The document discusses plans for a documentary investigating censorship of music videos and the objectification of women. It will examine the extent that censorship can control what is published on TV and look at the negative and positive impacts of objectifying women. The documentary aims to obtain polarized opinions on these issues. It will focus on how objectification occurs more in genres like R&B, rap, and hip hop. The document outlines questions for experts and the public to include in the documentary.
The document discusses plans for a documentary investigating censorship of music videos and the objectification of women. It will examine the impacts of censorship and obtain diverse opinions on these issues. The documentary will explore how the objectification of women commonly occurs in genres like R&B, rap, and hip hop. It will also consider when and how censorship of sexualized music videos became a public issue. The documentary aims to shed light on these topics through interviews in various locations with relevant groups like artists, producers, and censorship authorities.
The document discusses the regulation of music videos in the UK. It explains that Ofcom regulates communications, including television, radio, video on demand, and music videos. Ofcom ensures young people under 18 are protected from explicit content like profanity, sexual content, drug/alcohol abuse, suicide, and violence. Music videos shown on TV must consider their content and be appropriate for under-18 audiences. Regulations aim to prevent the exploitation of audiences, especially young viewers.
The document discusses the regulation of music videos in the UK. It explains that Ofcom regulates communications, including television, radio, video on demand, and music videos. Ofcom ensures young people under 18 are protected from explicit content like profanity, sexual content, drug/alcohol abuse, suicide, and violence. Music videos shown on TV must consider their content and be appropriate for under-18 audiences. Regulations aim to prevent the exploitation of audiences, especially young viewers, from inappropriate or offensive material.
The survey results showed that Emma Jane Laffoley's target audience for her new music video would primarily consist of men between the ages of 16-25 who enjoy watching music videos more than once a week. Most respondents preferred rock music and narrative-based music videos. The majority access music videos online, especially through YouTube, rather than television.
The British Board of Film Classification (BBFC) regulates music videos in the UK by assigning age ratings of 12, 15, or 18 based on content involving drugs, dangerous behavior, bad language, sexuality, and violence. Major record labels submit UK videos to the BBFC for classification. While Ofcom oversees communications, the BBFC has the power to restrict videos. Music videos are regulated to protect children from inappropriate influences on behaviors and attitudes.
The document discusses proposed age restrictions on music videos by major platforms like YouTube due to concerns that explicit content can negatively influence younger viewers. It proposes setting ratings to block youth from sexual, violent or drug-related imagery. This aims to help parents control what children see while still allowing artist expression. However, critics argue it may backfire by prompting more provocative videos or cause viewers to find content on less restricted sites. The effect will likely be mixed, protecting some from extreme influences but not solving the issue of explicit content accessibility overall.
The document provides information about Robin Thicke's 2013 music video for his song "Blurred Lines". It describes the artists, release date, genre, and large number of views. It discusses how the video was controversial for depicting the women as objects and the men treating them in a demeaning manner. It received criticism for promoting the objectification of women and a disrespectful attitude towards them.
The document provides information about Robin Thicke's 2013 music video for his song "Blurred Lines". It describes the artists, release date, genre, and large number of views. It discusses how the video was controversial for depicting the women as objects and the men treating them in a demeaning manner. It received criticism for promoting the objectification of women and a disrespectful attitude towards them.
The document discusses plans for a documentary investigating censorship of music videos and the objectification of women. It will examine the impacts of censorship and obtain diverse opinions on these issues. The documentary will explore how the objectification of women commonly occurs in genres like R&B, rap, and hip hop. It will also consider when and how censorship of sexualized music videos became a public issue. The documentary aims to shed light on these topics through interviews in various locations with relevant groups like artists, producers, and censorship authorities.
The document discusses the regulation of music videos in the UK. It explains that Ofcom regulates communications, including television, radio, video on demand, and music videos. Ofcom ensures young people under 18 are protected from explicit content like profanity, sexual content, drug/alcohol abuse, suicide, and violence. Music videos shown on TV must consider their content and be appropriate for under-18 audiences. Regulations aim to prevent the exploitation of audiences, especially young viewers.
The document discusses the regulation of music videos in the UK. It explains that Ofcom regulates communications, including television, radio, video on demand, and music videos. Ofcom ensures young people under 18 are protected from explicit content like profanity, sexual content, drug/alcohol abuse, suicide, and violence. Music videos shown on TV must consider their content and be appropriate for under-18 audiences. Regulations aim to prevent the exploitation of audiences, especially young viewers, from inappropriate or offensive material.
The survey results showed that Emma Jane Laffoley's target audience for her new music video would primarily consist of men between the ages of 16-25 who enjoy watching music videos more than once a week. Most respondents preferred rock music and narrative-based music videos. The majority access music videos online, especially through YouTube, rather than television.
The British Board of Film Classification (BBFC) regulates music videos in the UK by assigning age ratings of 12, 15, or 18 based on content involving drugs, dangerous behavior, bad language, sexuality, and violence. Major record labels submit UK videos to the BBFC for classification. While Ofcom oversees communications, the BBFC has the power to restrict videos. Music videos are regulated to protect children from inappropriate influences on behaviors and attitudes.
The document discusses proposed age restrictions on music videos by major platforms like YouTube due to concerns that explicit content can negatively influence younger viewers. It proposes setting ratings to block youth from sexual, violent or drug-related imagery. This aims to help parents control what children see while still allowing artist expression. However, critics argue it may backfire by prompting more provocative videos or cause viewers to find content on less restricted sites. The effect will likely be mixed, protecting some from extreme influences but not solving the issue of explicit content accessibility overall.
The document provides information about Robin Thicke's 2013 music video for his song "Blurred Lines". It describes the artists, release date, genre, and large number of views. It discusses how the video was controversial for depicting the women as objects and the men treating them in a demeaning manner. It received criticism for promoting the objectification of women and a disrespectful attitude towards them.
The document provides information about Robin Thicke's 2013 music video for his song "Blurred Lines". It describes the artists, release date, genre, and large number of views. It discusses how the video was controversial for depicting the women as objects and the men treating them in a demeaning manner. It received criticism for promoting the objectification of women and a disrespectful attitude towards them.
The document discusses ethical issues in the media industry, focusing on film classification by the British Board of Film Classification (BBFC). It provides background on the BBFC and describes debates around whether and how it should regulate content to protect children from potential influences. Both pros and cons of the BBFC are outlined, and examples like the Bobo doll experiment are presented to argue that media can influence child behavior. Specific films banned by the BBFC like The Human Centipede 2 are also examined, as well as the history of "Video Nasties" in the UK. The conclusion weighs both sides of whether film classification is still needed.
