The document provides an analysis of the music video for "Hey There Delilah" by The Plain White T's. The video tells the story of a long-distance relationship between a male singer and his girlfriend Delilah. It uses locations, costumes, and lighting to portray the sadness and loneliness experienced by both characters due to the geographical separation. The video also reflects the themes of the song, which expresses optimism that the relationship will endure despite current challenges. Overall, the video utilizes common narrative, technical, and aesthetic techniques to visually represent and promote the song's message.
This document provides an analysis of the target audience for Troye Sivan's music video for "Talk Me Down". The summary is:
1) The music video seems aimed at youth ages 17-25, as the main characters are in their twenties but childhood flashbacks allow older viewers to relate their own pasts.
2) The characters are exclusively white males, so the video may appeal most to male viewers who can personally identify with the portrayed same-sex relationship struggles.
3) By representing previously oppressed groups in an honest yet respectful way, the video can help LGBTQ+ viewers feel positively represented and allow them to form their own identities.
The document discusses how the music video uses, develops, and challenges conventions of the genre and medium. Specifically:
- It uses conventions like syncing visuals to music, natural locations reflecting the folk genre, and costumes.
- It develops conventions by alternating color/greyscale imagery and adding end credits to promote the artist.
- It challenges conventions by not featuring the artist and instead using two leads in a lesbian relationship to represent the LGBTQ+ community in a progressive way. Gender and age are also represented in a challenging manner by avoiding objectification and not demonizing youth.
The document discusses how the creators of a country music video drew inspiration from other country music videos. They analyzed videos by Miranda Lambert, Ashley Monroe, Sam Smith, The 1975, and Blake Shelton to inform elements of shots, narrative, imagery, and tone in their own video. Key elements they incorporated included dissolve transitions between shots, casual clothing, natural imagery, a clear narrative, and sepia tones and slow motion to represent memories of the past. They also wanted to pay homage to early female country artists through a shot with dull lighting.
Troye Sivan released his first studio album Blue Neighbourhood in 2015. The album explores themes of heartbreak and affirmation relating to Sivan's sexuality through its lyrics and music videos. While some critics praised Sivan's vulnerable voice and exploration of LGBT themes, the explicit portrayal of a gay relationship faced homophobia from some audiences. Overall, the album was a commercial and critical success that resonated most with progressive young adults open to its themes of self-acceptance.
This document summarizes the ways in which the author's music video and print productions for the song "Gather & Run" use, develop, and challenge conventions of real media products.
For the music video, the author conforms to conventions such as length of the song, promotional focus on the artist, and relationship between lyrics and visuals. However, it also challenges conventions through its representation of females, youth, sexuality, and use of color/black and white.
For the print productions, the author conforms to conventions like four panel layout and placement of text/images. But it also challenges conventions through inconsistent color schemes, lack of additional information, and placement of track listing.
The magazine advertisement con
The document provides an evaluation of a media project involving a music video and ancillary promotional materials for Lorde's song "Royals". It summarizes the ways the music video challenges conventions through its narrative focus on inner control rather than outer events. It also discusses how the promotional materials like the digipak and magazine ads maintain consistency with themes from the music video through imagery of the young male protagonist and Lorde's branding elements. The relationship between the main project and supplementary texts is considered effective at developing Lorde's artistic image and themes across different formats.
The document discusses conventions used and challenged in the design of a music album. It describes:
- Using a natural, handwritten font and nature imagery to match conventions of the indie folk genre.
- Developing conventions by using beach landscape imagery rather than forests, and including performers rather than just the artist.
- Challenging conventions by including supernatural imagery and not just promoting the artist.
- Following conventions like a track list on the back, and developing conventions like applying a film look to images.
- Using the artist's name prominently in the magazine ad to catch attention, as is standard for the medium, but including performers instead of just the artist which challenges genre conventions.
This document provides an analysis of the target audience for Troye Sivan's music video for "Talk Me Down". The summary is:
1) The music video seems aimed at youth ages 17-25, as the main characters are in their twenties but childhood flashbacks allow older viewers to relate their own pasts.
2) The characters are exclusively white males, so the video may appeal most to male viewers who can personally identify with the portrayed same-sex relationship struggles.
3) By representing previously oppressed groups in an honest yet respectful way, the video can help LGBTQ+ viewers feel positively represented and allow them to form their own identities.
The document discusses how the music video uses, develops, and challenges conventions of the genre and medium. Specifically:
- It uses conventions like syncing visuals to music, natural locations reflecting the folk genre, and costumes.
- It develops conventions by alternating color/greyscale imagery and adding end credits to promote the artist.
- It challenges conventions by not featuring the artist and instead using two leads in a lesbian relationship to represent the LGBTQ+ community in a progressive way. Gender and age are also represented in a challenging manner by avoiding objectification and not demonizing youth.
The document discusses how the creators of a country music video drew inspiration from other country music videos. They analyzed videos by Miranda Lambert, Ashley Monroe, Sam Smith, The 1975, and Blake Shelton to inform elements of shots, narrative, imagery, and tone in their own video. Key elements they incorporated included dissolve transitions between shots, casual clothing, natural imagery, a clear narrative, and sepia tones and slow motion to represent memories of the past. They also wanted to pay homage to early female country artists through a shot with dull lighting.
Troye Sivan released his first studio album Blue Neighbourhood in 2015. The album explores themes of heartbreak and affirmation relating to Sivan's sexuality through its lyrics and music videos. While some critics praised Sivan's vulnerable voice and exploration of LGBT themes, the explicit portrayal of a gay relationship faced homophobia from some audiences. Overall, the album was a commercial and critical success that resonated most with progressive young adults open to its themes of self-acceptance.
This document summarizes the ways in which the author's music video and print productions for the song "Gather & Run" use, develop, and challenge conventions of real media products.
For the music video, the author conforms to conventions such as length of the song, promotional focus on the artist, and relationship between lyrics and visuals. However, it also challenges conventions through its representation of females, youth, sexuality, and use of color/black and white.
For the print productions, the author conforms to conventions like four panel layout and placement of text/images. But it also challenges conventions through inconsistent color schemes, lack of additional information, and placement of track listing.
