The document provides an analysis of the conventions used in a music video and promotional materials for a band. It summarizes the shots in the music video and how they illustrate the band's style. It also compares the digipaks, magazine ads, and other promotional materials to those of other rock artists to demonstrate how they follow conventions of the genre. Overall, the document discusses how the project challenges some conventions to create a unique vision while still relating the various materials to continue branding the band.
The document discusses how a music video project uses, develops, and challenges conventions of indie rock music videos. It summarizes that:
1) Shots establishing narrative scenes through shot reverse shot and two shots follow conventions. Performance and narrative scenes mixed also follow conventions.
2) Using many locations (12 in this video) to maintain audience interest follows conventions seen in other indie rock music videos.
3) Linking lyrics visually, like writing a list when the lyrics say "I bet you've got a list," develops the illustrative connection between words and images.
4) Elements like costumes, lighting, camera angles, and shot types are used to follow genre conventions while also attempting some technical challenges like
The music video uses, develops, and challenges some conventions of real hip hop/soul music videos. It develops conventions through the artist's streetwear costumes, locations like public streets, themes of love, close-up shots, and editing that matches the song's pace. It challenges conventions slightly through an unpredictable artist and themes of imagination. Cinematography, lighting, sound, and other elements reinforce the love theme and apply genre theories to represent the artist and their feelings. Overall, the video mainly develops rather than challenges typical conventions of the hip hop/soul music video genre.
The document summarizes feedback received from an audience survey about music video preferences. The survey found that the target audience is mainly male between 16-19 years old who listen to alternative and rock music. They prefer music videos that are the same length as the song and incorporate a storyline and elements of live performance. The feedback informed design choices for the student's music video project, such as telling the story from a male perspective and including a narrative and band performance.
This document provides an analysis of conventions in music videos according to 7 features identified by Andrew Goodwin. It then analyzes 4 music videos based on Goodwin's features:
1. Ben Howard's "I Forget Where We Were" defies conventions by not showing the artist and having no clear relationship between lyrics and visuals.
2. Earl Sweatshirt's "Whoa" follows conventions by showing the artist prominently and having dreary visuals matching the song's feel.
3. Modern Baseball's "The Weekend" matches lyrics to visuals unlike typical indie videos and shows the band, fitting the indie genre.
4. The videos analyze reference to "looking", motifs, and
The document provides a textual analysis of 5 music videos summarizing their forms, conventions, representations, and target audiences. It analyzes videos by Shakira, Jay-Z featuring Alicia Keys, Beyoncé, Kanye West featuring Rihanna and Kid Cudi, and Wiley. For each video, it describes elements like date, director, genre, modes, mise-en-scene, editing, cinematography, representations constructed, label, distribution channels, and intended audience. It finds that the videos generally adhere to conventions of their genres through elements like fast-paced editing, close-ups of the artists, and fashionable costumes. Audience theories like the male gaze and feminism are discussed in
The document discusses conventions used in music videos, digipacks, and advertisements for digipacks. Some key conventions used in the student's music video include a storyline, performance shots, close-ups, and flashbacks. Conventions applied to the digipack are images of the artist, track list, barcode, and lyrics. Advertising conventions employed are images of the artist, name, ratings, and positive reviews.
This document discusses 7 key areas of music video analysis according to Andrew Goodwin. It then analyzes 3 music videos based on these 7 areas.
The 7 areas are: 1) Genre characteristics are demonstrated in videos 2) Relationship between lyrics and visuals 3) Relationship between music and visuals 4) Record label demands for close-ups 5) References to looking/voyeurism 6) Recurring motifs in an artist's work 7) Intertextual references.
The 3 videos analyzed are "Twice" by Catfish and the Bottlemen, "How Good It Was" by The Courteeners, and "Light It Up" by Eliza and the Bear. All 3 videos primarily
The document discusses how a music video project uses, develops, and challenges conventions of indie rock music videos. It summarizes that:
1) Shots establishing narrative scenes through shot reverse shot and two shots follow conventions. Performance and narrative scenes mixed also follow conventions.
2) Using many locations (12 in this video) to maintain audience interest follows conventions seen in other indie rock music videos.
3) Linking lyrics visually, like writing a list when the lyrics say "I bet you've got a list," develops the illustrative connection between words and images.
4) Elements like costumes, lighting, camera angles, and shot types are used to follow genre conventions while also attempting some technical challenges like
The music video uses, develops, and challenges some conventions of real hip hop/soul music videos. It develops conventions through the artist's streetwear costumes, locations like public streets, themes of love, close-up shots, and editing that matches the song's pace. It challenges conventions slightly through an unpredictable artist and themes of imagination. Cinematography, lighting, sound, and other elements reinforce the love theme and apply genre theories to represent the artist and their feelings. Overall, the video mainly develops rather than challenges typical conventions of the hip hop/soul music video genre.
The document summarizes feedback received from an audience survey about music video preferences. The survey found that the target audience is mainly male between 16-19 years old who listen to alternative and rock music. They prefer music videos that are the same length as the song and incorporate a storyline and elements of live performance. The feedback informed design choices for the student's music video project, such as telling the story from a male perspective and including a narrative and band performance.
This document provides an analysis of conventions in music videos according to 7 features identified by Andrew Goodwin. It then analyzes 4 music videos based on Goodwin's features:
1. Ben Howard's "I Forget Where We Were" defies conventions by not showing the artist and having no clear relationship between lyrics and visuals.
2. Earl Sweatshirt's "Whoa" follows conventions by showing the artist prominently and having dreary visuals matching the song's feel.
3. Modern Baseball's "The Weekend" matches lyrics to visuals unlike typical indie videos and shows the band, fitting the indie genre.