Regulations- Standards of Taste and Decencylexibenson123
- Ofcom regulates broadcasting standards in the UK and oversees the watershed at 9pm, before which content should be suitable for those under 15.
- There is debate around the level of violence, sexual content, language, and imitative behavior shown on TV, with many arguing certain content should be restricted before 9pm to protect children.
- Audience research found the greatest concerns were around realistic portrayals of violence, drug/alcohol abuse, and the influence of inappropriate role models on reality shows and soaps.
The document discusses targeting a 15+ age rating for a media product and the ideal target audience. A 15+ rating allows some violent content but restricts strong language, sexual content, and drug use. The target audience is described as middle-class 15-17 year olds interested in crime/action genres. An example target viewer named Tom, age 19, is provided who enjoys crime TV shows and films from the genre. The document suggests an urban audience may also be interested due to the crime genre relating to inner city influences.
The BBFC is a non-governmental organization that is responsible for classifying films in the UK based on their content. It was established over 100 years ago and considers factors like violence, language, sexual content and more when rating films. The BBFC aims to restrict children from viewing inappropriate content and ensure they only watch age-appropriate movies. One film that was heavily cut by the BBFC was The Human Centipede 2, which they wanted to remove over 2 minutes of footage from due to its graphic and violent nature. If the filmmakers did not agree to these edits, the film would not have received a classification to be released in the UK.
This document discusses three examples of radio broadcasts that breached advertising and broadcasting codes in the UK.
In the first example, a radio presenter inappropriately promoted a local event during his show by failing to separate the advertising from the program content. The second example discusses two radio hosts that were fired for urging listeners to vote for a specific political candidate during an election period, showing bias.
The third and most severe example outlines how a radio DJ on Kiss FM breached broadcasting codes protecting children on eight separate occasions over six months through inappropriate sexual discussions, pranks, and pre-recorded content that was not properly edited. The station was later sued for a large sum of money due to these breaches.
Lil Boosie is one of the most respected gangster rappers in the south. He grew up in a rough neighborhood in Baton Rouge and had a dysfunctional family life. Boosie's music resonates deeply with people from the hood as he keeps it real about his experiences. However, some argue his music has negatively influenced criminal behavior. While Boosie gained fame and success, he also faced legal issues including gun and drug charges as well as murder charges from a previous incarceration. Boosie remains an icon in the south for his authentic gangster image.
Lil Boosie is one of the most respected gangster rappers in the south due to his authentic lyrics about the struggles of living in poverty and crime-ridden neighborhoods. While his music has provided a voice for many and boosted his credibility in the streets, it has also potentially influenced criminal behavior. Boosie is currently incarcerated facing charges including murder, gun and drug possession, and bringing contraband into a prison facility.
- The document analyzes representations of gender in rap music videos. Male rappers are typically depicted as wealthy, dominant, and sometimes violent. Females are often sexualized and objectified.
- Cinematography, costumes, and setting are used to portray males as rich and powerful through displays of money, jewelry, and mansions. Females wear minimal clothing and are shown as lusting after males.
- These representations may appeal to a male target audience but could offend feminists who see women as objects. They also reinforce stereotypes around masculinity, wealth, and the rap lifestyle.
The document discusses conducting a survey to determine the target audience for a media product. The survey found that both male and female respondents between the ages of 15-25 enjoy watching thriller films, especially horror thrillers, because they like the suspense and feeling of being scared but conquering their fears. Based on the survey results, the media product will be a horror thriller aimed at appealing to those in the 15-25 age range.
- The document discusses market research conducted by Abbey Moss to help decide factors for a music video they plan to produce. A survey of 10 college students provided results about preferences for genres, concepts, and willingness to pay.
- Based on the results, the music video will be aimed at males ages 17-19 and feature rock music and performance concepts. Over half of respondents said they would pay between £1-5 for a music video.
- Abbey Moss will use the results to decide how to theme, style, and potentially monetize the music video to best appeal to the target demographic identified in the market research.
The Beastie Boys sued Monster Energy for copyright infringement over Monster's use of the band's music in a promotional video without permission. The video featured a DJ performance that included songs and a mix of Beastie Boys music. While Monster claimed they believed they had approval from the DJ to use the music, the court ruled in favor of the Beastie Boys and awarded them $1.7 million in damages, finding Monster had infringed on their copyrights. The court also dismissed Monster's lawsuit against the DJ that had performed, determining his response of "Dope!" did not constitute a valid approval or contract to use the music.
Kehlani is a 21-year-old American R&B singer originally from Oakland, California. She gained initial fame as a member of the pop group PopLyfe, which was an America's Got Talent finalist. Kehlani's 2015 mixtape You Should Be Here debuted at number 5 on the R&B/Hip-Hop chart and led to a sold-out North American tour. In 2016, she was nominated for a Best Urban Contemporary Album Grammy. The lyrics of her song "Gangsta" represent an abusive relationship between a highly devoted woman and her partner, similar to the characters of Harley Quinn and the Joker in Suicide Squad, which the music video
1) The filmmaker will own the copyright to their original filmed footage and studio title logos to prevent others from using it without permission.
2) Permission must be obtained from any actors under 18 years of age, as well as from any companies if their logos are included.
3) Additional video footage, sound effects, music or songs found online require permission from the original owner to avoid copyright issues, unless they are royalty/stock free.
The document is a questionnaire that was filled out by 40 people divided into four age groups (0-20, 21-30, 31-40, 41+) about their music preferences and consumption habits. It asks about favorite songs and artists, whether music videos and their elements influence music and song purchases, what music platforms and genres they prefer, and how they typically listen to and engage with music.
The document outlines the British Board of Film Classification (BBFC) rating system for films in the UK. It describes the content restrictions and guidelines for each rating level:
- U films should be suitable for ages 4+ and contain no more than mild violence, threat or horror. Discriminatory language must be disapproved of.
- PG films should not unsettle children aged around 8+, but may contain mild language, violence, and implications of sexual activity or drug use.
- 12A/12 films may have stronger language, violence, and sexual references but they must be brief and discreet. Moderate violence is permitted.
- 15 films are restricted to ages 15+ and can contain stronger language
The BBFC (British Board of Film Classification) is a non-governmental organization founded in 1912 that is responsible for classifying films, videos, DVDs, and some video games in the UK. It gets funding from film producers who must pay the BBFC to review and classify their films. There are seven different age ratings that can be given to films, ranging from universal to restricted 18 ratings. Legal acts like the Obscene Publications Act and Video Recordings Act give the BBFC powers to restrict films that breach laws around issues like pornography and violence.
