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The document discusses three texts - a music video website, music video, and digipak - created for rapper Heavy D. All three texts reflect Heavy D's bright, colorful image through their use of vivid hues. In the music video, Heavy D wears different colorful outfits to showcase his style. Bold purple and yellow fonts are used consistently across the three texts to match Heavy D's clothing. Special effects like animations are added to the music video to make it more fun and exciting. The target audience for all three texts is primarily young adults and teenagers, as the bright colors and humor are aimed at younger generations.
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Media evaluation question 1
The media production was a music video for the song "Sorry" by Justin Bieber along with a CD cover and webpage.
The music video used fast cuts and editing to match the upbeat nature of the song and provide an enjoyable narrative for audiences without needing much explanation.
The light narrative involved two characters falling out over ideas for the video but later apologizing and reconciling. Character roles followed common types like protagonists and sidekicks.
Mise en scene and special effects like green screen were chosen to add humor and show this was not a serious music video. While following conventions like behind-the-scenes photos, the production did not mention its company or fully use eye-catching colors found on
Andew Goodwin's theory on Illustration, amplification and disjuncture
Andrew Goodwin identified three ways that a music video can connect to the song: illustration, amplification, and disjuncture. Illustration directly illustrates the song lyrics visually. Amplification builds on the song's meanings through performance and narrative. Disjuncture intentionally ignores the song's content and genre to create new meanings, often using abstract imagery unrelated to the lyrics.
Q1 1
Our music video uses conventions of real music videos by illustrating the song lyrics visually and matching shots to the music. Binary oppositions of light/dark and ugly/beautiful represent the main character's inner turmoil. Shots alternate between composed and messy appearances. The video also features locations mentioned in the lyrics like a tennis court. Overall the video draws inspiration from real artists like Lorde to develop the style and image of our fictional artist Dakota.
Media: Evaluation question 1
The document discusses how the student's music video conforms to conventions of real music videos. It illustrates the lyrics visually through images that match the descriptive lyrics. It also uses techniques like fast cuts and shaky camera during musical climaxes to match the music's pace. Color filters are applied to signify changes in the music. Voyeurism is heavily used by peering into private spaces like through windows and over shoulders. Intertextual references to games and albums are also included in the album packaging design.
Andrew Goodwin’s Theory
Andrew Goodwin identifies 5 key aspects of music videos that should be analyzed:
1) Thought beats - how the visuals represent the sound and structure of the song.
2) Narrative and performance - how the story and artist's performance engage the audience and increase authenticity.
3) Star image - how the video develops the artist's persona over multiple videos.
4) Relation of visuals to song - how the visuals illustrate, repeat, or ignore the lyrics and genre.
5) Technical aspects - how camera work, editing, lighting, and effects enhance the mood and emphasize moments in the song.
Andrew Goodwin’s Theory
Andrew Goodwin identifies key features that distinguish music videos:
1) Visuals can illustrate, amplify, or contradict the lyrics and music.
2) Music genres have characteristic video styles and iconography.
3) Videos often feature voyeurism, especially in the treatment of women, and close-ups of the main artist.
4) Videos may reference other videos or media through intertextuality.
A2 Media Studies - Evaluation Question 2
The combination of a music video featuring teddy bears and supplementary promotional materials like posters and album artwork was effective for this artist. Originally the teddy bears were just meant to be comedic, but a storyline emerged. For the poster and album digipak, it made sense to not feature the bears and instead keep the theme different than the video to avoid taking away from the artist's image. Black backgrounds were used for the poster and digipak to make the artist's name and logo more prominent. Consistent fonts between the materials help associate them with the artist.
Development of Digipak
The digipak features a chicken mask/head image on the front with its beak open and eyes wrapped around its face to give it a "rocky vibe" and "hardcore feel". On the back, song titles like "Covet" and "Pine" reference the frontal image and set the album's feeling. Inside panels feature the band members, including a darkly dressed lead singer Lewis on an individual panel to identify him as important, and a fun panel of the band joking around to show their true personalities beyond performances. The digipak aims to introduce the band and album genuinely while standing out from genres using bright colors through a consistent white color scheme and focus on the music.
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Media evaluation question 1
The media production was a music video for the song "Sorry" by Justin Bieber along with a CD cover and webpage.
The music video used fast cuts and editing to match the upbeat nature of the song and provide an enjoyable narrative for audiences without needing much explanation.
The light narrative involved two characters falling out over ideas for the video but later apologizing and reconciling. Character roles followed common types like protagonists and sidekicks.
Mise en scene and special effects like green screen were chosen to add humor and show this was not a serious music video. While following conventions like behind-the-scenes photos, the production did not mention its company or fully use eye-catching colors found on
Andew Goodwin's theory on Illustration, amplification and disjuncture
Andrew Goodwin identified three ways that a music video can connect to the song: illustration, amplification, and disjuncture. Illustration directly illustrates the song lyrics visually. Amplification builds on the song's meanings through performance and narrative. Disjuncture intentionally ignores the song's content and genre to create new meanings, often using abstract imagery unrelated to the lyrics.
Q1 1
Our music video uses conventions of real music videos by illustrating the song lyrics visually and matching shots to the music. Binary oppositions of light/dark and ugly/beautiful represent the main character's inner turmoil. Shots alternate between composed and messy appearances. The video also features locations mentioned in the lyrics like a tennis court. Overall the video draws inspiration from real artists like Lorde to develop the style and image of our fictional artist Dakota.
