The document provides details on mock-ups created for a CD cover and website to promote a Rihanna music video. It includes images of the proposed CD cover (showing Rihanna's "good" and "bad" sides), back cover, and inside covers taken from the music video. The website mock-up incorporates an embedded song, photos that alternate between Rihanna's sides, and social media links. Market research via a questionnaire found Rihanna's target audience is mostly black females aged 16-25 who are drawn to her image as much as her music. Locations, costumes, and a shooting script are being planned to depict Rihanna's dual personality through a narrative and conceptual video split into two
This document contains summaries of 3 music album covers and 3 music videos. For the album covers, it analyzes the imagery, colors, and intended audiences. For the music videos, it discusses the narrative, settings, camera techniques, and messages conveyed. Key details are highlighted about the artists Akon, Leona Lewis, Foo Fighters, Jay-Z, and Kings of Leon to analyze the imagery and storytelling of the album covers and music videos.
This document outlines plans for two media products: a music video and promotional website. The music video will tell a story about love and men's mental health challenges through flashbacks of a happy relationship and depictions of the singer's daily life and struggles. It aims to challenge stereotypes that men should not show weakness. The promotional website will have a dark theme consistent with the video and include links to biographies of the artist and actors, the music video, and the artist's social media.
The document discusses planning for a music video project for an unsigned hip hop/R&B group. It analyzes the DMX and Faith Evans music video "I Miss You" as inspiration. Key elements that will be emulated include using a graveyard location and natural lighting with dark, dull tones around the artists. Scenes will be edited into slow motion. The group's song "Everything Will Be Ok" will address problems faced by young black people.
The document outlines plans for a music video and promotional website. The music video will tell the story of a singer struggling with mental health issues within a relationship through flashbacks and depictions of his daily life. It aims to challenge stereotypes about men's strength and vulnerability. The website will have a dark theme consistent with the video and include links to the artist's social media and a making-of feature for the music video. It seeks to portray the struggles of men's mental health through a rap love song targeted at young males.
This document provides a summary and analysis of two music videos: "Hate It or Love It" by The Game and 50 Cent, and "Bring Me to Life" by Evanescence. For the hip hop video, it discusses the visual references to the artists' backgrounds and lifestyles, as well as the relationship between the lyrics and visuals. For the rock video, it analyzes the dark atmosphere, relationship between lyrics and visuals, and how the visuals create gloomy and depressing mood that matches the heavy music.
The research analyzed various album covers, merchandise, and other hip hop related media. Common features identified included the use of white, red, and straight facial expressions to convey mood. Simplicity in design was also noted as effective. Aspects the researcher plans to include are the serious facial expression, colors like red and white, and simplicity. Alternatives considered are different facial expressions or an original color scheme.
This advertisement analyzes Rihanna's album "Rated R". It implies the album will contain explicit adult content based on the title. The dark color scheme of black, white, and red implies a darker nature compared to her previous pop albums. Rihanna's hair, clothing, and demeanor in the ad also reflect a edgier style than her earlier bright pink hair and flowing dresses. The direct address of Rihanna in the primary viewing area is intended to intrigue viewers and entice them to learn more about the album.
The document discusses linking ancillary products like album artwork and advertisements to music videos to establish an artist's brand identity. It provides examples from Riley's planned video, magazine ad, and album cover, showing consistency in settings, costumes, and aesthetics between the pieces. Censor strips and rural settings seen in the ad and cover will also appear in the video. Examples from Joey Bada$$ further illustrate how setting, props, and style can connect ancillary works to videos and reinforce a cohesive vision that engages and grows the artist's audience.
This document contains summaries of 3 music album covers and 3 music videos. For the album covers, it analyzes the imagery, colors, and intended audiences. For the music videos, it discusses the narrative, settings, camera techniques, and messages conveyed. Key details are highlighted about the artists Akon, Leona Lewis, Foo Fighters, Jay-Z, and Kings of Leon to analyze the imagery and storytelling of the album covers and music videos.
This document outlines plans for two media products: a music video and promotional website. The music video will tell a story about love and men's mental health challenges through flashbacks of a happy relationship and depictions of the singer's daily life and struggles. It aims to challenge stereotypes that men should not show weakness. The promotional website will have a dark theme consistent with the video and include links to biographies of the artist and actors, the music video, and the artist's social media.
The document discusses planning for a music video project for an unsigned hip hop/R&B group. It analyzes the DMX and Faith Evans music video "I Miss You" as inspiration. Key elements that will be emulated include using a graveyard location and natural lighting with dark, dull tones around the artists. Scenes will be edited into slow motion. The group's song "Everything Will Be Ok" will address problems faced by young black people.
The document outlines plans for a music video and promotional website. The music video will tell the story of a singer struggling with mental health issues within a relationship through flashbacks and depictions of his daily life. It aims to challenge stereotypes about men's strength and vulnerability. The website will have a dark theme consistent with the video and include links to the artist's social media and a making-of feature for the music video. It seeks to portray the struggles of men's mental health through a rap love song targeted at young males.
This document provides a summary and analysis of two music videos: "Hate It or Love It" by The Game and 50 Cent, and "Bring Me to Life" by Evanescence. For the hip hop video, it discusses the visual references to the artists' backgrounds and lifestyles, as well as the relationship between the lyrics and visuals. For the rock video, it analyzes the dark atmosphere, relationship between lyrics and visuals, and how the visuals create gloomy and depressing mood that matches the heavy music.
The research analyzed various album covers, merchandise, and other hip hop related media. Common features identified included the use of white, red, and straight facial expressions to convey mood. Simplicity in design was also noted as effective. Aspects the researcher plans to include are the serious facial expression, colors like red and white, and simplicity. Alternatives considered are different facial expressions or an original color scheme.
This advertisement analyzes Rihanna's album "Rated R". It implies the album will contain explicit adult content based on the title. The dark color scheme of black, white, and red implies a darker nature compared to her previous pop albums. Rihanna's hair, clothing, and demeanor in the ad also reflect a edgier style than her earlier bright pink hair and flowing dresses. The direct address of Rihanna in the primary viewing area is intended to intrigue viewers and entice them to learn more about the album.