The magazine advertisement con
The document provides an evaluation of a media project involving a music video and ancillary promotional materials for Lorde's song "Royals". It summarizes the ways the music video challenges conventions through its narrative focus on inner control rather than outer events. It also discusses how the promotional materials like the digipak and magazine ads maintain consistency with themes from the music video through imagery of the young male protagonist and Lorde's branding elements. The relationship between the main project and supplementary texts is considered effective at developing Lorde's artistic image and themes across different formats.
The document discusses conventions used and challenged in the design of a music album. It describes:
- Using a natural, handwritten font and nature imagery to match conventions of the indie folk genre.
- Developing conventions by using beach landscape imagery rather than forests, and including performers rather than just the artist.
- Challenging conventions by including supernatural imagery and not just promoting the artist.
- Following conventions like a track list on the back, and developing conventions like applying a film look to images.
- Using the artist's name prominently in the magazine ad to catch attention, as is standard for the medium, but including performers instead of just the artist which challenges genre conventions.
The document discusses how the creator achieved coherence across their promotional package for an indie folk album, including a music video, print production, and magazine advert. Key elements that provided coherence included using matching imagery, locations, colors and themes across the different elements. Specifically, the creator used a powerful image from the music video depicting two characters standing apart in the print production and video. They also incorporated natural, autumnal colors and coastal locations throughout to tie the themes of relationships and the environment together cohesively.
- The document discusses the effectiveness of the package created to represent pop artist Serena Swan, including a music video, digipak, and print advert. Feedback was received from the target audience after viewing the package.
- The target audience found the music video, digipak, and print advert to be generally effective at portraying Serena Swan as a feminine pop artist, though some improvements were suggested. Specifically, the print advert background could be more professional, and less layering could be used in the music video.
- Comparisons are made between elements of the created package and real media texts to analyze how effectively they appeal to and engage target audiences. Mise-en-scene, music direction,
The song "Price Tag" by Jessie J criticizes the commercialization and materialism of the music industry. It encourages people to make music because they enjoy it rather than just for money and sales. The song features collaborators "Coconut Man", "Moonhead", and "Pea". Through her lyrics and performance, Jessie J conveys that music should be about bringing people together and making them happy rather than prioritizing money.
Andrew Goodwin's book discusses several theories about music video codes and techniques:
1. Genre and technical codes like camerawork, lighting and editing are used to communicate meaning and set expectations.
2. "Thought beats" synchronize visual elements like editing with the music's tempo and structure.
3. Narratives and artist performances can increase repeat viewing by enhancing authenticity, though lip syncing remains core.
4. A video's visuals can disjuncture, amplify, or illustrate the song's meaning.
5. Star image and intertextuality promote the artist through screen time and references to popular culture.
6. Voyeurism engages audiences through signs
The document provides a detailed review and analysis of the music video for "Nobody To Love" by Sigma. It examines the different settings featured in the video, including sandy/dirt roads, mountains, beaches, cars, an abandoned building, country roads, and a lake. For each setting, it analyzes how the setting relates to the song and enhances the viewing experience for the target audience of 16-21 year olds. It also discusses the various costumes worn by the main characters and other individuals featured in the video. The costumes are shown to match the environments and locations depicted.
1. The music video uses conventions of the genre like illustrating the lyrics and following the length of the song, but challenges conventions by using a non-linear narrative structure with flashbacks.
2. It uses typical British locations to represent stages of a relationship, challenging conventions by not using establishing shots to identify the locations.
3. While using natural lighting and lens flares, it challenges conventions by adding chiaroscuro lighting to create an uneasy atmosphere about the relationship.
The music video uses, develops, and challenges conventions of the indie genre in the following ways:
1) It tells a linear narrative of a deteriorating relationship through flashbacks and memories, a common indie convention.
2) It features numerous shots of the artist to create intimacy and familiarity with the audience, another key indie convention.
3) It was filmed on location at natural areas like forests and beaches that symbolize raw emotion, a typical location for indie videos.
4) The costumes reference past youth subcultures and are worn by other indie artists to develop the artist's brand and connect with fans.
5) The characters are depicted naturalistically to convey real emotion and allow audiences
Music videos primarily promote music sales but also serve other purposes like accompanying music visually. They help popularize artists through their image. Representation of themes, audiences, and genres through visual elements is important in music videos. 'Hey There Delilah' by Plain White T's is an acoustic music video that calmly reflects the genre through setting, costumes that match the location, and a narrative told through a split screen.
This music video for Lana Del Rey's song "Young and Beautiful" is primarily performance-based, with many close-ups of Del Rey singing. There is some relationship between the lyrics and visuals when shots focus on Del Rey during certain lines. The dark color scheme and blurry effects amplify the melancholic tone of the music. References are made to the film The Great Gatsby, for which the song was created. Overall it follows conventions of Del Rey's style and genre through its visual motifs, treatment of the female body, and focus on the artist's performance.
The document discusses conventions in the pop music genre, particularly related to female pop artists. It provides examples of conventions across music videos, album artwork, websites, and other promotional materials. Key conventions discussed include minimalistic white sets focused on the artist, close-up camera shots emphasizing faces and bodies, inclusion of romantic themes and love interests, elegant costumes, emphasis on beauty through makeup, editing that cuts with the beat, cursive fonts, red and white color schemes, headshots emphasizing facial features, lighting that enhances colors, and typical page elements like galleries, tour dates, and social media links on websites. The document also notes some ways conventions were challenged or developed in the analyzed materials.
The group will create a music video for the song "Youth" by Daughter. The video will tell the narrative of a teenage girl leaving home after an argument with her mother. She will encounter masked figures representing her feelings and emotions. Throughout the video, the main character will be isolated and on the edges of frames. Bright colors and powder paint will be used to contrast the typically moody indie folk genre. The video aims to explore themes of teenage development and rebellion through an unconventional use of color.
The group will create a music video for the song "Youth" by Daughter. The video will tell the narrative of a teenage girl rebelling against her mother. She will wander through town and end up alone in a dark room where faceless figures throw colorful powder paint, representing her turbulent feelings. Inspired by Skins and Beyonce's "Hold Up" video, the video aims to juxtapose dull scenes with bright colors and use reverse shots to create an unconventional video for the indie folk genre that keeps the audience engaged.