Media: Evaluation question 1
The document discusses how the student's music video conforms to conventions of real music videos. It illustrates the lyrics visually through images that match the descriptive lyrics. It also uses techniques like fast cuts and shaky camera during musical climaxes to match the music's pace. Color filters are applied to signify changes in the music. Voyeurism is heavily used by peering into private spaces like through windows and over shoulders. Intertextual references to games and albums are also included in the album packaging design.
Andrew Goodwin’s Theory
Andrew Goodwin identifies 5 key aspects of music videos that should be analyzed:
1) Thought beats - how the visuals represent the sound and structure of the song.
2) Narrative and performance - how the story and artist's performance engage the audience and increase authenticity.
3) Star image - how the video develops the artist's persona over multiple videos.
4) Relation of visuals to song - how the visuals illustrate, repeat, or ignore the lyrics and genre.
5) Technical aspects - how camera work, editing, lighting, and effects enhance the mood and emphasize moments in the song.
Andrew Goodwin’s Theory
Andrew Goodwin identifies key features that distinguish music videos:
1) Visuals can illustrate, amplify, or contradict the lyrics and music.
2) Music genres have characteristic video styles and iconography.
3) Videos often feature voyeurism, especially in the treatment of women, and close-ups of the main artist.
4) Videos may reference other videos or media through intertextuality.
A2 Media Studies - Evaluation Question 2
The combination of a music video featuring teddy bears and supplementary promotional materials like posters and album artwork was effective for this artist. Originally the teddy bears were just meant to be comedic, but a storyline emerged. For the poster and album digipak, it made sense to not feature the bears and instead keep the theme different than the video to avoid taking away from the artist's image. Black backgrounds were used for the poster and digipak to make the artist's name and logo more prominent. Consistent fonts between the materials help associate them with the artist.
Development of Digipak
The digipak features a chicken mask/head image on the front with its beak open and eyes wrapped around its face to give it a "rocky vibe" and "hardcore feel". On the back, song titles like "Covet" and "Pine" reference the frontal image and set the album's feeling. Inside panels feature the band members, including a darkly dressed lead singer Lewis on an individual panel to identify him as important, and a fun panel of the band joking around to show their true personalities beyond performances. The digipak aims to introduce the band and album genuinely while standing out from genres using bright colors through a consistent white color scheme and focus on the music.
Q1 evaluation (Pooja)
This document summarizes how a media product uses and challenges conventions of real music videos and genres. It analyzes how the created music video, magazine advertisement, and digital album packaging incorporate elements of grime music video conventions identified by Andrew Goodwin, such as developing an iconic motif through a hat worn by the artist. Some conventions are reinforced, such as linking lyrics to visuals and amplifying the music. Others are subverted, like sexualizing the male artist rather than females and contradicting optimistic lyrics with unlucky visuals. Real grime music videos are referenced for comparison. The marketing materials also incorporate conventions of their formats through consistent branding, imagery and information.
Audience Research
The document summarizes the results of an online survey conducted to inform the creation of a music video. It found that the target demographic was primarily 17-18 year old females who enjoyed indie music. They expressed a preference for videos set in natural rural environments. Based on this feedback, the document outlines that the music video will feature a male protagonist around the target age, focus on an indie genre, and be set in a rural naturalistic location in order to appeal to the target demographic.
Development of Digipak
The digipak features a chicken mask/head on the front with its beak open and eyes wrapped around its face to give it a "rocky vibe" and hardcore feel suitable for their target teenage audience. On the back, they list song titles and basic album information while maintaining a colorless feel to focus on the music rather than bright colors. An inside panel thanks those involved in production and features their band logo. Another inside panel introduces the lead singer Lewis dressed in dark clothes to emphasize his face and tattoo to reinforce the rock image. The disc panel shows an informal band photo to give audiences insight into the band's actual personalities beyond their on-stage personas.
Development of Digipak
The digipak features a chicken mask/head with its beak open and eyes wrapped around its face to give it a "rocky vibe" while maintaining the band's image. On the back, song titles like "Covet" and "Pine" reference the album's feeling. Color is minimized to focus on the music rather than flashy graphics. An inside panel thanks those involved and includes the label logo to build the brand. Another inside panel features the lead singer Lewis dressed in dark clothes to emphasize his face and tattoo to reinforce the rock feel. The disc page shows the band in a comical pose to give insight beyond their on-stage personas.
Audience Research
The document summarizes audience research conducted to inform the creation of an indie music video. A survey found that the target demographic was primarily 17-18 year old females who enjoyed indie music and natural settings. In response, the video will feature a male protagonist around the same age in a rural natural setting, with a retro costume design and focus on the artist's performance to appeal to conventions of the genre.
