Pop stars
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This document discusses how pop stars construct and maintain their public image through various media. It notes that a star's image is built from songs, album covers, interviews, performances, and music videos. Each new video can reinforce and evolve the star's image over time. The document then prompts imagining managing an artist's "image transition" or evolution, such as choosing an existing artist to benefit from this or creating a new one. Details would be created to make the scenario realistic and involve more than just a new video, like gaining additional exposure.
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Mv notes
Kid Rock targets stereotypical American rockers, straight males, and rock fans in his music videos. His brand presents him as wild, free, loud, and out there with a redneck persona that plays into stereotypes. His music videos have fast-paced shots that fit the fast style of his songs. The videos can either literally illustrate the song lyrics and themes or build on them to further develop the messages.
Take that
This document provides guidance on analyzing the career of the band Take That over time. It instructs to look at their album releases and singles, videos from different eras, consistent elements of their brand identity, how videos developed over time, potential connections between videos and album artwork, and budgets. The document also analyzes Take That's early brand identity as very metrosexual and how their image divided when Robbie Williams left the group, as seen in subsequent album artwork focusing on the remaining members.
Evaluation questions
The document provides guidance on conventions to consider for three different media products: a music video, CD digipak, and magazine ad. For the music video, it discusses common camera shots, emphasis on the artist and concept, narrative storytelling techniques, and Sven E Carlsson's three forms of visual tradition in music videos. For the CD digipak, it outlines typical front/back cover elements and considerations like imagery, fonts, representation of the artist/genre. For the magazine ad, it mentions continuity of brand identity, representation of the band/music, and techniques like quotes and taglines.
Question 1B
This document discusses key concepts for a Level Media Studies revision question about a year two production project. It mentions several genre theorists like Diane Railton and Joe Gow, and discusses how productions can use, develop, or challenge conventions of real media products. Narrative structure and implied narratives in music videos are also covered. The document then discusses media language techniques like camera angles, mise-en-scene, editing, sound, and performance that can be used to represent artists and appeal to audiences. Participatory culture and how audiences now create media is briefly touched on as well.
Goodwin’s music video theory
Goodwin developed a theory consisting of eight principles that can be applied to analyze any music video. The principles include: linking the lyrics and visuals, linking the music and visuals, showcasing genre characteristics, including intertextual references, employing notions of looking and voyeurism, addressing the demands of the record label, and being performance-based, narrative-based, or concept-based. Each principle is explained in more detail in the document.
Music video media lang
This document discusses several theories about how music videos construct meaning. It outlines Carol Vernalis' theory that focuses on 4 key concepts: 1) narrative, 2) editing, 3) camera movement and framing, and 4) diegesis. It also discusses Andrew Goodwin's view that thought, narrative, visuals, and technical aspects are important. Jump cuts, juxtaposed shots, breaking shot continuity rules, and nonlinear/fragmented narratives are provided as examples of techniques that construct meaning in music videos.
Part 1
Brad Linney created a music video to accompany his rock song. He analyzed his video using Andrew Goodwin's music video theory, focusing on the relationship between lyrics and video, how the music illustrates or contradicts the video, the diverse genres used, and links between different media. While some conventions like close-ups of band members were included, the video also took some unconventional approaches like limited lip syncing to emphasize rebellion. The packaging for the single was designed to incorporate the same themes of rebellion and power struggle as the video through its fiery color scheme and symbol.
G324 Evaluation Question 1 Draft
Our video uses conventions of the indie rock genre, such as a focus on live performance over narrative. It follows characteristics of music videos in this genre by including close-ups of the lead singer. While some conventions remain unchanged for commercial reasons, genres still evolve slowly over time, as seen in the differences between videos even within the same genre. Our video incorporates conventions of both the rock genre and indie rock subgenre through its use of instruments like guitar and drums and themes of negative emotions.
Recommended
Mv notes
Kid Rock targets stereotypical American rockers, straight males, and rock fans in his music videos. His brand presents him as wild, free, loud, and out there with a redneck persona that plays into stereotypes. His music videos have fast-paced shots that fit the fast style of his songs. The videos can either literally illustrate the song lyrics and themes or build on them to further develop the messages.
Take that
This document provides guidance on analyzing the career of the band Take That over time. It instructs to look at their album releases and singles, videos from different eras, consistent elements of their brand identity, how videos developed over time, potential connections between videos and album artwork, and budgets. The document also analyzes Take That's early brand identity as very metrosexual and how their image divided when Robbie Williams left the group, as seen in subsequent album artwork focusing on the remaining members.
Evaluation questions
The document provides guidance on conventions to consider for three different media products: a music video, CD digipak, and magazine ad. For the music video, it discusses common camera shots, emphasis on the artist and concept, narrative storytelling techniques, and Sven E Carlsson's three forms of visual tradition in music videos. For the CD digipak, it outlines typical front/back cover elements and considerations like imagery, fonts, representation of the artist/genre. For the magazine ad, it mentions continuity of brand identity, representation of the band/music, and techniques like quotes and taglines.
Question 1B
This document discusses key concepts for a Level Media Studies revision question about a year two production project. It mentions several genre theorists like Diane Railton and Joe Gow, and discusses how productions can use, develop, or challenge conventions of real media products. Narrative structure and implied narratives in music videos are also covered. The document then discusses media language techniques like camera angles, mise-en-scene, editing, sound, and performance that can be used to represent artists and appeal to audiences. Participatory culture and how audiences now create media is briefly touched on as well.
Goodwin’s music video theory
Goodwin developed a theory consisting of eight principles that can be applied to analyze any music video. The principles include: linking the lyrics and visuals, linking the music and visuals, showcasing genre characteristics, including intertextual references, employing notions of looking and voyeurism, addressing the demands of the record label, and being performance-based, narrative-based, or concept-based. Each principle is explained in more detail in the document.
Music video media lang
This document discusses several theories about how music videos construct meaning. It outlines Carol Vernalis' theory that focuses on 4 key concepts: 1) narrative, 2) editing, 3) camera movement and framing, and 4) diegesis. It also discusses Andrew Goodwin's view that thought, narrative, visuals, and technical aspects are important. Jump cuts, juxtaposed shots, breaking shot continuity rules, and nonlinear/fragmented narratives are provided as examples of techniques that construct meaning in music videos.
