The document discusses various theories related to music videos and how they apply to the student's music video "Miss You So". It examines Goodwin's theory of key features of music videos including beat, artist shots, relationship between visuals and lyrics, narrative, and technical aspects. It also discusses Barthes' codes, Levi-Strauss' binary oppositions, Todorov's narrative structure, postmodern elements, mise-en-scene considerations like costumes and location, editing techniques, and sound and packaging design. The student aims to both challenge and reinforce conventions through experimental elements like flashbacks and rewinding while maintaining conventional close-ups, transitions, and emphasis on the artist.

1. QUESTION 1
In what ways does your media product use, develop or challenge forms and
conventions of real media products?

2. GOODWIN’S THEORY – MAIN THEORY
Andrew Goodwin’s theory and suggestions on music videos include some themes that
can be applied to the music video I have produced with my group. His main ideas
involve five key features of a music video:
1. Well thought beat – the meaning of lyrics once they have been heard
2. Extra shots and close ups of the artist – to create star image and reinforce the artist
3. A relationship between the visuals and lyrics – Illustrate, Disjuncture and Amplify
4. Narrative that runs through the music video/The way the song is performed
5. Technical aspects in a music video

3. BARTHES’ THEORY
Barthe’s explanation of the five different codes are very significant to music videos that hold narratives. In terms of our video ‘Miss
You So’ contains two of the different codes which are action codes and enigma codes. At some point in the music video, we see
the female protagonist who is the girlfriend leaving with a bag. As she walks we towards the door it is connoted that she is breaking
up with the artist. She gets stopped and then walks straight out. The audience doesn’t know where she is going for sure, however
they can easily assume that she is breaking up from her partner/the artist. The audience may find easily assuming pleasurable as
the narrative is easily recognisable for them. Also at some point, the artist is flicking through pictures of him and his girlfriend which
connote their break-up and she has not returned.
Whether she will return is questionable which is the enigma code. As the narrative continues to the middle of the music video, we
realise that the artist and his girlfriend are experiencing problems. Throughout the video the artist sings about missing her. However,
the audience may pose questions as to whether she will return or whether she will not come back or what she may do next in
reaction to the artist’s actions are questionable, which maintains their interest and delays the narrative’s ending, leading them on
to watch it all the way to the end. Towards the end of the music video, the whole video is rewinded back to when the couple first
met. As it rewinds the audience may also wonder why it is rewinded.
Then we see the couple come across each other like they first did at the start of the video and the audience may still be
wondering whether they will stop but this time they walk straight past each other. The artist stops but the female partner walks past
without recognising him. That is when the audience reaches the answer that for whatever the reason is she will not return. The
video ends with their picture torn in half. The artist’s side of the picture is blown this time to show that because she has given up, he
finally gives up at the end too. Until the final seconds of the music video, the audience is guessing what will happen between the
couple.

4. OTHER THEORIES
Claude Levi-Strauss – His idea of binary oppositions is key to our music video ‘Miss You So’. The idea of good vs evil
and male vs female are explored. Because the couple’s break-up is central to the narrative, either the female or
the male is good and the other is bad. Because the female decides leave first, the audience may have different
views on whether she has left because she is the ‘good’ one and the male is the evil one for causing her to
leave, or whether she is the ‘evil’ one because she is leaving him and he is the ‘good’ one because he is
repenting but is also suffering because of the way the actions the female has taken before she leaves him (“Tell
me how could you take the pictures, when you knew they were all that I had”). However, music videos that
represent heartbreak today usually have a stereotypical narrative where the male partner is almost always the
one causing the problem and the female partner is the vulnerable one that has to do something about it.
Todorov’s Narrative Structure – Todorov explains his narrative theory through 5 distinct stages which take place in
a linear narrative: Equibilirium  disequiliburium  new equliliburium. However, ‘Miss You So’ takes on a non
linear narrative form as throughout the video flashbacks appear and performance elements in between are also
shown which doesn’t give it a clear narrative structure. However, it does hold some elements of linear narrative
as if the flashbacks were taken off it would run through as a normal narrative structure.
For example:
Equiliburium – the couple argue  disequiliburium – the artist sings to her, wants her to return  new equiliburium
– she doesn’t return, and he leaves too.