Emeli Sande Heaven revision 09 01 18iii
Emeli Sande is a Scottish singer-songwriter known for R&B and soul music. Her debut single "Heaven" was released in 2011 to critical acclaim. The song explores themes of morality, temptation, and spirituality. The music video was filmed in London and features scenes of Sande singing to the sky outside a cathedral, with many shots of a statue of Mary. It was directed by Jake Nava, who is known for working with major artists. The video aims to emphasize the song's lyrics through simple visuals that capture a real British atmosphere. Sande has said the song came from discussing what it means to be good in today's world, and the video depicts her desire to keep her heart pure
Evaluation question 1
Our music video was intended to use conventions of the indie pop genre, such as narrative and performance, which we found in our research of other bands' music videos. We included a narrative between the lead singer and his girlfriend as well as performance scenes of the band. We also styled the band members according to genre conventions of dark clothing. Narrative and outtakes were included to engage the audience and relate to the song's meaning.
Evaluation question 1
The music video was created in the indie pop genre and uses conventions from that genre such as narrative and band performance. It tells a narrative story of the lead singer and his girlfriend and includes performance scenes of the band as well as humorou outtakes. The band's style and clothing were chosen to match the genre stereotype of skinny jeans and dark clothing. Narrative and performance were used to help audiences connect to the song's meaning and lyrics. The video aims to follow conventions of real music videos in its genre.
Music Video Theorists
The document discusses several key aspects of music videos identified by Andrew Goodwin, including thought beats, narrative and performance, star images, technical aspects, and the relationship between visuals and song. It explains Goodwin's three steps for identifying thought beats: examining song structure and music, listening to the artist's voice, and understanding the artist's role as storyteller. The document also discusses the importance of narrative, star image, technical elements, and Roland Barthes' codes for analyzing narrative texts. Finally, it summarizes Vladimir Propp's eight character types commonly found in narratives.
Emile Sande Heaven:
This document analyzes the music video for Emeli Sande's song "Heaven" through its use of media language and representation. It discusses how the video represents the contrasts in the song's lyrics between temptation and redemption through gritty social realism and transcendent imagery. It provides tasks to analyze how the video conveys social realism through elements like location and camerawork, and conveys transcendence through shots featuring religious imagery. It also examines how the video positions its audience and promotes a left-leaning, anti-racist ideology through its inclusive representation of different people.
Andrew goodwin’s theory of music video’s
Andrew Goodwin identified several key aspects of music videos. There is an emphasis on promoting the artist through close-ups and screen time to develop their star image. Narratives in music videos typically ignore common storytelling and focus more on performance to advertise the song. Visuals can either relate directly to the song lyrics, amplify their meaning, or be completely disjointed. Technical elements like lighting, editing, and camera work are also important to engage the audience and make the video look professional. Additionally, the structure of the song and artist's style must be considered to blend visuals and audio seamlessly.
Copy of pitch
This document discusses a group's choice to create a music video for the song "Adventure of a Lifetime" by Coldplay. It will focus on a young couple, Kayleigh and Jamie, who are adventurous, happy and clumsy. The video will have vibrant colors and follow the genre conventions of alternative/indie music videos by including visuals of the performers and switching between narrative and musical elements. It will also depict the couple's date outfits and daily lives to match the song's theme of being in love.
Andrew goodwin’s theory
Andrew Goodwin created a theory identifying 7 key aspects that make a successful music video. These include: 1) A relationship between lyrics and visuals, 2) A narrative performance, 3) Star iconography with close-ups, 4) Voyeurism, 5) Intertextuality, 6) Technical elements, and 7) Genre conventions. Goodwin believed lyrics could illustrate, disjuncture from, amplify, or abstract from visuals. Narratives help audiences connect to artists. Iconography and close-ups make artists recognizable. Voyeurism uses intimacy and sexuality. Intertextuality references other works. Technical and genre aspects round out successful music videos.
Andrew Goodwin’s Theory
1. Andrew Goodwin identified 5 key aspects of music videos that audiences should look for: thought beats, narrative and performance, the star image, the relation of visuals to song, and technical aspects.
2. Goodwin recognized that there is often a relationship between the music video's visuals and the song's lyrics, either illustrating, amplifying, or contradicting them. Visuals are also commonly edited to the song's beats or changes in pace.
3. Different music genres have distinguishing styles and icons used in their music videos to represent the genre, and artists often repeat trademark actions to make their songs recognizable.
What is a music video
Music videos have been defined as short moving images that accompany pre-existing music to encourage music sales in other formats. They are often used to enhance an artist's image and establish them as part of a musical genre. There is usually a relationship between the visuals and lyrics of a music video, whether illustrating, amplifying, or contradicting the lyrics. Common elements of music videos include close-ups of the main artist, genre-specific styles and iconography, references to voyeurism and objectification of women, and intertextuality through references to other media.
Evaluation 2
1) The digipak and advert were designed to promote an indie pop artist's new album and music video about struggling with depression while confined to a wheelchair.
2) The digipak features imagery from the music video and represents the artist's emotions through a dark color filter. It also promotes a charity that appeared in the video.
3) The advert uses a large photo of the famous artist against reviews to draw attention and create interest in the "prestigious" album. It also shares release date and social media details.
4) Both the digipak and advert link to the music video through matching imagery, fonts, and references to elements that drive curiosity about the narrative.
Andrew goodwin
Andrew Goodwin identified five key aspects of music videos that audiences should pay attention to: the star image, narrative/performance, relation to the song's visuals, technical elements, and "thought beats." He also noted that music videos are used to promote songs by illustrating lyrics, amplifying meanings, or disregarding the song's meaning. Technical elements like lighting, editing, and camera work are important for holding the video together and engaging the audience. Music videos also focus heavily on the artist's image through close-ups and sometimes feature voyeuristic portrayals of women to catch viewers' attention.