4. The videos analyze reference to "looking", motifs, and
The document provides a textual analysis of 5 music videos summarizing their forms, conventions, representations, and target audiences. It analyzes videos by Shakira, Jay-Z featuring Alicia Keys, Beyoncé, Kanye West featuring Rihanna and Kid Cudi, and Wiley. For each video, it describes elements like date, director, genre, modes, mise-en-scene, editing, cinematography, representations constructed, label, distribution channels, and intended audience. It finds that the videos generally adhere to conventions of their genres through elements like fast-paced editing, close-ups of the artists, and fashionable costumes. Audience theories like the male gaze and feminism are discussed in
The document discusses conventions used in music videos, digipacks, and advertisements for digipacks. Some key conventions used in the student's music video include a storyline, performance shots, close-ups, and flashbacks. Conventions applied to the digipack are images of the artist, track list, barcode, and lyrics. Advertising conventions employed are images of the artist, name, ratings, and positive reviews.
This document discusses 7 key areas of music video analysis according to Andrew Goodwin. It then analyzes 3 music videos based on these 7 areas.
The 7 areas are: 1) Genre characteristics are demonstrated in videos 2) Relationship between lyrics and visuals 3) Relationship between music and visuals 4) Record label demands for close-ups 5) References to looking/voyeurism 6) Recurring motifs in an artist's work 7) Intertextual references.
The 3 videos analyzed are "Twice" by Catfish and the Bottlemen, "How Good It Was" by The Courteeners, and "Light It Up" by Eliza and the Bear. All 3 videos primarily
The music video uses, develops, and challenges some conventions of the hip hop and soul genres. It represents the artist in typical hip hop fashion through his streetwear clothing. Locations like public streets also adhere to hip hop conventions. Cinematography with close-ups and storytelling through editing further develop genre norms. Some elements like themes of love challenge expectations. Overall the video draws from the genres' forms and conventions while adding new elements.
Evaluation Question 1b) How did you use, develop or challenge genre conventio...Isaac Winterburn
The document discusses genre conventions in indie folk music videos and how the student's music video for "Kings" by Samuel Ford did or did not follow these conventions. It provides examples of typical indie folk music video conventions like using natural settings as backdrops, incorporating themes of movement or travel, and only including a few characters to reinforce an intimate feel. The student explains how their video used these conventions through its locations, narrative of characters traveling, and only featuring two main characters. However, it also notes that some artists are challenging conventions by including performance elements and that the student could have strengthened the audience connection by having the character lip sync to the song.
The document provides an analysis of how the student's media product uses, develops, and challenges conventions of real music videos. It discusses the use of narrative through storytelling that relates to the song lyrics. Genre conventions of indie/rock music videos are explored through examples like location, clothing, and instrumentation. Representation of social class, age, and gender align with typical portrayals in indie music. Cinematography techniques, editing, mise-en-scene, and sound work to develop the narrative and reinforce the genre. Audience feedback confirmed the project achieved its goals of mirroring real music video forms and conventions.
Evaluation Question 1c) How did your print productions use, develop, or chall...Isaac Winterburn
This document summarizes how the author's print productions for an indie folk artist used and developed conventions of media language and genre. The author conducted thorough research on album design trends, identifying common color palettes, imagery themes, and design elements. Their digipak featured an interactive outer sleeve with windows showing the inner artwork. Photography of beaches and a sunset were used consistently across productions to symbolize the music's inspirational and emotive qualities. Care was taken to composition, alignment, and readability. While intending specific meanings, the author acknowledges audiences may interpret elements differently based on their own contexts.
The document discusses the purpose and analysis of a student-created music video. It aimed to represent the genres of hip hop and soul through conventions like the artist's streetwear costume, locations like public streets, and themes of love. The video was also meant to apply media theories and challenge or develop conventions. Overall, the analysis found the video largely followed expectations for the genres through its representation of the artist, cinematography, editing, sound, and other elements.
- The document discusses how the music video, digi-pak, and website for a band's promotional package both follow and challenge conventions of real rock music products.
- The music video includes both a narrative section and performance sections, as well as close-ups of instruments and the lead singer, drawing from conventions, but also uses unconventional elements like two performance locations and a narrative-focused protagonist.
- The digi-pak cover features the band, which is unconventional, but uses dark colors consistent with the genre, and expands on conventional elements like lyric booklets.
- The website connects to the other products with shared imagery and colors, and includes social media links as is now conventional,
This document summarizes the influences and conventions the student drew from in creating a music video and magazine advertisement (CD digipak). For the music video, the student analyzed many existing music videos and drew specific shots, lighting, costumes, and narrative elements to develop their own video. They incorporated elements from videos by Kendrick Lamar, The Shoes, The Strays, Blur, and more. For the CD digipak, the student created a storyboard exploring design influences from films, video games, and existing album covers to develop their hooded character concept and layout.
Evaluation Question 1d) Narratological analysis of your music videoIsaac Winterburn
The document provides a narratological analysis of a music video produced by the author. It begins with an introduction that uses diegetic sound and slowly immerses the audience. It then uses techniques like frequent walking shots to physically move the narrative along and juxtaposing shots of the two main characters to portray a theme of conflict. The narrative follows Tzvetan Todorov's three-act structure with an initial equilibrium disrupted by an event causing imbalance, followed by a struggle to regain balance resolved at the end. Key narrative themes of nostalgia, journeys, and togetherness interweave and climax at different points throughout. The analysis also discusses how techniques like those in Roland Barthes' narrative codes are applied, such
The document discusses the creative choices made in producing an indie music video. It aimed to conform to indie music video conventions like focusing on the artist's appearance and performance, while also adding some unique elements like natural lighting and a mix of narrative and performance shots to stand out. The goal was to attract indie fans by being familiar yet interesting.