5. POSTMODERNISM IN ‘MISS YOU SO’
The main postmodern element used in ‘Miss You So’ is its unusual narrative. There is a constant
movement in time and space throughout the couple’s story. As well as the flashbacks that run
throughout the video, the video is rewinded to the start at the end and the female protagonist
oddly doesn’t recognise her former boyfriend. However, he recognises her but walks away. The
audience is aware why, but the audience is not aware of why she isn’t aware. The idea of
hyperreality may also be applied to ‘Miss You So’ in one sense’ as the couple is first shown how
they meet each other and how their relationship is happy which may been seen as representing
‘love’. However, as the narrative moves forward the audience is shown what may be seen as the
‘reality of love’ and that it is not always happiness but can end up in heartbreak.
Representations of love – Happiness
running throughout until the end
‘Reality of love’ – She
disappears/leaves  heartbreak

6. In some ways we have both challenged the form and convention and reinforced the form and conventions of
a music video.
For the video product, we used a variety of camera techniques in order to produce the ideal music video we
had in mind.
Medium close up of actress
Maryam as the girlfriend.
Many music videos use a
variety of shot types and
angles in order to give a clear
view of who is who in the
narrative and so we
reinforced that convention in
order to make our video
clear, and show the female
protagonist in the narrative.
OWN VIDEO
CASE STUDIES: MIRRORS
AND TAKE CARE
In the case studies I
previously analysed, the
female actress’ also have
similar shot types with
medium close ups and
close ups to make it clear
that they are the female
protagonists of the
narrative throughout.
CAMERA SHOT TYPES

7. As he is the main actor and the singer we made sure that he has a close up shot
reinforcing the conventions of the way a singer is presented as he is not only the
singer but he is also the actor and narrator of the story in the music video
increasing the authenticity as Goodwin may refer to. Emphasis on the artist in
music videos is also a significant conventional element. It is what is called a “star
image”, which Goodwin also refers to.
Throughout the music video, the shots taken of the artist is at eye level. The reason
for this is because the artist is singing about heartbreak and so he is neither superior
or inferior to his partner but just explains his misery by looking straight at the
camera. The camera is also in some sense his partner in the narrative herself as the
track is directed at her. The artist being a part of the narrative makes the music
video more realistic in terms of Goodwin’s theory and can maintain the audience
interest. His idea of “well thought beat” can also be applied, as the artist is telling
the story of his breakup by singing/talking to the camera which is her.
Close up of actor Rupon as Frank
Ocean.
CASE STUDY: ALL OF ME BY JOHN LEGEND
Close up of John Legend in ‘All of
Me’
In some ways a similar music video to the music video we produced is All of
Me by John Legend. As well as it being a track about love/heartbreak,
throughout the music video we also see a lot of close up shots of the artist
which shows how conventional this element is and how it places emphasis
and shows the significance of the artist.
These close up shots also show emotions and expressions which are important
to the theme of heartbreak as we see how they are reacting to it in the
narrative. Initially, I wanted a lot of close up shots after analysing this case
study in which we did take as a group.

8. CAMERA MOVEMENT
1. 2.
1. 2. 3.
One of the major camera movement types we used were pan left  pan right. We used this particularly on the
scene where the female protagonist leaves the house she is sharing with her partner and we see the partner’s
actions after her leaving. The pan left  pan right movement is a conventional movement type used in many
music videos mainly to show actions of characters in a narrative and maintain the continuity of the scene
which we also reinforced as a group. Camera movement is an important technical aspect as it holds our
music video together, which is another important feature recognised by Goodwin

9. EDITING
We have used a variety of different edits on the music video in order to make the
continuity smooth and the video interesting to watch as a whole.
FLASH EFFECT
As the main motif of our track/music video are ‘pictures, we added a ‘flash effect’ where we added in
photos that the artist/singer has taken of the female partner. This is continuous and many pictures with the
flash effect appear throughout the video. We came up with this idea mainly because it fits in the motif but it
also helped us use it as cutaways, and help us explain the narrative and the artist/male character was
“taking pictures”. As the artist sings about taking pictures, he is explaining how much he misses her.
Goodwin would also explain that this is illustrated and amplified in the video as these images run throughout.
This element of flash effect and photos are not much of a conventional element used in music videos.
However because it is specific to the chosen track and narrative we have used it and believe it makes it
different and unique from many other music videos.

10. FADE OUT EFFECT (DISSAPPEARING)
The fade out affect of the female protagonist is also another editing technique used on the
music video. The effect is mainly used as it is a part of the narrative to show that she is no
longer in the male artist/characters life anymore but. She slowly starts disappearing from the
memories he has had with her. Again this is another conventional element that we may have
challenged in some sense. Although there are music videos that have the same effect used,
it a not so common effect used in music videos.