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This document discusses how the media product conforms to and challenges conventions of real music videos, digipaks, and album advertisements.
It conforms to conventions like including director names and titles in the music video, using cuts that match the tempo of the R&B song, and clearly stating the album title and artist on the digipak.
Some conventions are challenged, like omitting lip syncing in the music video to focus on story over lyrics, using illustrations instead of photos on the digipak, and having a darker, more contemporary style rather than expensive displays of wealth. Cross-promotion between the music video and other products is also used.
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Q1 evaluation (Pooja)
This document summarizes how a media product uses and challenges conventions of real music videos and genres. It analyzes how the created music video, magazine advertisement, and digital album packaging incorporate elements of grime music video conventions identified by Andrew Goodwin, such as developing an iconic motif through a hat worn by the artist. Some conventions are reinforced, such as linking lyrics to visuals and amplifying the music. Others are subverted, like sexualizing the male artist rather than females and contradicting optimistic lyrics with unlucky visuals. Real grime music videos are referenced for comparison. The marketing materials also incorporate conventions of their formats through consistent branding, imagery and information.
Audience Research
The document summarizes the results of an online survey conducted to inform the creation of a music video. It found that the target demographic was primarily 17-18 year old females who enjoyed indie music. They expressed a preference for videos set in natural rural environments. Based on this feedback, the document outlines that the music video will feature a male protagonist around the target age, focus on an indie genre, and be set in a rural naturalistic location in order to appeal to the target demographic.
Development of Digipak
The digipak features a chicken mask/head on the front with its beak open and eyes wrapped around its face to give it a "rocky vibe" and hardcore feel suitable for their target teenage audience. On the back, they list song titles and basic album information while maintaining a colorless feel to focus on the music rather than bright colors. An inside panel thanks those involved in production and features their band logo. Another inside panel introduces the lead singer Lewis dressed in dark clothes to emphasize his face and tattoo to reinforce the rock image. The disc panel shows an informal band photo to give audiences insight into the band's actual personalities beyond their on-stage personas.
Development of Digipak
The digipak features a chicken mask/head with its beak open and eyes wrapped around its face to give it a "rocky vibe" while maintaining the band's image. On the back, song titles like "Covet" and "Pine" reference the album's feeling. Color is minimized to focus on the music rather than flashy graphics. An inside panel thanks those involved and includes the label logo to build the brand. Another inside panel features the lead singer Lewis dressed in dark clothes to emphasize his face and tattoo to reinforce the rock feel. The disc page shows the band in a comical pose to give insight beyond their on-stage personas.
Audience Research
The document summarizes audience research conducted to inform the creation of an indie music video. A survey found that the target demographic was primarily 17-18 year old females who enjoyed indie music and natural settings. In response, the video will feature a male protagonist around the same age in a rural natural setting, with a retro costume design and focus on the artist's performance to appeal to conventions of the genre.
Emeli Sande Heaven revision 09 01 18iii
Emeli Sande is a Scottish singer-songwriter known for R&B and soul music. Her debut single "Heaven" was released in 2011 to critical acclaim. The song explores themes of morality, temptation, and spirituality. The music video was filmed in London and features scenes of Sande singing to the sky outside a cathedral, with many shots of a statue of Mary. It was directed by Jake Nava, who is known for working with major artists. The video aims to emphasize the song's lyrics through simple visuals that capture a real British atmosphere. Sande has said the song came from discussing what it means to be good in today's world, and the video depicts her desire to keep her heart pure
Evaluation question 1
Our music video was intended to use conventions of the indie pop genre, such as narrative and performance, which we found in our research of other bands' music videos. We included a narrative between the lead singer and his girlfriend as well as performance scenes of the band. We also styled the band members according to genre conventions of dark clothing. Narrative and outtakes were included to engage the audience and relate to the song's meaning.
Evaluation question 1
The music video was created in the indie pop genre and uses conventions from that genre such as narrative and band performance. It tells a narrative story of the lead singer and his girlfriend and includes performance scenes of the band as well as humorou outtakes. The band's style and clothing were chosen to match the genre stereotype of skinny jeans and dark clothing. Narrative and performance were used to help audiences connect to the song's meaning and lyrics. The video aims to follow conventions of real music videos in its genre.
Music Video Theorists
The document discusses several key aspects of music videos identified by Andrew Goodwin, including thought beats, narrative and performance, star images, technical aspects, and the relationship between visuals and song. It explains Goodwin's three steps for identifying thought beats: examining song structure and music, listening to the artist's voice, and understanding the artist's role as storyteller. The document also discusses the importance of narrative, star image, technical elements, and Roland Barthes' codes for analyzing narrative texts. Finally, it summarizes Vladimir Propp's eight character types commonly found in narratives.
Emile Sande Heaven:
This document analyzes the music video for Emeli Sande's song "Heaven" through its use of media language and representation. It discusses how the video represents the contrasts in the song's lyrics between temptation and redemption through gritty social realism and transcendent imagery. It provides tasks to analyze how the video conveys social realism through elements like location and camerawork, and conveys transcendence through shots featuring religious imagery. It also examines how the video positions its audience and promotes a left-leaning, anti-racist ideology through its inclusive representation of different people.