The document discusses linking ancillary products like album artwork and advertisements to music videos to establish an artist's brand identity. It provides examples from Riley's planned video, magazine ad, and album cover, showing consistency in settings, costumes, and aesthetics between the pieces. Censor strips and rural settings seen in the ad and cover will also appear in the video. Examples from Joey Bada$$ further illustrate how setting, props, and style can connect ancillary works to videos and reinforce a cohesive vision that engages and grows the artist's audience.
The document analyzes and compares the music videos for The Weeknd's "The Hills" and PartyNextDoor's "Come and See Me". It discusses the conventions, camerawork, editing, genres, narratives, performances, representations, institutions, and values/ideologies presented in each video. The document provides detailed analyses of the technical and artistic elements used in each video.
The video analyzes Jay-Z and Alicia Keys' song "Empire State" directed by Hype Williams. Through analysis of lyrics and visuals, the author finds several effective relationships that convey the song's message of inspiration and overcoming obstacles. Scenes of New York landmarks reflect lyrics about the city, while shots of Alicia Keys in Times Square illustrate dreams being made amid the "concrete jungle."
The video being analyzed applies genre theory to Nelly Ft. Kelly Rowland's "Dilemma" music video from 2002. The video uses conventions common to the hip hop/rap genre, such as baggy clothing, jewelry, cars, and revealing women. While these conventions are familiar to the genre and audience, the video is still original. Differences between this video and one from 10 years prior are also examined.
This document analyzes the music video for "Memories Back Then" by T.I., B.O.B., and Kendrick Lamar. It summarizes the genre as rap based on the costumes, lyrics, and artists' performances directly rapping to the camera. The narrative follows each artist telling stories from their past relationships and experiences with women before fame. The setting changes between city streets, parks, hotels, and back alleys to represent the artists' rise from poverty to wealth. Costumes feature stereotypical rap attire like hoodies, baggy clothes, and brands like Adidas and Nike. Body language and movements help convey the mature personalities of the artists now compared to their past.
Analysis of "Humble" music video by Kendrick Lamarhanaa_m
The document provides background information and analyzes Kendrick Lamar's music video for his song "HUMBLE." It discusses how the video tells multiple narratives through its scenes and references. Specifically:
1) The video opens with Lamar dressed as a pope to represent himself as the "King of Rap" and includes religious scenes depicting Lamar as Jesus.
2) Scenes portray the experiences of black people and how they are portrayed in media and politics, reflecting the song's lyrics.
3) The video utilizes postmodern techniques by referencing famous artworks and only featuring black actors, communicating its message about racism.
4) Through its stylized scenes, effects, and ties to the song
Paramore released their second album "Riot" in 2007 featuring hits like "Misery Business" and "CrushCrushCrush". The album cover depicts the band in a cartoon-like, black-and-white style from above, reflecting their punk theme. Throughout the digipak and back cover, the word "riot" is repeated in a bold, handwritten font against a dark background to portray an edgy, chaotic style fitting the album title.
- Eminem is no longer actively promoting new music but remains an iconic figure in rap due to his past success and albums like "The Marshall Mathers LP 2".
- When he first emerged in the late 1990s, he was seen as an outsider as a white rapper, but became controversial for his aggressive lyrics promoting violence, racism, and crime through his alter-ego Slim Shady.
- His image changed after his relapse, portraying him as a troubled youth who matured, and his album "Recovery" showed his self-reflection and desire to help fans avoid mistakes, making him more mainstream and commercially successful.
The document proposes a music video for the band Butterfly Stitch featuring four teenage musicians. It will feature the band performing in a white basement decorated to look like a garage. Several stylish girls will be filmed in different locations to illustrate the lyrics of the song "Flaunt It" and attract different audiences. The target audience is 15-25 year olds who will identify with the band and genre of modern rock music. Filming in a basement fits with conventions for rock music videos and aims to achieve a homemade feel.
Eminem's image and promotion:
- Eminem is no longer actively promoting music but remains an iconic figure known for hits like "The Marshall Mathers LP 2".
- When he first emerged in the late 1990s, he was seen as an outsider in the black-dominated rap genre as a white artist. Later, his controversial lyrics promoted violence and crime.
- His album "Recovery" marked a shift where he produced empowering songs and reached out to fans more about lessons learned from past mistakes.
The document outlines a group's plan for creating a music video for the song "I Want You" by Common ft. Will.I.am, including choosing the song due to its themes of love and missing someone, targeting an audience of 18-28 year olds interested in R&B/rap, and featuring storylines of a man unable to move on from a past relationship through flashbacks shot in various London locations using natural lighting.
This document provides an evaluation of draft edits made to a music video. Scenes were changed from full color to black and white to match the depressing lyrics and narrative of a girl cheating. Money falling was added to represent wealth and question its source, generating intrigue. Tunnel scenes now show the artist dancing in smoke with associates to convey crime, while editing hue and saturation to portray drug effects. Car scenes introduce a female character arguing with the protagonist to advance the narrative of a relationship in dispute, using conventional R&B video tropes.
The document discusses different styles of music videos, including impressionist, surrealist, voyeuristic, allusion, inter-textual, and interpretive styles.
For impressionist style, Katy Perry's "Firework" and "Wide Awake" videos are cited as examples that create a fantasy world through soft lighting and colors. Surrealist videos like LSD's "No New Friends" depict dream-like worlds. Voyeuristic videos like Katy Perry's "Bon Appetite" and Badshah's "Tareefan" feature the objectification of women. Videos with allusion styles like Train's "50 Ways to Say Goodbye" include unexpected twists. Ariana
The document provides an analysis of 3 music videos:
1) Coldplay's "The Scientist" uses reversed footage and symbolism to tell a story of going back in time to a car crash.
2) Plan B's "She Said" uses a courtroom setting and flashbacks to depict a story through the singer's lyrics.
