Question 1
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The music video uses and develops several conventions of real music videos. It tells a fragmented love story narrative, as Andrew Goodwin notes most music videos do. It illustrates and amplifies lyrics from the song, such as showing a woman falling when the lyrics say "don't fall in love." The video also uses voyeurism and sexually objectifies the dancers, as suggested by Andrew Goodwin, giving it a mature edge. Overall, it aims to build the artist's image and lifestyle through beauty shots and depicting him as desirable with many admirers, as other hip hop music videos do through the "star image" concept discussed by Richard Dyer and John Stewart.
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Q1 evaluation (Pooja)
This document discusses several conventions of real music videos and how the media product challenges or develops upon them. It addresses the use of iconography like a hat motif throughout the music video and other materials. It also discusses how the music video challenges conventions of voyeurism by sexualizing the male artist rather than females. While most lyrics don't match the visuals, some do to further challenge expectations. The relationship between music and visuals aims to amplify the music in places like the runway scene. Dark colors and motifs are continued throughout the digipak, video and magazine advert to maintain a grime genre feel.
Evaluation question 1.
The document discusses the development of a music video project. It describes various scenes and how they further the narrative and artist's point of view. Inspiration was drawn from other artists' music videos and styles but the project aims to create a unique style. Photoshoots were used to develop the artist's image over time, incorporating influences from celebrities like Selena Gomez. The website draws from other artist sites but includes innovative elements like a live Instagram feed. Research on point-of-view music videos informed the project's focus on the artist's experience through their eyes.
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.
Intertextuality in music videos – andrew goodwin’s theory
Andrew Goodwin's theory of intertextuality in music videos identifies 5 key aspects: 1) the star image of the artist, 2) narrative/performance in the video, 3) relating the visuals to the lyrics, 4) technical elements like editing, and 5) the relationship between the visuals and song. Goodwin believes the star image is most important for promoting the artist and video. Narrative/performance helps audiences understand the song. Technical aspects produce a professional video, while visuals can illustrate, disjuncture from, or amplify the lyrics. Intertextuality is used to keep elements familiar to audiences and signify genre.
Official productions - Pitch
The group has chosen the song "Am I Wrong" by Nico and Vinz for their music video. They picked this pop song because their target audience, teenagers, preferred pop music in surveys. They will tell the story of a male artist who perseveres to pursue his dream of being a singer/songwriter despite facing doubts and obstacles from his peers that make him feel like an outcast. The music video will have both a narrative storytelling style and performance elements to both engage the audience in the artist's background story and help them get to know the artist. They were influenced by the music videos for "Who's Laughing Now" by Jessie J and "Superheroes" by The Script which also involve characters who are
Andrew goodwin and music videos
Andrew Goodwin argues that music videos are primarily a promotional commodity rather than an art form. He analyzed music videos from the 1990s and found they mainly promote the artist and their songs. They also frequently promote other products by featuring them in the videos. However, some opposing theories argue that some music videos can be considered art forms through their creative and unconventional narratives and visuals. But Goodwin's conclusion is that even these videos ultimately serve to promote the artist and create an image for them.
In what ways does your media product use, develop or challenge forms and conv...
1) The music video uses and challenges conventions of indie pop music videos through its focus on the notion of looking and inclusion of close-ups of the protagonist.
2) It establishes a relationship between the audience and protagonist through close-ups to engage viewers while also challenging expectations by not perfectly syncing shots to lyrics.
3) The video tells a narrative story focused on the themes of the song like warmth, relationships, and gender roles, challenging the typical indie pop convention of performance-based videos. It references Bastille's fictional news company to connect to their other music videos.
Costumes
To create costumes for their music video that would appeal to their target audience of 13-24 year olds, the document discusses researching the fashion styles of that age group on social media. It describes choosing a checked shirt for the male actor that symbolizes romance, as well as jeans and a floral top for the actors that would be casual outfits for a park visit. The document also notes keeping the musician in trademark clothes like at concerts to establish his persona for new fans.
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Q1 evaluation (Pooja)
This document discusses several conventions of real music videos and how the media product challenges or develops upon them. It addresses the use of iconography like a hat motif throughout the music video and other materials. It also discusses how the music video challenges conventions of voyeurism by sexualizing the male artist rather than females. While most lyrics don't match the visuals, some do to further challenge expectations. The relationship between music and visuals aims to amplify the music in places like the runway scene. Dark colors and motifs are continued throughout the digipak, video and magazine advert to maintain a grime genre feel.
Evaluation question 1.
The document discusses the development of a music video project. It describes various scenes and how they further the narrative and artist's point of view. Inspiration was drawn from other artists' music videos and styles but the project aims to create a unique style. Photoshoots were used to develop the artist's image over time, incorporating influences from celebrities like Selena Gomez. The website draws from other artist sites but includes innovative elements like a live Instagram feed. Research on point-of-view music videos informed the project's focus on the artist's experience through their eyes.
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.
Intertextuality in music videos – andrew goodwin’s theory
Andrew Goodwin's theory of intertextuality in music videos identifies 5 key aspects: 1) the star image of the artist, 2) narrative/performance in the video, 3) relating the visuals to the lyrics, 4) technical elements like editing, and 5) the relationship between the visuals and song. Goodwin believes the star image is most important for promoting the artist and video. Narrative/performance helps audiences understand the song. Technical aspects produce a professional video, while visuals can illustrate, disjuncture from, or amplify the lyrics. Intertextuality is used to keep elements familiar to audiences and signify genre.
Official productions - Pitch
The group has chosen the song "Am I Wrong" by Nico and Vinz for their music video. They picked this pop song because their target audience, teenagers, preferred pop music in surveys. They will tell the story of a male artist who perseveres to pursue his dream of being a singer/songwriter despite facing doubts and obstacles from his peers that make him feel like an outcast. The music video will have both a narrative storytelling style and performance elements to both engage the audience in the artist's background story and help them get to know the artist. They were influenced by the music videos for "Who's Laughing Now" by Jessie J and "Superheroes" by The Script which also involve characters who are
Andrew goodwin and music videos
Andrew Goodwin argues that music videos are primarily a promotional commodity rather than an art form. He analyzed music videos from the 1990s and found they mainly promote the artist and their songs. They also frequently promote other products by featuring them in the videos. However, some opposing theories argue that some music videos can be considered art forms through their creative and unconventional narratives and visuals. But Goodwin's conclusion is that even these videos ultimately serve to promote the artist and create an image for them.
In what ways does your media product use, develop or challenge forms and conv...
1) The music video uses and challenges conventions of indie pop music videos through its focus on the notion of looking and inclusion of close-ups of the protagonist.
2) It establishes a relationship between the audience and protagonist through close-ups to engage viewers while also challenging expectations by not perfectly syncing shots to lyrics.