Andrew goodwin’s theory of music video’s
Andrew Goodwin identified several key aspects of music videos. There is an emphasis on promoting the artist through close-ups and screen time to develop their star image. Narratives in music videos typically ignore common storytelling and focus more on performance to advertise the song. Visuals can either relate directly to the song lyrics, amplify their meaning, or be completely disjointed. Technical elements like lighting, editing, and camera work are also important to engage the audience and make the video look professional. Additionally, the structure of the song and artist's style must be considered to blend visuals and audio seamlessly.
Copy of pitch
This document discusses a group's choice to create a music video for the song "Adventure of a Lifetime" by Coldplay. It will focus on a young couple, Kayleigh and Jamie, who are adventurous, happy and clumsy. The video will have vibrant colors and follow the genre conventions of alternative/indie music videos by including visuals of the performers and switching between narrative and musical elements. It will also depict the couple's date outfits and daily lives to match the song's theme of being in love.
Andrew goodwin’s theory
Andrew Goodwin created a theory identifying 7 key aspects that make a successful music video. These include: 1) A relationship between lyrics and visuals, 2) A narrative performance, 3) Star iconography with close-ups, 4) Voyeurism, 5) Intertextuality, 6) Technical elements, and 7) Genre conventions. Goodwin believed lyrics could illustrate, disjuncture from, amplify, or abstract from visuals. Narratives help audiences connect to artists. Iconography and close-ups make artists recognizable. Voyeurism uses intimacy and sexuality. Intertextuality references other works. Technical and genre aspects round out successful music videos.
Andrew Goodwin’s Theory
1. Andrew Goodwin identified 5 key aspects of music videos that audiences should look for: thought beats, narrative and performance, the star image, the relation of visuals to song, and technical aspects.
2. Goodwin recognized that there is often a relationship between the music video's visuals and the song's lyrics, either illustrating, amplifying, or contradicting them. Visuals are also commonly edited to the song's beats or changes in pace.
3. Different music genres have distinguishing styles and icons used in their music videos to represent the genre, and artists often repeat trademark actions to make their songs recognizable.
What is a music video
Music videos have been defined as short moving images that accompany pre-existing music to encourage music sales in other formats. They are often used to enhance an artist's image and establish them as part of a musical genre. There is usually a relationship between the visuals and lyrics of a music video, whether illustrating, amplifying, or contradicting the lyrics. Common elements of music videos include close-ups of the main artist, genre-specific styles and iconography, references to voyeurism and objectification of women, and intertextuality through references to other media.
Evaluation 2
1) The digipak and advert were designed to promote an indie pop artist's new album and music video about struggling with depression while confined to a wheelchair.
2) The digipak features imagery from the music video and represents the artist's emotions through a dark color filter. It also promotes a charity that appeared in the video.
3) The advert uses a large photo of the famous artist against reviews to draw attention and create interest in the "prestigious" album. It also shares release date and social media details.
4) Both the digipak and advert link to the music video through matching imagery, fonts, and references to elements that drive curiosity about the narrative.
Andrew goodwin
Andrew Goodwin identified five key aspects of music videos that audiences should pay attention to: the star image, narrative/performance, relation to the song's visuals, technical elements, and "thought beats." He also noted that music videos are used to promote songs by illustrating lyrics, amplifying meanings, or disregarding the song's meaning. Technical elements like lighting, editing, and camera work are important for holding the video together and engaging the audience. Music videos also focus heavily on the artist's image through close-ups and sometimes feature voyeuristic portrayals of women to catch viewers' attention.
Q1: IN WHAT WAYS DOES YOUR PRODUCT USE, DEVELOP OR CHALLENGE FORMS AND CONVEN...
This document discusses how the media product conforms to and challenges conventions of real music videos, digipaks, and album advertisements.
It conforms to conventions like including director names and titles in the music video, using cuts that match the tempo of the R&B song, and clearly stating the album title and artist on the digipak.
Some conventions are challenged, like omitting lip syncing in the music video to focus on story over lyrics, using illustrations instead of photos on the digipak, and having a darker, more contemporary style rather than expensive displays of wealth. Cross-promotion between the music video and other products is also used.
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The document discusses the benefits of exercise for mental health. Regular physical activity can help reduce anxiety and depression and improve mood and cognitive functioning. Exercise causes chemical changes in the brain that may help protect against developing mental illness and improve symptoms for those who already have a condition.
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Evaluation 1 - FIANAL
The document discusses a music video, Digipak, and magazine advertisement created by the author to promote Kelly Clarkson's cover of "Respect." The music video tells a story of female empowerment showing a woman gaining control after being ignored by her husband. Both the Digipak and magazine ad feature the same woman from the video in colorful, fashionable clothing to appeal to their target audience of females aged 16-25. The author analyzes their works using various music video theories and conventions such as narrative vs performance, editing techniques, mise-en-scene elements, and how their works compare to other pop music videos.
Evaluation 1 - In what ways does your Music Video/Digiak/Magazine Advert use...
1. In what ways does your Music Video/Digiak/Magazine Advert use, develop or challenge forms & conventions of real media products?
Evalutation media
The document discusses how a media product uses, develops or challenges conventions of real media products. It summarizes that the music video challenges conventions by developing a narrative-driven concept, unlike typical performance-based videos. It uses forms like a single narrative structure and club scene setting. Flash forwards create an imaginary world. Feedback found people enjoyed the humor and relatability. Audiences understood the dream concept from the black and white footage. New media like YouTube and search engines aided research, while Final Cut Pro, cameras and scanners supported production and evaluation stages.