This document analyzes how a media product for an indie rock band uses, develops, and challenges conventions of real indie rock products. Specifically, it examines the band's music video, digipak, and website compared to those of similar bands. While some conventions are followed, such as camera shots and fonts, conventions are also challenged, like the extensive use of the color red throughout the music video and combining band members' faces on the digipak cover, which creates a sense of mystery not seen elsewhere in the genre. The document provides examples to support how the media product borrows from, improves on, and innovates beyond typical conventions.
This document discusses different types of music videos and their key characteristics. It begins by describing narrative music videos, which tell a story through a sequence of events that parallel the song. Performance music videos capture a live performance to give audiences an authentic view of the artist. Conceptual music videos are more abstract and focus on visuals over narrative or lyrics. The document then provides examples and analyses of different music videos to illustrate these styles. It also covers technical aspects like camera angles, shots, editing, and the production process.
The music video for "When the Sun Goes Down" by Arctic Monkeys illustrates the song's lyrics about prostitution through its visuals. It features a woman who is implied to be a prostitute as she is shown waiting alone at night. The video amplifies the song's meaning by exaggerating the lonely and isolated atmosphere through the use of low lighting and close-up shots of the woman. The slow pacing of the video matches the somber tone and rhythm of the song. Overall, the video provides a clear representation of the song's narrative through visual storytelling.
This document contains analyses of 9 shots from a music video summarizing how each shot demonstrates elements of music video production including: 1) linking lyrics and visuals, 2) representing the artist in a way appealing to record labels, 3) illustrating the indie folk music genre, 4) including intertextual references to other videos, 5) demonstrating camera techniques, 6) demonstrating lighting techniques, 7) demonstrating mise-en-scene elements, 8) demonstrating influence from other indie music videos, and 9) demonstrating influence from videos with similar romantic narratives.
Our music video sticks closely to the conventions of EDM/house music videos through its use of a club-like setting with strobe lights, glow sticks, and costumes featuring black and white. It relates the lyrics to the visuals through the main artist's facial expressions and dance movements during certain parts of the song. The editing is done to match the fast tempo of the song. Inspiration was drawn from music videos like Disclosure's "Latch" for its narrative interpretation of lyrics, Calvin Harris' "How Deep Is Your Love" for its lighting effects, and Rihanna's "We Found Love" for its blending of narrative and performance elements. Overall, the video aims to capture the feel of a typical E
This document discusses different types of music videos and theories about narrative structure in music videos. It explains that narratives in music videos can follow Todorov's five stages of equilibrium, disequilibrium, recognition, reparation, and new equilibrium. It also discusses Propps' idea that narratives are influenced by character variations like heroes, villains, and helpers. Strauss' theory is described as narratives being motivated by struggles between binary opposites like good and bad characters. The document also covers performance, concept, and narrative music videos.
The document analyzes Andrew Goodwin's 7 key ideas about music video analysis. It discusses how music videos demonstrate genre characteristics through imagery, how the relationship between lyrics and visuals can be illustrative, amplifying or contradictory, and how the music and visuals typically have a reflective tone. It notes that record labels often demand close-ups of artists and that artists may develop recurring visual motifs. The document provides examples from the Pulp music video "Babies" and the Blur music video "The Universal" to illustrate these points.
Andrew Goodwin identifies 6 key features of music videos in his book Dancing in the Distraction Factory. These include demonstrating genre characteristics, establishing relationships between the lyrics/music and visuals, focusing on looking/gaze, including demands of record labels for close-ups of artists, and using intertextual references. The document also discusses 3 main types of music videos - performance, narrative, and conceptual - and provides examples of each. Overall, the document outlines common structural and stylistic elements often found in music videos according to Andrew Goodwin's research.
The document provides an analysis of Andrew Goodwin's 7 features of music videos and then analyzes the music videos for three songs:
1) Kasabian - "eez-eh" is primarily a performance-based video that illustrates the music and amplifies its bold tone through bright colors. It includes few lyrics-image connections and close-ups.
2) Coldplay - "Adventure of a Lifetime" follows conventions of a boy-band video with a dance routine and performance. It amplifies lyrics through chimp lip-syncing and includes motifs to identify band members.
3) Jamie T - "Zombie" includes a stage performance but does not fully follow indie conventions. It creates a lyrics
The document discusses conventions for music videos, digipaks, and album posters. It analyzes conventions outlined by Goodwin and Archer for elements that should be included in music videos, such as relating the visuals to the lyrics and song. It discusses how the student's music video incorporated many conventions, such as using a narrative that relates to the song lyrics, but adapted some conventions, like portraying the artist in a negative way to fit the narrative. It also analyzes conventions for digipaks, such as including exclusive content and photos of the artist, and discusses how the student followed conventions by using a similar style to the artist's other albums. Finally, it discusses conventions for album posters, such as including the artist name
The document summarizes how the media product uses and develops conventions of real music magazines, album covers, and music videos. For the magazine advert, it takes influences from album covers by The Beatles and Gorillaz by featuring images of band members facing away from the camera. It also includes the single track to market the album. While it uses common conventions like release date, it challenges conventions by using a star rating system instead of critic quotes. The digipak cover is similar to continue branding and uses bright colors common to indie albums. It challenges omitting the artist/album name. Discs use simple unbroken images tied to video themes. Images on the back develop the scrapbook theme. The music video draws on conventions
The document discusses various forms and conventions used in media products like music videos. It analyzes the student's music video and compares elements to other well-known music videos. Key elements discussed include camera techniques like tracking shots and handheld shots, editing techniques like jump cuts, sets, lighting, costumes, and branding elements like the logo, website, and album packaging design. Many conventions from indie/rock genre music videos influenced the student's media project.