3) Robbie Williams' "Feel" follows the singer's journey through rural landscapes as he searches for a woman, depicted through symbols of power, freedom and their eventual meeting.
This document provides a shot-by-shot storyboard for a music video. It begins with establishing shots of an empty house to set the location. Interspersed with shots of the artist singing and playing guitar, there are longer shots of an actor in the empty house and outdoors, looking distressed. The story appears to be about a man searching for a missing loved one, as indicated by a picture of him with a woman. The video will parallel edit the artist's performance with the actor's scenes of longing and searching for his missing partner.
The document discusses establishing brand identity through links between ancillary products like album artwork and music videos. It provides examples from the artist Riley's proposed video, magazine ad, and album cover, showing consistency in settings, costumes, fonts, and themes to immerse the target audience. Censor strips and rural/urban dichotomies reflect Riley's background and goals to innovate within hip hop. Analysis of Joey Bada$$'s work also demonstrates how effectively linking visual elements across formats can cultivate a dedicated fan base.
Reverie has created a music video for their cover of Lucy Rose's song "Lines" in which they tell the story themselves. The article discusses the DIY approach Reverie took in creating the low-budget music video, filming it themselves and editing it free of charge. It provides analysis of different elements of the video but notes it still needs some minor improvements to be shown on major music channels. Overall, it commends Reverie for demonstrating how independent music videos can be created low-cost while still telling an emotional story through the lyrics.
The document provides analyses of various music videos, a CD cover, and magazine advertisements. For the music videos, it summarizes the key elements, themes, and narrative portrayed in videos for songs by Damien Rice, Ryan Adams, and Jamie Lidell. It also analyzes visual elements, symbols, and techniques used in the videos. For the CD cover and magazine advertisements, it examines design elements like layout, imagery, fonts, and information provided to promote the music.
This document provides examples of different types of shots from music videos and asks the respondent to analyze similar shots from their own media product. It includes sample shots that show a link between lyrics and visuals, shots that represent how a record company might want their artist portrayed, shots that illustrate the music genre, shots demonstrating intertextual references, camera work, lighting, mise-en-scene, and shots that indicate the respondent has watched other music videos. The respondent is asked to analyze equivalent shots from their own video and discuss how they develop or challenge conventions of the genre.
This document proposes a music video for the song "Coffee" by Trevor Griffin. The concept is to depict the singer overthinking social situations until getting coffee. Scenes would show his distorted perceptions of people judging him and reality. Shots would have contrasting colors to portray his mood. Talent is proposed including a director experienced in narrative and cinematography styles, and an actor for a cafe scene. Marketing, production schedule, and team member roles are outlined. References are provided for YouTube videos cited.
This document discusses the production of a music video summarizing how various media technologies and conventions were used at different stages of production. It provides screenshots and links to examples of the original artist Rihanna's work and compares it to the student's own music video, website, and digipack. Feedback was gathered from Facebook, YouTube, and vox pops which showed that the target audience generally liked and found the video believable while also providing opportunities for improvement. A variety of software like Final Cut Pro, Wordpress, and social media platforms were used in the construction, research, planning and evaluation of the project.
The document analyzes and compares the music videos for The Weeknd's "The Hills" and PartyNextDoor's "Come and See Me". It discusses the conventions, camerawork, editing, genres, narratives, performances, representations, institutions, and values/ideologies presented in each video. The document provides detailed analyses of the technical and artistic elements used in each video.
The video analyzes Jay-Z and Alicia Keys' song "Empire State" directed by Hype Williams. Through analysis of lyrics and visuals, the author finds several effective relationships that convey the song's message of inspiration and overcoming obstacles. Scenes of New York landmarks reflect lyrics about the city, while shots of Alicia Keys in Times Square illustrate dreams being made amid the "concrete jungle."
The video being analyzed applies genre theory to Nelly Ft. Kelly Rowland's "Dilemma" music video from 2002. The video uses conventions common to the hip hop/rap genre, such as baggy clothing, jewelry, cars, and revealing women. While these conventions are familiar to the genre and audience, the video is still original. Differences between this video and one from 10 years prior are also examined.
This document analyzes the music video for "Memories Back Then" by T.I., B.O.B., and Kendrick Lamar. It summarizes the genre as rap based on the costumes, lyrics, and artists' performances directly rapping to the camera. The narrative follows each artist telling stories from their past relationships and experiences with women before fame. The setting changes between city streets, parks, hotels, and back alleys to represent the artists' rise from poverty to wealth. Costumes feature stereotypical rap attire like hoodies, baggy clothes, and brands like Adidas and Nike. Body language and movements help convey the mature personalities of the artists now compared to their past.
Analysis of "Humble" music video by Kendrick Lamarhanaa_m
The document provides background information and analyzes Kendrick Lamar's music video for his song "HUMBLE." It discusses how the video tells multiple narratives through its scenes and references. Specifically:
1) The video opens with Lamar dressed as a pope to represent himself as the "King of Rap" and includes religious scenes depicting Lamar as Jesus.
2) Scenes portray the experiences of black people and how they are portrayed in media and politics, reflecting the song's lyrics.
3) The video utilizes postmodern techniques by referencing famous artworks and only featuring black actors, communicating its message about racism.
4) Through its stylized scenes, effects, and ties to the song
Paramore released their second album "Riot" in 2007 featuring hits like "Misery Business" and "CrushCrushCrush". The album cover depicts the band in a cartoon-like, black-and-white style from above, reflecting their punk theme. Throughout the digipak and back cover, the word "riot" is repeated in a bold, handwritten font against a dark background to portray an edgy, chaotic style fitting the album title.
- Eminem is no longer actively promoting new music but remains an iconic figure in rap due to his past success and albums like "The Marshall Mathers LP 2".
- When he first emerged in the late 1990s, he was seen as an outsider as a white rapper, but became controversial for his aggressive lyrics promoting violence, racism, and crime through his alter-ego Slim Shady.
- His image changed after his relapse, portraying him as a troubled youth who matured, and his album "Recovery" showed his self-reflection and desire to help fans avoid mistakes, making him more mainstream and commercially successful.
