Rafi standing still at different angles, staring at the camera whilst
the song is on-going. Coco and I felt that it was appropriate and not
necessary to have constant lip syncing.

8. Sergei Eisentein
• Eisenstein was among the first to explore the
use of montage, which is a specific use of film
editing. It involves a series of short shots
which are edited into a sequence to condense
space, time, and information. Eisenstein
argued that montage was the essence of the
cinema. In our music video, we have used
Eisenstein's theory as we have a series of
short shots which are all edited into a
sequence to condense time.

9. Richard Dyer
• In our music video, there are elements of energy
and intensity. The energy is noticeable during the
chorus of the song. This is when Rafi tries to get
people to understand the meaning from the
song. He’s quite energetic as he raises his arms,
which shows a lot of meaning in the video. At
times the intensity levels are high, this is
specifically at times when we try to get the
audience involved in the song, and making them
understand the lyrics too.