3) The video tells a narrative story focused on the themes of the song like warmth, relationships, and gender roles, challenging the typical indie pop convention of performance-based videos. It references Bastille's fictional news company to connect to their other music videos.
Costumes
To create costumes for their music video that would appeal to their target audience of 13-24 year olds, the document discusses researching the fashion styles of that age group on social media. It describes choosing a checked shirt for the male actor that symbolizes romance, as well as jeans and a floral top for the actors that would be casual outfits for a park visit. The document also notes keeping the musician in trademark clothes like at concerts to establish his persona for new fans.
Goodwin theory
Goodwin's Theory proposes 8 principles for analyzing music videos: 1) Links between lyrics and visuals to reinforce the song's meaning, 2) Links between music and visuals to match the genre and tempo, and 3) Genre characteristics like close-ups for pop videos and narratives for indie rock. Examples like Amy Winehouse's "You Know I'm No Good" and Michael Jackson's "Thriller" illustrate these principles. The theory also covers intertextual references, portrayals of gender, voyeurism of an artist's lifestyle, record label demands, and whether a video focuses on performance, narrative, or concept. Applying Goodwin's Theory can help create music videos that effectively connect with audiences.
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.
A2 media goodwin analysis
The document discusses different types of music videos and their characteristics. It outlines that music videos typically link lyrics and visuals, as well as music and visuals. Genre characteristics, intertextual references, and notions of looking are also associated with music videos. The document further discusses narrative, performance, and concept-based music videos, as well as demands that may be placed on artists by record labels.
Music Consumption and Audience Research
The document analyzes three pop music videos according to several theories about how audiences interpret media. It discusses how the music videos represent age and gender and adhere to stereotypes about the pop genre described by Andrew Goodwin. Specifically, it analyzes how the music videos feature dance routines and stage performances that engage audiences. The document also discusses how the music videos allow audiences to escape and be distracted from their own lives according to uses and gratifications theory. However, it notes two videos did not clearly link their audio and visual elements as another theory predicted. Finally, it analyzes how the videos appeal to the "male gaze" in their representation of the female artists.
MEDIA EVALUATION QUESTION ONE
The music video created by the student conforms to some conventions of real music videos identified by Andrew Goodwin in his work. Specifically, it matches the lyrics to corresponding visuals, such as showing a couple on a boat when the lyrics mention the sea. The calm atmosphere of the video also reflects the relaxed tone of the music. Additionally, close-ups of the artist are included to help identify and promote them, as record labels typically demand. However, the video does not emphasize genre characteristics or voyeuristic treatment of the female body, as those would not fit the theme. It also includes an intertextual film reference, merging footage to match the lyrics.
Goodwin music video analysis
Andrew Goodwin studied hundreds of music videos for his book "Dancing in the Distraction Factory" and identified several typical codes and conventions that are commonly used. These include establishing a relationship between the lyrics and visuals of the video, between the music and visuals, and particular genres having their own distinctive styles. Videos also often feature demands for close-ups of the main artist, development of their star iconography, references to voyeurism and intertextuality.
Task 2 Powerpoint Presentation:
- The document discusses how star images are constructed to sell music and attract audiences through advertising. It refers to Richard Dyer's theory that a star is an image, not a real person, created to make the product appealing.
- White Noise is known for their anti-racism views and involvement in the organization "Love Music Hate Racism." They attract large crowds through their energetic live performances and youthful good looks, appealing to both genders.
- The document then lists White Noise's target demographics and psychographic profiles.
Evaluation
The document summarizes how a media group followed conventions of indie music videos in their own media product. They researched music videos, digipaks, and magazine ads in the indie genre. Their music video included a narrative storyline with surreal elements, references to death, handheld camera footage, repeating strong imagery, close-ups of the protagonist as lead singer, shots of looking at screens/photos, and superimposing the band name on the first shot. They developed some conventions, like separating the band name from the first shot. Overall, they aimed to follow conventions of indie music videos but challenged them in some ways.
Andrew goodwins theory 17.06.16
Andrew Goodwin proposed 5 characteristics for music videos: 1) Representing genre stereotypes, 2) Focusing on the performer ("notions of looking"), 3) Promoting the artist's image, 4) Incorporating references to other media ("intertextuality"), 5) Having a clear relationship between lyrics and visuals. Examples are given showing how music videos by Fifth Harmony, Beyoncé, Iggy Azalea, Little Mix, Sia, and Taylor Swift demonstrate some of these characteristics.
Andrew goodwin’s theory
Goodwin's theory outlines six conventions commonly found in music videos:
1. A relationship between the lyrics and visuals that can illustrate, amplify, or contradict the lyrics.
2. A relationship between the music and visuals that can illustrate, amplify, or contradict the music.
3. The inclusion of genre-related styles and iconography.
4. Frequent close-ups of the artist to promote them or develop motifs.
5. The common use of voyeurism, especially regarding female artists.
6. Intertextual references to other media, often in a humorous way.
A2 - Favourite Music Video Analysis.
This document contains analyses of the music video for the song "Good Life" by Kanye West featuring T-Pain. It discusses several aspects of the video, including its portrayal of wealth in line with R&B genre characteristics, how the lyrics and visuals work together, the use of close-ups to connect with the audience, and intertextual references that make the song relatable. The video is praised for its engaging visual effects that match the lyrics and keep the viewer interested in watching to see how the words are represented.
Evaluation question 1
Our media product is a modernized music video for Queen's "I want to break free" that updates the themes to current political and social issues. We used several conventions of music videos such as matching lyrics to imagery. We also developed conventions by exploring modern themes of sexual orientation, politics, and identity. Additionally, we challenged some conventions by using an all-male cast and having men perform in drag, deviating from the typical use of attractive females as the main focus to catch attention.
Director research
Michel Gondry is a French film director known for his distinctive visual style and manipulation of reality and dreams. He got his start making music videos for bands like Oui Oui and went on to direct videos for famous artists like Bjork, Daft Punk, and The White Stripes. Gondry prefers his music videos focus on the meaning of the song's lyrics rather than the artist. He is also known for incorporating playful, childlike elements and cartoon sketches into his works. An example of this is Kanye West's "Heard 'Em Say" video.
Spike Jonze is an American director, producer, and screenwriter known for his work in music videos, film, and television
Genre analysis
The document analyzes the music video for the song "Reality" by Lost Frequencies. It summarizes that the music video takes a narrative approach, telling a story of a couple going on a treasure hunt, rather than just being a performance-based video. This narrative style makes it stand out compared to typical deep house music videos. Symbols and locations in the video convey a message about the importance of love and relationships. While some conventions like handheld camerawork are used, overall the video counters stereotypes of the deep house genre through its focus on a calm, loving couple rather than partying.