Part 1
Brad Linney created a music video to accompany his rock song. He analyzed his video using Andrew Goodwin's music video theory, focusing on the relationship between lyrics and video, how the music illustrates or contradicts the video, the diverse genres used, and links between different media. While some conventions like close-ups of band members were included, the video also took some unconventional approaches like limited lip syncing to emphasize rebellion. The packaging for the single was designed to incorporate the same themes of rebellion and power struggle as the video through its fiery color scheme and symbol.
G324 Evaluation Question 1 Draft
Our video uses conventions of the indie rock genre, such as a focus on live performance over narrative. It follows characteristics of music videos in this genre by including close-ups of the lead singer. While some conventions remain unchanged for commercial reasons, genres still evolve slowly over time, as seen in the differences between videos even within the same genre. Our video incorporates conventions of both the rock genre and indie rock subgenre through its use of instruments like guitar and drums and themes of negative emotions.
Types of music videos
There are three main types of music videos: performance, narrative, and conceptual. Performance videos focus on the artist singing and dancing and are common for promoting mainstream artists. Narrative videos tell a story, either illustrating, amplifying, or having little relation to the song lyrics. Conceptual videos are based around unique themes or symbols and are more common for indie artists who may not want to focus on self-promotion. Different types have advantages like being low-cost or allowing deeper audience engagement, and disadvantages like potentially being generic or confusing viewers.
Presentationquestion1
Over the course of their A-level media course, the student has developed an understanding of real media conventions through various coursework assignments including creating two film openings and a music video. In producing a thriller film opening, the student explored conventions of the psychological thriller genre such as narratives centered around crimes, protagonists in peril, and manipulation of perspectives. For their music video, the student analyzed conventions like illustrating lyrics and music visually, close-ups of artists, and voyeurism. Their critical analysis of TV dramas uncovered repetitive elements like camera shots, angles, editing, and sound that define television drama conventions.
Star Construction
The document discusses how a star's image is constructed from a range of materials through various means. A star image is constructed both textually through the artist and record company, and extratextually through other media publicity. While the music itself and promotional materials allow some control over image construction, a star's image can also develop beyond control. The document evaluates how Madonna's star image changed and developed progressively over her career from song to song and era to era.
Heaven questions lesson 1
This document provides questions to guide analysis of the music video for Emeli Sande's song "Heaven". It asks the viewer to consider themes presented in the lyrics and video, how the artist is represented, and how other people and places are portrayed. It also prompts discussion of camera work, music, and editing techniques used in the video. Finally, it asks the viewer to think about how the video reflects social issues and contexts of its time of release in 2011 in the UK. The document provides tasks for further research on the artist Emeli Sande and relevant social contexts from 2011 that may connect to themes in the song.
Goodwin’s Analysis
Goodwin's Analysis is a theory for analyzing music videos in seven steps: 1) Lyrics and visuals should relate, 2) Music and visuals should be cut in time, 3) Genres have characteristics, 4) Artists must meet label demands, 5) Videos can reference other media, 6) Voyeurism involves intimacy and screens, 7) Popular artists develop recognizable iconography. The document explains each step and provides examples to illustrate Goodwin's Analysis in action.
Video evaluation question
The document discusses how the media product develops and challenges conventions of real music videos. It agrees with Andrew Godwin's theory that music videos often demonstrate genre characteristics and have a relationship between music and visuals. The video includes intertextual references to other music videos and follows conventions of the record label. It portrays the protagonist in stereotypical urban settings but also challenges expectations by showing him appreciating nature, contrasting locations to leave more impact.
Evaluation 1
The document discusses how a media product uses, develops, and challenges conventions of real music videos. It analyzes the media product using several theories:
1. The product follows Andrew Goodwin's theory that the visuals illustrate the meaning of the lyrics.
2. It develops conventions by including both a narrative and performance that relate to each other but do not intertwine, challenging the typical integration of these elements.
3. The product was partly inspired by Ryan Adams' "Lucky Now" video but challenges Tzvetan Todorov's theory that all films follow a narrative pattern by not resolving the unhappiness conveyed in the lyrics and visuals.
Part One Of Evaluation
This document analyzes and summarizes the key aspects of a music video project according to media theorist Andrew Goodwin's framework. The student discusses how their music video, found at a provided URL, relates the lyrics and music, illustrates the genre conventions of rock music, and incorporates themes of rebellion in both the video and accompanying digital packaging. While some elements like close-ups were less applicable given the single performer, the analysis focuses on how the video interprets the themes of the song through its imagery and sequences. Criticism of one scene and choices regarding the digital packaging design are also addressed in terms of reinforcing the intended message.
Director study
Research music video directors and complete a blog post of at least one. Do they stay with one particular genre? Have they worked with many different artists?
David Fincher
David Fincher was born in 1962 in Colorado and raised in California. He began his career working on film productions before directing music videos for artists like Madonna and Michael Jackson. Fincher is known for directing suspenseful films like Se7en and Fight Club. While he does not stick to specific creative methods, Fincher's music videos often feature close-ups to enhance the artist's image, and utilize high and low camera angles to make the artist appear powerful or vulnerable. He also frequently incorporates black and white imagery to give videos a vintage feel.
Media Evaluation Question 2
The document discusses the effectiveness of combining a main project with additional supporting materials. It describes how selecting a song from the TV show Damages helped provide a narrative structure for the music video. Researching the genre further aided in developing a strong narrative for audiences to follow, while still allowing for different interpretations. The document indicates the digipak and poster were not as successful as the music video, as the creator initially struggled to decide on an artist and genre, which is reflected in early drafts of those pieces.
Star Construction
Star construction refers to everything that contributes to building a star's public image, which is broken down into star image, vehicle, and power. It consists of various materials like songs, CD covers, media coverage, live performances, and music videos that collectively shape how the star is perceived. These elements allow the star to craft and portray the image they want to project to their audience.
Media to do list
The document contains a to-do list for a media analysis project, which includes tasks such as analyzing album covers, videos, inserts and lyrics across various genres like rock, pop, R&B, hip-hop and indie. It also involves researching conventions, camera angles, color schemes and origins for different genres, as well as creating mood boards, storyboards, filming, editing footage and designing album covers, inserts and magazine ads to get audience feedback.
1718 a2 blog checklist
This document provides a checklist and assignments for creating a blog about planning a music video production. It includes:
- A list of over 25 assignments that students should complete to research different aspects of planning a music video such as researching genres, target audiences, conventions, and inspiration.