The document discusses film ratings by the British Board of Film Classification (BBFC) and what types of content are acceptable for different age ratings. A 15 rating means no one under 15 can watch and content is restricted in terms of violence, language, nudity, and more. An 18 rating means adults can choose their entertainment but some content is banned if it is illegal or can cause harm. The document then provides an example of a film that would likely receive a 15 rating due to its plot involving torture, ghosts, and revenge. It analyzes why this film would appeal to the target 15 year old audience. Finally, it introduces a target audience member, Sophie, a 16 year old art student who enjoys horror films for
Audience & regulations of music videosEmmaJaneSixx
The document discusses several theories related to how audiences interact with and interpret media content, including the uses and gratifications theory, hypodermic needle theory, and Hall's encoding/decoding model. It also addresses factors to consider when creating a music video for teenagers, such as providing escapism and information without being too formal. Additionally, it notes research finding high levels of violence in rap and rock music videos and the need to regulate music video content and classifications.
Troye Sivan released his first studio album Blue Neighbourhood in 2015. The album explores themes of heartbreak and affirmation relating to Sivan's sexuality through its lyrics and music videos. While some critics praised Sivan's vulnerable voice and exploration of LGBT themes, the explicit portrayal of a gay relationship faced homophobia from some audiences. Overall, the album was a commercial and critical success that resonated most with progressive young adults open to its themes of self-acceptance.
This document discusses the regulation of music videos in the UK by OFCOM. OFCOM creates laws around protecting those under 18, including observing the watershed hours of 9pm-5:30am. Music video channels like MTV edit videos to make them suitable for TV, banning or censoring videos with inappropriate content like sex, drugs, or violence. Certain popular music videos have been banned for their explicit lyrics or sexual imagery.
The document analyzes survey responses from an audience about their music video preferences. It finds that most respondents are female aged 11-24 who watch music videos daily on YouTube. They prefer rock music and want music videos to be comical without serious plots. Most think music videos are important for promoting artists. The document concludes it will make a punk rock music video for YouTube that is comical without deep meaning to appeal to its target audience based on these findings.
The document discusses ethical issues in the media industry, focusing on film classification by the British Board of Film Classification (BBFC). It provides background on the BBFC and describes debates around whether and how it should regulate content to protect children from potential influences. Both pros and cons of the BBFC are outlined, and examples like the Bobo doll experiment are presented to argue that media can influence child behavior. Specific films banned by the BBFC like The Human Centipede 2 are also examined, as well as the history of "Video Nasties" in the UK. The conclusion weighs both sides of whether film classification is still needed.
Regulations- Standards of Taste and Decencylexibenson123
- Ofcom regulates broadcasting standards in the UK and oversees the watershed at 9pm, before which content should be suitable for those under 15.
- There is debate around the level of violence, sexual content, language, and imitative behavior shown on TV, with many arguing certain content should be restricted before 9pm to protect children.
- Audience research found the greatest concerns were around realistic portrayals of violence, drug/alcohol abuse, and the influence of inappropriate role models on reality shows and soaps.
The document discusses targeting a 15+ age rating for a media product and the ideal target audience. A 15+ rating allows some violent content but restricts strong language, sexual content, and drug use. The target audience is described as middle-class 15-17 year olds interested in crime/action genres. An example target viewer named Tom, age 19, is provided who enjoys crime TV shows and films from the genre. The document suggests an urban audience may also be interested due to the crime genre relating to inner city influences.
The BBFC is a non-governmental organization that is responsible for classifying films in the UK based on their content. It was established over 100 years ago and considers factors like violence, language, sexual content and more when rating films. The BBFC aims to restrict children from viewing inappropriate content and ensure they only watch age-appropriate movies. One film that was heavily cut by the BBFC was The Human Centipede 2, which they wanted to remove over 2 minutes of footage from due to its graphic and violent nature. If the filmmakers did not agree to these edits, the film would not have received a classification to be released in the UK.
This document discusses three examples of radio broadcasts that breached advertising and broadcasting codes in the UK.
In the first example, a radio presenter inappropriately promoted a local event during his show by failing to separate the advertising from the program content. The second example discusses two radio hosts that were fired for urging listeners to vote for a specific political candidate during an election period, showing bias.
The third and most severe example outlines how a radio DJ on Kiss FM breached broadcasting codes protecting children on eight separate occasions over six months through inappropriate sexual discussions, pranks, and pre-recorded content that was not properly edited. The station was later sued for a large sum of money due to these breaches.
Lil Boosie is one of the most respected gangster rappers in the south. He grew up in a rough neighborhood in Baton Rouge and had a dysfunctional family life. Boosie's music resonates deeply with people from the hood as he keeps it real about his experiences. However, some argue his music has negatively influenced criminal behavior. While Boosie gained fame and success, he also faced legal issues including gun and drug charges as well as murder charges from a previous incarceration. Boosie remains an icon in the south for his authentic gangster image.
Lil Boosie is one of the most respected gangster rappers in the south due to his authentic lyrics about the struggles of living in poverty and crime-ridden neighborhoods. While his music has provided a voice for many and boosted his credibility in the streets, it has also potentially influenced criminal behavior. Boosie is currently incarcerated facing charges including murder, gun and drug possession, and bringing contraband into a prison facility.
- The document analyzes representations of gender in rap music videos. Male rappers are typically depicted as wealthy, dominant, and sometimes violent. Females are often sexualized and objectified.
- Cinematography, costumes, and setting are used to portray males as rich and powerful through displays of money, jewelry, and mansions. Females wear minimal clothing and are shown as lusting after males.
- These representations may appeal to a male target audience but could offend feminists who see women as objects. They also reinforce stereotypes around masculinity, wealth, and the rap lifestyle.
The document discusses conducting a survey to determine the target audience for a media product. The survey found that both male and female respondents between the ages of 15-25 enjoy watching thriller films, especially horror thrillers, because they like the suspense and feeling of being scared but conquering their fears. Based on the survey results, the media product will be a horror thriller aimed at appealing to those in the 15-25 age range.
- The document discusses market research conducted by Abbey Moss to help decide factors for a music video they plan to produce. A survey of 10 college students provided results about preferences for genres, concepts, and willingness to pay.
- Based on the results, the music video will be aimed at males ages 17-19 and feature rock music and performance concepts. Over half of respondents said they would pay between £1-5 for a music video.
- Abbey Moss will use the results to decide how to theme, style, and potentially monetize the music video to best appeal to the target demographic identified in the market research.