The music video uses, develops, and challenges some conventions of the hip hop and soul genres. It represents the artist in typical hip hop fashion through his streetwear clothing. Locations like public streets also adhere to hip hop conventions. Cinematography with close-ups and storytelling through editing further develop genre norms. Some elements like themes of love challenge expectations. Overall the video draws from the genres' forms and conventions while adding new elements.
Evaluation Question 1b) How did you use, develop or challenge genre conventio...Isaac Winterburn
The document discusses genre conventions in indie folk music videos and how the student's music video for "Kings" by Samuel Ford did or did not follow these conventions. It provides examples of typical indie folk music video conventions like using natural settings as backdrops, incorporating themes of movement or travel, and only including a few characters to reinforce an intimate feel. The student explains how their video used these conventions through its locations, narrative of characters traveling, and only featuring two main characters. However, it also notes that some artists are challenging conventions by including performance elements and that the student could have strengthened the audience connection by having the character lip sync to the song.
The document provides an analysis of how the student's media product uses, develops, and challenges conventions of real music videos. It discusses the use of narrative through storytelling that relates to the song lyrics. Genre conventions of indie/rock music videos are explored through examples like location, clothing, and instrumentation. Representation of social class, age, and gender align with typical portrayals in indie music. Cinematography techniques, editing, mise-en-scene, and sound work to develop the narrative and reinforce the genre. Audience feedback confirmed the project achieved its goals of mirroring real music video forms and conventions.
Evaluation Question 1c) How did your print productions use, develop, or chall...Isaac Winterburn
This document summarizes how the author's print productions for an indie folk artist used and developed conventions of media language and genre. The author conducted thorough research on album design trends, identifying common color palettes, imagery themes, and design elements. Their digipak featured an interactive outer sleeve with windows showing the inner artwork. Photography of beaches and a sunset were used consistently across productions to symbolize the music's inspirational and emotive qualities. Care was taken to composition, alignment, and readability. While intending specific meanings, the author acknowledges audiences may interpret elements differently based on their own contexts.
The document discusses the purpose and analysis of a student-created music video. It aimed to represent the genres of hip hop and soul through conventions like the artist's streetwear costume, locations like public streets, and themes of love. The video was also meant to apply media theories and challenge or develop conventions. Overall, the analysis found the video largely followed expectations for the genres through its representation of the artist, cinematography, editing, sound, and other elements.
- The document discusses how the music video, digi-pak, and website for a band's promotional package both follow and challenge conventions of real rock music products.
- The music video includes both a narrative section and performance sections, as well as close-ups of instruments and the lead singer, drawing from conventions, but also uses unconventional elements like two performance locations and a narrative-focused protagonist.
- The digi-pak cover features the band, which is unconventional, but uses dark colors consistent with the genre, and expands on conventional elements like lyric booklets.
- The website connects to the other products with shared imagery and colors, and includes social media links as is now conventional,
This document summarizes the influences and conventions the student drew from in creating a music video and magazine advertisement (CD digipak). For the music video, the student analyzed many existing music videos and drew specific shots, lighting, costumes, and narrative elements to develop their own video. They incorporated elements from videos by Kendrick Lamar, The Shoes, The Strays, Blur, and more. For the CD digipak, the student created a storyboard exploring design influences from films, video games, and existing album covers to develop their hooded character concept and layout.
Evaluation Question 1d) Narratological analysis of your music videoIsaac Winterburn
The document provides a narratological analysis of a music video produced by the author. It begins with an introduction that uses diegetic sound and slowly immerses the audience. It then uses techniques like frequent walking shots to physically move the narrative along and juxtaposing shots of the two main characters to portray a theme of conflict. The narrative follows Tzvetan Todorov's three-act structure with an initial equilibrium disrupted by an event causing imbalance, followed by a struggle to regain balance resolved at the end. Key narrative themes of nostalgia, journeys, and togetherness interweave and climax at different points throughout. The analysis also discusses how techniques like those in Roland Barthes' narrative codes are applied, such
The document discusses the creative choices made in producing an indie music video. It aimed to conform to indie music video conventions like focusing on the artist's appearance and performance, while also adding some unique elements like natural lighting and a mix of narrative and performance shots to stand out. The goal was to attract indie fans by being familiar yet interesting.
This document analyzes how a media product for an indie rock band uses, develops, and challenges conventions of real indie rock products. Specifically, it examines the band's music video, digipak, and website compared to those of similar bands. While some conventions are followed, such as camera shots and fonts, conventions are also challenged, like the extensive use of the color red throughout the music video and combining band members' faces on the digipak cover, which creates a sense of mystery not seen elsewhere in the genre. The document provides examples to support how the media product borrows from, improves on, and innovates beyond typical conventions.
This document discusses different types of music videos and their key characteristics. It begins by describing narrative music videos, which tell a story through a sequence of events that parallel the song. Performance music videos capture a live performance to give audiences an authentic view of the artist. Conceptual music videos are more abstract and focus on visuals over narrative or lyrics. The document then provides examples and analyses of different music videos to illustrate these styles. It also covers technical aspects like camera angles, shots, editing, and the production process.
The music video for "When the Sun Goes Down" by Arctic Monkeys illustrates the song's lyrics about prostitution through its visuals. It features a woman who is implied to be a prostitute as she is shown waiting alone at night. The video amplifies the song's meaning by exaggerating the lonely and isolated atmosphere through the use of low lighting and close-up shots of the woman. The slow pacing of the video matches the somber tone and rhythm of the song. Overall, the video provides a clear representation of the song's narrative through visual storytelling.