- Suggestions for additional blog content like behind the scenes videos, reviews, and audience feedback.
- Instructions for students to present individual initial ideas for their own music video including songs, artist styling, a video idea summary, and inspiration.
- Evaluation questions to help students reflect on how their media product does or doesn't follow real music video conventions and how they have used media technologies.
In what ways does your media product use, develop or challenge forms and conv...
This document discusses how the media product uses, develops, and challenges conventions of real rock music videos. It summarizes that the product took inspiration from textual analyses of real rock videos to incorporate similar shots, lighting, and attitudes. Some conventions were challenged by creating elements differently or adding new meanings. Close-ups were used extensively to provoke emotion, and photographs and lighting were developed from influences. Color use was challenged by desaturating happy shots and keeping unhappy shots vibrant. The document concludes the product successfully drew from research into the rock genre while putting its own twist on some conventions.
How did you use media technologies in the planning, development and evaluatio...
This document discusses how the media product uses, develops, and challenges conventions of real rock music videos. It summarizes that the product took inspiration from textual analyses of real rock videos to incorporate similar shots, lighting, and attitudes. Some conventions were challenged by creating elements differently or adding new meanings. Close-ups were used extensively to provoke emotion, and photograph and reflection scenes were developed from influences. Color use was challenged by desaturating happy moments instead of sad ones. The document concludes that the product was inspired by but also developed and challenged conventions of the rock genre in its own unique way.
Genre
Genres are categories of media texts that are recognizable through repeated codes and conventions. Different genre theories propose that genres derive their form from social occasions or help media produce consistently for audiences. Genres can be instances of repetition or difference and influence audience expectations and production standardization. Music videos are analyzed as belonging to genres through their narrative, themes, characters, and visual elements.
Almost Famous
The document describes a music industry showcase series called "Almost Famous" that provides a platform for unsigned bands to perform. It has featured artists like Speech Debelle and Bobby Long. Videos of performances are posted online after events to promote the bands.
Samuel bayer textual analysis
Samuel Bayer is an American film director and music video director born in 1965 in Syracuse, New York. He is known for directing music videos for bands such as Nirvana, Green Day, and The Rolling Stones, including the iconic video for Nirvana's "Smells Like Teen Spirit". Bayer's style in music videos features dark, gritty atmospheres and dull colors, linking to the rock genres of music he typically works with. He has won five MTV Video Music Awards for his work.
Video killed the radio star booklet - Jay Franks
This document provides instructions for a music video coursework assignment. Students will produce a music promotion package that includes a music video, album cover, and magazine advertisement. They will then answer exam questions focusing on their skills development and analyzing one of their products in relation to key concepts like narrative, audience, and genre. The document gives background on the purpose of music videos as marketing devices and outlines conventions of music videos like genre characteristics, relationships between music/lyrics and visuals, and performance versus narrative codes. It also lists technical elements to analyze in music videos such as camerawork, editing, lighting, and mise-en-scene.
Question 1
The document discusses how a music video project for the song "I Love It" by Icona Pop follows conventions of real pop music videos and media products. It describes researching pop music videos by artists like Lady Gaga, Katy Perry, and Rihanna to understand common characteristics like establishing the star image through close-up shots. The project challenges some conventions by having more covered costumes and portraying vulnerability rather than sexualization. Overall, the project aims to develop conventions viewers expect in pop videos while also challenging some typical representations of women.
My version of musical theroies
Andrew Goodwin and Simon Firth present different theories on music video typologies and conventions. Goodwin identifies four relationships between lyrics and visuals in music videos: illustrative, contradictory, amplification, and disjuncture. Firth categorizes music videos as performance, conceptual, or narrative. Performance videos show the artist performing, conceptual rely on metaphor to evoke mood, and narrative tell a story. Richard Dyer argues that pop stars are manufactured images created by the music industry to make money, and that they aim to appeal to a range of audiences.
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Types of music videos
There are three main types of music videos: performance, narrative, and conceptual. Performance videos focus on the artist singing and dancing and are common for promoting mainstream artists. Narrative videos tell a story, either illustrating, amplifying, or having little relation to the song lyrics. Conceptual videos are based around unique themes or symbols and are more common for indie artists who may not want to focus on self-promotion. Different types have advantages like being low-cost or allowing deeper audience engagement, and disadvantages like potentially being generic or confusing viewers.
Presentationquestion1
Over the course of their A-level media course, the student has developed an understanding of real media conventions through various coursework assignments including creating two film openings and a music video. In producing a thriller film opening, the student explored conventions of the psychological thriller genre such as narratives centered around crimes, protagonists in peril, and manipulation of perspectives. For their music video, the student analyzed conventions like illustrating lyrics and music visually, close-ups of artists, and voyeurism. Their critical analysis of TV dramas uncovered repetitive elements like camera shots, angles, editing, and sound that define television drama conventions.
Star Construction
The document discusses how a star's image is constructed from a range of materials through various means. A star image is constructed both textually through the artist and record company, and extratextually through other media publicity. While the music itself and promotional materials allow some control over image construction, a star's image can also develop beyond control. The document evaluates how Madonna's star image changed and developed progressively over her career from song to song and era to era.
Heaven questions lesson 1
This document provides questions to guide analysis of the music video for Emeli Sande's song "Heaven". It asks the viewer to consider themes presented in the lyrics and video, how the artist is represented, and how other people and places are portrayed. It also prompts discussion of camera work, music, and editing techniques used in the video. Finally, it asks the viewer to think about how the video reflects social issues and contexts of its time of release in 2011 in the UK. The document provides tasks for further research on the artist Emeli Sande and relevant social contexts from 2011 that may connect to themes in the song.
Goodwin’s Analysis
Goodwin's Analysis is a theory for analyzing music videos in seven steps: 1) Lyrics and visuals should relate, 2) Music and visuals should be cut in time, 3) Genres have characteristics, 4) Artists must meet label demands, 5) Videos can reference other media, 6) Voyeurism involves intimacy and screens, 7) Popular artists develop recognizable iconography. The document explains each step and provides examples to illustrate Goodwin's Analysis in action.
Video evaluation question
The document discusses how the media product develops and challenges conventions of real music videos. It agrees with Andrew Godwin's theory that music videos often demonstrate genre characteristics and have a relationship between music and visuals. The video includes intertextual references to other music videos and follows conventions of the record label. It portrays the protagonist in stereotypical urban settings but also challenges expectations by showing him appreciating nature, contrasting locations to leave more impact.