The Beastie Boys sued Monster Energy for copyright infringement over Monster's use of the band's music in a promotional video without permission. The video featured a DJ performance that included songs and a mix of Beastie Boys music. While Monster claimed they believed they had approval from the DJ to use the music, the court ruled in favor of the Beastie Boys and awarded them $1.7 million in damages, finding Monster had infringed on their copyrights. The court also dismissed Monster's lawsuit against the DJ that had performed, determining his response of "Dope!" did not constitute a valid approval or contract to use the music.
Kehlani is a 21-year-old American R&B singer originally from Oakland, California. She gained initial fame as a member of the pop group PopLyfe, which was an America's Got Talent finalist. Kehlani's 2015 mixtape You Should Be Here debuted at number 5 on the R&B/Hip-Hop chart and led to a sold-out North American tour. In 2016, she was nominated for a Best Urban Contemporary Album Grammy. The lyrics of her song "Gangsta" represent an abusive relationship between a highly devoted woman and her partner, similar to the characters of Harley Quinn and the Joker in Suicide Squad, which the music video
1) The filmmaker will own the copyright to their original filmed footage and studio title logos to prevent others from using it without permission.
2) Permission must be obtained from any actors under 18 years of age, as well as from any companies if their logos are included.
3) Additional video footage, sound effects, music or songs found online require permission from the original owner to avoid copyright issues, unless they are royalty/stock free.
The document is a questionnaire that was filled out by 40 people divided into four age groups (0-20, 21-30, 31-40, 41+) about their music preferences and consumption habits. It asks about favorite songs and artists, whether music videos and their elements influence music and song purchases, what music platforms and genres they prefer, and how they typically listen to and engage with music.
The document outlines the British Board of Film Classification (BBFC) rating system for films in the UK. It describes the content restrictions and guidelines for each rating level:
- U films should be suitable for ages 4+ and contain no more than mild violence, threat or horror. Discriminatory language must be disapproved of.
- PG films should not unsettle children aged around 8+, but may contain mild language, violence, and implications of sexual activity or drug use.
- 12A/12 films may have stronger language, violence, and sexual references but they must be brief and discreet. Moderate violence is permitted.
- 15 films are restricted to ages 15+ and can contain stronger language
The BBFC (British Board of Film Classification) is a non-governmental organization founded in 1912 that is responsible for classifying films, videos, DVDs, and some video games in the UK. It gets funding from film producers who must pay the BBFC to review and classify their films. There are seven different age ratings that can be given to films, ranging from universal to restricted 18 ratings. Legal acts like the Obscene Publications Act and Video Recordings Act give the BBFC powers to restrict films that breach laws around issues like pornography and violence.
The document discusses film ratings by the British Board of Film Classification (BBFC) and what types of content are acceptable for different age ratings. A 15 rating means no one under 15 can watch and content is restricted in terms of violence, language, nudity, and more. An 18 rating means adults can choose their entertainment but some content is banned if it is illegal or can cause harm. The document then provides an example of a film that would likely receive a 15 rating due to its plot involving torture, ghosts, and revenge. It analyzes why this film would appeal to the target 15 year old audience. Finally, it introduces a target audience member, Sophie, a 16 year old art student who enjoys horror films for
Audience & regulations of music videosEmmaJaneSixx
The document discusses several theories related to how audiences interact with and interpret media content, including the uses and gratifications theory, hypodermic needle theory, and Hall's encoding/decoding model. It also addresses factors to consider when creating a music video for teenagers, such as providing escapism and information without being too formal. Additionally, it notes research finding high levels of violence in rap and rock music videos and the need to regulate music video content and classifications.
Troye Sivan released his first studio album Blue Neighbourhood in 2015. The album explores themes of heartbreak and affirmation relating to Sivan's sexuality through its lyrics and music videos. While some critics praised Sivan's vulnerable voice and exploration of LGBT themes, the explicit portrayal of a gay relationship faced homophobia from some audiences. Overall, the album was a commercial and critical success that resonated most with progressive young adults open to its themes of self-acceptance.
This document discusses the regulation of music videos in the UK by OFCOM. OFCOM creates laws around protecting those under 18, including observing the watershed hours of 9pm-5:30am. Music video channels like MTV edit videos to make them suitable for TV, banning or censoring videos with inappropriate content like sex, drugs, or violence. Certain popular music videos have been banned for their explicit lyrics or sexual imagery.
The document analyzes survey responses from an audience about their music video preferences. It finds that most respondents are female aged 11-24 who watch music videos daily on YouTube. They prefer rock music and want music videos to be comical without serious plots. Most think music videos are important for promoting artists. The document concludes it will make a punk rock music video for YouTube that is comical without deep meaning to appeal to its target audience based on these findings.
The document discusses research conducted to understand the target audience for a music video about women's and transgender issues and empowerment. A survey was administered on social media to determine the audience was mostly female aged 15-25 from South Asian culture interested in social issues. The target audience prefers hybrid music videos that blend genres and tell stories. The research informed how to engage the target audience through an artist website, social media promotion, and selling music.
This documentary will explore the connection between rap music and violence. The filmmaker was inspired to make this documentary because, while they enjoy rap music, they do not engage in violent acts themselves. This contradicts claims that rap directly causes violence. The documentary will investigate public opinions on this topic, showing perspectives that rap does not necessarily promote violence and can have anti-violence messages. Interviews will feature both rap fans and non-fans. The purpose is to raise questions about whether rap truly causes violence or if this is a scapegoat.
The document discusses representation in a music video. It summarizes that the music video portrays women in a voyeuristic way through revealing outfits and surrounding the all-male band, while the men are fully covered. The cast is all white and would appeal most to a middle-class British audience aged 16-30. Overall, the music video reinforces traditional stereotypes of gender, sexuality, ethnicity and social class that are commonly found in media and popular music videos. The student aimed to avoid these stereotypes in their own music video production by not sexualizing women and portraying youth as feeling isolated rather than part of a group.
The document discusses the results of a questionnaire given to a target audience of 18-24 year olds about their music video preferences. Most respondents preferred rock and house music, genres typically associated with males. They also preferred narrative-based music videos over performance videos. Most had watched controversial videos by Miley Cyrus, Rihanna, and Nicki Minaj due to media hype. Common favorites included styles that were narrative-based with bold colors and extreme camera angles. The document discusses incorporating these elements into a new music video to appeal to the target audience.