This document contains analyses of 9 shots from a music video summarizing how each shot demonstrates elements of music video production including: 1) linking lyrics and visuals, 2) representing the artist in a way appealing to record labels, 3) illustrating the indie folk music genre, 4) including intertextual references to other videos, 5) demonstrating camera techniques, 6) demonstrating lighting techniques, 7) demonstrating mise-en-scene elements, 8) demonstrating influence from other indie music videos, and 9) demonstrating influence from videos with similar romantic narratives.
Our music video sticks closely to the conventions of EDM/house music videos through its use of a club-like setting with strobe lights, glow sticks, and costumes featuring black and white. It relates the lyrics to the visuals through the main artist's facial expressions and dance movements during certain parts of the song. The editing is done to match the fast tempo of the song. Inspiration was drawn from music videos like Disclosure's "Latch" for its narrative interpretation of lyrics, Calvin Harris' "How Deep Is Your Love" for its lighting effects, and Rihanna's "We Found Love" for its blending of narrative and performance elements. Overall, the video aims to capture the feel of a typical E
This document discusses different types of music videos and theories about narrative structure in music videos. It explains that narratives in music videos can follow Todorov's five stages of equilibrium, disequilibrium, recognition, reparation, and new equilibrium. It also discusses Propps' idea that narratives are influenced by character variations like heroes, villains, and helpers. Strauss' theory is described as narratives being motivated by struggles between binary opposites like good and bad characters. The document also covers performance, concept, and narrative music videos.
The document analyzes Andrew Goodwin's 7 key ideas about music video analysis. It discusses how music videos demonstrate genre characteristics through imagery, how the relationship between lyrics and visuals can be illustrative, amplifying or contradictory, and how the music and visuals typically have a reflective tone. It notes that record labels often demand close-ups of artists and that artists may develop recurring visual motifs. The document provides examples from the Pulp music video "Babies" and the Blur music video "The Universal" to illustrate these points.
Andrew Goodwin identifies 6 key features of music videos in his book Dancing in the Distraction Factory. These include demonstrating genre characteristics, establishing relationships between the lyrics/music and visuals, focusing on looking/gaze, including demands of record labels for close-ups of artists, and using intertextual references. The document also discusses 3 main types of music videos - performance, narrative, and conceptual - and provides examples of each. Overall, the document outlines common structural and stylistic elements often found in music videos according to Andrew Goodwin's research.
The document provides an analysis of Andrew Goodwin's 7 features of music videos and then analyzes the music videos for three songs:
1) Kasabian - "eez-eh" is primarily a performance-based video that illustrates the music and amplifies its bold tone through bright colors. It includes few lyrics-image connections and close-ups.
2) Coldplay - "Adventure of a Lifetime" follows conventions of a boy-band video with a dance routine and performance. It amplifies lyrics through chimp lip-syncing and includes motifs to identify band members.
3) Jamie T - "Zombie" includes a stage performance but does not fully follow indie conventions. It creates a lyrics
The document discusses conventions for music videos, digipaks, and album posters. It analyzes conventions outlined by Goodwin and Archer for elements that should be included in music videos, such as relating the visuals to the lyrics and song. It discusses how the student's music video incorporated many conventions, such as using a narrative that relates to the song lyrics, but adapted some conventions, like portraying the artist in a negative way to fit the narrative. It also analyzes conventions for digipaks, such as including exclusive content and photos of the artist, and discusses how the student followed conventions by using a similar style to the artist's other albums. Finally, it discusses conventions for album posters, such as including the artist name
The document summarizes how the media product uses and develops conventions of real music magazines, album covers, and music videos. For the magazine advert, it takes influences from album covers by The Beatles and Gorillaz by featuring images of band members facing away from the camera. It also includes the single track to market the album. While it uses common conventions like release date, it challenges conventions by using a star rating system instead of critic quotes. The digipak cover is similar to continue branding and uses bright colors common to indie albums. It challenges omitting the artist/album name. Discs use simple unbroken images tied to video themes. Images on the back develop the scrapbook theme. The music video draws on conventions
The document discusses various forms and conventions used in media products like music videos. It analyzes the student's music video and compares elements to other well-known music videos. Key elements discussed include camera techniques like tracking shots and handheld shots, editing techniques like jump cuts, sets, lighting, costumes, and branding elements like the logo, website, and album packaging design. Many conventions from indie/rock genre music videos influenced the student's media project.
The document discusses how the student's media product uses and develops conventions of real rock music videos. It examines the genres, conventions around mise-en-scene elements like costumes, lighting and editing that were adhered to. The music video included a narrative portion to convey the song's message and multiple shots of the band performing with their instruments to portray them as a real band. The video was uploaded to YouTube to distribute it, following standard practice for promoting music videos.
The document discusses conventions in media products and how the author's media product challenges or develops conventions. It focuses on a music video produced for an indie/rock band. The author discusses how they drew inspiration from other bands like The 1975 and their music videos. Elements of the music video like the sterile first set, recording studio scene, and lighting in the final set both conform to and challenge conventions. The author also discusses how their digital packaging, website design, merchandise, and branding develop conventions in the indie/rock genre.
The document discusses how a band's music video complies with and challenges conventions of the indie/rock genre. It summarizes the creative choices made in three sections of the video, including set design, lighting, camerawork, and editing, and how they were inspired by other bands like The 1975. It also discusses conventions followed in other aspects of branding like the website, merchandise, and touring information. Overall, the band strived to balance conforming to audience expectations while also innovating and subverting conventions through their artistic choices.