The document discusses the marketing materials created for a band called "Lilly and the Tea Leaves", including a music video, CD digipack, magazine advertisement, and how they work together synergistically. The video uses symbolic imagery of the singer in a birdcage to represent her psyche and feelings of guilt. The marketing elements were designed to attract different target audiences while maintaining a consistent aesthetic and theme around the birdcage imagery.
The document analyzes how the music videos for "Let It Go" by James Bay and "Lights Down Low" by Max featuring Gnash conform to Goodwin's theory of relating the music, lyrics, and visuals in a music video. For both videos:
1) The visuals have a relationship with the music, such as matching the pace of camera movements and lighting to the intensity of the music.
2) The visuals illustrate and emphasize the lyrics, showing scenes that relate directly to the words being sung.
3) Lighting is used throughout to reflect the emotions of the characters and complement the feeling of the music.
The document examines both videos in detail using examples to demonstrate
The document evaluates how a music video challenges conventions of the genre. The video blends a narrative storyline with musical performance shots, telling the story of an unhealthy relationship. It also uses a circular narrative structure that returns to the beginning. The evaluator aimed to create a sense of sympathy and portray emotion through the narrative, similar to other music videos. Close-ups are used both to sexualize the performer but also draw attention to important signs. The ancillary materials like the album ad and digipak incorporate conventions like reviews, fonts and imagery to look authentic. Overall, the work challenges conventions by blending elements but also aims to be realistic.
The document discusses how effective the combination of a main product and ancillary texts can be through establishing a clear product identity. It analyzes examples from artists like Amy Winehouse, Adele, and Duffy to see how their music videos, CD covers, and magazine ads work cohesively through consistent branding elements like simplicity, similar imagery and colors. The document also evaluates how the combination of products created for this evaluation project establish relationships with the music video through narrative and performance imagery, color schemes, and clear connections to the song's message and themes.
The document discusses how the creator designed ancillary products including a digi-pak and magazine advertisement to promote their music artist. Key elements like consistent color palette, typography, imagery of nature and guitars were used across the products and music video to create a cohesive artistic brand and represent the artist as indie and down to earth. Shots of the artist looking thoughtful in both the video and on the digi-pak further reinforce this representation. The document analyzes how addressing the audience through various modes and consistently representing the artist enhances how effective the combination of the main and ancillary products are.
The document discusses conventions and stereotypes in different music genres that are portrayed in music videos. It summarizes features of pop, indie, hip-hop/rap, and rock music videos. Pop videos typically feature bright, colorful locations and focus on the attractive star image of the singer. Indie videos emphasize social realism narratives and casual appearances. Hip-hop videos showcase luxury items, expensive locations, and objectified women. Rock videos portray aggressive, live performances and dark, grungy aesthetics.
The document discusses social representations in various media products for a fictional pop artist named Elora. It summarizes the target audiences and social groups represented in Elora's music video, outfits, digipak cover, and website content. The primary target audience for the music video is females aged 14-24, while secondary audiences include tweens and male partners of the primary audience. Elora's outfits in the music video are designed to appeal to both regular teen girls and a more edgy/tomboy audience. The couple in the music video represents a heteronormative relationship to attract heterosexual viewers. Elora's consistent style across her digipak and social media pages aims to engage female fans aged 14-20
Este documento habla sobre la importancia de los encuentros entre las personas. Sostiene que nacemos para encontrarnos y confirmar nuestra humanidad compartida, y que la vida es el arte del encuentro. También enfatiza vivir el presente y disfrutar cada momento, porque la vida es corta.
Cuatro velas representando la paz, la fe, el amor y la esperanza conversan entre sí. Las primeras tres velas se apagan al darse cuenta que esas cualidades ya no son importantes para las personas. Llega un niño que prende nuevamente esas velas con la ayuda de la vela de la esperanza, mostrando que mientras haya esperanza se pueden volver a encender las demás cualidades.
This document is a screenplay for a music video adaptation of the song "Fix You" by Secondhand Serenade. It follows the relationship struggles of characters Kirsty and Gareth through a series of flashbacks and arguments. As the song plays, the couple's emotions escalate from frustration and sadness to reconciliation as they try to repair their broken relationship. The screenplay uses visuals and locations from their history together juxtaposed with their current fights to convey the lyrics and message of the song.
The document discusses how the creator achieved coherence across their promotional package for an indie folk album, including a music video, print production, and magazine advert. Key elements that provided coherence included using matching imagery, locations, colors and themes across the different elements. Specifically, the creator used a powerful image from the music video depicting two characters standing apart in the print production and video. They also incorporated natural, autumnal colors and coastal locations throughout to tie the themes of relationships and the environment together cohesively.
- The document discusses the effectiveness of the package created to represent pop artist Serena Swan, including a music video, digipak, and print advert. Feedback was received from the target audience after viewing the package.
- The target audience found the music video, digipak, and print advert to be generally effective at portraying Serena Swan as a feminine pop artist, though some improvements were suggested. Specifically, the print advert background could be more professional, and less layering could be used in the music video.
- Comparisons are made between elements of the created package and real media texts to analyze how effectively they appeal to and engage target audiences. Mise-en-scene, music direction,
The song "Price Tag" by Jessie J criticizes the commercialization and materialism of the music industry. It encourages people to make music because they enjoy it rather than just for money and sales. The song features collaborators "Coconut Man", "Moonhead", and "Pea". Through her lyrics and performance, Jessie J conveys that music should be about bringing people together and making them happy rather than prioritizing money.
Andrew Goodwin's book discusses several theories about music video codes and techniques:
1. Genre and technical codes like camerawork, lighting and editing are used to communicate meaning and set expectations.
2. "Thought beats" synchronize visual elements like editing with the music's tempo and structure.
3. Narratives and artist performances can increase repeat viewing by enhancing authenticity, though lip syncing remains core.