The document summarizes the results of a questionnaire about music video preferences. It finds that most respondents were female aged 16-20 who prefer pop and rock music. Respondents said they watch music videos primarily to be entertained but also to identify with artists. They indicated the artist's performance was the most important element and they prefer performance-based over narrative-based videos. Common favorite artists named were Taylor Swift, Jason Mraz, and Katy Perry. The document concludes narrative and strong performances should be included to make the target music video appealing.
The document discusses UK regulation of content on television by Ofcom. It describes the watershed at 9pm, before which content is restricted and not suitable for children under 15. Ofcom gathers public opinions to review and analyze broadcasting standards. Violence, sexual content, language, and imitative behaviors are debated, with most agreeing some restrictions should apply before 9pm to protect children. Reasons for regulation include not wanting children negatively influenced or exposed to inappropriate material. However, some content can also be educational for children.
The document discusses the target demographic for a music video production. It describes the target audience as predominantly female, aged 17-21, who are white British, middle/lower class, and interested in social media, indie music, and LGBTQ+ representation. Feedback was collected from 16 people within this demographic through anonymous questionnaires. Their feedback helped improve the music video by highlighting specific elements to refine.
The document summarizes the results of a music-based questionnaire given to 10 people between the ages of 5-22. Key findings include:
- Equal numbers of males and females took the survey, allowing comparisons between genders.
- Most respondents were between ages 11-16 and 17-22, indicating the target audience for a music video should be teenagers.
- Pop and R&B were the most popular genres, so the author chose to create a pop music video.
- Respondents reported listening to and watching music videos multiple times per day via apps and social media.
- Artists and word-of-mouth most encouraged watching music videos.
This document summarizes the key insights gained from a questionnaire about the target audience for a music video. It indicates that the target audience is split evenly between genders and aged 16-20 primarily. It notes that YouTube is the primary platform and that the audience prefers conceptual and narrative aspects in music videos. Rock music is the preferred genre. The summary emphasizes that the video should have substance over style with an underlying message but still be pleasurable and not overly long so the target audience can view it conveniently.
Question three target audience finished 2ndemmacalder123
The document discusses gathering audience feedback for music products targeted at males and females aged 16-25. Feedback was collected through surveys on social media, interviews, and focus groups to understand how to improve products and ensure they appealed to the target demographic. Collecting qualitative feedback through face-to-face interviews proved most useful, as it allowed for elaboration and clarification. Audience feedback was vital to creating high quality, visually pleasing products that the target audience wanted.
The document discusses planning for a music video for an indie/pop song aimed at a target audience of 16-25 year olds. Research found this age group prefers indie/pop music and engages strongly with it. The music video will feature both male and female artists to appeal to both genders equally within the target demographic. It will use themes of freedom and childhood innocence to transport viewers and draw on theories of utopianism through its bright colors and actors' happy facial expressions.
The document discusses research conducted to identify the target audience for an R&B song called "If You Wanna Leave" by Tyler Noel. Initially, the target audience was thought to be mainly females, as R&B songs often focus on love and relationships, which females tend to relate to more than males. However, further research found that the target audience was narrower - specifically black females over 25 interested in soul and pop music. Feedback from this audience helped improve the music video by providing more characterization of the male antagonist and correcting technical issues.
The document summarizes the results of a survey of 20 people about their media consumption habits and preferences. It found that the target audience is mostly white, aged 18-28, and straight. Most popular genres are action, comedy, and drama. Most respondents go to the cinema at least once a month. The main draw of a film is the actors, followed by plot. Respondents find out about new films mostly on social media and television. Their favorite music genres are R&B, hip hop, rock, and house. Facebook is the most popular social media platform. Respondents prefer to socialize with friends or watch TV for free time. Most are students or working students.
The document discusses the positive and negative aspects of censorship. On the positive side, censorship can prevent children from being exposed to inappropriate content like bad language, violence, and bad manners. However, censorship can also limit freedom of speech and control what people think. While some regulation of media content may be good, absolute censorship infringes on personal freedom.
The document summarizes market research conducted to inform the production of a music video. A questionnaire was distributed to 20 individuals with a range of ages and genders. Most respondents were ages 17-21 and watched music videos on YouTube. The most popular music genres were indie, pop, and R&B. Most preferred an abstract style for the video and a happy narrative. The research will influence creative choices for the video, such as using a pop/rap hybrid genre, abstract style, happy narrative, and conventions like attractive artists, dancing, and costumes.
Similar to Pitch presentation maryam's documentary (20)
This document provides an audit of video, audio, photography, and web-based skills across multiple categories. It rates the skill level as red, amber, or green and provides evidence and targets for development. The goal is to improve skills in areas rated amber or red such as sound layering, recording voiceovers, creating original music, and externally lighting scenes. Overall it aims to advance technical, creative, and online skills through practical experience and setting goals.
This document contains a skills audit assessing proficiency in various research skills. It rates the individual's skills in areas like interviews, questionnaires, focus groups, identifying and following up leads, qualitative and quantitative research as either red, amber, or green. For each skill rated amber or green, it provides links to blogs or documents as evidence of experience or proficiency in that area. The skills audit covers both primary research skills like interviews and questionnaires, as well as secondary research skills such as identifying information sources, understanding target audiences and markets, and storing information.
Sony BMG is the record label. The record label produces genres such as R&B, hip-hop, and classical. Some artists signed to Sony BMG include R. Kelly, Kesha, and JLS. Cameron Strang is the CEO and is responsible for worldwide operations. Michael Nash is the Executive Vice President of Digital Strategy and reports to the CEO. Kelly Milson is a producer who works with artists and reports to the A&R and Manager departments.
Tempa Records is a small, East London-based record label that specializes in dubstep music. They target young teenagers and adults between 13-25, as dubstep's loud bass is popular at clubs and parties. The label promotes its artists mainly through social media and performances on BBC Radio 1. It distributes music through iTunes and its website. Notable artists on Tempa Records include Allstars, Cosmin TRG, Benga, and Skream.
The document contains an assessment of a student's advertising project. It evaluates the student's understanding of advertising conventions, ability to work as part of a team, planning and meeting deadlines, camera skills using various shot types, editing to create meaning, and creative use of mise-en-scene. The student received marks ranging from 2 to 5 out of 5 and provided targets for improvement on future projects such as using more advanced camera shots, less transitions in editing, and improved planning.
Fairness and providing balanced perspectives were important ethical considerations in producing the documentary. To ensure fairness, the filmmaker selected interviewees with a variety of relevant opinions, asked open-ended questions, and showed interviewees the questions beforehand. Diverse opinions from individuals of all backgrounds were included. Both positive and negative perspectives on censoring sexually explicit music videos were represented. A balance of male and female voices from different ethnicities and ages were featured to provide multiple views. The filmmaker aimed to accurately represent interviewees' statements without bias or manipulation.