The document proposes a music video for the band Butterfly Stitch featuring four teenage musicians. It will feature the band performing in a white basement decorated to look like a garage. Several stylish girls will be filmed in different locations to illustrate the lyrics of the song "Flaunt It" and attract different audiences. The target audience is 15-25 year olds who will identify with the band and genre of modern rock music. Filming in a basement fits with conventions for rock music videos and aims to achieve a homemade feel.
Eminem's image and promotion:
- Eminem is no longer actively promoting music but remains an iconic figure known for hits like "The Marshall Mathers LP 2".
- When he first emerged in the late 1990s, he was seen as an outsider in the black-dominated rap genre as a white artist. Later, his controversial lyrics promoted violence and crime.
- His album "Recovery" marked a shift where he produced empowering songs and reached out to fans more about lessons learned from past mistakes.
The document outlines a group's plan for creating a music video for the song "I Want You" by Common ft. Will.I.am, including choosing the song due to its themes of love and missing someone, targeting an audience of 18-28 year olds interested in R&B/rap, and featuring storylines of a man unable to move on from a past relationship through flashbacks shot in various London locations using natural lighting.
This document provides an evaluation of draft edits made to a music video. Scenes were changed from full color to black and white to match the depressing lyrics and narrative of a girl cheating. Money falling was added to represent wealth and question its source, generating intrigue. Tunnel scenes now show the artist dancing in smoke with associates to convey crime, while editing hue and saturation to portray drug effects. Car scenes introduce a female character arguing with the protagonist to advance the narrative of a relationship in dispute, using conventional R&B video tropes.
The document discusses different styles of music videos, including impressionist, surrealist, voyeuristic, allusion, inter-textual, and interpretive styles.
For impressionist style, Katy Perry's "Firework" and "Wide Awake" videos are cited as examples that create a fantasy world through soft lighting and colors. Surrealist videos like LSD's "No New Friends" depict dream-like worlds. Voyeuristic videos like Katy Perry's "Bon Appetite" and Badshah's "Tareefan" feature the objectification of women. Videos with allusion styles like Train's "50 Ways to Say Goodbye" include unexpected twists. Ariana
The document provides an analysis of 3 music videos:
1) Coldplay's "The Scientist" uses reversed footage and symbolism to tell a story of going back in time to a car crash.
2) Plan B's "She Said" uses a courtroom setting and flashbacks to depict a story through the singer's lyrics.
3) Robbie Williams' "Feel" follows the singer's journey through rural landscapes as he searches for a woman, depicted through symbols of power, freedom and their eventual meeting.
This document provides a shot-by-shot storyboard for a music video. It begins with establishing shots of an empty house to set the location. Interspersed with shots of the artist singing and playing guitar, there are longer shots of an actor in the empty house and outdoors, looking distressed. The story appears to be about a man searching for a missing loved one, as indicated by a picture of him with a woman. The video will parallel edit the artist's performance with the actor's scenes of longing and searching for his missing partner.
The document discusses establishing brand identity through links between ancillary products like album artwork and music videos. It provides examples from the artist Riley's proposed video, magazine ad, and album cover, showing consistency in settings, costumes, fonts, and themes to immerse the target audience. Censor strips and rural/urban dichotomies reflect Riley's background and goals to innovate within hip hop. Analysis of Joey Bada$$'s work also demonstrates how effectively linking visual elements across formats can cultivate a dedicated fan base.
Reverie has created a music video for their cover of Lucy Rose's song "Lines" in which they tell the story themselves. The article discusses the DIY approach Reverie took in creating the low-budget music video, filming it themselves and editing it free of charge. It provides analysis of different elements of the video but notes it still needs some minor improvements to be shown on major music channels. Overall, it commends Reverie for demonstrating how independent music videos can be created low-cost while still telling an emotional story through the lyrics.
The document provides analyses of various music videos, a CD cover, and magazine advertisements. For the music videos, it summarizes the key elements, themes, and narrative portrayed in videos for songs by Damien Rice, Ryan Adams, and Jamie Lidell. It also analyzes visual elements, symbols, and techniques used in the videos. For the CD cover and magazine advertisements, it examines design elements like layout, imagery, fonts, and information provided to promote the music.
This document provides examples of different types of shots from music videos and asks the respondent to analyze similar shots from their own media product. It includes sample shots that show a link between lyrics and visuals, shots that represent how a record company might want their artist portrayed, shots that illustrate the music genre, shots demonstrating intertextual references, camera work, lighting, mise-en-scene, and shots that indicate the respondent has watched other music videos. The respondent is asked to analyze equivalent shots from their own video and discuss how they develop or challenge conventions of the genre.
This document proposes a music video for the song "Coffee" by Trevor Griffin. The concept is to depict the singer overthinking social situations until getting coffee. Scenes would show his distorted perceptions of people judging him and reality. Shots would have contrasting colors to portray his mood. Talent is proposed including a director experienced in narrative and cinematography styles, and an actor for a cafe scene. Marketing, production schedule, and team member roles are outlined. References are provided for YouTube videos cited.
This document discusses the production of a music video summarizing how various media technologies and conventions were used at different stages of production. It provides screenshots and links to examples of the original artist Rihanna's work and compares it to the student's own music video, website, and digipack. Feedback was gathered from Facebook, YouTube, and vox pops which showed that the target audience generally liked and found the video believable while also providing opportunities for improvement. A variety of software like Final Cut Pro, Wordpress, and social media platforms were used in the construction, research, planning and evaluation of the project.
Come creare realzione con i clienti, a cosa servono gli strumenti di relazione, quale valore creano all'interno di impresa...queste ed altre domande sono state affrontate durante una presentazione alla Camera di Commercio di Siena
Research and planning- video which illustrate genre conventionsRianna
This document provides an analysis of Ciara's 2007 music video for her song "Like a Boy". The video challenges conventions by reversing traditional gender roles. Ciara dresses and acts like a man, confronting her boyfriend and putting him in her shoes. Throughout the video, Ciara and her dancers perform masculine choreography while dressed in masculine styles. The use of black and white, role switching, and clothing choices effectively convey Ciara's message about gender roles and how women would be viewed differently if they behaved as men often do.