Draft treatment
The music video treatment outlines a narrative concept that opens with the artist waking up after a house party the night before. As she walks through her messy house listening to "Domino" by Jessie J, she has flashbacks to the party where most of the performance footage will take place. Scenes of the intensifying party will contrast with shots of the artist performing in her garden and around the house. Bright colors and lighting will be used to emphasize the difference between the morning after and flashbacks to the lively party. Performance will be a main focus, using close-ups and different shots, along with incorporating typical party props and accessories.
Evaluation 2
The band achieved synergy across their main album, music video, and website by adopting a theme of chaos represented through a consistent color scheme, hand-drawn patterns, logos and fonts. This unified the products and strengthened the band's image of being young, energetic and appealing to teenagers and young adults. Marketing focused on promoting the band across different online platforms to engage their target audience.
Evalutation
The document discusses a media production group's music video for the song "Move it to the Drum" by DJ Chuckie. It summarizes how the group used and challenged conventions of real music videos in their production. They followed conventions like having a storyline that relates to the lyrics and being performance-based. However, they challenged conventions around voyeurism typically seen in music videos. Feedback on the video was largely positive, praising how well the video and ancillary materials worked together to promote the song. New media technologies like YouTube, blogs and Final Cut Pro were important tools for research, planning, production and evaluation.
Evaluation[1] zayd h
The document discusses the evaluation of a media product - a music video. It describes how the music video used the genre of dubstep to develop conventions of how teenagers are typically portrayed. It included scenes of the main character causing trouble while wearing a hoodie. Feedback from the target audience of 15-20 year olds revealed they prefer music videos with a balance of performance and narrative over concept. The combination of the music video and accompanying materials like the album cover were effective in representing key elements of the video through imagery and text.
Evaluationquestion 1
This document discusses conventions of different media forms such as digipaks, music artist webpages, music videos, and specifically grime music videos. It provides examples of real products that follow conventions and analyzes how they do so. It also discusses the student's own media products, including a digipak, webpage, and music video for their artist. The student explains how their products both reinforced and challenged some conventions of grime music videos to innovate while still working within the genre structure.
A2 media evaluation Q2.
Our band's brand identity represents a fun and cheeky pop-rock genre. Throughout our music video and ancillary tasks like a magazine ad and digipak, we have maintained consistency in visual elements like costumes, props, and color palette to reinforce this brand image. Close-up shots of band members performing and having fun also convey the personality of our pop-rock group. Compared to a more serious band like The Killers, our products showcase our band members' lighthearted personalities through elements like a food fight narrative and casual costumes.
Media studies q1
The document analyzes how the student's media project uses and develops conventions of real pop music videos. It discusses 10 images from the student's music video and how they incorporate conventions from Fergie's music videos. Many of the images show how the student uses conventions like bold makeup, school uniforms, suggestive imagery, graffiti backgrounds, comical elements, fonts, merchandise with lyrics, and narratives relatable to younger audiences, developing these conventions to fit the student's project. Some images also contrast with conventions by using different settings, themes, and focuses than other pop artists' videos.
How effective is the combination of your main media
Our group created consistent branding across a music video, poster, and CD packaging to promote a pop/country artist.
The music video featured costumes and a set designed to represent the hybrid genre. The poster and CD cover used the same background scene from the video and similar colors to visually link the products.
The poster prominently featured the artist holding a guitar in front of a bright background to identify the country music genre. The CD cover displayed the artist name in bright yellow text against a mix of colors representing the artist's career highs and lows. Consistency across products helped promote the artist's established style.
Evaluation 2 - Media product and ancillary task
The document discusses how effective the combination of a band's main product (a music video) and ancillary texts (a digipak and band website). It describes the key elements included in each product - the digipak features 6 sides with images and information, the website promotes the band through their name, tour dates and members. Both the digipak and website incorporate colors, characters and signs/symbols from the music video to effectively combine the three products.
In what ways does your media product use
This document analyzes how a student media project uses and develops conventions of real pop music videos. It discusses incorporating common conventions like a party theme, bright colors, friendship between band members, and 3-4 minute songs. The student aimed to emphasize the pop genre through choices like a golden color scheme, party outfits, mirror effects, and close-ups while applying makeup. While some objectification occurs, conventions were developed through humor and a never-ending chase narrative between boys and girls. Stills from the shoot maintain the party feel across the digital packaging and magazine ad.
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...longroadmediastudies
The document discusses conventions used in R&B music videos, digipacks, and magazine ads. It describes creating a music video, digipack, and magazine ad for an R&B song that focuses on the main female artist with close-ups, bright colors, and narrative scenes to illustrate the song's lyrics. While following R&B conventions like these, the creative work also challenged some conventions to make the sad song and subtle artist image more impactful.Task 1
Our media product challenges conventions of real music videos in several ways:
1) The costume and setting contradict expectations for the grime genre by portraying the protagonist as unsuccessful with women rather than dominant.
2) It breaks conventions by avoiding objectification of women typically seen in hip-hop/grime videos and instead shows women rejecting the protagonist.
