This document discusses conventions in music videos and whether the described music video follows or challenges conventions. It summarizes that the video both follows and challenges conventions in some ways. It includes performance footage edited to the song, representations of characters similar to the target audience, and comedy. However, it also uses an unconventional rewind effect and separates performance and narrative locations. The document also discusses how the video both conforms to and challenges stereotypes about gender. It aims to create a likable protagonist by inverting typical representations of masculinity and femininity. In the conclusion, it says the video was successful in its goals but that the representations of women could be seen as misogynistic and there was room for more convention experimentation

1. HOW HAVE YOU
USED/DEVELOPED/CHALLENGED
CONVENTIONS OF REAL MEDIA
TEXTS?

2. MUSIC VIDEO CONVENTIONS
EDITING IN PACE WITH THE SONG
PERFORMANCE
NO (or little) DIEGETIC AUDIO
SIMPLE NARRATIVES
POSITIVE REPRESENTATION OF PERFORMER(S)
PERFORMER(S) DOMINATE SCREENTIME
(for punk rock music) USUALLY VERY CONVENTIONAL

3. DO WE FOLLOW MUSIC VIDEO CONVENTIONS?
 Yes and no! WE INCLUDE:
PERFORMANCE PACED EDITING REALISTIC BUT
COMEDIC STYLE
POSITIVE REPRESENTATIONS CHARACTERS SIMILAR
TO TARGET AUDIENCE

4. HOW DON’T WE FOLLOW CONVENTIONS?
 Not entirely simple:
The ‘rewind’ effect we use at the ending was confusing to some audience
members. We believe the metaphorical value of the effect may be too
obscure, and it opposes the otherwise simple narrative.
 Representations are at points anti-stereotypical:
Discussed later.
 The transitions between performance and narrative locations
are unusual:
A lot of music videos blend the narrative and performance locations into one.
Having them almost completely mutually exclusive, except for some whip-pan
effects linking them, is quite uncommon but allows the audience to distinguish
different parts of the song from each other.
Overall, our music video is both conventional and not – a perfect fit for a pop-
rock band whose fans are likely to reject more alternative styles. Adding only a
few unique elements broadens audience appeal while retaining its original
intended fans.

5. STEREOTYPES
MEN
- Independent, strong
- Emotionally weak, violent and
irrational
- Drinkers
- Large or stocky physical build
WOMEN
- More emotional
- Compassionate
- Usually ‘damsel in distress’
- Wears makeup and clothes to
attract sexual attention
YOUNG MEN
- Cocky
- Jokers
- Usually makes moves on
women (instead of other way
around)
YOUNG WOMEN
- Gossipy
- Attached to mobile phones
- Slightly vain
- Ditzy
- Over-reacting

6. DO WE CONFORM TO STEREOTYPES?
 Again, yes and no.
MALES: FEMALES:
Joker Over-reacting
Make-upPoint of identification
Attached to mobilesDrinking

7. NON-CONFORMING STEREOTYPES
So our project does, I believe, conform to and challenge stereotypes.
The effect these negative representations for the women in the video
has is to boost the sympathy the audience holds for the male (but not
entirely masculine) protagonist, making him more like a universally
likable ‘everyman’ despite his faults – a way in which a band’s lead
singer would probably want to be represented, while also adding to
the nature of the comedy by inverting typical ideas of masculinity and
femininity.
MALES: FEMALES:
Makes a move on the man
Irrational and violent
Emotional
Rationalises and is
compassionate

8. CONCLUSION
I believe our music video is successful in a few ways that
work with generic conventions of other media. We were
successful in:
 Creating a likable ‘everyman’ protagonist
 Conveying the narrative and comedy through inverted
representations and stereotypes
 Utilising conventions to create audience appeal
…Although we do agree that certain aspects are less
successful than we intended:
 The representations of women could be decoded as misogynist
 There is not as much development in conventions as there could be
But our goal was reached and we were able to create a
product that will successfully promote the song with a
wide audience appeal.

9. THE END
By Ben Trangmar