This document provides an evaluation of 12 shots from a music video for a rock song. Each shot is summarized, noting elements like camera angles, lighting, costumes, facial expressions, and how they convey themes and conventions of the rock genre. Overall, the evaluator argues that the video effectively utilizes dark imagery, aggressive stances, passionate singing, narrative elements, and cursing to portray the emotions of the song and align with expectations of the rock genre.
The document discusses how a media product uses and develops conventions of real media products. It focuses on a music video created for an indie/rock band. The music video uses conventions like camera work, editing, set design, and casting to conform to audience expectations of the genre. It takes inspiration from other bands' music videos to help develop the band's image and message. The video challenges some conventions by using ironic or experimental elements in its different sections and aims to authentically portray the band's recording process.
The document discusses how the student's media product for a music video covering the Madness song "Baggy Trousers" uses and develops conventions of the ska-pop genre. It identifies conventions for costumes, editing/camerawork, locations, mise-en-scene, and album artwork/posters. While mimicking conventions like suits and hats, quick cuts, and inclusion of instruments, it also challenges some norms by using color photography and varying shot types/lengths. The goal was to appeal to audiences familiar with the genre while making the video more fun and engaging.
Our music video for the song "Three Tree Town" by the indie artist James Lorell both follows and challenges conventions of the indie genre. We followed conventions by using close-up shots of the artist singing and playing guitar, simple editing with fade transitions, and incorporating the guitar as a focal point. However, we also challenged conventions by having equal focus on performance and narrative scenes, including more context about the artist's personal life through the narrative, and having more elaborate mise-en-scene and long shots during the narrative portions of the video. Overall, we aimed to be largely consistent with expectations of the indie genre while also making our video more interesting through some unconventional elements.
The document discusses how the music video for the track "f e v e r" by the artist Eyes Like Switzerland challenges and develops conventions of the alternative R&B genre. It summarizes that the video challenges conventions by not including sexual or voyeuristic content common to R&B videos, and by having a narrative focus rather than just being a performance video. However, it develops conventions through use of costume, lighting, syncing shots to the music, and maintaining an enigmatic artist identity without including the artist in the video, similar to artists like The Weeknd. Overall it is difficult to strictly classify the genre of the video due to changing genre boundaries in music.
The document discusses how media technologies were used at various stages of creating a music video. Web 2.0 sites like Facebook, SoundCloud, and forums were used to research the target audience and understand their preferences. Facebook specifically provided insight into the audience's demographics. YouTube tutorials helped with learning video editing skills. The planning process was also documented on a blog. Overall, media technologies played a key role in the research, planning, and evaluation of the music video project.
This document discusses how the media product challenges conventions of pop music genres. It uses a continuous storyline and voyeuristic shots inspired by Britney Spears' "Baby One More Time" music video. The digipac design with consistent backgrounds fits more with R&B than pop. Split screens and mirroring images in the music video also challenge pop conventions. T-shirt designs refer to lyrics in the debut song and graffiti backgrounds in videos and products make the artist recognizable.
This document discusses the development of a music video for the band The Libertines. It summarizes how the creators followed conventions from existing Libertines music videos and indie music video styles more broadly, while also experimenting with some new elements. They incorporated locations, actors, lighting, editing techniques, and clothing styles seen in other Libertines videos to maintain similarities, but also explored unusual locations and a narrative storyline focused on a couple. The goal was to represent the band's style and appeal to young audiences while putting an original spin on typical music video conventions.
Q1- In what ways does your media product use, develop or challenge forms and ...abbiehallam
1) The document discusses the music video, CD, and website created by the student for their Advanced Media Portfolio project. The project aimed to both utilize and challenge conventions of real music products.
2) The music video for Lorde's "Tennis Court" incorporates conventions like a relationship between lyrics and visuals. However, it challenges conventions through its darker tone and simpler locations rather than typical flashy settings.
3) The CD and website similarly feature the artist prominently but use a monochrome color scheme rather than bright colors typically seen in electro-pop genres. Overall, the project both draws from typical music media conventions while introducing original elements.
The document discusses the evaluation of a media portfolio that includes a music video and print work for an R&B artist. It summarizes how the media product uses conventions of real music videos, such as a focus on style over substance and portraying the artist as a sex symbol. While mostly sticking to conventions, it also challenges some, like setting the video in a woodland rather than beach setting. The print work also follows conventions like using the artist's image but experiments with colors and effects. Feedback showed the music video successfully portrayed the emotions of the slow song through its editing, shots and setting.
The group created a promotional package for the band Arctic Monkeys that included a magazine advertisement, music video, and digipack. The music video focuses more on the girl in the song "Arabella" than the lead singer, challenging conventions. Shots of the band are in black and white to match the original video. Lighting, costumes, and camerawork were chosen to fit indie music video conventions. The advertisement and digipack use dark colors and simple designs that represent the indie rock genre. Some inconsistencies exist, like high key lighting in the digipack, but overall the package uses synergy across products to represent the band and genre.
This document summarizes how the student's media product uses conventions of hip hop music videos. It discusses several key elements:
1) The narrative is shown through verses and choruses with the main artist in different settings and clothing to distinguish characters.
2) The relationship between the music and visuals emphasizes lyrics at certain points to further the narrative.
3) Star image is prominently featured through close-up shots of the main artist, setting the work within the conventions of the genre.
The music video challenges some conventions of music videos but also uses several conventions:
- It tells a narrative story rather than showing a performance, though it uses point-of-view shots like music videos.
- The visuals have a loose relationship to the lyrics, showing some literal interpretations but focusing more on reflecting the song's tone.
- It includes intertextual references to Shrek to enhance the humor.