A2 media studies evaluation question 1
The document discusses research into the forms and conventions of music videos. It summarizes theories by media theorist Andrew Goodwin that music videos demonstrate genre characteristics and there is usually a relationship between lyrics and visuals. It also notes that pop-rock music videos tend to have a mix of performance, narrative and concept elements. The document then discusses the research conducted for a music video for the Queen song "I Want To Break Free," noting how the video challenges stereotypes by focusing on the male form in female dresses and splitting the band members into separate storylines.
Andrew goodwin’s 6 features of music videos
The document discusses three key steps in developing a music video to accompany a song: [1] thinking about the song structure, voice, and storytelling; [2] using visuals to illustrate, amplify, or create disjuncture from the lyrics; and [3] establishing a consistent style or "star image" through elements like location, clothing, and close-ups of the artist. It provides examples to illustrate how music video conventions vary across genres and can allude to other media.
Andrew Goodwin's Theory
The document summarizes Andrew Goodwin's key aspects of analyzing music videos, including genre characteristics, relationships between lyrics and visuals, music and visuals, demands of record labels, notions of looking, and intertextuality. Specific music video examples are provided to illustrate each aspect, such as One Direction demonstrating genre characteristics of a boy band, Coldplay's "The Scientist" matching its reversed video to the lyrics "go back in time", and Beyoncé's "Crazy in Love" portraying notions of looking through fragmented shots.
Media question 1
The music video follows conventions of the hip hop genre through its narrative focus on the relationship between a male and female artist. Elements like costume, makeup, location, cinematography, editing and sound engineering are used conventionally to portray the emotions and story. While maintaining genre conventions, some elements like lighting, iconography and camera angles are also used to further develop the narrative and themes of heartbreak. The video aims to promote the artists and their music to their target audience through an engaging performance-based concept.
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.
Evaulation one
The media product conformed to Andrew Goodwin's theory of closeups establishing artist familiarity and star iconography. It also drew from conventions of 1970s music videos featuring expressive singing and powerful voices. However, it challenged 1970s conventions by incorporating modern elements like camera shots, closeups of lips, and iPhone usage. While some shots drew from 1970s precedents, others featured more sexualized content unsuitable for the disco genre. Overall the product balanced conforming to theoretical conventions and challenging norms of original media forms.
In what ways does your media product use
The document discusses Andrew Goodwin's theory of music video conventions and how the student's music video for their artist Jamie Lynch both uses and challenges some of these conventions. Specifically, the video incorporates a narrative and performance as is common in music videos. It portrays the soulful hip hop genre through street culture imagery but challenges stereotypes often seen in that genre. Close-ups of the artist are used to make him recognizable while not exploiting the female body as is common. The accompanying CD cover and advert follow standard conventions like featuring the artist.
In what ways does your media product use
The document discusses Andrew Goodwin's theory of music video conventions and how the student's music video for their artist Jamie Lynch both uses and challenges some of these conventions. Specifically, the video incorporates a narrative and performance as is common in music videos. It portrays the soulful hip hop genre through street culture imagery but challenges stereotypes often seen in that genre. Close-ups of the artist are used to make him recognizable while not exploiting the female body as is common. The accompanying CD cover and advert follow standard conventions like featuring the artist.
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What's hot
Goodwin theory
Goodwin's Theory proposes 8 principles for analyzing music videos: 1) Links between lyrics and visuals to reinforce the song's meaning, 2) Links between music and visuals to match the genre and tempo, and 3) Genre characteristics like close-ups for pop videos and narratives for indie rock. Examples like Amy Winehouse's "You Know I'm No Good" and Michael Jackson's "Thriller" illustrate these principles. The theory also covers intertextual references, portrayals of gender, voyeurism of an artist's lifestyle, record label demands, and whether a video focuses on performance, narrative, or concept. Applying Goodwin's Theory can help create music videos that effectively connect with audiences.
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.
A2 media goodwin analysis
The document discusses different types of music videos and their characteristics. It outlines that music videos typically link lyrics and visuals, as well as music and visuals. Genre characteristics, intertextual references, and notions of looking are also associated with music videos. The document further discusses narrative, performance, and concept-based music videos, as well as demands that may be placed on artists by record labels.
Music Consumption and Audience Research
The document analyzes three pop music videos according to several theories about how audiences interpret media. It discusses how the music videos represent age and gender and adhere to stereotypes about the pop genre described by Andrew Goodwin. Specifically, it analyzes how the music videos feature dance routines and stage performances that engage audiences. The document also discusses how the music videos allow audiences to escape and be distracted from their own lives according to uses and gratifications theory. However, it notes two videos did not clearly link their audio and visual elements as another theory predicted. Finally, it analyzes how the videos appeal to the "male gaze" in their representation of the female artists.
MEDIA EVALUATION QUESTION ONE
The music video created by the student conforms to some conventions of real music videos identified by Andrew Goodwin in his work. Specifically, it matches the lyrics to corresponding visuals, such as showing a couple on a boat when the lyrics mention the sea. The calm atmosphere of the video also reflects the relaxed tone of the music. Additionally, close-ups of the artist are included to help identify and promote them, as record labels typically demand. However, the video does not emphasize genre characteristics or voyeuristic treatment of the female body, as those would not fit the theme. It also includes an intertextual film reference, merging footage to match the lyrics.
Goodwin music video analysis
Andrew Goodwin studied hundreds of music videos for his book "Dancing in the Distraction Factory" and identified several typical codes and conventions that are commonly used. These include establishing a relationship between the lyrics and visuals of the video, between the music and visuals, and particular genres having their own distinctive styles. Videos also often feature demands for close-ups of the main artist, development of their star iconography, references to voyeurism and intertextuality.
Task 2 Powerpoint Presentation:
- The document discusses how star images are constructed to sell music and attract audiences through advertising. It refers to Richard Dyer's theory that a star is an image, not a real person, created to make the product appealing.
- White Noise is known for their anti-racism views and involvement in the organization "Love Music Hate Racism." They attract large crowds through their energetic live performances and youthful good looks, appealing to both genders.
- The document then lists White Noise's target demographics and psychographic profiles.
Evaluation
The document summarizes how a media group followed conventions of indie music videos in their own media product. They researched music videos, digipaks, and magazine ads in the indie genre. Their music video included a narrative storyline with surreal elements, references to death, handheld camera footage, repeating strong imagery, close-ups of the protagonist as lead singer, shots of looking at screens/photos, and superimposing the band name on the first shot. They developed some conventions, like separating the band name from the first shot. Overall, they aimed to follow conventions of indie music videos but challenged them in some ways.