11. FADE OUT (TRANSITION)
ZOOMING EFFECT
Fade outs are a continuous transition effect
used. It is a conventional element as it is a
source of cutaway and sets the narrative.
To reinforce the importance of the motif of pictures, we have added zooming effects to various
different parts of the music video where the pictures are shown or the couple interact. Zooming in is a
conventional element, but instead of zooming in with the camera lens we zoomed in with Final Cut
Pro which some editors may do and some may not.
CUTAWAY Cutaways run throughout the
music video to maintain
audience interest. There are cuts
through where the artist acts as a
boyfriend/partner which cuts
back to the artist performing in
the studio at various different
parts. Goodwin explains that this
maintains the audience interest,
and is seen as important. The
above shot is also amplified as
Goodwin may explain. This is the
artist singing different parts of the
story from different lyrics in the
same setting which is repeated
which allows him to explain the
story effectively.

12. REWINDING
Towards the end of the music video, we have rewinded the whole video all
the way back to the start where the couple first meet. This may have been
used in some music videos but is not so conventional in mainstream music
videos.
As the artist is explaining the narrative from the present time, and says that he
“didn’t want to miss a thing”, we go back to where they meet but instead the
artist is aware of everything they have been through but the female actress
does not know anything, as if he never stopped her and they never initially
met before.
Artist looks back at his
former girlfriend who
doesn’t recognise him
GREYSCALE EFFECT As many flashbacks are shown, we
added the greyscale effect to the
flashbacks in order to make them
clear. Although they are flashbacks,
the singer is aware that he is reliving
the moments which is why he is
singing to his partner. It is a
conventional element used
especially with flashbacks in music
videos. These flashbacks also hold
the music video together as it sets
the narrative and is an important
technical aspect recognised by
Goodwin.
CASE STUDY: GREYSCALE
EFFECT IN ALL OF ME
The All of Me music video
also has the greyscale
effect running
throughout the whole
music video. There are
also flashbacks in the
narrative which is why it
fits in.

13. MISE-EN-SCENE: PROPS
Pictures – The main props we needed to present our motif.
The pictures appear in the music video a number of times.
Magazines: To fit in with
the lyrics “I stack these
magazines in the corner”
Phones: When the
couple first meet
and exchange
numbers.
Camera: Also
another motif
for the music
video as he was
“always taking
pictures”
CASE STUDY: MIRRORS BY JUSTIN TIMBERLAKE
PICTURES
The main motif for the Mirrors music video are mirrors
which are shown continuously in the video. Initially,
reinforcing the motif for our music video which was
‘pictures’ was an idea after analysing this case study
and I believe we have achieved this as a group.

14. MISE-EN-SCENE:COSTUMES & LOCATION
COSTUMES
Casual clothing was what we had planned on having our actors wear during the filming process. As we are
explaining a modern day teenage love story, we decided to go with casual teenage clothing. The blue shirt
worn by the artist as seen above is a key piece of clothing, mainly to increase the authenticity. Goodwin explains
that this creates a dramatic effect, and so will keep audience interest which is why he is shown wearing the shirt
a number of times.
LOCATION
Our four main locations were Hyde Park, Quad Cafe, our group member Zeynep’s house (Known as the artist’s
house in the narrative) and the college TV studio. All locations were used to explain the couple’s story and
locations that were memorable to their story.

15. SOUND
The chosen track ‘Miss You So’ is played throughout the
music video, orderly without any edits or interruptions. No
external sound has been added.
Most scenes have been matched with the song/sound for
particular effects, however. An example of this is at 3:44 of
the music video when the story is being rewinded the song
is played at “I was always taking pictures” which directly
matches the process of the male artist/protagonist taking
pictures being rewinded.
Our artist is also lip synching in the music video from start to
end. In some parts of the music video both the artist and
actress talk but we have cut out the sound of their
dialogue to avoid any interruption to the track. We have
also cut out all other sound e.g. Sound of wind, external
sound from group members, sound from busy locations
such as the park for the same purpose.

16. CD PACKAGING
AND ADVERT

17. TEXT: Front, back and spine
Front cover: Back cover: Spine:
CASE STUDY: BORN TO DIE
In the Miss You So digipak, to keep a consistent house style we used a simple font style with
the same colours for the artist’s name and track title throughout. Our main idea was to
keep our digipak simple yet effective. Usually the idea of including the artist name and
track title is a conventional element, but the font style we have used is a conventional
element itself for Frank Ocean, as it is a font style he has used in some of his albums and
mixtapes. A prior example is in his album ‘Channel ORANGE’, the font style on the colour
‘ORANGE’.
Similarly in Born To Die, a simple font style is used on both artist name and
album title. It is also a conventional element to Lana Del Rey, as she is another
artist who keeps the simple yet effective look on her print products. Although
the font style between both print products are not the same, the we produced
is similar to Lana Del Rey’s through simplicity and colour (white).