4. A video's visuals can disjuncture, amplify, or illustrate the song's meaning.
5. Star image and intertextuality promote the artist through screen time and references to popular culture.
6. Voyeurism engages audiences through signs
The document provides a detailed review and analysis of the music video for "Nobody To Love" by Sigma. It examines the different settings featured in the video, including sandy/dirt roads, mountains, beaches, cars, an abandoned building, country roads, and a lake. For each setting, it analyzes how the setting relates to the song and enhances the viewing experience for the target audience of 16-21 year olds. It also discusses the various costumes worn by the main characters and other individuals featured in the video. The costumes are shown to match the environments and locations depicted.
1. The music video uses conventions of the genre like illustrating the lyrics and following the length of the song, but challenges conventions by using a non-linear narrative structure with flashbacks.
2. It uses typical British locations to represent stages of a relationship, challenging conventions by not using establishing shots to identify the locations.
3. While using natural lighting and lens flares, it challenges conventions by adding chiaroscuro lighting to create an uneasy atmosphere about the relationship.
The music video uses, develops, and challenges conventions of the indie genre in the following ways:
1) It tells a linear narrative of a deteriorating relationship through flashbacks and memories, a common indie convention.
2) It features numerous shots of the artist to create intimacy and familiarity with the audience, another key indie convention.
3) It was filmed on location at natural areas like forests and beaches that symbolize raw emotion, a typical location for indie videos.
4) The costumes reference past youth subcultures and are worn by other indie artists to develop the artist's brand and connect with fans.
5) The characters are depicted naturalistically to convey real emotion and allow audiences
Music videos primarily promote music sales but also serve other purposes like accompanying music visually. They help popularize artists through their image. Representation of themes, audiences, and genres through visual elements is important in music videos. 'Hey There Delilah' by Plain White T's is an acoustic music video that calmly reflects the genre through setting, costumes that match the location, and a narrative told through a split screen.
This music video for Lana Del Rey's song "Young and Beautiful" is primarily performance-based, with many close-ups of Del Rey singing. There is some relationship between the lyrics and visuals when shots focus on Del Rey during certain lines. The dark color scheme and blurry effects amplify the melancholic tone of the music. References are made to the film The Great Gatsby, for which the song was created. Overall it follows conventions of Del Rey's style and genre through its visual motifs, treatment of the female body, and focus on the artist's performance.
The document discusses conventions in the pop music genre, particularly related to female pop artists. It provides examples of conventions across music videos, album artwork, websites, and other promotional materials. Key conventions discussed include minimalistic white sets focused on the artist, close-up camera shots emphasizing faces and bodies, inclusion of romantic themes and love interests, elegant costumes, emphasis on beauty through makeup, editing that cuts with the beat, cursive fonts, red and white color schemes, headshots emphasizing facial features, lighting that enhances colors, and typical page elements like galleries, tour dates, and social media links on websites. The document also notes some ways conventions were challenged or developed in the analyzed materials.
The group will create a music video for the song "Youth" by Daughter. The video will tell the narrative of a teenage girl leaving home after an argument with her mother. She will encounter masked figures representing her feelings and emotions. Throughout the video, the main character will be isolated and on the edges of frames. Bright colors and powder paint will be used to contrast the typically moody indie folk genre. The video aims to explore themes of teenage development and rebellion through an unconventional use of color.
The group will create a music video for the song "Youth" by Daughter. The video will tell the narrative of a teenage girl rebelling against her mother. She will wander through town and end up alone in a dark room where faceless figures throw colorful powder paint, representing her turbulent feelings. Inspired by Skins and Beyonce's "Hold Up" video, the video aims to juxtapose dull scenes with bright colors and use reverse shots to create an unconventional video for the indie folk genre that keeps the audience engaged.
The document discusses the marketing materials created for a band called "Lilly and the Tea Leaves", including a music video, CD digipack, magazine advertisement, and how they work together synergistically. The video uses symbolic imagery of the singer in a birdcage to represent her psyche and feelings of guilt. The marketing elements were designed to attract different target audiences while maintaining a consistent aesthetic and theme around the birdcage imagery.
The document analyzes how the music videos for "Let It Go" by James Bay and "Lights Down Low" by Max featuring Gnash conform to Goodwin's theory of relating the music, lyrics, and visuals in a music video. For both videos:
1) The visuals have a relationship with the music, such as matching the pace of camera movements and lighting to the intensity of the music.
2) The visuals illustrate and emphasize the lyrics, showing scenes that relate directly to the words being sung.
3) Lighting is used throughout to reflect the emotions of the characters and complement the feeling of the music.
The document examines both videos in detail using examples to demonstrate
The document evaluates how a music video challenges conventions of the genre. The video blends a narrative storyline with musical performance shots, telling the story of an unhealthy relationship. It also uses a circular narrative structure that returns to the beginning. The evaluator aimed to create a sense of sympathy and portray emotion through the narrative, similar to other music videos. Close-ups are used both to sexualize the performer but also draw attention to important signs. The ancillary materials like the album ad and digipak incorporate conventions like reviews, fonts and imagery to look authentic. Overall, the work challenges conventions by blending elements but also aims to be realistic.
The document discusses how effective the combination of a main product and ancillary texts can be through establishing a clear product identity. It analyzes examples from artists like Amy Winehouse, Adele, and Duffy to see how their music videos, CD covers, and magazine ads work cohesively through consistent branding elements like simplicity, similar imagery and colors. The document also evaluates how the combination of products created for this evaluation project establish relationships with the music video through narrative and performance imagery, color schemes, and clear connections to the song's message and themes.
The document discusses how the creator designed ancillary products including a digi-pak and magazine advertisement to promote their music artist. Key elements like consistent color palette, typography, imagery of nature and guitars were used across the products and music video to create a cohesive artistic brand and represent the artist as indie and down to earth. Shots of the artist looking thoughtful in both the video and on the digi-pak further reinforce this representation. The document analyzes how addressing the audience through various modes and consistently representing the artist enhances how effective the combination of the main and ancillary products are.
The document discusses conventions and stereotypes in different music genres that are portrayed in music videos. It summarizes features of pop, indie, hip-hop/rap, and rock music videos. Pop videos typically feature bright, colorful locations and focus on the attractive star image of the singer. Indie videos emphasize social realism narratives and casual appearances. Hip-hop videos showcase luxury items, expensive locations, and objectified women. Rock videos portray aggressive, live performances and dark, grungy aesthetics.