Andrew goodwins theory 17.06.16
Andrew Goodwin proposed 5 characteristics for music videos: 1) Representing genre stereotypes, 2) Focusing on the performer ("notions of looking"), 3) Promoting the artist's image, 4) Incorporating references to other media ("intertextuality"), 5) Having a clear relationship between lyrics and visuals. Examples are given showing how music videos by Fifth Harmony, Beyoncé, Iggy Azalea, Little Mix, Sia, and Taylor Swift demonstrate some of these characteristics.
Andrew goodwin’s theory
Goodwin's theory outlines six conventions commonly found in music videos:
1. A relationship between the lyrics and visuals that can illustrate, amplify, or contradict the lyrics.
2. A relationship between the music and visuals that can illustrate, amplify, or contradict the music.
3. The inclusion of genre-related styles and iconography.
4. Frequent close-ups of the artist to promote them or develop motifs.
5. The common use of voyeurism, especially regarding female artists.
6. Intertextual references to other media, often in a humorous way.
A2 - Favourite Music Video Analysis.
This document contains analyses of the music video for the song "Good Life" by Kanye West featuring T-Pain. It discusses several aspects of the video, including its portrayal of wealth in line with R&B genre characteristics, how the lyrics and visuals work together, the use of close-ups to connect with the audience, and intertextual references that make the song relatable. The video is praised for its engaging visual effects that match the lyrics and keep the viewer interested in watching to see how the words are represented.
Evaluation question 1
Our media product is a modernized music video for Queen's "I want to break free" that updates the themes to current political and social issues. We used several conventions of music videos such as matching lyrics to imagery. We also developed conventions by exploring modern themes of sexual orientation, politics, and identity. Additionally, we challenged some conventions by using an all-male cast and having men perform in drag, deviating from the typical use of attractive females as the main focus to catch attention.
Director research
Michel Gondry is a French film director known for his distinctive visual style and manipulation of reality and dreams. He got his start making music videos for bands like Oui Oui and went on to direct videos for famous artists like Bjork, Daft Punk, and The White Stripes. Gondry prefers his music videos focus on the meaning of the song's lyrics rather than the artist. He is also known for incorporating playful, childlike elements and cartoon sketches into his works. An example of this is Kanye West's "Heard 'Em Say" video.
Spike Jonze is an American director, producer, and screenwriter known for his work in music videos, film, and television
Genre analysis
The document analyzes the music video for the song "Reality" by Lost Frequencies. It summarizes that the music video takes a narrative approach, telling a story of a couple going on a treasure hunt, rather than just being a performance-based video. This narrative style makes it stand out compared to typical deep house music videos. Symbols and locations in the video convey a message about the importance of love and relationships. While some conventions like handheld camerawork are used, overall the video counters stereotypes of the deep house genre through its focus on a calm, loving couple rather than partying.
A2 media studies evaluation question 1
The document discusses research into the forms and conventions of music videos. It summarizes theories by media theorist Andrew Goodwin that music videos demonstrate genre characteristics and there is usually a relationship between lyrics and visuals. It also notes that pop-rock music videos tend to have a mix of performance, narrative and concept elements. The document then discusses the research conducted for a music video for the Queen song "I Want To Break Free," noting how the video challenges stereotypes by focusing on the male form in female dresses and splitting the band members into separate storylines.
Andrew goodwin’s 6 features of music videos
The document discusses three key steps in developing a music video to accompany a song: [1] thinking about the song structure, voice, and storytelling; [2] using visuals to illustrate, amplify, or create disjuncture from the lyrics; and [3] establishing a consistent style or "star image" through elements like location, clothing, and close-ups of the artist. It provides examples to illustrate how music video conventions vary across genres and can allude to other media.
Andrew Goodwin's Theory
The document summarizes Andrew Goodwin's key aspects of analyzing music videos, including genre characteristics, relationships between lyrics and visuals, music and visuals, demands of record labels, notions of looking, and intertextuality. Specific music video examples are provided to illustrate each aspect, such as One Direction demonstrating genre characteristics of a boy band, Coldplay's "The Scientist" matching its reversed video to the lyrics "go back in time", and Beyoncé's "Crazy in Love" portraying notions of looking through fragmented shots.
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Similar to Question 1
Media question 1
The music video follows conventions of the hip hop genre through its narrative focus on the relationship between a male and female artist. Elements like costume, makeup, location, cinematography, editing and sound engineering are used conventionally to portray the emotions and story. While maintaining genre conventions, some elements like lighting, iconography and camera angles are also used to further develop the narrative and themes of heartbreak. The video aims to promote the artists and their music to their target audience through an engaging performance-based concept.
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.
Evaulation one
The media product conformed to Andrew Goodwin's theory of closeups establishing artist familiarity and star iconography. It also drew from conventions of 1970s music videos featuring expressive singing and powerful voices. However, it challenged 1970s conventions by incorporating modern elements like camera shots, closeups of lips, and iPhone usage. While some shots drew from 1970s precedents, others featured more sexualized content unsuitable for the disco genre. Overall the product balanced conforming to theoretical conventions and challenging norms of original media forms.
In what ways does your media product use
The document discusses Andrew Goodwin's theory of music video conventions and how the student's music video for their artist Jamie Lynch both uses and challenges some of these conventions. Specifically, the video incorporates a narrative and performance as is common in music videos. It portrays the soulful hip hop genre through street culture imagery but challenges stereotypes often seen in that genre. Close-ups of the artist are used to make him recognizable while not exploiting the female body as is common. The accompanying CD cover and advert follow standard conventions like featuring the artist.
In what ways does your media product use
The document discusses Andrew Goodwin's theory of music video conventions and how the student's music video for their artist Jamie Lynch both uses and challenges some of these conventions. Specifically, the video incorporates a narrative and performance as is common in music videos. It portrays the soulful hip hop genre through street culture imagery but challenges stereotypes often seen in that genre. Close-ups of the artist are used to make him recognizable while not exploiting the female body as is common. The accompanying CD cover and advert follow standard conventions like featuring the artist.
Andrew goodwin
- Music videos can anchor the meaning of a song for viewers by telling a visual story to accompany the lyrics. However, their main purpose is advertisement for the artist and record label.
- Andrew Goodwin identified five key aspects of effective music videos: showing the sound through "thought beats"; using narrative and star performances; crafting the star image; relating visuals to the song; and technical elements like editing, effects, lighting and camerawork.
- Goodwin argued that the artist should appear in the video to better connect viewers to the narrative and make the story more believable. Technical elements are also important for setting mood, emphasis and a professional appearance.
Media 1
The music video follows conventions of the pop genre through short, energetic dance sequences and close-ups of the artists. However, it also challenges conventions by having no narrative and using surreal costumes, props, and disjunctive editing rather than a repeated dance routine. This creates a quirky, fun style that keeps the audience engaged. While the video matches conventions like thought beats and selling the artist, it challenges typical pop videos through its unusual presentation and lack of connection between music and visuals.