Evaluation 1
The document discusses how a media product uses, develops, and challenges conventions of real music videos. It analyzes the media product using several theories:
1. The product follows Andrew Goodwin's theory that the visuals illustrate the meaning of the lyrics.
2. It develops conventions by including both a narrative and performance that relate to each other but do not intertwine, challenging the typical integration of these elements.
3. The product was partly inspired by Ryan Adams' "Lucky Now" video but challenges Tzvetan Todorov's theory that all films follow a narrative pattern by not resolving the unhappiness conveyed in the lyrics and visuals.
Part One Of Evaluation
This document analyzes and summarizes the key aspects of a music video project according to media theorist Andrew Goodwin's framework. The student discusses how their music video, found at a provided URL, relates the lyrics and music, illustrates the genre conventions of rock music, and incorporates themes of rebellion in both the video and accompanying digital packaging. While some elements like close-ups were less applicable given the single performer, the analysis focuses on how the video interprets the themes of the song through its imagery and sequences. Criticism of one scene and choices regarding the digital packaging design are also addressed in terms of reinforcing the intended message.
Director study
Research music video directors and complete a blog post of at least one. Do they stay with one particular genre? Have they worked with many different artists?
David Fincher
David Fincher was born in 1962 in Colorado and raised in California. He began his career working on film productions before directing music videos for artists like Madonna and Michael Jackson. Fincher is known for directing suspenseful films like Se7en and Fight Club. While he does not stick to specific creative methods, Fincher's music videos often feature close-ups to enhance the artist's image, and utilize high and low camera angles to make the artist appear powerful or vulnerable. He also frequently incorporates black and white imagery to give videos a vintage feel.
Media Evaluation Question 2
The document discusses the effectiveness of combining a main project with additional supporting materials. It describes how selecting a song from the TV show Damages helped provide a narrative structure for the music video. Researching the genre further aided in developing a strong narrative for audiences to follow, while still allowing for different interpretations. The document indicates the digipak and poster were not as successful as the music video, as the creator initially struggled to decide on an artist and genre, which is reflected in early drafts of those pieces.
Star Construction
Star construction refers to everything that contributes to building a star's public image, which is broken down into star image, vehicle, and power. It consists of various materials like songs, CD covers, media coverage, live performances, and music videos that collectively shape how the star is perceived. These elements allow the star to craft and portray the image they want to project to their audience.
Media to do list
The document contains a to-do list for a media analysis project, which includes tasks such as analyzing album covers, videos, inserts and lyrics across various genres like rock, pop, R&B, hip-hop and indie. It also involves researching conventions, camera angles, color schemes and origins for different genres, as well as creating mood boards, storyboards, filming, editing footage and designing album covers, inserts and magazine ads to get audience feedback.
1718 a2 blog checklist
This document provides a checklist and assignments for creating a blog about planning a music video production. It includes:
- A list of over 25 assignments that students should complete to research different aspects of planning a music video such as researching genres, target audiences, conventions, and inspiration.
- Suggestions for additional blog content like behind the scenes videos, reviews, and audience feedback.
- Instructions for students to present individual initial ideas for their own music video including songs, artist styling, a video idea summary, and inspiration.
- Evaluation questions to help students reflect on how their media product does or doesn't follow real music video conventions and how they have used media technologies.
In what ways does your media product use, develop or challenge forms and conv...
This document discusses how the media product uses, develops, and challenges conventions of real rock music videos. It summarizes that the product took inspiration from textual analyses of real rock videos to incorporate similar shots, lighting, and attitudes. Some conventions were challenged by creating elements differently or adding new meanings. Close-ups were used extensively to provoke emotion, and photographs and lighting were developed from influences. Color use was challenged by desaturating happy shots and keeping unhappy shots vibrant. The document concludes the product successfully drew from research into the rock genre while putting its own twist on some conventions.
How did you use media technologies in the planning, development and evaluatio...
This document discusses how the media product uses, develops, and challenges conventions of real rock music videos. It summarizes that the product took inspiration from textual analyses of real rock videos to incorporate similar shots, lighting, and attitudes. Some conventions were challenged by creating elements differently or adding new meanings. Close-ups were used extensively to provoke emotion, and photograph and reflection scenes were developed from influences. Color use was challenged by desaturating happy moments instead of sad ones. The document concludes that the product was inspired by but also developed and challenged conventions of the rock genre in its own unique way.
Genre
Genres are categories of media texts that are recognizable through repeated codes and conventions. Different genre theories propose that genres derive their form from social occasions or help media produce consistently for audiences. Genres can be instances of repetition or difference and influence audience expectations and production standardization. Music videos are analyzed as belonging to genres through their narrative, themes, characters, and visual elements.
Almost Famous
The document describes a music industry showcase series called "Almost Famous" that provides a platform for unsigned bands to perform. It has featured artists like Speech Debelle and Bobby Long. Videos of performances are posted online after events to promote the bands.
Samuel bayer textual analysis
Samuel Bayer is an American film director and music video director born in 1965 in Syracuse, New York. He is known for directing music videos for bands such as Nirvana, Green Day, and The Rolling Stones, including the iconic video for Nirvana's "Smells Like Teen Spirit". Bayer's style in music videos features dark, gritty atmospheres and dull colors, linking to the rock genres of music he typically works with. He has won five MTV Video Music Awards for his work.
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In what ways does your media product use, develop or challenge forms and conv...
In what ways does your media product use, develop or challenge forms and conv...
How did you use media technologies in the planning, development and evaluatio...
How did you use media technologies in the planning, development and evaluatio...
Similar to Pop stars
Video killed the radio star booklet - Jay Franks
This document provides instructions for a music video coursework assignment. Students will produce a music promotion package that includes a music video, album cover, and magazine advertisement. They will then answer exam questions focusing on their skills development and analyzing one of their products in relation to key concepts like narrative, audience, and genre. The document gives background on the purpose of music videos as marketing devices and outlines conventions of music videos like genre characteristics, relationships between music/lyrics and visuals, and performance versus narrative codes. It also lists technical elements to analyze in music videos such as camerawork, editing, lighting, and mise-en-scene.