The document discusses social representations in various media products for a fictional pop artist named Elora. It summarizes the target audiences and social groups represented in Elora's music video, outfits, digipak cover, and website content. The primary target audience for the music video is females aged 14-24, while secondary audiences include tweens and male partners of the primary audience. Elora's outfits in the music video are designed to appeal to both regular teen girls and a more edgy/tomboy audience. The couple in the music video represents a heteronormative relationship to attract heterosexual viewers. Elora's consistent style across her digipak and social media pages aims to engage female fans aged 14-20
Este documento habla sobre la importancia de los encuentros entre las personas. Sostiene que nacemos para encontrarnos y confirmar nuestra humanidad compartida, y que la vida es el arte del encuentro. También enfatiza vivir el presente y disfrutar cada momento, porque la vida es corta.
Cuatro velas representando la paz, la fe, el amor y la esperanza conversan entre sí. Las primeras tres velas se apagan al darse cuenta que esas cualidades ya no son importantes para las personas. Llega un niño que prende nuevamente esas velas con la ayuda de la vela de la esperanza, mostrando que mientras haya esperanza se pueden volver a encender las demás cualidades.
This document is a screenplay for a music video adaptation of the song "Fix You" by Secondhand Serenade. It follows the relationship struggles of characters Kirsty and Gareth through a series of flashbacks and arguments. As the song plays, the couple's emotions escalate from frustration and sadness to reconciliation as they try to repair their broken relationship. The screenplay uses visuals and locations from their history together juxtaposed with their current fights to convey the lyrics and message of the song.
The document outlines three initial ideas for an A2 Media coursework portfolio: a music video, teaser trailer, and short film. Peer feedback is obtained, with most preferring the music video idea. The music video would be for the song "Fix You" by Secondhand Serenade, targeting ages 15-25 interested in acoustic music. Inspiration is drawn from the video for "Hey There Delilah." The document provides research on the music video idea and genre. Based on the peer feedback, the music video idea is chosen for the coursework portfolio.
Samantha and Louise created a music video using Final Cut Pro by piecing together filmed footage following their storyboard and edit decision list. They added transitions like fades and dissolves between clips to smoothly connect scenes and indicate flashbacks. Effects like color correction, speed adjustments, and zooms were used to emphasize parts of the narrative and enhance the storytelling. Text was also added at the beginning and end for identification purposes consistent with typical music video conventions.
The document summarizes a proposed music video treatment for the song "Fix You" by an acoustic band. It will tell the story of a teenage couple who have broken up through flashbacks and scenes of them dealing with their emotions separately. The video aims to appeal to its target audience of 16-25 year olds and feature both indoor and outdoor locations. It will have a sad tone but also reflect on happier memories through changes in color and style. The total proposed budget for production is £418,786.39 to cover crew, actors, equipment, travel and other expenses.
The document is a questionnaire to gather opinions on how to design media products for a music video, album packaging, and magazine advertisement for a song. It asks respondents questions about their demographics, music purchasing habits, preferences for style and elements of a music video, album cover design, and magazine advertisement. The goal is to better understand the target audience to create successful media products.
This location scouting sheet provides details for filming at Deer Park Field in Harlow, England. The location is always available any day of the week or time and offers parking on site. Special arrangements may be needed to accommodate varying weather conditions at the outdoor location.
The call sheet is for the first day of shooting a music video. It includes two scenes to be filmed - a flashback scene at a deer park field involving two actors, and an establishing motorway shot that requires no actors. Special instructions are provided for the sky lantern scene regarding safety. The actors are to wear casual costumes. Establishing shots are scheduled for the following day. Directions to both locations are also included.
Samantha obtained feedback on her music video, digipak, and magazine advertisement from a focus group of 10 people who evaluated the projects. The focus group consisted mainly of females aged 16-20 from Harlow who listened to acoustic rock. Feedback was positive for elements like props and costumes but identified areas for improvement like some shot types, lighting, and font readability. Overall the projects worked well together capturing the theme of "distance and journey" but could be made more eye-catching and professional with experimentation and technical skills.
[Ringkasan]
Dokumen ini merupakan draf kurikulum standard bahasa Malaysia untuk sekolah rendah tahun satu. Ia menjelaskan tujuan, objektif, fokus, kandungan standard dan strategi pengajaran pembelajaran bahasa Malaysia untuk memastikan murid dapat menguasai kemahiran mendengar, bertutur, membaca dan menulis serta aspek tatabahasa dan seni bahasa.
This location scouting sheet provides details for filming at Deer Park Field in Harlow, England. The location is always available any day of the week or time and is a 5 minute drive or 25 minute walk from the scout's home. The location may require suitable clothing or umbrellas due to variable weather and has parking nearby on housing estate roads and sidewalks.
The document is a questionnaire to gather opinions on how to design media products for a music video, album packaging, and magazine advertisement for a song. It asks respondents questions about their demographics, music purchasing habits, preferences for style and elements of a music video, album cover design, and magazine advertisement. The goal is to gain a better understanding of what would make the media products successful.
The document is a questionnaire to gather opinions on how to design media products for a song by Secondhand Serenade. It asks respondents about their demographics, music purchasing habits, and preferences for styles of music videos, album packaging, and magazine advertisements. The goal is to gain a better understanding of what would make the media products successful.
The document provides a history of music videos and the acoustic genre from their early origins to present day. It discusses the development of music videos from early examples that combined music with visuals in the 1920s to the impact of MTV in 1981. It also outlines the history of acoustic music and highlights how acoustic versions of songs have grown in popularity. Finally, it reflects on how the research can influence the creation of an acoustic music video by considering conventions of the genre and technical aspects like location, cinematography and use of natural lighting.
The student obtained feedback on their music video, digipak, and magazine advertisement from a focus group of 10 people within their target audience. Both strengths and weaknesses were identified for each media product. While mise-en-scene elements like props and costumes received positive feedback, camera shots, lighting, and design elements could be improved. Overall the projects worked well together but feedback will help the student enhance their technical skills and make their future work more eye-catching and professional.