- It employs techniques like match cuts, split screens, and rhythmic editing associated with music videos.
The digipak challenges some conventions like numbering tracks but maintains others like listing the artist and title on the cover and including interior artwork and images. Overall, it aims to maintain
The document provides an evaluation of a music video created for the artist XXYYXX. It summarizes how the music video develops conventions of the chillwave genre, such as having a loose narrative and shots that add to a disjointed, dazed feel. Audience research found the target was males aged 16-24. Various media technologies were used at different stages of production, including researching other music videos online, using a voice recorder for an interview, PowerPoint for planning, and Final Cut Pro for editing. Some challenges were faced with editing software and working within the constraints of available equipment.
The document provides an analysis of how the student's media product uses, develops, and challenges conventions of real music videos from the 1990s Britpop genre. Specifically:
- They challenged the "male gaze" convention by focusing the narrative on the female character rather than using her as a passive object.
- They included references and homages to videos by bands like Pulp and Oasis to ground their work in the genre.
- Locations, wardrobe, and other elements were chosen to match the aesthetics and themes of Britpop videos from the time period.
- The promotional poster and digipak packaging were designed to create synergy between the media texts and follow conventions of other albums from
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Question 1 - In what ways does your media product use, develop or challenge forms and conventions of real media products?
1.
2. Introduction
In this presentation I am going to analyse the
particular conventions we used in our music video
and ancillary product. Using screen grabs from our
music video,
• I will compare our shots with professional music
videos on the market why we used these shots
and how they illustrated the star persona of the
band.
• Compare digipaks and magazine ads with other
Rock genre artists on the market.
3. In this screenshot we see Me and Harry as
guitarists and singers, performing on
‘Castle Hill’ just before dusk.
Harry is lip syncing to the song as well as
playing the guitar performing , which
follows the convention of Rock/Indie rock
We see me and harry follow the
conventions of the rock genre image
through what we are wearing. For
example harry whereas a black t-shirt and
jeans, with me wearing a white shirt and
unbutton waistcoat with black skinny
jeans. Both these styles relate to genre
and star persona of the band.
We also challenge the conventions
through our performance in these shots
on castle hill, as we shot only me and
harry performing with no mic’s just
guitars .Conventionally you would expect
to see a drummer, a bassist and maybe a
pianist however In our video we focus
only on the two main characters relating
to the narrative. This makes it easier to
identify the story and link to the structure
of the video.
4. Lyrics and visual example
Here is an example of how we used the lyrics and
visual method from Andrew Goodwin's theory. In this
screenshot it shows harry just left of centre frame,
writing on his hand. Here he is ‘acting’ out the lyrics
within the song ‘I've bet you got a list’. This created an
interesting, engaging scene within our music video, as
it enables the viewer to interact with Harrys body
language, and highlight the line more clearly. In
comparison, The kooks – Naïve music video describes
through the lyric's ‘She's still up to get me’ and as we
see in the screenshot, she's trying to get him out of
bed.
Here is another example of where we use the lyrics
and visuals theory. The lyrics illustrate ‘the lights have
gone and the parties over’ and we see the light behind
harry and him on his own. Here we subtly use this
effect to support Harrys independence and loneliness
from the narrative story. As the shots we show of him
on his own, also represent him expressing his feelings
about ‘What he said’, may this be through body
language, lyrics or performance. We wanted to engage
the audience into feeling what the song is about, and
relating maybe to some event in that may of happened
in their lives.
5. Here is one of the examples of where we
challenged the ordinary Rock Genre
conventions. We wanted to be more unique
and creative in areas of our video as we felt
it was getting to ‘same old, same old’ similar
to other typical rock genre music videos. So
to avoid this I created a motion track scene
where by I ‘stuck’ our motion capture clip of
me and stevie walking together facing
forward's and one of harry and stevie facing
the same direction on the garage door
which made it look like it was part of the
garage. This gave a fascinating look, and
highlights the narrative story strongly by
Harry not being able to see this, only the
audience seeing. To which way you may
interpret these shots, is up t the audience,
either Harrys dreaming, reflecting back on
‘what he said’ or thinking into the future, we
let the audience work at understanding the
narrative and unlocking the clue towards the
end.
Furthermore by conjoining the performance
of harry and narrative scenes it creates quite
a powerful visual description to which the
audience can compare both sides. As in
other Rock genre music videos, very few use
the same ideology or effect in there videos.
6. One of the most iconic figures within our music video and
ancillary product, this silhouette shot captures a powerful
representation of a rock genre look and feel.
We used this shot around for about 3 to 4 seconds in our
music video, along with a photographed version for our
back cover of our digipak.
From my research into Rock genre music videos I found
that lighting was an important part into making the video
more engaging, expressive and dramatic. It created that
feeling of a live performance which we wanted to have in
our own video. So, with the use of our location, (Man On
The Moon and professional band stage) we used the fixed
lights and strobes to create different colours, flashes and
timings. However this particular shot we used our own
portable outside lights and got one of us to move the light
around behind me whilst performing. With a darkened
foreground and lit background it enabled us to create the
silhouette look.
In comparison to ‘Bring the light’ by beady eye music
video, it follows the conventions of typical lighting for
Rock genre stage set ups, with lights positioned in
particular places around the set. However we did move
ours around to get a variety of different looks to which
more challenged ordinary lighting effects.
7. For our performance shots, we
focused a lot on getting close ups of
the guitar playing as we felt this is a
strong connection to other rock genre
videos. The red/orange colour of the
guitar contrasts with the bluey
background setting and creates am
interesting overlay effect
If we compare this
with Beady eyes –
four letter word’
they also use close
ups of the guitar
and cross fades of
clips to which we
only done a small
amount of in our
music video. A
variety of colours
are also visible
creating an
expressive artistic
like look.