The document describes the journey of author Rohit Sharma in writing his debut romantic fiction novel "Te Amo... I love you...", including conceiving the idea in college, extensive research on locations in Spain and Britain, developing characters, signing with a publisher after many rejections, and marketing the book with help from friends. It details the process of writing, editing, and publishing the book over several years from conception to final publication.
Friend of Fiend: Co-creation at Coolhaven-island | Marseille & MulderHuman Centered ICT
Marseille, J. & Mulder, I. Friend or Fiend: Co-creation at Coolhaven-island. Co-creation at Coolhaven-island Presented at workshop Community practices and locative media held in conjunction with MobileHCI09, September 15-18th 2009, Bonn, Germany.
The album cover for Lana Del Rey's "Born to Die" contrasts the title with a clean-cut image of Lana, creating intrigue. Her precise outfit and red lipstick attract a stereotypical male gaze while also conveying her independence. The light blue background represents innocence, contrasting Lana's serious expression and provocative clothing. Together these factors suggest Lana seems okay but suffers inside.
The album cover for Ben Howard's "I Forget Where We Are" shows a blurred image of Ben, indicating he is already a prominent artist with fans who can identify him. The layered, distorted flowers relate to his chilled out musical style but also imply an element of uncertainty, linking to the album's title
The album cover of Lana Del Rey's "Born to Die" contrasts the title with a clean-cut image of Lana that promotes a happy vibe, drawing viewers in. Her precise outfit and makeup suggest a strong, independent woman posing for a school photo while also appealing to the male gaze. The use of light blue in the background represents innocence, contrasting Lana's serious expression and provocative clothing.
Ben Howard's album "I Forget Where We Are" features a black and white, difficult-to-identify image of Ben that shows he already has recognition, appealing to his existing fan base. The layered, distorted floral image relates to his chilled out musical style but also implies an element of uncertainty,
The document analyzes several music album advertisements and posters, noting common design conventions. It examines posters for albums by Rihanna, Wretch 32, Eminem, and others. Key information provided in the posters includes the artist name, album title and release date, featured songs and artists, and images relating to the album's theme. Fonts, colors, and graphic elements are used to attract attention and tie back to the album's concept. Photographs of the artists dominate the posters' visual space.
The CD cover successfully conveys the genre of hybrid hip hop and grime through the urban image and use of color and lighting effects to give a unique look. The poster is less successful as it shows too much white space and does not use the color scheme as effectively. It still manages to convey urban elements. The music video subverts stereotypes of grime and hip hop genres through a lighthearted, fun approach inspired by Kanye West videos like "Good Life" with words flying in. This presents the artist in a more upbeat, positive way.
Digipaks are soft packaging often used for CD singles and special editions. They consist of a gatefold paper or cardboard cover that holds one or more plastic trays for CDs/DVDs. Digipaks promote artists by displaying their image and branding, linking to their music and emphasizing their brand. They benefit artists by increasing awareness, popularity, and sales.
The album art for Florence and the Machine's "Lungs" depicts Florence wearing fake lungs around her neck, relating to the album title. The muted color palette and forest backdrop create a dreamlike, storybook atmosphere suggesting innocence and purity. The art conveys the album's indie rock genre through Florence's unconventional hairstyle and the lack of vivid colors typically seen in pop albums.
The album art for Florence and the Machine's "Lungs" depicts Florence wearing fake lungs around her neck, relating to the album title. Her unconventional hairstyle reflects the indie rock genre. The muted color palette and fantasy forest setting create a sense of purity and innocence.
The document discusses plans for a music video for Pink's song "Who Knew". The students want to create a performance/narrative video that highlights the song's lyrics about being left by someone important without being too literal. They will show background events that led to Pink alone on a sofa in a corset dress with mascara running down her face. Her vulnerable yet rebellious look selling her as an artist who explores different emotions to attract new fans. Storyboards are presented matching lyrics to visuals of Pink singing in bathrooms and crowds to portray her pain over a broken relationship.
Textual analysis of 5 digi pak covers and 3 Print magazine advertsmaxwellmagee
This document provides album cover analyses for 6 albums:
1. Moby - Play (1999): Features an action shot of Moby jumping with an ocean blue background representing peace.
2. Madvillain - Madvillainy (2004): Features MF Doom in a metal mask to remain unidentifiable like a supervillain and promote his music over his image.
3. Nas - Illmatic (1994): Features Nas at age 7 to represent how the album relates to his childhood in Queensbridge, NY.
4. J Dilla - Welcome 2 Detroit (2001): Features J Dilla smoking a blunt in Detroit to represent the city and his involvement in hip hop culture.
The poster uses earthy colors to represent John Mayer's down-to-earth and natural music style. The main image shows Mayer looking down as if lost in the music. This conveys the deep emotion of his music. Standard poster elements like the masthead, image, and dates provide viewer convenience. Stylistic cues like Mayer's long hair and sunglasses identify his style while reinforcing the hippie connotation of his natural music. The handmade text font further distances the poster from computer generation for authenticity.
The music video for Rihanna's song "Rude Boy" relies heavily on green screen effects and features Rihanna dancing in front of colorful, edited backgrounds. It draws artistic inspiration from Andy Warhol, Keith Haring, and Jean-Michel Basquiat. The video for Katy Perry's "E.T." features Perry and Kanye West singing and dancing in a futuristic space setting, with costumes and props that establish the year is beyond 2030 on Earth. Both videos effectively blend dance performances with artistic visual styles.
The document discusses a music video idea for the song "Know No Better" by Major Lazer featuring Camila Cabello, Travis Scott, and Quavo. It summarizes the original music video and then proposes a new music video idea with two parallel storylines - one about a secretly rebellious "nerdy" girl and one about a kind man in an abusive relationship. Both storylines would culminate in the characters attending the same house party where their true selves are exposed on social media.