1) The document discusses several legal and ethical constraints that affected the production of a documentary, including copyright, consent, privacy, libel, trespassing.
2) To avoid copyright issues, the producer filmed their own cutaways and music videos rather than using content from YouTube. They also included copyright notices for any archived footage.
3) Consent forms were used for interviews and permission was obtained before filming anyone. Questions were reviewed to avoid privacy or comfort issues.
4) Care was taken to avoid libelous claims or inappropriate use of people's images.
5) Permission was obtained to film at locations and the producer did not trespass anywhere without consent.
The NUJ codes of conduct require journalists to report information honestly, accurately, and fairly. This document discusses how the codes affected the student's documentary project. To comply with the codes, the student had to obtain interviews from people with different backgrounds to provide varied opinions. The interviews were conducted openly with permission. Facts were differentiated from opinions to ensure balanced and truthful reporting. The codes prevented covert filming that could be unethical or illegal for the student's topic of exploring views on portrayals of women in music videos.
First Pitch presentation for my documentaryMaro Lafif
The document discusses plans for a documentary investigating censorship of music videos and the objectification of women. It will examine the impacts of censorship and objectification, and obtain diverse opinions on these issues. Interviews will be conducted with artists, producers, directors, teachers, and officials who classify music videos. The goal is to understand how and why music video content has become an issue, and the potential effects on young people and society if inappropriate content continues without restriction.
This document outlines several legal, ethical and health and safety issues to consider for a media production project. It discusses requirements around copyright and permissions for locations and talent. Ethical issues that could impact the work include handling sensitive information, maintaining balance and avoiding bias, and properly representing subjects. Health and safety risks involve carrying equipment, interacting with strangers, exposed wires and weather conditions. The document provides suggestions for managing these risks, such as using release forms and considering subject matter and representation carefully.
This document outlines several legal, ethical, and health and safety issues to consider for a documentary production. Legally, permissions are required for use of copyrighted music, videos, and locations. Ethically, sensitive topics require handling with care, and balance/lack of bias are important. Health and safety risks include carrying heavy equipment, exposed wires, weather conditions, and working with strangers. Managing risks involves following ethical standards, obtaining releases, addressing safety with equipment, and avoiding unsafe situations.
The first Pitch Presentation prior any Audience ResearchMaro Lafif
The document discusses plans for a documentary investigating censorship of music videos and the objectification of women. It will examine how far censorship can go in controlling published content and explore both negative and positive impacts of objectification. Interviews will seek polarized opinions on these issues. The documentary will also analyze how objectification most commonly occurs in genres like R&B, rap and hip hop. It aims to shed light on debates around censorship and understand different perspectives regarding the portrayal of women in music videos.
The document provides details about the target audience for a documentary about government censorship of sexy music videos. The primary target audience is 16-18 year olds from a mixed ethnic background living in London. They come from working to middle class families and have interests in music, sports, books and other typical teenage hobbies. The documentary aims to appeal to both female and male teenagers.
Altered target audience profile for my documentary 2Maro Lafif
The document summarizes the target audience for a documentary about government censorship of sexually explicit music videos. The primary target audience is 18-20 year old males and females from a mixed ethnic background who are well-educated, hard-working, and either in college, employment or training. They live in London and engage in activities like music, sports, reading and shopping. The target audience aims to appeal to young people and generate discussion around the debate of government censorship.
Maryam Latifi conducted audience research for her documentary on government censorship of sexually explicit music videos. She found that her initial target audience of 16-17 year olds was not appropriate, as they lacked knowledge of the topic. She also found that her title was too long. Based on the research, she revised her target audience to be older and more educated individuals familiar with issues of censorship. She also shortened the title. The research showed preferences for an investigative documentary using factual information and opinions, distributed online for viewing on laptops.
The document proposes an idea for an environmental advertisement targeting teenagers. The ad would show characters turning off lights and electrical appliances to create a soundtrack, with voiceovers about reducing energy use to address global warming. Humor and appealing rhythms would engage the target audience. Research found most teenagers do not always unplug devices but prefer humorous campaigns. The ad would be filmed on a college campus and use iMovie to edit soundtrack elements and convey the message of finding easy ways to reduce energy consumption through lifestyle changes.
The document proposes an idea for an environmental advertisement targeting teenagers. The ad would show characters turning off lights and electrical appliances to create a soundtrack, with voiceovers about reducing energy use to address global warming. Humor and appealing rhythms would engage the target audience. Research found teenagers don't always unplug devices but prefer humorous campaigns. The ad would be filmed on a college campus and use iMovie to edit soundtrack elements and convey the message of finding easy ways to reduce energy consumption through lifestyle changes.
EMI stands for Electric & Musical Industries. It began in 1931 when the Gramophone Company merged with Columbia Graphophone to form EMI. EMI is now one of the world's leading music companies and has represented many successful artists over the years such as The Beatles, Pink Floyd, and Robbie Williams. However, EMI has also struggled financially in recent years, requiring cash injections to avoid bankruptcy.
EMI stands for Electric & Musical Industries. It began in 1887 when inventor Emile Berliner demonstrated the first gramophone. In 1931, the Gramophone Company merged with Columbia Graphophone to form EMI. EMI is located at the famous Abbey Road Studios in London and has signed many successful artists over the years such as The Beatles, Pink Floyd, and David Bowie.
The document outlines plans for a short film to raise awareness of climate change among teenagers. It aims to encourage small lifestyle changes to reduce energy use and environmental impact. The film will use humor and surreal elements to depict a careless teenager faced with electrical devices suddenly shutting off due to energy shortage, representing future effects of climate change. Research including a questionnaire of teenagers informed the messaging and comedic approach to appeal to and persuade the target audience.
The Future of Independent Filmmaking Trends and Job OpportunitiesLetsFAME
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Leonardo DiCaprio House: A Journey Through His Extravagant Real Estate Portfoliogreendigital
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
Morgan Freeman is Jimi Hendrix: Unveiling the Intriguing Hypothesisgreendigital
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
Leonardo DiCaprio Super Bowl: Hollywood Meets America’s Favorite Gamegreendigital
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
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Introduction
The world of Hollywood is vast and interconnected. filled with countless stories of collaboration, friendship, and influence. Among these tales are the notable narratives of Brian Peck and Leonardo DiCaprio. The keyword "Brian Peck Leonardo DiCaprio" might not immediately ring a bell for everyone. but the connection between these two figures in the entertainment industry is intriguing and significant. This article delves deep into their lives, careers, and the moments where their paths intersect. providing a comprehensive look at how their stories intertwine.