8. Throughout the filmmaking process we
made it clear that we all wanted to have a
‘movement’ to our video. This being mostly
‘hand held’ shots for our music video. In
particular this example shows a canted
angle which then zooms in to a close up of
Harry singing the vocals at the camera,
directly to the audience. Through research
only few Rock genre music videos adopt a
static, still camera look, and the videos
which did choose this method I found
weren't as effective to maintaining interest
as the hand held. Examples of these are
U2’s Beautiful day which I found was shot
to still and The black keys little submarines
with interesting camera angles, shot types
and movements.
I think that by using this technique, we can
keep the audience connected with the song
and with the video allowing them to feel
the beat of the song through the visuals
rather than just the lyrics.
9. Through my research I have also found that
many music videos either create a performance
based video or a complete narrative music
video. However for our music video we
challenged the convention by combining the
two towards the end of the video. We decided
to go down this route for our video mainly
because we wanted to try different and unique.
So how we did this was shooting some
performance and narrative in the same
locations, i.e. the walking with harry and Stevie
at the start and then me and Stevie towards the
middle. In essence I perform a cameo role in the
narrative, as I am also in the band performing.
Another way in which we challenged the rock
genre conventions was through our location.
Specifically our rural park location. Usually you
would expect and urban location for a rock
music video, but I feel it contrasts quite well in
our video due to the type of song, and way in
which we executed the relationship narrative.
10. Another media product that
follows similar conventions to
our video is Green days –
‘Wake me up when September
ends’.
The music video consists of a
short narrative story at the
beginning which introduces
the theme of the video and
then flicks between
performance shots and
narrative scenes. However the
narrative does not cross over
with the performance, instead
the scenes stay separate and
the song is addressed to the
narrative.
11. My final image, shows a screenshot from our middle eight where the
pace of the song slows down. This section contrasts to the rest of the
song, as most of it is upbeat and fast paced. What we did differently here
however is focus on 1 location to fit the lyrics and feel of the song, so we
chose the castle mound clips. Our reason for this was because we liked
the idea of the stars line in the song, and the shots which we took on
location at castle mound were just before dusk. This gave this section a
dream like, night time setting look.
This I believe follows the music video conventions as generally if the pace
of the song changes so do the visuals (cuts, fades, clip lengths).
12. Our magazine advert is closely conventional In terms of composition and placement of text on the page. As you can
see, The Killers (Band Name) at the top, below Man On The Moon (Album name) and at the bottom the date,
Facebook and twitter links, production studios/companies and top special features. If we compare this to the
stereophonics magazine ad we see a similar layout and positioning of the key elements.
When we first see the magazine ad the viewer is Immediacy drawn to the
orange plectrum, a marketing gimmick to try and sell the magazine. This
would also be following the conventions of other rock magazine adverts as
you would typically see this on an indie rock cover rather than a hip hop,/ pop
cover. This is evident by the use of the greyscale colour theme for the front
cover. We see the sky is grey, and the characters clothes almost black. This
enables the free plectrum, twitter and Facebook icons to be highlighted, again
trying to sell and increase the bands awareness. Furthermore the cut away
look challenges conventions of other magazine ads for the rock genre in the
way its not just a plain photo of the
band. With the centre tear in the
paper running down the centre of
the image it creates a definitive
broken apart look. This relates to the
relationship in the music video of a
‘tearing’ feeling between harry and
stevie. As well as the relationship
between the character its important
to consider the use of the
instruments to which follow the
conventions of a rock groups image
and star persona. We also overlayed
the stars time laps again to the sky
which relates to the digipak and
music video linking all three
mediums
13. With our digipak we wanted to base it on everything we experienced through the making of our video and the what the characters/Band may have felt
during the making. For example, visiting over 13 different locations within our music video some gave us some incredible graffiti type art, so we used this
for our two CD covers, and the small panda on the back cover. This follows media conventions as artists generally have pictures, themes, colours relating to
the making of there album and the story behind why they made it etc. Most of the Digipaks I have researched consist of a selection of artistic designs and
photos relating to the name of the album or hit song. We follow this also by our album name Man On The Moon which is where we shot our performance
scene for the music video.
In the making of the back cover, we challenged the conventions a little in adding a little more substance to which made the back cover just as interesting as
the front. Through research, I have discovered that consumers when buying an album tend to always look at the back, as well as the front. With other back
covers, such as the Oasis album ‘stop the clocks’ (supported in ancially post), I found only a blank colour on the back with the song names and production
companies. So instead we decided to add the silhouette panda and fade these onto the pavement. Furthermore, adding the Facebook, Twitter and
YouTube logos to advertise the band on the internet shows the up to date, practicality of the product as consumers are bale to view the album online.
For our spine we followed the conventions of rock albums applying ‘The Killers’ – band name and ‘Man On The Moon’ album name, typical to what you
would expect in a professional well designed rock album spine.
Our Front cover is our main focus point to which we decided to use only harry as the main focus. With him looking up at the stars and the glowing moon
lens flare behind the text, it relates to our music video, and magazine ad as well as the album name ‘Man On The Moon’. All these connotations are linked
with the theme of the music video, magazine ad and digipak. It follows conventions of other rock albums which relate there front covers with either the
album name or band image to which illustrates the product.
Overall I believe our theme can be a good starting point in ensuring future albums can be made similar or slightly different for the band to brand
themselves in whatever way they want to show there star persona to there audience.
For more about our digipak visit my blog post named: ‘Ancillary Product Anaylisis | By Jason