Question 1
The document discusses how a music video project for the song "I Love It" by Icona Pop follows conventions of real pop music videos and media products. It describes researching pop music videos by artists like Lady Gaga, Katy Perry, and Rihanna to understand common characteristics like establishing the star image through close-up shots. The project challenges some conventions by having more covered costumes and portraying vulnerability rather than sexualization. Overall, the project aims to develop conventions viewers expect in pop videos while also challenging some typical representations of women.
My version of musical theroies
Andrew Goodwin and Simon Firth present different theories on music video typologies and conventions. Goodwin identifies four relationships between lyrics and visuals in music videos: illustrative, contradictory, amplification, and disjuncture. Firth categorizes music videos as performance, conceptual, or narrative. Performance videos show the artist performing, conceptual rely on metaphor to evoke mood, and narrative tell a story. Richard Dyer argues that pop stars are manufactured images created by the music industry to make money, and that they aim to appeal to a range of audiences.
Goodwin’s Theory
This document summarizes Andrew Goodwin's theory on music video analysis from his 1992 book "Dancing in the Distraction Factory". It outlines 6 key ideas from Goodwin's theory: 1) Music videos demonstrate genre characteristics 2) There is a relationship between lyrics and visuals 3) There is a relationship between music and visuals 4) Record labels influence visual elements 5) Music videos often feature voyeuristic treatment of the female body 6) Music videos frequently reference other media through intertextuality. The document then provides examples to illustrate each point.
Representation and star image
Voyeurism in music videos refers to gaining erotic pleasure from watching unaware subjects. Some music videos feature women being sexualized under the male gaze. However, some female artists like Lady Gaga are in control of their own sexualized image. The representation of women, especially in terms of race, is a topic of debate - some see it as exploitation while others see it as empowerment. A star's image is constructed through various materials like songs, album covers, media coverage, and especially music videos which showcase their talents and maintain their brand.
Analysis of the 4 main pop music video
This document summarizes four main theories of pop music videos:
1) Music videos demonstrate genre characteristics through elements like stage performances or dance routines.
2) There is a relationship between lyrics/music and visuals that can be illustrative, amplifying, or contradictory.
3) Record labels demand close-ups of artists and artists may develop recurring motifs. Videos also reference notions of voyeurism.
4) Videos can allude to other works through intertextual references to films, TV, or other music videos.
Music Video Style
The document discusses several technical codes and elements used in popular music videos, including camerawork, editing, visual effects, and how they construct representations and meanings. It also covers how music videos contribute to constructing and maintaining artists' star images through narrative, voyeurism, and intertextuality. Music videos frequently reference cinema, television, art, fashion and more to spark recognition and pleasure in audiences through familiar visual references.
Representation and Star Image
The document discusses several concepts related to representation and star image in music videos. It covers voyeurism and exhibitionism in music videos and how they relate to the sexualization of women. It also discusses the different forms of "star power" artists can possess, including economic, artistic, and ideological power. Additionally, it examines how star images are constructed through elements like songs, album covers, media coverage, live performances, and music videos.
Music video theorists
Richard Dyer's star theory proposes that celebrities are constructed products meant to target specific audiences. He suggests stars are given unique selling points to market their brand. Dyer discusses the paradox of the star - they are both present through media but also absent and unattainable. A star must seem ordinary yet extraordinary.
Andrew Goodwin outlines several characteristics of music videos. They should relate lyrics and visuals in some way. Genre characteristics and the record label's demands like close-ups influence the video. Frequent references to looking and intertextual references to other media are also common traits. Videos can be performance, narrative, or concept-based.
Technical Codes in Music Videos
The document discusses various technical codes used in music videos, including camerawork, editing, and the use of color. It notes that camera angles, shots, and movement can impact meaning. Fast cutting is common to ensure multiple viewings. Editing may also incorporate digital effects. Color is sometimes used deliberately, such as the transition from black and white to color propelling the narrative. Iconography of the artist, genre, or director helps with audience recognition. Music videos are important for constructing and maintaining an artist's image over time through reinforcing or changing their persona. Managing an artist's image transition may require exposure through a new video and other means.
Secondary Research
The document provides information on several music video and music industry theories including Andrew Goodwin's five points of music videos, Pete Fraser's theory on music genre conventions, and Laura Mulvey's Male Gaze theory. It also gives biographical information on music video director James Copeman and record label Universal Music Group. Finally, it discusses how to apply these theories and best practices when creating a music video, album cover, and magazine advertisement.
Applying Key Concepts to Music Video
The document provides an introduction to key concepts for analyzing music videos, including six features identified by Andrew Goodwin and discussing genre, audience, narrative, and representation. Students are instructed to choose a music video, analyze it using these concepts in a blog post, and may include images and embed their slideshare analysis. The concepts are genre characteristics and their relationship to music and visuals, the demands of record labels, references to looking, and intertextuality. Students should discuss the music video's genre, intended audience, narrative elements like time and any enigmas, and how any stereotypes or the star image are represented.
TASK TWO: HOW EFFECTIVE IS THE COMBINATION OF YOUR MAIN PRODUCT AND ANCILLARY...
The document discusses Richard Dyer's theories of star image construction and applies them to the marketing strategy for an indie band called "The Factory." According to Dyer, a star image must present the artist as both ordinary and extraordinary. "The Factory's" image emphasizes traits like youthfulness, rebellion, sexual magnetism, originality, and creativity to appeal to their target 16-25 year old alternative music audience. Visuals, music videos, and album packaging are used to portray the band as relatable yet talented musicians focused on their craft.
Richard dyer ppt
Richard Dyer's star persona theory argues that music artists are constructed images rather than real people. Their persona is built through various media like performances, interviews, music videos, and social media which fans engage with and discuss. Stars represent shared cultural values and help promote certain ideologies around materialism and sexuality. Their persona needs constant nurturing through discourse with audiences. Stars are commodities that entertainment companies produce to cater to different audiences and music genres.
Secondary research
The document provides guidance on designing effective album covers and magazine advertisements. It notes that good designs represent the artist, music, and brand, allowing the audience to understand the vibe just from the visual. Both should attract attention while informing the audience with key details. Effective typography, imagery, and information impact how the work is perceived and help audiences connect with the artist and product.
Video killed-the-radio-star-an-introduction-to-music-video
The document provides information about the coursework requirements for an A2 Media Studies course focusing on music video production. Students will produce a music video and additional promotional materials for a band's album release. They will be assessed on their skills development, a media portfolio including the music video and promotional materials, research and planning, and a evaluation of one of their products in relation to a key concept. The document also provides background information on the purpose and conventions of music videos, including their use as a marketing tool and origins in the 1980s with MTV.