From audience feedback on their music video, digipak, and magazine advertisement, the students learned:
1) Elements like narrative, cinematography, and mise-en-scene were strengths, but some shots needed better lighting and angles.
2) The buildup in the song was not portrayed dramatically enough in the video.
3) The digipak needed more eye-catching colors and the inside images looked edited.
4) The magazine ad's font was hard to read and lacked social media links.
Going forward, they will improve planning, locations, editing, and include current marketing elements.
The document provides details for a proposed music video titled "Fix You" including:
- The target audience is 16-25 year olds, mostly students, interested in the acoustic genre.
- Locations will include interior house shots and exterior rural/urban locations to convey different meanings.
- Props like candles, photographs, and casual clothing will be used to enhance realism and sentimentality.
- Permission must be obtained to film at locations to avoid legal issues and notify landowners.
- The synopsis is of a teenage couple dealing with their breakup through flashbacks of happier times together.
The call sheet provides details for the first day of shooting a music video. Scene 1 will be filmed at Deer Park Field in Harlow featuring Samantha Jewiss and Jake Alger. Scene 2 is an establishing motorway shot to be filmed at a bridge over the M11 motorway near Harlow. Samantha Jewiss will play the character of Kirsty requiring natural makeup. Safety instructions are provided for filming the sky lanterns scene. Establishing shots will also be filmed on Tuesday for use in opening sequences. Directions to both filming locations are included.
The document summarizes the process of designing a magazine advertisement using Adobe Photoshop. First, the photographer selected an image and duplicated the background layer to edit without altering the original. Curves and levels were adjusted to enhance brightness and contrast. The image size was changed to fit a double page spread for the magazine. A sepia tone action was applied to give a vintage look. Text, shapes, and shadows were added. Noise and blur filters were applied to edges for a worn vintage effect. The final advertisement design is shown.
This document provides a textual analysis of the music video for "Heartbreak Anniversary" by Giveon. It summarizes the key elements of the music video including the casting of Giveon and Samantha Logan as the main characters, the locations featured representing places young adult couples would go, and the costumes being styled in a way popular in the early 2000s. The narrative depicts the relationship from its beginning to the breakup and aftermath. Flashbacks to happier times are shown in black and white. Silhouettes and smaller framed flashbacks are used to generate emotion and move the story. Soundtracks and edits are carefully chosen to further develop meaning and the relationship between visuals and lyrics.
The document discusses conventions used in the production of a music video and accompanying digipak.
For the music video, conventions such as outdoor locations, costumes representing contemporary Britain, and a narrative structure using flashbacks were employed. However, conventions around representations of gender and hedonism were challenged by portraying both genders equally and avoiding hyper-sexualization.
For the digipak, conventions like a 4-panel design and similar color tones across panels were used, but conventions were also challenged by using different colors on one panel and an unconventional track listing layout. Overall, the production employed many conventions of the genre while also developing and challenging some conventions.
The document discusses plans to create a music video for the song "Bridges" by BROODS to portray the meaning of the song's lyrics. It describes analyzing the lyrics and determining they are about a relationship ending, with "burning bridges" representing cutting off the connection between two people. Ideas are proposed for portraying this narrative through depictions of a childhood friendship deteriorating and one person ultimately destroying photos representing their memories and connection. Locations, props, and techniques are also considered that would fit the conventions of indie pop music videos.
The document discusses plans to create a music video for the song "Bridges" by BROODS to portray the meaning of the song's lyrics. It describes analyzing the lyrics and determining they are about a relationship ending, with "burning bridges" representing cutting off the connection between two people. Ideas are proposed for portraying this narrative through depictions of a childhood friendship deteriorating and one person ultimately destroying objects like photographs that represent their relationship and memories together. Locations, props, and techniques are also brainstormed to convey the intended message in an indie pop music video style.
The first music video is for the song "Friday I'm in Love" by Yo La Tengo. It follows a narrative structure showing a woman singing as the Earth is destroyed by hearts, relating to the song's lyrics about love and the end of things. The targeted audience is ages 21-50 since it's a cover of an older Cure song.
The second music video is for Kurt Vile's "Pretty Pimpin." It tells a short story about questioning identity and existentialism, representing feelings of self-discovery that many teenagers and young adults experience. Both videos generally follow conventions of their folk/alternative rock genres but also have some unconventional elements.
The document discusses conventions and techniques used in music videos, particularly for love songs. It provides information on symbolic and technical techniques, how the audience relates to conventions, and how the video fits the lyrics and song. It also discusses common elements of love song music videos like attractive subjects, idealized relationships, locations, close-ups, and cuts that fit the tempo. Finally, it analyzes different types of narratives, performances, and mixtures of the two in music videos.
The document discusses how the media product uses and develops conventions of real media products. It analyzes the forms and techniques used in different elements of the media product, including a magazine advert, digi-pak, shots in the music video, and transitions. Common conventions from other artists like Lucy Rose are employed, such as close-up shots, location shots, and continuity across different elements. The techniques are chosen to emphasize emotions, link to lyrics, portray the artist's brand and develop a narrative around the song's message.
The document provides summaries of two music videos that exemplify conventions of their genres while also incorporating unconventional elements. The first video, "Friday I'm In Love" by Yo La Tengo, follows conventions of alternative rock genres like incorporating a narrative storyline related to the lyrics. However, it breaks conventions by featuring an older female protagonist rather than younger subjects typically shown. The second video, "Pretty Pimpin" by Kurt Vile, also ties its narrative to the lyrics as folk/alternative rock videos usually do, but focuses more on the individual character rather than environments like most. Both videos effectively balance genre traditions with unique artistic perspectives.
In what ways does your media product use develop or challenge forms and conve...11dewberrysoph
The document discusses conventions of indie pop music videos that the media product incorporates or challenges. It notes that thought beats and abrupt transitions on beats are included. Color palettes with consistent colors throughout are also a convention featured. The video includes disjointed visuals compared to lyrics allowing individual interpretation. Concept pieces with a narrative and minimal performance are a genre convention featured prominently. Gender representation is non-binary and countertypes are prevalent rather than stereotypes. Intertextual references to other works provide interpretation opportunities for viewers.