18. TEXT: Advert
Similar lettering is also used on the
poster but is slightly different than the
font style used for the artist’s name on
the front cover of the digipak. It is still
similiar to keep the house style
consistent but this time bolder and
larger to emphasise the importance
of the artist. Different use of font style
and larger font size is conventional as
the main purpose of the advert is to
promote the artist successfully and
place importance on the artist. The
track title font style is however similar
to the font style used on the digipak
to maintain the consistency and
reinforce the track through branding.
Link of Frank Ocean’s website placed
at the top – Another conventional
element usually included to further
promote the artist. We have added it
in as it is a place where the audience
can find out more about Frank Ocean
and also combines well with the other
elements that are related to him as an
artist e.g. More information may be
found about the release date on the
website
Release date – Main conventional
element for almost all
single/album adverts which is the
main reason why we have used it.
If the advert is attractive enough
and gains the viewer’s interest,
the next thing that the viewer will
want to know is when they can
buy the track

19. CASE STUDY: BORN TO DIE
Lana Del Rey’s ‘Born To Die’ also carries a very
simple text. The same font style on the digipak is
used for the advert. However it is different to the
advert I produced with my group as the release
date is larger on Born To Die and the text is laid
out differently compared to Miss You So, with
Lana’s image placed at the top rather than being
in the background or in the centre.

20. PHOTOGRAPHY/COLOUR
Front cover photography in comparison to Born To Die
As Lana Del Rey’s Born To Die was one of the key digipak’s that
inspired us, we used some of the conventions that is used on her
digipak production. Both images are taken from an eye view angle,
although the camera seems to be tilted down slightly from Lana Del
Rey symbolising superiority. While she seems to be looking down, in
Miss You So the artist is looking towards the left with a slight sad
expression which is that way mainly to connote the mood of the track.
The costumes are also different connoting different meanings. While
Frank Ocean is wearing a black suit and tie connoting sorrow, Lana
Del Rey is wearing white which can connote purity or can be
associated with peace. While the background is black in Miss You So,
the background in Born To Die is what seems like a blue summer sky.
Although the photos used on both front covers maintain a simple
nature in similar ways, they give out different meanings.

21. PHOTOGRAPHY/COLOUR
Inserts of Miss You So and Lana Del Rey’s ‘Born To
Die’
As a group we have very much subverted the Born To Die
inserts. While Lana Del Rey’s inserts are only text based, the
inserts produced for Miss You So are image based. We
added the sepia effect to a collage of some of the photos
we took, and took an image from the music video editing
it by adding the greyscale effect. The main reason why
Miss You So’s inserts do not contain text is because we
wanted to keep the simple nature consistent throughout
the digipak.
Also, the photography and its edits we have used for Miss
You So are all there to connote different meanings. For
example the colouring used for both images greyscale
and sepia connoting a much more gloomy mood rather
than colourful images that may connote happiness and
joy which does not match to the mood of the track. Both
image based and lyric based inserts are conventional
elements. However, we decided that the use of just
images are more appropriate for the simple nature and
mood we are trying to set.

22. PHOTOGRAPHY/COLOUR
Back cover:
The back cover text used on Lana Del Rey’s ‘Born To Die’ is also an
element we have subverted as a group. While her back cover
includes a list of track titles, our back cover is mainly made up
from an image of the artist with text on both left and right that
are the track title and the artist’s name. As our initial idea was to
keep our digipak simple throughout, we decided to keep
limited text on the back cover. Even though the back cover of
‘Born To Die’ is simple with only text, we decided to keep ours
simple through by limiting text. Again the ways both image
based and text based back covers are conventional elements,
however we wanted to keep our overall digipak simple through
our use of photography and so did it this way.
CD:
Both CDs are similar in Miss You So and Born To Die in
terms of how they have kept their simplicity. Both are just
image based. The close up of the watch connotes time
and time loss which is a significant motif for our track,
while the CD for Born To Die contains an image of red
roses which connote love. Although the theme of love
runs through both, the motifs used on both are different.
Just image based CDs are conventional, especially for
today’s music as many artists have started to take on
the idea of simplicities in their albums/singles which we
have reinforced.
Left: Miss You So
Right: Born To Die

23. PHOTOGRAPHY/COLOUR FOR ADVERT
In the advert for Miss You So the photo we have used shows the artist looking down with a miserable
expression. It takes on a portrait form and is a little larger than a mid shot from an eye view angle. It is
conventional for single/album adverts to take on a portrait form however we have subverted the form of
Emeli Sande’s ‘Our Version of Events’ advert in which the image takes on a landscape form. While our artist is
looking down, Emeli Sande is positioned with her back turned to the camera and is looking up. Although the
facial expression of both artist’s are similar they are not so similar in the way they are positioned. We have not
edited the photo used, however the advert for OVOE have been edited with white, grey and black. We
have reinforced some conventional elements such as facial expression but mainly subverted the positioning
and editing.