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Early Life and Career Beginnings
Brian Peck: The Early Years
Brian Peck was born in New York City on July 29, 1960. From a young age, Peck exhibited a passion for the performing arts. He attended the Professional Children's School. which has a history of nurturing young talent in the arts. Peck's early career marked by a series of roles in television and film that showcased his versatility as an actor.
Peck's breakthrough came with his role in the cult classic "The Return of the Living Dead" (1985). His performance as Scuz, one of the punk rockers who releases a toxic gas that reanimates the dead. earned him a place in the annals of horror cinema. This role opened doors for Peck. allowing him to explore various facets of the entertainment industry. including writing and directing.
Leonardo DiCaprio: From Child Star to Hollywood Icon
Leonardo DiCaprio was born in Los Angeles, California, on November 11, 1974. His career began at a young age with appearances in television commercials and educational films. DiCaprio's big break came when he joined the cast of the popular sitcom "Growing Pains" (1985-1992). where he played the character Luke Brower.
DiCaprio's transition from television to film was seamless. He gained recognition for his role in "This Boy's Life" (1993) alongside Robert De Niro. This performance began a series of acclaimed roles. establishing DiCaprio as one of the most talented actors of his generation. His portrayal of Jack Dawson in James Cameron's "Titanic" (1997) catapulted him to global stardom. solidifying his status as a Hollywood icon.
Brian Peck Leonardo DiCaprio: Their Paths Cross
Collaborations and Connections
The keyword "Brian Peck Leonardo DiCaprio" signifies more than two names; it represents a fascinating connection in Hollywood. While their careers took different trajectories, their paths crossed in the 1990s. Brian Peck worked with DiCaprio on the set of the 1990s sitcom "Growing Pains." where DiCaprio had a recurring role. Peck appeared in a few episodes. contributing to the comedic and dynamic environment of the show.
Their professional relationship extended beyond "Growing Pains." Peck directed DiCaprio in several educational videos for the "Disneyland Fun" series. where DiCaprio's youthful charm and energy were evident. These early collaborations offered DiCaprio valuable experience in front of the camera. he
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The Evolution and Impact of Tom Cruise Long Hairgreendigital
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
1. Maryam Latifi
It is important to make it clear that my documentary will mainly be about
investigating the extend to how far censorships or the classification of music
video can go to control what is being published on TV? In addition, I will also
look at the severe negative or perhaps positive impacts on the objectification
of women. This will enable me to obtain polarized opinions.
The objectification of women are more likely to occur particularly in R&B, Rap
or Hip Hop music videos.
The gab in the market for my documentary is big as it has become less of an
issue in reality where men loves to see it more and more and a majority of
women aren’t really bother about the fact that their bodies are seen as sex
objects. For example, a man can used a woman’s body and when he is done
with her he throws her body away in the recycle bin for other men to use
her, metaphorically speaking. In reality, prostitutes loses their person and is
made ‘into a thing’ for other men to easily use it. In a way objectification of
women in music videos is like a prostitution business.
2. When did it become an issue in the eyes of the public?
It all became an issue days back in the history of censorship of music videos, where a vast
majority of music videos were inappropriately and unacceptably used by artists or
musician to express their feelings, messages, thoughts, ideas and what they belief or
think about certain things through the use of music videos
Since then, that has lead to many controversy and the viewers started to complain more
to the British Board of Film Classification.
Therefore, the government stepped in officially announced on news programs that there
is going to be censorships on sexually explicit music videos.
This has started another generation where music videos must be censored to protect
younger listeners particularly sexualised music videos. This is how the issue discussed in
my documentary was introduced to the wider public by the highly qualified
professionals who know and are aware of the serious consequences of sexualised music
videos.
At last, this is also how I got introduced to the proposed treatment of my documentary.
3. British Board of Film Classification
This means that any music videos or film is suitable for
12 years and over.
To be shown only in specially
Parental Guidance –
licensed cinemas, or
General viewing but some
supplied only in licensed sex
scenes may be unsuitable
shops, and to adults of not
for younger children.
less than 18 years
This means Universal as in This means that any media
it is suitable for all. texts are suitable for 15 years
or over.
Suitable only for adults
aged 18 and over.
4. Music videos being classified by the British Board of
Film Classification.
http://www.bbfc.co.uk/search/?searchwhere=db&q=m
usic+videos
http://www.bbfc.co.uk/AVV173232/
This shows the amount of music videos being
censored and the specific details of the music videos
being censored (e.g. Mariah Carey/Lover boy).
5. I have decided for my documentary to take place in
multiple locations. That is:
- on the street for my Vox Pops asking questions to
teenagers, parents and the members of the wider public.
- In an office for my interviews with teachers
- In a studio or music company where I can interview artists
particularly women who are paid to reveal their clothing in
music videos mainly for men. Yet also, I will also interview
producers or directors who are in charge of producing such
music videos where women are objectified and men are
used to feed their appetite through the objectification of
women’s bodies.
- At last, I will also go to an institute that deals with the
classification or censorship of music videos.
- I will be using a range of locations to produce a good
documentary and meet my purposes effectively by being
able to visit the locations that I have chosen for my
documentary. For example, I have to visit one of the major
recording companies such as EMI to interview an expert in
producing music videos including R&B, Hip Hop or Rap
videos.
6. My characters
For my characters bit I will have to first make sure who is available and who isn’t. For
example, if I want to choose a teenager as my character but I have to make sure that
I record the scenes whenever or wherever the character can talk to me for Vox Pops.
In total I might use approx. 7 characters.
1- director
2- female artist
3- parents
4- teenagers
5- teacher
6- psychologist interviewing him/her on the effects of Mass Media on teenagers
physically, intellectually, emotionally and socially.
7- doctor
- The presenters is going to be myself as I want to do a participatory and investigative
documentary.
- Some of the characters are teenagers, parents, teachers, artists in a record
label, British Board of Film Classification staff in charge, where they also censor
music videos.
- The experts are artists from a record company, teachers in how it impact the
educational attainment of boys and girls, academically, a member of the industries
that censor or classify music videos.
7. Why do people care about this subject matter?
The reason why people should care or do care about what music videos actually
publish, how it has got a negative influence in young girls and boys and how censorships
or classifications can go to extreme messages to ban videos that objectifies women is
because sexualization has negative consequences for girls and for the rest of society where
women will start to see themselves as sex objects , spend lots of time and emphasis on
their appearance and men can see themselves as sex machines who will believe that they
are allowed to be violent, aggressive, disrespectful and promiscuous towards women.