The document provides an evaluation of a media product (a music video). It summarizes:
1) The music video uses conventions of the indie pop genre through its upbeat music, outdoor locations, use of high street fashion, and narrative structure involving flashbacks. However, it also challenges conventions by using ambiguity and representing both genders equally.
2) The print materials like the digipak follow conventions like a 4 panel design but also challenge conventions through its use of different colors on each panel.
3) The magazine advertisement features both the male and female leads smiling together, challenging gender representation conventions. It also includes release date, availability on iTunes, and a Facebook link, following advertising conventions.
The proposed music video will tell the story of a man getting over a breakup by depicting him throwing away remnants of his ex-girlfriend and adjusting his life without her. It will have a realistic, rustic style influenced by country artists like Trace Adkins. The target audience is women aged 30-60 who enjoy country music. The video will feature the artist performing the song in natural settings and portraying the man dealing with the breakup.
Question 1: In what ways does your music video/digipak/magazine advert, use d...ashleighmorgan
The document discusses the creation of a music video, digipak, and magazine advertisement for a hybrid R&B and pop song. It analyzes the works using theories from scholars on music video conventions. The project aims to incorporate representations from both genres effectively. Key influences included using neutral colors and plain settings from R&B, with bold colors and a focus on the artist from pop. The video tells a narrative of the artist expressing feelings over a lost love through flashbacks. The other works continue this theme. Analysis finds the project illustrates lyrics, uses performance and conceptual elements, and promotes the artist's image in line with music video conventions.
Detailed Textual Analysis of 3 Music VideosNatalia Linda
The music video for "See You Again" by Wiz Khalifa featuring Charlie Puth pays homage to the late actor Paul Walker. It uses footage from the Fast and Furious film series to memorialize Walker's character and time in the films. The song was written for the Furious 7 soundtrack as a tribute after Walker's death. It became hugely popular, receiving over 1.15 billion views on YouTube and helping fans say goodbye to both Walker and his character.
- Indie pop originated in the UK in the 1980s from Scottish post-punk bands, differing from indie rock in being more melodic and less abrasine. It rose to popularity through small fanzines and record labels.
- Indie pop music videos are typically low-budget, featuring live performances and narratives to engage audiences. Locations are often studios, cities, parks or woods to create intrigue.
- Videos commonly tell simple stories through props, costumes, dialogue and cinematography to amplify the song's meaning in a memorable yet non-literal way. Special effects now enhance storytelling and engagement.
- Indie pop originated in the UK in the mid-1980s from Scottish post-punk bands, differing from indie rock in being more melodic and less abrasive. It rose to popularity through small fanzines and record labels.
- Indie pop music videos are typically low-budget, featuring live performances and narratives to engage audiences. Locations are often studios, cities, parks or woods to create mysteries focusing viewers on the performance.
- Narratives tell non-literal stories related to the song through changing images and effects. Props, costumes, and makeup establish characters and settings. Various camera shots and filters set atmospheres reflecting the music's pace.
The media product uses and develops conventions of real music products. It uses close-up shots of the artist and emphasizes colors like red to portray emotions, both of which are common in magazine ads. It includes a range of tones and colors in the digi-pak, location shots to link the music and video, and keeps the front cover consistent to create brand recognition, emulating techniques used by artists like Lucy Rose. The music video also utilizes mid close-up shots, slow motion, fades between scenes, and performance shots to portray the artist's emotions and talent, conforming to conventions in the genre.
This document provides an analysis of a music video through multiple theoretical lenses. It summarizes key aspects of the music video and analyzes how it demonstrates genre conventions, relationships between lyrics/music/visuals, demands of the record label, notions of looking, intertextual references, and narrative structure. The music video portrays an outsider character who struggles to fit in at a party but finds solace in music. It uses techniques like low production value and ambient lighting consistent with indie genres.
The document discusses how the media product adheres to conventions of real music videos and magazines in the indie folk genre. Specifically:
- The music video matches lyrics to visuals and tempo to song pace, magnifying the emotions without fully illustrating the song.
- The magazine ad features the artist name, album title, reviews, and vintage imagery consistent with indie folk.
- The digipak cover portrays the artist as innocent through nature photography and maintains a theme of identity and reflection through multiple images.
This document discusses genre theory and how it relates to several music videos. It provides analyses of music videos by Coldplay, Whitney Houston, Jay-Z featuring Blackstreet, Alicia Keys, Beyond the Wizards Sleeve, Panic! At the Disco, and Lucy Rose. The document examines how the music videos fit with concepts from genre theory, such as offering escapist fantasies, relying on audience expectations, requiring cultural knowledge, influencing interpretation through constraints, deriving pleasure from repetition and difference, manipulating conventions, and limiting meaning potential.
The document discusses various codes and conventions used in music videos, including technical techniques, symbolic techniques, colors, notions of looking, and star image. It then summarizes how the author's music video incorporated some of these conventions, such as a focus on color, star image, and facial expressions to convey meaning. The author challenged conventions by creating a purely performance-based video with still footage and no camera movements, similar to Bloc Party's "Banquet." The author then developed this idea further by combining elements from "Banquet" and A-Ha's "Take On Me" music videos.
- The document discusses a student's A2 coursework which consisted of a main task (a music video) and two ancillary tasks (a digipak and magazine advertisement) to promote a single release.
- The student and their partner ensured all products maintained the same visual style or "house style" so each product could help promote the others while looking professionally cohesive.
- All products were based around the theme of love and relationships drawn from the artist's songs, portrayed through a narrative in the music video and symbolic props like a globe in the digipak representing love's universality.
The document is a questionnaire for a focus group. It asks participants for their gender, age, and music preferences. It then asks them to review several media products and provide feedback on each individually, including what they liked and opportunities for improvement. The questionnaire aims to gather input from the focus group on a music video, CD packaging, and magazine advertisement.
Before filming in London, the filmmakers had to seek permission from local boroughs to ensure their filming was approved and legal. Due to time constraints, they were unable to obtain written permission in the form of Location Release Forms, so they emailed location-specific contacts instead. They used the Film London website to find the areas they wanted to film, then used a provided table to identify and email the relevant contacts to request permission.