The document discusses conventions of R&B album digipak covers. It provides examples from several albums and analyzes aspects like the use of the artist's image, colors, fonts, and inclusion of track lists or lyrics. Common conventions highlighted include prominent display of the artist's name or image, bold colors like black, gold and red, minimal or revealing clothing on the cover, and consistency in design elements across the front and back covers.
I have analysed the magazine adverts of my favorite artists which are: Meek Mill (Dreams and Nightmares), Jay-Z (Blueprint 3) and Rihanna (Russian Roulette & Hard). I have gone deeply in explaining why the artists used such thing in their magazine adverts and backed it up with examples. The quality of my writing clearly shows that I have a greater understanding of both of the adverts.
The document analyzes the digipaks of albums by Jay-Z, Eminem, and Rihanna. It discusses how the artwork, fonts, and imagery used on each digipak relates to the vibe and themes of the music on the corresponding album. For Jay-Z's album, the spray painted artwork depicts him as rebellious. Eminem is represented as both professional and intimidating. Rihanna is shown as romantic through her hair color and images of roses, but also dangerous if mistreated. Common symbols and themes between each artist's digipak and music videos are identified.
This document summarizes and analyzes the packaging and promotional materials for several music albums.
The first section examines digipaks for albums by Rihanna and Katy Perry. Both feature provocative images of the artists that may not be suitable for younger audiences, despite Perry appealing to wider demographics. Color schemes and imagery carry symbolic meanings that relate to the music.
The next section analyzes magazine advertisements. One for Stereophonics features a moody image reflecting their album's theme. Green Day's ad uses punk-inspired colors and imagery to promote their single from "American Idiot." Both ads effectively promote the artists and albums through consistent branding.
Overall, the document discusses how packaging
The document discusses how the author created a brand identity for an artist named Chief for a music video project recreating Kanye West's "Runaway" video. Chief was portrayed as a humble hip hop artist focused on social issues rather than wealth and excess. This was shown through his plain streetwear clothing. Both the video narrative and Chief's performance depicted him as depressed over being caught cheating. The author's album digipack and advert used close-up images of Chief in a serious expression to portray him as powerful and convey it was a rap album. The digipack listed popular featured artists to attract audiences. The advert reused the cover image for recognition and included a positive review to generate hype.
This document analyzes and summarizes the key elements and conventions of three music album digipaks:
1) Eminem's "Curtain Call: The Hits" compilation album digipak uses dark colors and imagery to represent the rap genre along with symbols like roses that refer to both nature and death.
2) Drake's "Take Care" album digipak depicts the artist as wealthy but vulnerable, challenging rap stereotypes through font and imagery related to themes of love and heartbreak.
3) Rihanna's "Loud" album portrays the artist as assertive yet angelic through its predominant red color and nature imagery, focusing on the concept of love through consistent stylistic elements and
1) Daft Punk, 50 Cent, and One Direction each focus on different music genres and target specific markets to maximize profits. Daft Punk focuses on Euro house music, 50 Cent is known for hip hop, and One Direction targets younger females with pop music.
2) 50 Cent's music videos depict an lavish, "otherworldly" lifestyle to promote desirability. One Direction's "What Makes You Beautiful" uses close-ups of band members, beaches, and fashion trends to appeal to their young female audience.
3) Daft Punk's "Instant Crush" video matches the punk rock-inspired character through clothing and location to complement the song's style while telling
Rihanna's album "Rated R" features dark and moody imagery throughout that conveys a sense of maturity and sophistication. The album cover shows Rihanna in a contemplative pose with one eye covered, denoting the personal nature of the album conceived after her assault. In black and white, it intrigues viewers and connects them to her new style and songs. The back cover depicts Rihanna provocatively in color, furthering the themes of maturity and liberty by breaking societal norms. The inserts contain sexually explicit artwork that reinforces maturity through sexuality in a dangerous, mysterious tone while crediting the album's creators.
1. A2 Media Studies Jo Harland
Mock ups of website &CD cover:
Front cover: Back cover:
Inside covers:
Thisis the CD coverand we will relate itdirectlytothe same
conceptof the musicvideo. Thisiswhere synergywill be clear
and obviousbecause justlikethe musicvideothe CDcoverwill
alsobe splitintotwohalvesshowingone side ashergoodside –
thisiswhere she will be wearingsoftmakeupandhave asoft
expressiononherface – andthe otherside will be herbadside –
where she will have darkmakeupanda sinisterexpressiononher
face – thisideacame directlyfromthe video.The close-upimage
alsoseemedtobe poplarfor the Te AmoCD cover,so we took
thisintoconsideration whendrawingthismock-up. Thiscover
will be ingreyscale justlike the musicvideo.
Thisis the back coverof the CD; it followsthe
general CDconventionswiththe box forthe listof
songsand the bar code.Once againit still follows
the ideaof havingthe twosidestoRihannawiththe
goodside of her more clothedstill showingher
“sexy”side butthe bad side of her withminimal
clothingonbecause a lotof herfanssaidher image
isimportantand throughresearchintoherother
CD coverssex seemstosell withRihanna. Thiswill
alsobe ingreyscale.
The two inside coverswillbe imagescomingstraight fromthe musicvideo,because thisissomethingthatRihannahas
not done before forone of herCD’s.This worksforthisCD mockup because we will take twostill imagesfromthe two
differentsplitscreensfromthe videoof herwalkingdownthe roadwith herentourage showingthe twodifferent
outfitsthatshe will be wearinginthe video.
2. A2 Media Studies Jo Harland
Website mock-up:
Thisis the website mock-up.There will be apicture of the CD cover as a form of advertisingtofanswhohave notyet
purchasedit,there will alsobe linkstoRihanna’stwitter,facebook,myspace andyoutube sofanscanfindoutabout
up comingeventsandanysongsthat are comingout soon.The linktoyoutube will alsoenablefanstofindout
aboutother artiststhat are signedtothe same recordlabel asRihannaor artists fromthe same genre,sonot only
will itbe advertisinghermusicitwill alsobe aformof advertisingforotherartists. A commentbox will be there so
that fanscan communicate andshare theirideasandthoughtsof the video.The bigbox will be where different
imagesof herwill be placed,the box will be animatedsothatitwill show sortof a “slide show”of pictures,all these
pictureswill alternatebetweenhergoodandbad side – thisiswhere synergywill come intothe website.Atthe top
of the website youcansee thatthere will be alittle box where the actual songwill be embeddedsothatthe song
3. A2 Media Studies Jo Harland
Music VideoProposal:
What is the song about and what is the message ofthe song?