Task 2
The document discusses how Richard Dyer's theory of star images can be applied to construct an image for a band called "Jack Thompson". It describes setting the band's music video in the 1960s style to portray them as creative artists drawing from past music, yet also modern. Scenes of the band playing instruments and a 1960s TV show setting aim to show them as talented but not "synthetic". The digipack and poster further the image of an international yet youthful band appealing to audiences aged 18-25 who enjoy less mainstream music.
Goodwin's theory
Andrew Goodwin was a professor of media studies at the University of San Francisco who published the first comprehensive study of MTV in 1992 called "Dancing in the Distraction Factory", in which he analyzed the characteristics of music videos. Goodwin identified several defining characteristics of music videos including genre conventions, the relationship between lyrics and visuals, the use of star image motifs, intertextual references, and whether the video takes a performance, narrative or concept-based approach.
Music video Theories
This document summarizes several key theories about music videos and stars:
1. Richard Dyer's star theory identifies three parts to how stars are constructed - as a construction through marketing, as a commodity to be profited from, and to represent certain ideologies.
2. Abraham Maslow's hierarchy of needs suggests an artist's ability to meet their basic psychological needs can impact their career.
3. Steve Archer analyzed five elements of music videos including narrative, star image, and technical aspects.
4. Simon Frith identified three types of music videos - narrative, conceptual, and performance-based.
5. Andrew Goodwin's influential theory analyzed how music videos link to music through illustration, amplification, or
Music theories
This document summarizes several theories about music videos:
- Andrew Goodwin's theory identifies six key features of music videos, including relationships between lyrics/music and visuals, narrative/performance, technical aspects, and intertextual references.
- Sven E Carlsson proposes that music videos fall into performance and conceptual categories and are driven by binary oppositions.
- Richard Dyer's theory states that stars are constructed images, not real people, through various media for commercial purposes to attract audiences and exert cultural influence (hegemony).
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TASK TWO: HOW EFFECTIVE IS THE COMBINATION OF YOUR MAIN PRODUCT AND ANCILLARY...
TASK TWO: HOW EFFECTIVE IS THE COMBINATION OF YOUR MAIN PRODUCT AND ANCILLARY...
Video killed-the-radio-star-an-introduction-to-music-video
Video killed-the-radio-star-an-introduction-to-music-video
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audienceresearch
The document discusses establishing the target audience for a social realism film trailer. Research showed the target audience was 16-25 year olds from lower socioeconomic backgrounds who would relate to the film's characters. Questionnaires given to this demographic found they enjoyed the genre and were not distressed by the film's substance abuse themes. Feedback on the trailer confirmed it looked like a typical social realism trailer and effectively conveyed the genre. Areas of interest included handheld camerawork and lack of dialogue. While successful, the document notes fighting scenes could be improved.
Film marketing
This document discusses film distribution and marketing. It explains that distributors must acquire rights to films and have three options to do so: invest in production, buy rights after production, or distribute films from their larger organization. It also outlines the major stages of distribution including release strategy, marketing approaches, and generating publicity. Film marketing aims to promote films and make them seem like "must-see" events, often costing up to 50% of the film budget.
Why do genres change over time
Genres change over time due to changes in society, technology, audience expectations, and media institutions. Target audiences for genres have become younger overall, and audiences now expect genres to both follow conventions and introduce novel elements. Individual influential texts, directors, authors, and stars can also significantly impact genres by defining conventions or bringing new approaches. Media institutions aim to profit from popular genres and influence the styles and themes produced. As society changes, genres evolve to reflect new values and representations.
Genre theory
1. Genre theory proposes that genres are conventions of content and form that are shared by texts belonging to that genre.
2. Genres are dynamic and open to negotiation rather than fixed forms. A text can belong to different genres over time and location.
3. Genres position both producers and audiences in certain ways. Producers work within genre conventions while audiences have expectations shaped by familiar genres.
Star Image and Marketing
A star image is a constructed persona marketed to audiences that represents socially shared meanings about a music artist. It is formed through visual, verbal, and non-verbal signs presented in promotion, publicity, and criticism that combine to define the artist's brand identity. Maintaining a star image is important for the music industry's economics as it guarantees sales and sustained careers by mediating an understandable identity that audiences feel they know, even if they don't know the actual person.
Music video-style
This document discusses various technical codes used in music videos, including camerawork, editing, and use of color. Regarding camerawork, it notes that close-ups are commonly used to create intimacy and emphasize the artist. It also discusses different editing techniques like fast cutting montages. In terms of color, it explains that black and white is sometimes used to create mood or authenticity, and that changes in color can propel the narrative, as seen in the Michael Jackson video for "Captain EO".
Tips for your promos
This document provides tips for creating a music video promo. It recommends altering the names of artists and bands from other works to make them your own ideas. The promo should be between 2.5 to 3 minutes long to avoid losing marks. It suggests finding unsigned local bands to feature or looking online for bands seeking videos. General tips include accurately lip syncing, knowing lyrics, believable performances, proper mouth movements, recording the song for the camera and artist to hear, including at least one full run-through, editing to markers, using different shot angles with a maximum of four locations, booking two weekends free for shooting, avoiding drugs or swearing in soundtracks, and keeping the promo under 3 minutes with editing to
A2 summarised
This document outlines the details and requirements of a Media Studies A2 course consisting of two units. Unit 1 involves completing an advanced media portfolio including a music video and promotional materials, as well as planning documentation and evaluation. Unit 2 is an exam testing knowledge of coursework production and critical analysis of contemporary media issues such as regulation. The exam is divided into two sections - the first addresses theoretical evaluation of skills and a selected production, the second explores topics around modern media regulation.
Frequently asked questions on music videos
This document contains frequently asked questions and answers about OCR's G324 Media Studies course. Regarding music videos, they should be the length of the track but can fade early, and three minutes is the minimum. Students must show they sought permission to use copyrighted music but can use royalty-free bands. For group work, the maximum group size is four and students can work individually. The document provides suggestions for marking group work and completing ancillary tasks individually or as a group. Students' evaluations are not required to be in prose and should exploit the chosen format through images, audio, and links.