Violence in Mass Media will mean the use of common props such as guns, machine
guns, knives or other sharp objects, gang culture and symbols and illegal drugs will be
shown in music videos that lead to serious causes of offense, violence, threats, murders
and many other obstacles in real life as many people can feel offended or discriminated
against by certain things or certain individuals in the music videos. Therefore, it is very
crucial to be aware what is acceptable or unacceptable to be aired on TV.
Most importantly, what children or young people see on TV can have a negative or positive
impact on them in reality. They are more likely to believe in what they see on TV and start
to imitate the actions or activities that they see or hear on TV. For example, teenagers are
more likely to start wear what they see as appropriate or stylish on TV from music videos
that is worn by singers or celebrities such as mini skirts, shorts or more revealing clothing.
8. Why are you doing it?
The reason why I have decided to make a documentary about the government censoring
music videos that particularly objectifies women is because I believe that a vast majority
of music videos are going beyond the limit with what they think it is appropriate to
publish on TV in their music videos. Their music videos are almost becoming so
pornographic, inappropriate and unacceptable to watch for most of the viewers who are
sensitive with certain inappropriate props or scenes in the music videos.
But the government has got the authorization to do something about the dehumanization
of women and exceeds the aggressiveness of men as it brings negative influence on our
younger generation of teenagers who , instead, should be more
positive, optimistic, respectful, mannered and know what is morally good or wrong
rather than seeing women as sex objects and engaging in illegal or inappropriate
activities through what they believe from the music videos is right and doable.
Secondly, I want to also find out and know more about why music videos produce such
videos where they intentionally convey the wrong message and confirm to their
stereotypes. For example, a lot of Black singers recite in their music videos their own
people ‘Niger’ such as Chris Brown. This is basically connoting to the viewers that it is
acceptable to call people from Black backgrounds ‘Niger’.
At last, I want to find out what possible impact it can have on our future generation if we
continue to allow such music videos to be produced and published. How will the futures
of these young people look like if we don’t stop this now. For example, will there be a
higher rates of prostitutes as women may start to believe it is actually a good that and
that they see nothing wrong with it. Yet also, we might have higher rates of gang voilence
and gang culture within our societies.
9. Is it an issue that links to the target audience?
My documentary definitely links to my target audience because censorship
companies are mainly protecting young people particularly teenagers who could be
at risk of being persuaded or encouraged to do immoral, illegal or unacceptable
activities that is often shown on music videos by their idols, favourite
singers, celebrities, artists or role models. For example, a majority of R&B music
videos encourage violence, inappropriate language or objectifies women more or
less in a pornographic way. For example, the song of Neyo ft. Trey Songz and T-
pain/ The way you move. Source: http://www.youtube.com/watch?v=_b2NqV5v87U
My documentary will mainly look at the impacts of the objectification of women, it
has on teenagers and how censorships will not mean that it will stop teenagers from
not hearing or seeing inappropriate scenes in music videos as they can always see it
on Internet where a majority of music videos that has particularly women revealing
their clothing on Youtube or other websites.
I will be also looking at how such music video has an impact on
teenagers, physically, emotionally, intellectually and socially.
10. Target Audience
My target audience are going
to be teenagers (boys and
girls) who likes listening
music and be free.
My primary target audience
are girls from any ethnic
background and class
aged 16- 19.
Whereas, my secondary
target audience are boys
aged 16-19 from any ethnic
background or class. This
is mainly because any
genre of music can
objectify women so the
target audience range is
broad.
11. Questions for the experts
What are the impacts on record labels or artists when
their music videos are censored or classified?
Why are directors producing music videos
that, intentionally, objectifies women and satisfy men
what they want to see?
Isn’t there any other way to reach a wider target audience
than to use women’s body to appeal to men or women?
Why?
What is the directors view about music videos being
banned, censored or classified by regulatory institutes?
What do female artists think about portraying a highly
negative role model for the younger females and greatens
male sex drives by using their bodies?
Do you think that in a way you are disrespecting females
as a whole within our society? Why?
How do you feel about being objectified or rather
disrespected by men in music videos?
Do you think you are being used? Why?
To what extend are institutes like the British Board of
Film Classification going to censor music videos?
12. Questions for the Vox Pops
The following questions are open qualitative questions
only:
What are your views about the objectification of
women in music videos?
Do you think it is right for women do use their bodies
as sex objects in music videos and entertain
particularly men?
Do you belief women are dehumanizing themselves
allowing objectification in the music videos to take
place?
Do you think it is right or wrong for a young female to
be obsessed about her body and appearance so that she
get enough attention from men based upon her
appearance and body shape? Why?
What do you think should happen or could be done for
music videos to stop objectifying women and start
respecting their dignity and status within the society?
What do you think we as viewers could do to protect
our younger generation in many ways from Internet or
TV?
13. Censorship in music videos are the acts of adjusting, editing, banning, or
altering products, expressions, or items considered to be
elicit, unlawful, lewd, or objectionable in nature with regard to the setting in
which they exist. I believe that censorships are mainly done to protect
people against any inappropriate elements that could be offensive in the
media texts.
14. Examples of music videos being censored.
Rihanna's 'S&M' video banned in 11
countries.
Robbie Williams/ Rock DJ - The video’s
ending (beginning with Williams taking off his
skin) was cut by most music channels around
Europe, including VIVA, MCM, MTV, The
Box and VH1 Europe.
Ciara- Ride - The accompanying music video
features sexually-charged, provocative
choreography, and therefore was not aired on
BET, and banned from UK music channels.
15.
16. Two more new idea that goes with
your main idea.
1) I could make another relevant documentary
about the impact it can have on the viewers about
the censorship of the objectification of women in
music videos to girls and boys in reality.
2) My other idea is more about the reasons, purpose
or aims that the music videos want to achieve by
having lots of naked women in their music
videos. What are they trying to express or convey
to us , as viewers.
17. Conclusion to my documentary
The conclusion to my documentary will be mainly focused on
summarizing my overall findings and meeting my objectives to
what I wanted to find out by producing this documentary.
I will include what have I investigated about the censorships of
music videos where it objectifies women.
Have I found out to what extend the government or the censorship
organizations have to go to control what is being published on
television?
In my conclusion I will also include what I have found out from
experts or personal opinions of the negative or positive impacts
the objectification of women in music videos has on teenagers in
many forms such as physically, intellectually, emotionally and
socially. I will be emphasising on polarised opinions.
Basically, in the conclusion bit I will just end the documentary by
gathering all the information that I have obtained through
researching and investigating.