Evaluation1
The document provides an evaluation of a media project involving the production of a music video. It discusses how the music video used conventions like depicting stereotypical scenes of teenagers in council estates using drugs and committing crimes. It also discusses how the ancillary texts like the digipak and magazine ad helped promote the music video. Feedback on the project noted positives like accurately portraying drug use across ethnicities, but also areas for improvement like making the stabbing scene more realistic. Throughout the project, technologies like YouTube, blogs, and editing software were used to conduct research, plan, construct, and evaluate the media product.
Q1
Our music video uses, develops, and challenges conventions of music videos for the pop/hip-hop genre in several ways. It develops conventions by using the rap portions of the song to tell the narrative rather than showing the rapper rapping. It also challenges conventions by portraying women in a vulnerable way rather than as objects. The video develops conventions through its focus on a single artist and through techniques like close-ups that build her iconography. Overall, the video both draws from and reworks typical music video conventions for its genre.
Evaluation question one
The media production uses some conventions of the indie rock genre, such as calm settings and lighting, as well as focusing on the artist as the protagonist. However, it also develops conventions by using a variety of guitar shots rather than repetitive shots, and increasing the narrative elements. The production challenges conventions by using a non-stereotypical actress and showing character contrast through her rather than just expression. It also shows the protagonist's thoughts in the bridge rather than typical guitar shots.
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.
Question 4 powerpoint - CONVENTIONS
The document discusses conventions in the indie music genre and how the creators of a promotional package for a musician followed and subverted conventions. It aimed to appeal to its target 16-30 year old audience by using conventions of existing successful artists like Arctic Monkeys and The 1975 as inspiration for the narrative, costume, and other elements of the music video. However, it also tried to make the package unique by subverting some conventions and developing its own brand identity for the artist through elements like customizing his guitar. Performance shots were included to link back to the narrative and convey the artist's emotions, while also portraying him as a professional musician.
Q1
We researched conventions of female R&B music videos to inform our own video for Cassie's song "Me & U". We focused on a performance-based video rather than narrative. Close-ups, eye contact with the camera, glamorous locations, and emphasis on the artist's appearance and lifestyle were used to attract audiences and sell the artist in line with conventions. Some conventions like including a love interest or happy ending were omitted to focus on Cassie.
Evaluation 1
Our music video challenges conventions of the EDM genre in some ways while adhering to others. While EDM videos typically feature narratives unrelated to the lyrics and secondary roles for artists, our video centers on the artist to develop their brand. It also includes an atypical domestic abuse storyline. However, the fast-paced editing, upbeat settings during performances, and focus on popular locations align with genre norms. Overall, the video balances fitting expectations with distinctive elements to create interest.
Evaluation question one
The document discusses several conventions of indie music videos put forth by Andrew Goodwin and how the student's media product uses, develops, and challenges some of these conventions. The student analyzes Goodwin's theories on thought beats, the relationship between music and visuals, use of the artist, star image, and technical aspects. The student then explains how their music video illustrates the song's meaning through narrative and visuals, uses relatable locations but not unique costumes, and challenges conventions by not including an artist performance or using the artist as the central focus.
Media evaluation Task 1 - Antonia-Kate Goddard
1) The video uses performance heavily to promote a new band and develop their fun, engaging artist image aimed at young female audiences. Scenes show energetic performances with children's inflatable instruments.
2) Narrative elements show a younger version of the adult bassist to communicate the theme of growing up through her imagination.
3) Keeping the video around three minutes engages audiences and increases watch time for emerging artists, mirroring conventions from radio airplay. Artistic camera work and close ups of the lead singer further develop the band's image. Bright costumes, colorful sets with paint props appeal to their target demographic.
Media - Evaluation Task 1
This document discusses how the media product uses conventions of real R&B music videos. It uses conventions like a grey scale filter to indicate emotions during a break up, close-ups to show feelings, and camera movements to involve the audience. Locations, outfits, and focal points on the artist are used to sell the artist and match conventions. The cuts match the tempo of the song. The digipak and poster continue themes from the video to link the products together and sell the artist, following conventions of real music products.
Question 1
The document discusses conventions used in a student music video project based on Andrew Goodwin's seven conventions for music videos. It describes how the video incorporated conventions of genre, star identification, voyeurism, lyrics and visuals, and locations to tell the story of two lovers. It also discusses challenges to conventions like not including inter-textual references or following all conventions. Inspiration was drawn from music videos by Lana Del Rey, Florence and the Machine, and Ed Sheeran that also challenged conventions.
Question 1
The document discusses how a student's media project utilizes, develops, and challenges conventions of real music videos. Specifically:
- It uses conventions like references to alcohol/drugs, the artist rapping into the camera, and the artist's costume.
- It challenges conventions by having the artist wear mismatched, plain clothes rather than expensive tracksuits, and including few references to women.
- It develops conventions by choosing to focus only on alcohol's negative effects rather than drugs, and filming rap sections in various locations.
The project draws on stereotypes as described by theorist Richard Dyer and challenges the male gaze theory of Laura Mulvey by minimizing the role of women. Overall it combines elements of
How have you used, developed or challenged forms and conventions of real life...
1. The document analyzes how the music video for the song "London" uses and challenges conventions of real-life music video products based on Goodwin's five components of a music video.
2. These components include lyrics and visuals having a link, voyeurism, star image, being intertextual, and maintaining genre identity.
3. For the "London" music video, conventions like amplification of lyrics and short narrative were used, while others like heavy sexualization and solely featuring the artist were challenged.
Similar to Question 1 (20)
How have you used, developed or challenged forms and conventions of real life...
How have you used, developed or challenged forms and conventions of real life...
More from adeleranganathan
Presentation2
Adele promoted her album and herself by creating the soundtrack for the James Bond film Skyfall, using clips and imagery from the film in her music video and album packaging. This cross-promotion between the film and Adele's music helped gain Adele new fans and exposure. Artists like Lana Del Rey also keep their style consistent across music videos, album covers, and posters to consistently promote their music and brand.
Question 1
The music video uses and develops several conventions of real music videos. It tells a fragmented love story narrative, as Andrew Goodwin notes most music videos do. It illustrates and amplifies lyrics from the song, showing a woman falling when the lyrics say "don't fall in love" and depicting a card game representing the line "you're trying to play me." The video also employs voyeurism through the seductive dancing of the female performer and clothing of the male artist. Finally, it focuses on building the star image of the artist through frequent close-ups and depicting his lavish lifestyle with many pursuing women, developing his "bad boy" image, as real music videos commonly do through lifestyle portrayals that create aspirational
Question 1
The music video uses and develops several conventions of real music videos. It tells a fragmented love story narrative, as Andrew Goodwin notes most music videos do. It illustrates and amplifies lyrics from the song, such as showing a woman falling when the lyrics say "don't fall in love." The video also uses voyeurism and sexually objectifies the dancers, as suggested by Andrew Goodwin, giving it a mature edge. Overall, it aims to build the artist's image and lifestyle through beauty shots and depicting him as desirable with many admirers, as other hip hop music videos do through the "star image" concept discussed by Richard Dyer and John Stewart.