3) The narrative uses a fragmented structure rather than a linear one, leaving the protagonist's fate uncertain rather than resolved.
Advanced Production Evaluation Question 1
The document discusses a music video project analyzing conventions in music video genres. It summarizes how the student's video incorporates conventions through costume, band member roles, and a two-thirds performance to one-third narrative structure. Narrative elements include resolving conflict depicted in lyrics and breaking the fourth wall. While not including an audience like some references, it focuses on the band's performance. The video and album packaging aim to portray the band as youthful, original, talented, and now reunited after facing challenges through cinematography, editing, and imagery.
Evaluation question 1
This document discusses how the media project of a music video, digipak, and advertisement poster for a house music album uses conventions of the real house music genre. It examines the narrative and visual elements used in the music video that were inspired by other dance genre music videos. Key conventions from house music that were utilized include themes of love, upbeat tempos meant for dancing, inclusion of electronic sounds like synths, and editing that cuts between shots on the fourth beat of bars. Mise-en-scene and camera angles were employed intentionally to convey meaning and emphasize the overarching theme of love and relationships between the protagonists and their stereos.
Presentation3valuation question 1 digipak and advert
Our digipak for the song "Dull Boy" by The Growlers uses purple as a key color inspired by the music video. The front cover features a symbolic image also seen in the video. The middle panel continues the black and purple color scheme linked to locations in the video. The back follows conventions from the front with matching colors and font for track names. The advertisement employs indie conventions like an urban setting shown in the video, and replicates the font and layout of the digipak cover to promote the EP.
Final evaluation music video
The document discusses how the media product, a music video for the song "Retrospect", uses and develops conventions of the indie music genre. Some key ways include:
1) Using typical indie settings like bedrooms and streets for filming locations due to a low budget.
2) Employing natural, desaturated colors in editing and costumes to fit the indie aesthetic.
3) Telling a narrative story rather than being a performance-based video, while still using common shot types like close-ups to convey emotion.
4) Uploading to YouTube and using social media for promotion, matching how real indie artists distribute their work. Accessories like the album artwork and website maintain consistency in imagery and color
Brand identity coldplay
The brand identity of Coldplay across their website, album packaging, and music video is color. Color is used prominently and distinctly in each medium: on the website, color highlights interactive elements and conveys a cartoon-like style; the album packaging uses a colorful background to make the title stand out on shelves; and the music video uses merging and forming colors to visually tell the story and meaning of the song. Though color is applied uniquely in each text, it serves to cohesively link the band's brand and materials through its bold and contrasting nature.
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Evaluation 1 - In what ways does your Music Video/Digiak/Magazine Advert use...
Evaluation 1 - In what ways does your Music Video/Digiak/Magazine Advert use...
How effective is the combination of your main media
How effective is the combination of your main media
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...
Presentation3valuation question 1 digipak and advert
Presentation3valuation question 1 digipak and advert
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The document discusses three texts - a music video website, music video, and digipak - created for rapper Heavy D. All three texts reflect Heavy D's bright, colorful image through their use of vivid colors and styles. In the music video, Heavy D wears different colorful outfits to showcase his cool rap persona. Bold purple and yellow fonts and imagery are used consistently across the three texts to match Heavy D's clothing and the vibrancy of the song. The music video features limited props but added special effects to enhance the fun, exciting feel. It was aimed at and received positive responses from young adults and teenagers attracted by its humor and bright colors with a nostalgic 90s influence.
How michael jackson's 'thriller' changed the music
Michael Jackson's 1982 album Thriller changed the music business in several ways. It was the best-selling studio album in the United States, selling over 50 million copies worldwide. Thriller set a new standard for promoting and marketing superstar releases that other artists began following. It also broke down racial barriers on MTV and raised the quality of music videos. Additionally, Thriller was the first album released globally on the same date and to spawn seven singles, redefining expectations for blockbuster albums.
Music Video Theorists
The document summarizes several theorists' ideas about common patterns and elements in narratives across different media. Vladimir Propp identified common stock characters that reappear in stories. Levi-Strauss discussed binary oppositions or conflicts. Roland Barthes identified five codes that engage audiences. Andrew Goodwin outlined five key aspects to look for in music videos, including narrative and how the video relates to the song. Examples of music videos are provided that illustrate concepts from some of the different theories.
Got nuffin but love media
The document discusses plans for a music video for the song "Got Nuffin But Love" by Heavy D & The Boyz. It will update the setting and costumes to make them more modern and 21st century. The theme will remain a boy chasing after a girl, following her in her daily life through parks and streets. The video will end with the main artist being rejected by the first girl but then having her want him after he moves on to another girl, making her feel rejected as well.
Got nuffin but love media
The document discusses plans for a music video for the song "Got Nuffin But Love" by Heavy D & The Boyz. It will update the setting and costumes to make them more modern and 21st century. The theme will remain a boy chasing after a girl, following her in her daily life through parks and streets. The video will end with the main artist being rejected by the first girl but then having her want him after he moves on to another girl, making her feel rejected as well.
Got nuffin but love media
The document discusses plans for a music video for the song "Got Nuffin But Love" by Heavy D & The Boyz. It will update the setting and costumes to make them more modern and 21st century. The theme will remain a boy chasing after a girl, following her in her daily life through parks and streets. The humorous video is aimed at young people and will end with the main character being rejected but then wanted by the girl once she sees him with someone else.