A2 levels
This document outlines the grading criteria for film/video projects on four levels from minimal ability to excellence. A level 4 grade requires excellence in technical skills like shooting appropriate footage, effective editing, sound design, and group contributions. Level 3 requires proficiency, level 2 requires basic skills, and level 1 requires minimal ability in these areas. Evaluation and ancillary tasks are also graded on a level 4 scale requiring excellence in skills such as technology use, conventions, audience feedback, and presentation ability. Research and planning grades similarly require excellence in thoroughness, target audience research, pre-production materials, organization, time management, technology skills, communication, and presentation quality.
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STUDY ON THE DEVELOPMENT STRATEGY OF HUZHOU TOURISM
ABSTRACT: Huzhou has rich tourism resources, as early as a considerable development since the reform and
opening up, especially in recent years, Huzhou tourism has ushered in a new period of development
opportunities. At present, Huzhou tourism has become one of the most characteristic tourist cities on the East
China tourism line. With the development of Huzhou City, the tourism industry has been further improved, and
the tourism degree of the whole city has further increased the transformation and upgrading of the tourism
industry. However, the development of tourism in Huzhou City still lags far behind the tourism development of
major cities in East China. This round of research mainly analyzes the current development of tourism in
Huzhou City, on the basis of analyzing the specific situation, pointed out that the current development of
Huzhou tourism problems, and then analyzes these problems one by one, and put forward some specific
solutions, so as to promote the further rapid development of tourism in Huzhou City.
KEYWORDS:Huzhou; Travel; Development
快速办理(worcester毕业证书)伍斯特大学毕业证PDF成绩单一模一样
学校原件一模一样【微信：741003700 】《(worcester毕业证书)伍斯特大学毕业证PDF成绩单》【微信：741003700 】学位证，留信认证（真实可查，永久存档）原件一模一样纸张工艺/offer、雅思、外壳等材料/诚信可靠,可直接看成品样本，帮您解决无法毕业带来的各种难题！外壳，原版制作，诚信可靠，可直接看成品样本。行业标杆！精益求精，诚心合作，真诚制作！多年品质 ,按需精细制作，24小时接单,全套进口原装设备。十五年致力于帮助留学生解决难题，包您满意。
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四.办理各国各大学文凭(一对一专业服务,可全程监控跟踪进度)
如果您处于以下几种情况：
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留信网认证的作用:
1:该专业认证可证明留学生真实身份
2:同时对留学生所学专业登记给予评定
3:国家专业人才认证中心颁发入库证书
4:这个认证书并且可以归档倒地方
5:凡事获得留信网入网的信息将会逐步更新到个人身份内，将在公安局网内查询个人身份证信息后，同步读取人才网入库信息
6:个人职称评审加20分
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原版制作(Hull毕业证书)赫尔大学毕业证Offer一模一样
学校原件一模一样【微信：741003700 】《(Hull毕业证书)赫尔大学毕业证》【微信：741003700 】学位证，留信认证（真实可查，永久存档）原件一模一样纸张工艺/offer、雅思、外壳等材料/诚信可靠,可直接看成品样本，帮您解决无法毕业带来的各种难题！外壳，原版制作，诚信可靠，可直接看成品样本。行业标杆！精益求精，诚心合作，真诚制作！多年品质 ,按需精细制作，24小时接单,全套进口原装设备。十五年致力于帮助留学生解决难题，包您满意。
本公司拥有海外各大学样板无数，能完美还原。
1:1完美还原海外各大学毕业材料上的工艺：水印，阴影底纹，钢印LOGO烫金烫银，LOGO烫金烫银复合重叠。文字图案浮雕、激光镭射、紫外荧光、温感、复印防伪等防伪工艺。材料咨询办理、认证咨询办理请加学历顾问Q/微741003700
【主营项目】
一.毕业证【q微741003700】成绩单、使馆认证、教育部认证、雅思托福成绩单、学生卡等！
二.真实使馆公证(即留学回国人员证明,不成功不收费)
三.真实教育部学历学位认证（教育部存档！教育部留服网站永久可查）
四.办理各国各大学文凭(一对一专业服务,可全程监控跟踪进度)
如果您处于以下几种情况：
◇在校期间，因各种原因未能顺利毕业……拿不到官方毕业证【q/微741003700】
◇面对父母的压力，希望尽快拿到；
◇不清楚认证流程以及材料该如何准备；
◇回国时间很长，忘记办理；
◇回国马上就要找工作，办给用人单位看；
◇企事业单位必须要求办理的
◇需要报考公务员、购买免税车、落转户口
◇申请留学生创业基金
留信网认证的作用:
1:该专业认证可证明留学生真实身份
2:同时对留学生所学专业登记给予评定
3:国家专业人才认证中心颁发入库证书
4:这个认证书并且可以归档倒地方
5:凡事获得留信网入网的信息将会逐步更新到个人身份内，将在公安局网内查询个人身份证信息后，同步读取人才网入库信息
6:个人职称评审加20分
7:个人信誉贷款加10分
8:在国家人才网主办的国家网络招聘大会中纳入资料，供国家高端企业选择人才
HMS Facebook Stories All V1 06092024.docx
The conversations on Facebook from the Herringswell Manor School group from 2009 to the first half of 2024
UR BHATTI ACADEMY AND ONLINE COURSES.pdf
UR BHatti Academy dedicated to providing the finest IT courses training in the world. Under the guidance of experienced trainer Usman Rasheed Bhatti, we have established ourselves as a professional online training firm offering unparalleled courses in Pakistan. Our academy is a trailblazer in Dijkot, being the first institute to officially provide training to all students at their preferred schedules, led by real-world industry professionals and Google certified staff.
The Impact of Work Stress and Digital Literacy on Employee Performance at PT ...
ABSTRACT :This research aims to analyze the correlation between employee work stress and digital literacy
with employee performance at PT Telkom Akses Area Cirebon, both concurrently and partially. Employing a
quantitative approach, the study's objectives are descriptive and causal, adopting a positivist paradigm with a
deductive approach to theory development and a survey research strategy. Findings reveal that work stress
negatively and significantly impacts employee performance, while digital literacy positively and significantly
affects it. Simultaneously, work stress and digital literacy have a positive and significant influence on employee
performance. It is anticipated that company management will devise workload management strategies to
alleviate work stress and assess the implementation of more efficient digital technology to enhance employee
performance.