Question 1
The music video uses and develops several conventions of real music videos. It tells a fragmented love story narrative, as Andrew Goodwin notes most music videos do. It also develops the relationship between lyrics and visuals, illustrating lyrics like "don't fall in love" by showing a literal fall. The video challenges conventions by using amplification, representing the line "you're trying to play me" with a card game rather than directly illustrating. It also employs voyeurism and objectification of the female dancer and male artist, giving it a mature edge. Overall, the video uses conventions like focusing on the star image to create an aspirational lifestyle and build the artist's image, as in other R&B artist's music videos
Content outline
The document provides information about planning a music video. It will feature a male performer and female model. The video will show the performer getting ready for a concert performance while the narration discusses his relationship with the model. It will be shot on location with a drama studio backdrop and include props like balloons and a smoke machine. The target audience is 13-25 years old and the plan is to shoot over one week and edit over 2-3 weeks.
Picturesstoryboardnotfinished1
The document discusses a story board and track timeline. It appears to be about planning out a narrative using a board and timeline to map out events and how they unfold chronologically. The document title suggests it contains information around visualizing and organizing the key plot points and structure of a story.
Photos
The group decided to film their music video in their school's drama studio to avoid being distracted by a specific location. The drama studio can be completely blacked out using curtains, allowing them to light specific areas or make shots a certain color without interference from outside light. Two actresses would wear tight black dresses to look provocative and be part of a party or in the artist's mind. The main artist would wear an unbuttoned shirt to look smart in shots. A smoke machine would be used to help create illusions of being in the artist's imagination. Balloons would also be incorporated to reference The Weeknd's album covers and create a party atmosphere. A realistic poker game between the girls would show who wins the attention
Audience
The Weeknd's target audience is groups of 15 to late 20s-year-old female friends who enjoy hanging out together listening to music. They frequently shop at clothing stores like River Island and Topshop, and participate in group activities like going to the movies, bowling, and ice skating. The Weeknd's music will be widely promoted through media outlets and in places this audience frequents to increase awareness of his new music among this commercial demographic.
Record label research
Universal Republic Records would be the perfect record label for The Weeknd because as the daughter label of Universal Music Group, they have the resources and artists like Amy Winehouse and Jay Sean to help promote The Weeknd's music on the radio, TV, and through touring worldwide. As a major label, Universal Republic Records would spend money promoting The Weeknd and his albums to increase sales and exposure, unlike what a smaller independent label could provide due to limited funds and promotion abilities.
Elliphant man caint hear it
This music video challenges conventions by featuring a naked girl singing in the shower who is not conventionally attractive, throwing off viewers who are not used to that. The director's aim is to have many people discuss the unusual video and help it go viral. The video also applies some conventions through its inclusion of graffiti and hoodies.
Adele someone like you
This music video for Adele's "Someone Like You" effectively conveys emotion through Adele's facial expressions as she sings, allowing viewers to connect and empathize with her. It follows Steve Archer's theories of narrative and performance by showing Adele walking heartbroken through Paris, the most romantic city, singing as her lover walks away from her as the song describes. The video also perpetuates Adele's star image through iconography like her tied-back hair and dark clothing.
Janelle monae
This music video for Janelle Monae's song "Cold War" applies conventions of showing the artist as attractive to gain viewers' attention. It leads viewers to perceive Janelle Monae is naked through shots of her bare shoulders without straps. The video also aims to provide voyeuristic pleasure for viewers. However, it challenges conventions by having Janelle Monae break character, dance, and laugh, showing she does not take herself too seriously and making the video unique and surprising.
Record label research
Universal Republic Records would be the perfect record label for The Weeknd because as the daughter label of Universal Music Group, they have the resources and artists like Amy Winehouse and Jay Sean to help promote The Weeknd's music on the radio, TV, and through touring worldwide. As a major label, Universal Republic Records would spend money promoting The Weeknd and his albums to increase sales and exposure, unlike what a smaller independent label could provide due to limited funds and resources.
Record label research
Universal Republic Records would be the perfect record label for The Weeknd because as the daughter label of Universal Music Group, they have the resources and artists like Amy Winehouse and Jay Sean to help promote The Weeknd's music on the radio, TV, and through touring worldwide. As a major label, Universal Republic Records would spend money promoting The Weeknd and his albums to increase sales and exposure, unlike what a smaller independent label could provide due to limited funds and resources.
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The Unbelievable Tale of Dwayne Johnson Kidnapping: A Riveting Saga
Introduction
The notion of Dwayne Johnson kidnapping seems straight out of a Hollywood thriller. Dwayne "The Rock" Johnson, known for his larger-than-life persona, immense popularity. and action-packed filmography, is the last person anyone would envision being a victim of kidnapping. Yet, the bizarre and riveting tale of such an incident, filled with twists and turns. has captured the imagination of many. In this article, we delve into the intricate details of this astonishing event. exploring every aspect, from the dramatic rescue operation to the aftermath and the lessons learned.
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The Origins of the Dwayne Johnson Kidnapping Saga
Dwayne Johnson: A Brief Background
Before discussing the specifics of the kidnapping. it is crucial to understand who Dwayne Johnson is and why his kidnapping would be so significant. Born May 2, 1972, Dwayne Douglas Johnson is an American actor, producer, businessman. and former professional wrestler. Known by his ring name, "The Rock," he gained fame in the World Wrestling Federation (WWF, now WWE) before transitioning to a successful career in Hollywood.
Johnson's filmography includes blockbuster hits such as "The Fast and the Furious" series, "Jumanji," "Moana," and "San Andreas." His charismatic personality, impressive physique. and action-star status have made him a beloved figure worldwide. Thus, the news of his kidnapping would send shockwaves across the globe.
Setting the Scene: The Day of the Kidnapping
The incident of Dwayne Johnson's kidnapping began on an ordinary day. Johnson was filming his latest high-octane action film set to break box office records. The location was a remote yet scenic area. chosen for its rugged terrain and breathtaking vistas. perfect for the film's climactic scenes.
But, beneath the veneer of normalcy, a sinister plot was unfolding. Unbeknownst to Johnson and his team, a group of criminals had planned his abduction. hoping to leverage his celebrity status for a hefty ransom. The stage was set for an event that would soon dominate worldwide headlines and social media feeds.