The song isabout a female beinginpowerandshowinghercourage bytryingto get revenge.She
talksaboutbeinga “gangster”whichnot onlyreferstothe title of the song butalsoconnotesto her
audience the sense of herbeingincontrol andinpower.
Whois the intendedaudience forthis production?
Her usual targetmarketwhichis typicallyyoungfemalesfromaroundaboutthe ages16-25.
What will happenin the production?
The music videothatwe will create will be partnarrative andpartconceptual.Itwill alsobe filmed
like ashort film,the openingof the musicvideowe will have ashortactingpiece where the artist
will be seenasplayingaformof “God Father”like role.The videowillbe ingreyscale becausefrom
our researchwe have foundoutthat the albumthat this particulartrack is from, synergyshowsthat
a majorityof the artist’svideosare editedtobe ingreyscale.The roomwill be darkand smokywith
lowlightingcreatingshadowsonthe artist’sface whichwill conveyadouble sidedpersonalitytothe
audience.Everyoneinthe scene willbe dressedinblackandthe artistwill be wearingsunglasses
withredlipstick(althoughthe scene willbe editedtobe ingreyscale,thispartwill be editedsothat
youcan see the redinher lips).She willthenstartstalkingandgive theminstructionsonthe revenge
she isplanning.The extraswill agree bysayingthingslike“Yesboss”.Afterthe shortactingpiece it
will goon to the actual musicvideowhere itwill startoff withaclose-uponhermouthas she sings
the firstfew linesof the songwhichare “I lickthe gunwhenI’mdone because Iknow revenge is
sweet”sowhilstsingingthe lyricsshe will lickagun.The artistand the extraswill thengetupto
leave the roomand go outof a door where theywill findthemselvesinanurbantype street.Thisis
where the screenwill thensplitintotwosides.One sidegoodwhere inthisside of the screenshe
will alwaysbe shownwearingwhite clothingwhichwill connotetothe audience the sense of purity
and innocence,the extraswhowill be behindherinthisshotwill alsobe wearingwhiteandthe
sceneswill be brightlylit.Where asthe otherside whichwill be the badside itwill be adarkshot
witha lotof shadowsandlowkeylighting;she will be wearingblackshortswithhighheelstoconvey
to the audience the sense of evil insideof her – the extrasinthe shot will alsobe wearingblack.
Trackingshots will be usedtofilmthe staras she is walkingdownthe roadwithhertroop.This will
thencut intothe studiowhere alittle bitof choreographywill take place (still withthe screensplitin
two) but the screenswill notbe mirrorimagesof eachotherinsteaditwill justbe one image with
white onone side andblackon the other.This will be filmedin acantedangle to show that
everythingisnotreal inthispart there will alsobe distortionasif she isa robot malfunctioningon
the side of her that will be inblack.Afterthisitwill gobackto the performance partwhere she is
actingtheyhave arrivedat theirdestinationandonthe screenitisonce again back to there being
twoof her.She thenputs herhandon the door and goesinside,the musicwillonce againbeginand
there will be a360 panningshotshowingtwopeople inthe roomeitherside of aman whois tiedto
a chair. The two people thatare inthe room is the goodside andthe evil side of the artist,the evil
side will stillbe holdingthe gun,the white side grabsthe gunandtheyfightoverthe gun until a shot
4. A2 Media Studies Jo Harland
goesoff and the blackside fallstothe floor.The white side thentakesthe gunandwalksout of the
room.The musicvideowill finishwithwordsflashuponthe screensaying“Gunsdon’tkill people.
People do.”
Where will we specificallyshoot?
In an urbantype area, like anaverage streetinLondonwhichlooks“rough”.Alsosome partsof the
videowill be done inthe studioandinsideahouse.
Whowill be appearing inthis production?
Dancers,the mainstar of the video(whichwill be scoutedforonalaterdate) and possiblyamale
co-star.
How long will it take you to tape?
Approximately2weeks
Concept/Idea:A videoportrayingthe moral behindrevengeanditwill alsochallengestereotypes
and conventionsaboutartistsfromthatgenre of music.
Director/Producer: FloraOsei
Script/Storyboard: Sanel Arif
Camera Operator: Carol Boye
Audio:Rianna Dyer
Talent: Videostarstill tobe scouted
Props: Chair,Gun (artificial),Motorbike
Editing: FloraOsei
How long will you needto edit the production?
Approximately5days – we will editthe musicvideoinlinearform.
How will you divide the followingresponsibilitiesbetweenthe group?
Everyone will take the taskthat theyare bestat.
FilmedVox Pops:
Alreadybeenfilmed –justneedstobe editedanduploaded.
Questionnaire &Results:
Before we couldmake the video,we hadtodistribute thisquestionnaireinordertoget to know
Rihanna’stargetaudience betterandtolearnwhattheylookforin a Rihannavideowhetheritisthe
image theyare lookingator if itis the music that theyare listeningto.The resultsof this
questionnaire will influencesome of the decisionsthatwe choose tomake aboutthe musicvideo
5. A2 Media Studies Jo Harland
A majorityof the people thatwe askedwere fromourcollege,sowere mostlyaroundthe agesof 17
– 19, this gave usa roughideaof whatsorts of people listentoRihanna’smusicbecause although
hertarget audience rangesfromabout12 – 25 a vastmajorityof the people thatbuyhermusicand
watch hermusicvideosare youngadults/ olderteenagers.From these resultsthe average Rihanna
fan is18 yearsold.
0
2
4
6
8
15 &
below
16 17 18 19+
How old are you?