Got nuffin but love media
The document discusses plans for a music video for the song "Got Nuffin But Love" by Heavy D & The Boyz. It will update the setting and costumes to make them more modern and 21st century. The theme will remain a boy chasing after a girl, following her in her daily life through parks and streets. The video will end with the main artist being rejected by the first girl but then having her fall for him after he moves on to another girl.
Got nuffin but love media
The document discusses plans for a music video for the song "Got Nuffin But Love" by Heavy D & The Boyz. It will update the setting and costumes to make them more modern and 21st century. The theme will remain a boy chasing after a girl, following her in her daily life through parks and streets. It will end with the main artist being rejected by the first girl but then having her want him after he moves on to another girl.
How did you attract
The document discusses how the filmmakers aimed to attract their audience for the film "Redemption". They conducted market research and questionnaires to determine what thriller conventions to include. They tried to add many conventions without overcomplicating the opening. The group chose the title "Redemption" as it stood out among other options. The film contains elements of thriller and comedy to balance the tension and appeal to a wider audience.
Stereotypical characters
The document discusses various stereotypical representations of gender, ethnicity, sexuality, class/status, disability, and regional identity in cartoons. It provides examples like Marge Simpson representing typical female gender stereotypes of cleaning and cooking. Apu represents stereotypes of Asian men working in shops with accents. Gay men are stereotyped as flamboyant. English characters are portrayed as posh. Disabled characters are non-verbal and use wheelchairs. Hyacinth Bucket represents southern English regional stereotypes of proper speech and lifestyle.
Slumdog millionaire
Simon Beaufoy wrote the screenplay for Slumdog Millionaire based on the novel Q & A by Vikas Swarup, directing research trips to India to interview street children and capture the energy of the slums. Danny Boyle directed the film, which was produced by Celador Films, Film4, and Pathé Pictures International and distributed by Fox Searchlight Pictures. Though it had a limited initial release and low budget of $15 million, Slumdog Millionaire found box office success, grossing over $141 million in the US.
Working title
Working Title Films is a British film production company founded in 1983 by Tim Bevan and Sarah Radclyffe and based in London. It produces both feature films and television shows. In recent years, Working Title has launched a television division in partnership with NBC Universal, its parent company, to produce shows based in London and Los Angeles. The company was previously associated with PolyGram Films but was acquired by Universal Studios in 1999.
Spooks crime seen shots
The document describes a scene from a film showing an interrogation at an MI5 safe house. It analyzes various shots that convey the dark, tense atmosphere of the damp, run-down house and reveal details about the characters and their interactions. Key shots include an opening shot panning through the house, close-ups of the interrogated man's frustrated facial expressions, and a 360-degree shot introducing the two interrogating women and their dominant body language over the man.
Nigella lawson
Nigella Lawson is an English food writer, journalist and broadcaster known for her curvy figure and feminine style. She is often presented in a stereotypical way that appeals to men due to her body type and emphasis on looking attractive. While talented in the kitchen, Nigella is also seen as the "perfect woman" and conforming to stereotypes about appealing to the male gaze through her appearance as a mother and lady-like demeanor.
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The Origins of the Dwayne Johnson Kidnapping Saga
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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
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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
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
From Swing Music to Big Band Fame_ 5 Iconic Artists.pptx
Know about the five famous artists who have transitioned to Big Band Music from Swing Music. Here is a glimpse of their work and contributions.
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Presentation1
- 2. The Three Texts Music Video Website Digipak
- 3. Character and Image The theme running across all three texts reflect upon Heavy-D’s image and his music. The bright colours represent his personality and dress sense which reflects in his portrait shots in the digipak. A brightly coloured digipak will attract customers in to want to buy the music and research further into the artist. The colours in the graffiti wall represent happiness and excitement as well as the graffiti symbolising the creativeness and ‘coolness’ of the rap elements in the song. Also the graffiti wall is featured in the music video as a backdrop for Heavy D.
- 4. Character and Image Heavy D has a total of 3 costume changes in the duration of the music video, reflecting his coolness and rap style theme. He wears two different suits, showing off his ‘men in black’ side of his personality like a James Bond star, as well as a bright purple jacket and yellow top which is featured on the digipak’s front cover.
- 5. Font and Imagery As for the font sizing and colour, I decide to match the graffiti wall’s colourful feel with bold purple and yellow text reflecting Heavy-D’s clothing by matching the colouring. The text and colouring runs through out all three of the website, music video and digipak. The text in the music video flows with the lyrics of the song and is yellow coloured matching the vibrancy of the beat.
- 6. Props The amount of props used in the music video is very limited, although there were special effects added in the give the video a more professional and fun look. For example text and other animation is added in to fit in with the lyrics wording and timing. The lyrics in the music video: “You even been around the world, so you go, girl” were presented with animation of a world rotating around Heavy D’s hands. These special effects really added the fun and excitement into the video that we thought we would get extra marks for.
- 7. Target Audience • As an end result we published the music video on Facebook, Twitter and YouTube and got good responses from all three websites. The main source of people who viewed the video were young adults and teenagers, due to the humour and brightly coloured features. The video in general was more aimed at the younger generation, as we were bringing the video more into the 21st century with a slight 90’s feel still to it, keeping some of Heavy D’s originality.