The Abduction: Unfolding the Dwayne Johnson Kidnapping
The Moment of Capture
On the day of the kidnapping, everything seemed to be proceeding as usual on set. Johnson and his co-stars and crew were engrossed in shooting a particularly demanding scene. As the day wore on, the production team took a short break. providing the kidnappers with the perfect opportunity to strike.
The abduction was executed with military precision. A group of masked men, armed and organized, infiltrated the set. They created chaos, taking advantage of the confusion to isolate Johnson. Johnson was outnumbered and caught off guard despite his formidable strength and fighting skills. The kidnappers overpowered him, bundled him into a waiting vehicle. and sped away, leaving everyone on set in a state of shock and disbelief.
The Immediate Aftermath
The immediate aftermath of the Dwayne Johnson kidnappin
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Orpah Winfrey Dwayne Johnson: Titans of Influence and Inspiration
Introduction
In the realm of entertainment, few names resonate as Orpah Winfrey Dwayne Johnson. Both figures have carved unique paths in the industry. achieving unparalleled success and becoming iconic symbols of perseverance, resilience, and inspiration. This article delves into the lives, careers. and enduring legacies of Orpah Winfrey Dwayne Johnson. exploring how their journeys intersect and what we can learn from their remarkable stories.
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Early Life and Backgrounds
Orpah Winfrey: From Humble Beginnings to Media Mogul
Orpah Winfrey, often known as Oprah due to a misspelling on her birth certificate. was born on January 29, 1954, in Kosciusko, Mississippi. Raised in poverty by her grandmother, Winfrey's early life was marked by hardship and adversity. Despite these challenges. she demonstrated a keen intellect and an early talent for public speaking.
Winfrey's journey to success began with a scholarship to Tennessee State University. where she studied communication. Her first job in media was as a co-anchor for the local evening news in Nashville. This role paved the way for her eventual transition to talk show hosting. where she found her true calling.
Dwayne Johnson: From Wrestling Royalty to Hollywood Superstar
Dwayne Johnson, also known by his ring name "The Rock," was born on May 2, 1972, in Hayward, California. He comes from a family of professional wrestlers, with both his father, Rocky Johnson. and his grandfather, Peter Maivia, being notable figures in the wrestling world. Johnson's early life was spent moving between New Zealand and the United States. experiencing a variety of cultural influences.
Before entering the world of professional wrestling. Johnson had aspirations of becoming a professional football player. He played college football at the University of Miami. where he was part of a national championship team. But, injuries curtailed his football career, leading him to follow in his family's footsteps and enter the wrestling ring.
Career Milestones
Orpah Winfrey: The Queen of All Media
Winfrey's career breakthrough came in 1986 when she launched "The Oprah Winfrey Show." The show became a cultural phenomenon. drawing millions of viewers daily and earning many awards. Winfrey's empathetic and candid interviewing style resonated with audiences. helping her tackle diverse and often challenging topics.
Beyond her talk show, Winfrey expanded her empire to include the creation of Harpo Productions. a multimedia production company. She also launched "O, The Oprah Magazine" and OWN: Oprah Winfrey Network, further solidifying her status as a media mogul.
Dwayne Johnson: From The Ring to The Big Screen
Dwayne Johnson's wrestling career took off in the late 1990s. when he became one of the most charismatic and popular figures in WWE. His larger-than-life persona and catchphrases endeared him to fans. making him a household name. But, Johnson had ambitions beyond the wrestling ring.
In the early 20
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The Evolution of the Leonardo DiCaprio Haircut: A Journey Through Style and C...
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4毕业证成绩单电子版您确认信息无误之后安排制作成品；
5成品做好拍照或者视频给您确认；
6快递给客户（国内顺丰国外DHLUPS等快读邮寄）。蜿蜒小溪一直都是山娃和小伙伴们盛夏的天然泳场水不深碎石底石缝里总有摸不尽的鱼虾活蹦乱跳的还有乌龟和王八贼头贼脑的倒也逗人喜爱日上三竿时山娃总爱窜进自家瓜棚里跟小伙伴们坐着聊天聊着聊着便忍不住往瓜田里逡巡一番抱起一只硕大的西瓜用石刀劈开抑或用拳头砸开每人抱起一大块就啃啃得满嘴满脸猴屁股般的红艳大家一个劲地指着对方吃吃地笑瓜裂得古怪奇形怪状却丝毫不影响瓜味甜丝丝的满嘴生津遍地都是瓜横七竖八的活像掷满这
The Future of Independent Filmmaking Trends and Job Opportunities
The landscape of independent filmmaking is evolving at an unprecedented pace. Technological advancements, changing consumer preferences, and new distribution models are reshaping the industry, creating new opportunities and challenges for filmmakers and film industry jobs. This article explores the future of independent filmmaking, highlighting key trends and emerging job opportunities.
Leonardo DiCaprio Super Bowl: Hollywood Meets America’s Favorite Game
Introduction
Leonardo DiCaprio is synonymous with Hollywood stardom and acclaimed performances. has a unique connection with one of America's most beloved sports events—the Super Bowl. The "Leonardo DiCaprio Super Bowl" phenomenon combines the worlds of cinema and sports. drawing attention from fans of both domains. This article delves into the multifaceted relationship between DiCaprio and the Super Bowl. exploring his appearances at the event, His involvement in Super Bowl advertisements. and his cultural impact that bridges the gap between these two massive entertainment industries.
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Leonardo DiCaprio: The Hollywood Icon
Early Life and Career Beginnings
Leonardo Wilhelm DiCaprio was born in Los Angeles, California, on November 11, 1974. His journey to stardom began at a young age with roles in television commercials and educational programs. DiCaprio's breakthrough came with his portrayal of Luke Brower in the sitcom "Growing Pains" and later as Tobias Wolff in "This Boy's Life" (1993). where he starred alongside Robert De Niro.
Rise to Stardom
DiCaprio's career skyrocketed with his performance in "What's Eating Gilbert Grape" (1993). earning him his first Academy Award nomination. He continued to gain acclaim with roles in "Romeo + Juliet" (1996) and "Titanic" (1997). the latter of which cemented his status as a global superstar. Over the years, DiCaprio has showcased his versatility in films like "The Aviator" (2004). "Start" (2010), and "The Revenant" (2015), for which he finally won an Academy Award for Best Actor.
Environmental Activism
Beyond his film career, DiCaprio is also renowned for his environmental activism. He established the Leonardo DiCaprio Foundation in 1998, focusing on global conservation efforts. His commitment to ecological issues often intersects with his public appearances. including those related to the Super Bowl.
The Super Bowl: An American Institution
History and Significance
The Super Bowl is the National Football League (NFL) championship game. is one of the most-watched sporting events in the world. First played in 1967, the Super Bowl has evolved into a cultural phenomenon. featuring high-profile halftime shows, memorable advertisements, and significant media coverage. The event attracts a diverse audience, from avid sports fans to casual viewers. making it a prime platform for celebrities to appear.