KEYWORDS -digital literacy, employee performance,job stress, multiple regression analysis, workload
management
一比一原版(AU毕业证)英国阿伯丁大学毕业证如何办理
AU毕业证文凭证书【微信95270640】《英国阿伯丁大学毕业证书原版制作AU成绩单》【Q微信95270640】《仿制AU毕业证成绩单英国阿伯丁大学学位证书pdf电子图》，A.为什么留学生需要操作留信认证?
留信认证全称全国留学生信息服务网认证,隶属于北京中科院。①留信认证门槛条件更低,费用更美丽,并且包过,完单周期短,效率高②留信认证虽然不能去国企,但是一般的公司都没有问题,因为国内很多公司连基本的留学生学历认证都不了解。这对于留学生来说,这就比自己光拿一个证书更有说服力,因为留学学历可以在留信网站上进行查询!
B.为什么我们提供的毕业证成绩单具有使用价值？
查询留服认证是国内鉴别留学生海外学历的唯一途径，但认证只是个体行为，不是所有留学生都操作，所以没有办理认证的留学生的学历在国内也是查询不到的，他们也仅仅只有一张文凭。所以这时候我们提供的和学校颁发的一模一样的毕业证成绩单，就有了使用价值。
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高精端提供以下服务：
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A.为什么留学生需要操作留信认证?
留信认证全称全国留学生信息服务网认证,隶属于北京中科院。①留信认证门槛条件更低,费用更美丽,并且包过,完单周期短,效率高②留信认证虽然不能去国企,但是一般的公司都没有问题,因为国内很多公司连基本的留学生学历认证都不了解。这对于留学生来说,这就比自己光拿一个证书更有说服力,因为留学学历可以在留信网站上进行查询!
B.为什么我们提供的毕业证成绩单具有使用价值？
查询留服认证是国内鉴别留学生海外学历的唯一途径但认证只是个体行为不是所有留学生都操作所以没有办理认证的留学生的学历在国内也是查询不到的他们也仅仅只有一张文凭。所以这时候我们提供的和学校颁发的一模一样的毕业证成绩单就有了使用价值。却也灵机一动立马仰起头双手拢在嘴边朝楼上大喊：“爸爸爸——有人找——那人一听朝山娃尴尬地笑笑悻悻地走了山娃立马“嘭的一声将铁门锁死心却咚咚地乱跳当山娃跟父亲说起这事时父亲很吃惊抚摸着山娃的头说还好醒得及时要不家早被人掏空了到时连电视也没得看啰不过父亲还是夸山娃能临危不乱随机应变有胆有谋山娃笑笑说那都是书上学的看童话和小说时学的不管如何父亲再也不许山娃敞开门坐到门口了父亲递给山娃钥匙说一出门就将门山
Factors affecting undergraduate students’ motivation at a university in Tra Vinh
ABSTRACT: Motivation plays an important role in foreign language learning process. This study aimed to
investigate student’s motivation patterns towards English language learning at a University in Tra Vinh, and factors
affecting their motivation change toward English language learning of non-English-major students in the semester.
The researcher used semi-structured interview at the first phase of choosing the participants and writing reflection
through the instrument called “My English Learning Motivation History” adapted from Sawyer (2007) to collect
qualitative data within 15 weeks. The participants consisted of nine first year non-English-major students who learning
General English at pre-intermediate level. They were chosen and divided into three groups of three members each
(high motivation group; average motivation group; and low motivation group). The results of the present study
identified six visual motivation patterns of three groups of students with different motivation fluctuation, through the
use of cluster analysis. The study also indicated a diversity of factors affecting students’ motivation involving internal
factors as influencing factors (cognitive, psychology, and emotion) and external factors as social factors (instructor,
peers, family, and learning environment) during English language learning in a period of 15 weeks. The findings of
the study helped teacher understand relationship of motivation change and its influential factors. Furthermore, the
findings also inspired next research about motivation development in learning English process.
KEY WORDS: language learning motivation, motivation change, motivation patterns, influential factors, students’
motivation.
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STUDY ON THE DEVELOPMENT STRATEGY OF HUZHOU TOURISM
STUDY ON THE DEVELOPMENT STRATEGY OF HUZHOU TOURISM
The Impact of Work Stress and Digital Literacy on Employee Performance at PT ...
The Impact of Work Stress and Digital Literacy on Employee Performance at PT ...
Factors affecting undergraduate students’ motivation at a university in Tra Vinh
Factors affecting undergraduate students’ motivation at a university in Tra Vinh
Pop stars
- 2. … of an artist … of a music genre …even of a music director The familiarity with a certain iconography helps audience recognition. What might be the advantages of this? Individually or in pairs, think of specific artists, music genres (hard rock, indie, R&B, ‘Emo’ and Goths, New Pop, Hip-Pop and Rap, Pop …). Choose one and brainstorm the associated iconography.
- 3. Richard Dyer has noted: “ a star is an image constructed from a range of materials” (Richard Dyer 1979) Andrew Goodwin has written: “ Characterisation, fiction, and perhaps even narrative itself exist in popular music at the point of narration, outside of the diegesis of individual songs, live performances, or video clips, through the persona of the pop star.” (Andrew Goodwin 1992)
- 4. These materials include the songs (their lyrical themes and musical structures/genres), the record covers (singles and albums and the image of the star they present), media coverage (from interviews about career and private life through to tabloid gossip), live performance (the image through the stage show) the music videos, which may draw upon the image presented in each of the other aspects.
- 5. Each video may also draw upon its predecessor both in reinforcing the star’s existing image and in taking the image on further, perhaps in new directions. Thus, music videos will act as a showcase for the star’s talents and play a significant part in the construction and maintenance of their image.
- 6. Imagine you are a manager for ---------. You feel that your client is ready for an “image transition” or needs “image management” for some reason. How would you go about managing that ‘evolution’? Create as many details as possible to make your scenario realistic. You might want to choose an existing artist who would benefit from such a transition or create one from scratch. Your task is likely to involve a bit more than a new video… You need exposure…
- 7. Choose from: George Michael Christina Aguilera Britney Spears Lilly Allen Rhianna Kylie Minogue Goodwin: “Star-texts intersect with video clips”. He says that understanding the star’s persona is a central element to reading videos. He also talks of a certain ‘manipulation’ of the audience. Madonna – too much material? If you have another idea, ask first! In pairs or individually, students research the evolution of a pop star. There should be annotations / explanations to go with the screengrabs. Look at developments in their life, desire for a bigger/ older/younger audience; change of music record company etc… To be completed as Home Learning