Series 1
6. A2 Media Studies Jo Harland
From these three graphswe cangather that the average Rihannafanisa blackAfricanfemale.This
directlylinkstothe genre of musicRihannaisfrom(RnB) whichismainlydominatedbyblack artists
so thisdirectcorrelationwill helpusmake decisionsbecausewe willhave tolookintovideosby
otherblackartists fromthe same genre whicha youngblackAfricanfemale will alsobe listeningto.
FemalesalsostereotypicallylookatRihannaforherimage so the image will be veryimportantto
them.
0
5
10
15
20
Male Female
Are you male or female?
Series 1
0
2
4
6
8
10
Ethnicity
Series 1
0
5
10
15
20
25
Yes No
Do you listen to Rihanna'smusic?
Series 1
7. A2 Media Studies Jo Harland
As youcan see althoughhermusicscoredhighly,herimage isalsoa veryimportantfactorto her
fans.Some people we askedticked‘No’onthe questionaboutif theylistentoRihannabutwe found
that those people were malesbuttheywentontotick herimage as somethingtheylike mostabout
her.So image to fansand people whoare notevenfanswill be lookingatherimage.Fromthisgraph
I can conclude thatit isthe musicthat will make fans buythe CD butit isthe image beingportrayed
inthe videothatwill have themlistentothe songinthe firstplace.
The videowhichscoredthe highestwas“Rude boy”whichisa brightcolourful videowhere Rihanna
isseenwearingveryminimal clothing.Once againimage comesintoquestionasa veryimportant
factor of a Rihannamusicvideo.“Hard”isalso a highscoringvideowhichissimilarto“Rude boy”
where there isa lotof colour,thisincontrast intoRihanna’sothermusicvideosforexample “Wait
your turn”whichdidn’tgetas many votesasthe restisa videofilmedingreyscale.Sothisis
somethingwe willalsohave totake intoconsiderationif the fanswanttosee a greyscale video
whichcreatesmeaningora videowhichfollowsa narrative withbrightcoloursandthe artist
picturedwearingminimal clothing.
0
2
4
6
8
10
12
14
Music Image
What do you like about her most?
Series 1
0
1
2
3
4
5
6
7
8
Russian
roulette
Te amo Rude
boy
Wait
your
turn
Hard Other
Which one of these videos do you
prefer?
Series 1
8. A2 Media Studies Jo Harland
The CD coverwhichscoredthe highestwas“Hard”:
Whenwe askedthe fanswhy the pickedthisCDcover as the one theypreferredthe most,theysaid
it wasbecause of the sexual contentinvolvedalotof people commentedthatshe looked“sexy”and
that “sex sells”soclearlythe fanslike the factthatshe objectifiesherself inhermusicvideosandon
herCD covers.Sothisfactor will definitelybe takenintoconsiderationwhencreatingourownCD
covers,the secondhighestscoringCDcoverwas the CD coverfor Te Amo:
0
2
4
6
8
10
12
Rude boy Hard Wait your
turn
Russian
roulette
Te amo
Which one of these CD covers do you
prefer?
Series 1
9. A2 Media Studies Jo Harland
ThisCD cover scoredhighlyaswell because some fanssaid“Itismore suitable forheryoungerfans
as well”,“Herhairand make-uplooksamazing!”,“The conceptbehindthe CDcoverrelatestothe
songitself”.Sounlike the CDcoverforHard thisCD coverhad more mixedreviewssome people
mentionedherlookbutsome alsomentionedhow itissuitable forall audiencesandhow itismore
mainstreamthatthe otherCD covers.Whencreatingour CD coverwe will lookatbothof these CD
coversand pickout factorsthat we like thatthe fans alsoliked.
Pre-production:
Plans/mocks:
Coming soon
Locations:
10. A2 Media Studies Jo Harland
These are a fewlocation photosof possible placeswhere we couldfilm;the bestpicture thatwe
have to showthe sort of locationthatwe will be filminginisthe picture withthe emptyroad
because we will have the artistanda few extraswalkingdownastraightroad.We will filmthisand
see if thisworksor we will puta camera inthe back of a car and filmthe roadfor the whole duration
of the songthenplace it onthe blue screentosee if thatwouldbe a betterway of makingthe music
video.
Schedules:
Coming soon
Storyboards/scripts:
Coming soon
Props/costumes:
Thisis a picture of a motorbike thatwe were thinkingof usinginourmusicvideobecause we think
thiswouldportraythe artist as beingmasculine. We are still consideringif we are goingtouse this
motorbike orgo withthe artistjustwalking.
11. A2 Media Studies Jo Harland
For our musicvideowe will needtwodifferentoutfitsforthe artist.She will needablackoutfit
whichisquite revealingandheelstoportrayherdark side,withthisshe will be wearingsunglasses
and have brightredlipstickon.We wantthis outfittobe the sexieroutfitbecause throughresearch
a lot of her fanssaidthat sex sellsandthather image isimportantsowe have to ensure thatthe
outfitshe iswearingisverystylishandedgy.
Dark side costume:
For thisoutfitwe wantthe artist to wearveryshortshorts sothat a lotof herlegsare on show
because throughlookingatthe thingsthatRihannausuallywearsinmusicvideosherlegsare akey
assetshe alwayshas herlegsonshow.So we wanther to wearshortsand witha tightcrop top
eitherasimilarstyle tothe firstbodice like topof the topwiththe cut outdetail atthe back.The
12. A2 Media Studies Jo Harland
shoeshave tobe extrahighbecause itisveryRihannaand the artistneedsto looktall andelongated
inthe video.We are alsogoingfor that sortof “statement”heel becauseitwill make herlooklikea
fashioniconandit will addpowertothe outfit.
Goodside costume:
Thisis the outfitforthe good side of the artist,the white dresswill connote innocenceanditwill
lookgoodcontrastingagainstthe more revealingblackoutfit.We still keepwiththe fashionable
Rihannalooksoit will be a dressfanswouldalsowantto wear.
Shootingscript:
Coming soon
Test shots:
Coming soon
Lightingtests:
Coming soon