Entertainment and Advertisements
The Super Bowl is not only about football but also about entertainment. The halftime show features performances by some of the biggest names in the music industry. while the commercials are often as anticipated as the game itself. Companies invest millions in Super Bowl ads. creating iconic and sometimes controversial commercials that capture public attention.
Leonardo DiCaprio's Super Bowl Appearances
A Celebrity Among the Fans
Leonardo DiCaprio's presence at the Super Bowl has noted several times. As a high-profile celebrity. DiCaprio attracts
Anasuya Sengupta Cannes 2024 Award Winner
Anasuya Sengupta, an Indian actress and designer, won the Best Actress Award at the Cannes Film Festival for the Bulgarian film 'The Shameless'.
Abraham Laboriel Records ‘The Bass Walk’ at Evergreen Stage
A legendary musician records an intricate song designed to show off his expert bass guitar chops at a historical Los Angeles studio.
定制(mu毕业证书)美国迈阿密大学牛津分校毕业证学历证书原版一模一样
原版定制【微信:bwp0011】《(mu毕业证书)美国迈阿密大学牛津分校毕业证学历证书》【微信:bwp0011】成绩单 、雅思、外壳、留信学历认证永久存档查询，采用学校原版纸张、特殊工艺完全按照原版一比一制作（包括：隐形水印，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）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，业务范围有加拿大、英国、澳洲、韩国、美国、新加坡，新西兰等学历材料，包您满意。
【业务选择办理准则】
一、工作未确定，回国需先给父母、亲戚朋友看下文凭的情况，办理一份就读学校的毕业证【微信bwp0011】文凭即可
二、回国进私企、外企、自己做生意的情况，这些单位是不查询毕业证真伪的，而且国内没有渠道去查询国外文凭的真假，也不需要提供真实教育部认证。鉴于此，办理一份毕业证【微信bwp0011】即可
三、进国企，银行，事业单位，考公务员等等，这些单位是必需要提供真实教育部认证的，办理教育部认证所需资料众多且烦琐，所有材料您都必须提供原件，我们凭借丰富的经验，快捷的绿色通道帮您快速整合材料，让您少走弯路。
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
【关于价格问题（保证一手价格）】
我们所定的价格是非常合理的，而且我们现在做得单子大多数都是代理和回头客户介绍的所以一般现在有新的单子 我给客户的都是第一手的代理价格，因为我想坦诚对待大家 不想跟大家在价格方面浪费时间
对于老客户或者被老客户介绍过来的朋友，我们都会适当给一些优惠。
原版制作(MUN毕业证书)纽芬兰纪念大学毕业证PDF成绩单一模一样
学校原件一模一样【微信：741003700 】《(MUN毕业证书)纽芬兰纪念大学毕业证》【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。
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【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
Sara Saffari: Turning Underweight into Fitness Success at 23
Uncover the remarkable journey of Sara Saffari, whose transformation from underweight struggles to being recognized as a fitness icon at 23 underscores the importance of perseverance, discipline, and embracing a healthy lifestyle.
Divertidamente SLIDE muito lindo e criativo, pptx
Slide criativo e muito lindo, apenas editar, muito simples
Odia New Web Series at your fingerprint.
Stay ahead of the curve with the latest in Odia entertainment! Our Odia new web series promise an exciting blend of fresh narratives, talented performances, and engaging plots. Immerse yourself in the evolving world of Odia storytelling with our curated selection of cutting-edge web content. for more visit: https://aaonxt.com/series
The Enigmatic Portrait, In the heart of a sleepy town
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Question 1
- 1. Question 1 In what ways does your media product use, develop or challenge forms and conventions of real media products?
- 2. Within our music video we show a narrative throughout which Simon Frith says characterises by three broad stereotypes and our music video has fallen under the narrative, where love stories are the most popular. An idea from Andrew Goodwin that you rarely complete the storyline or fragment it, which is exactly what we do in our video. The audience see the male artist with two girls who are playing for him, which is shown in a card game. You do at the end see that one girl has stolen him and therefor slightly developing the conventions. Although as we are showing different shots inbetween fragmenting the story and using cutaways it leaves the viewers with desire to watch the video again to make sure they have understood.
- 3. Goodwin would also argue that we have perpetuated the relationship between the lyrics, illustrating them and amplification which we developed by using song lyrics to enhance our initial ideas. One way in which we done this was by hearing the words 'don't fall in love' we then literally had an actress falling and put that into the video showing our use of illustration.
- 4. Although we have also used amplification as there is a line within the lyrics of the song 'you're trying to play me'. We thought of what the artist could mean by saying this and came up with an idea to represent it by having the two female actresses 'playing' a card game to win the artist. This helped our music video to have more of a mysterious idea to it and make people think rather than just giving them all of the answers which would have been done if we just illustrated the lyrics. An example of this when used in a real media product is when Justin Timberlake another R&B singer created a suit and tie when he very often says 'i be on my suit and tie, you then see him wearing a suit and tie.
- 5. Andrew Goodwin had many ideas that we took into consideration and used. Voyeurism another idea of Goodwins, looking in order to gain sexual pleasure, was a big part of our music video. The female dancer is very seductive and shows off her assets making her frequently objectified. This is also done with the male artist who also wears seductive clothing emphasising a sexual treatment of the star. This really gave a mature side to our music video and gave the target audience something to be excited about. While still catching peoples eyes even if they haven't intended to watch it.
- 6. Our video continues to use conventions of a hip hop music video as we have used the star image which Richard Dyer says is showing off the artists face representing them in a certain way and also showing off their lifestyle. This then creates an aspirational lifestyle for the audience which John Stewart suggests. We have done this in many ways, we have shown a lot of beauty shots of the artist from the very beginning right up until the end and also showing his 'luxurious' lifestyle with having many girls fighting over him and his 'bad boy' attitude not sticking with one girl but many more. This helps build our artists image and even take it further or even in new directions gaining a wider audience for him. Another music video which is all about the star image is another R&B singer snoop dog who created showing off his house.
- 7. Our video continues to use conventions of a hip hop music video as we have used the star image which Richard Dyer says is showing off the artists face representing them in a certain way and also showing off their lifestyle. This then creates an aspirational lifestyle for the audience which John Stewart suggests. We have done this in many ways, we have shown a lot of beauty shots of the artist from the very beginning right up until the end and also showing his 'luxurious' lifestyle with having many girls fighting over him and his 'bad boy' attitude not sticking with one girl but many more. This helps build our artists image and even take it further or even in new directions gaining a wider audience for him. Another music video which is all about the star image is another R&B singer snoop dog who created showing off his house.