Before filming in London, the filmmakers had to seek permission from local boroughs to ensure their filming was approved and legal. Due to time constraints, they were unable to obtain written permission in the form of Location Release Forms, so they emailed location-specific contacts instead. They used the Film London website to find the areas they wanted to film, then used a provided table to identify and email the relevant contacts to request permission.
Before filming in London, the filmmakers had to seek permission from local boroughs to ensure their filming was approved and legal. Due to time constraints, they were unable to obtain written permission in the form of Location Release Forms, so they emailed location-specific contacts instead. They used the Film London website to find the areas they wanted to film, then used a provided table to identify and email the relevant contacts to request permission.
This location scout form documents Green Park in London as a potential filming location for the production "Fix You by Secondhand Serenade". Key details include the park's address, availability any day and time, and notes that suitable clothing may be needed due to varying weather and public transportation should be used.
This location scout form documents Barn Mead Field in Harlow, Essex as a potential filming location for the music video "Fix You" by Secondhand Serenade. The location scout, Samantha Jewiss, notes that the field is always available any day of the week and time, though suitable clothing may be needed due to varying weather conditions. Parking is available in a nearby housing estate and side roads.
This location scout form documents Barn Mead Field in Harlow, Essex as a potential filming location for the music video "Fix You" by Secondhand Serenade. The location scout, Samantha Jewiss, notes that the field is always available any day of the week and time, though suitable clothing may be needed due to varying weather conditions. Parking is available in a nearby housing estate and side roads, and the field is a 2 minute walk from home and an 8 minute car ride from college.
The location scout form documents Deer Park Field in Harlow, England as a potential filming location for the music video "Fix You" by Secondhand Serenade. Key details include that the park is always available for filming any day of the week or time, though suitable clothing may be needed due to varying weather, and it has nearby parking and is under 10 minutes from the scout's home and college by car.
This call sheet provides details for the eighth day of shooting including the location, scenes to be filmed, cast involved, and any special instructions. Three scenes will be filmed at 1 Joyce Court involving characters Kirsty and Gareth portrayed by Samantha Jewiss and Jake Alger respectively based on pages 1, 5, and 6-7 of the script. Samantha Jewiss will require natural makeup as Kirsty while Jake Alger has no specific makeup needs. Transportation instructions to the shooting location in Waltham Abbey are also provided.
This call sheet is for the seventh day of shooting on March 31st. It includes details for one scene shooting a couple walking through a field to a tree. Samantha Jewiss and Jake Alger are listed in the cast. Special equipment includes a camera, tripod, and props like a blanket and solar lights. The following day's shoot will be at Waltham Abbey to get establishing shots and photographs for props. Directions are provided to the shooting location at Barn Mead Field in Harlow via bus.
This call sheet provides details for the sixth day of shooting including the location, scenes, cast, and special instructions. Two flashback scenes will be filmed - "Sparklers" at 23 Radburn Close involving Samantha Jewiss, Jake Alger, and extras, and a flashback of a couple by the fireplace at the same location. Makeup requirements, equipment needs including safety precautions for using sparklers, and future scheduling are also outlined.
This call sheet provides details for shooting Day 5 of the project, including locations, scenes, cast, and logistical information. Scenes will be filmed at Epping Station, Green Park, Camden Town, and Covent Garden featuring cast members Samantha Jewiss and Jake Alger. The call time is 11:00am on Tuesday, March 26th. Transportation instructions to locations are also provided.
This call sheet provides details for the fourth day of shooting including scene locations, characters, makeup requirements, equipment needs, and transportation instructions. Two scenes will be filmed - a car argument flashback and a scene of Gareth smoking while stressed. Samantha Jewiss and Jake Alger are scheduled to film the scenes on Friday, March 22nd at 1 Joyce Court in Waltham Abbey.
This call sheet provides details for the third day of shooting on March 21st, 2013. It lists one scene called "Sky Lanterns" to be filmed at Deer Park Field in Harlow starring Samantha Jewiss as Kirsty and Jake Alger as Gareth. Makeup and costume instructions are provided. The call time is 5pm. Safety instructions are given for using sky lanterns during the flashback scene. Directions to the location are also included.
This location scouting sheet documents Netteswell Pond in Harlow, Essex as a potential filming location for the music video "Fix You" by Secondhand Serenade. The pond is available every day from 6am to 9pm without any special arrangements needed. It can be accessed within 15 minutes of the college and has nearby parking, though no power capabilities are available at the location itself.
This location scouting sheet details a potential filming location for the music video "Fix You" by Secondhand Serenade. The location is a motorway bridge on Matching Rd in Harlow, Essex that is always available for filming any day of the week or time of day. Nearby parking and arrangements for travel to the remote location would need to be made if selected.
This location scouting sheet documents a potential filming location for the music video "Fix You" by Secondhand Serenade. The location is a motorway bridge on Harlow Common Rd in Harlow, Essex that is always available for filming any day of the week or time of day. Nearby parking and access within 10-12 minutes of home and college are noted, along with the need to arrange travel to the remote site.
2. •
Music Videos
A music video’s purpose is to provide a visual element that will accompany an audio soundtrack. In the form of a video, that
video’
soundtrack is played and a media product is played displaying actors and features of the music. Instead of simply listening
to a song, the audience can watch a song visually.
• Within music videos, representation is key factor as it allows reality to be re-created and presented in order to portray or
convey a narrative or moral message. Real life situations and people are placed into the visual form of a video,
accompanied by the soundtrack, not only for the purpose of entertainment but some may suggest to convey a message.
The main aspects of representation include age; gender; ability/disability; ethnicity; sexuality and regional identity. Different
artists and producers create different styles of music, so therefore what they portray through a music video varies. Each
have their own views, so therefore what type of representation they choose to include will be dependent on their personal
views and opinions. The audience will be able to relate to the content of the video, linking their own life with the one they
can see in the video.
• An example of representation being displayed through a music video is Teenagers by My Chemical Romance (
http://www.youtube.com/watch?v=k6EQAOmJrbw). The lyrics portray the idea that teenagers are always seen in a negative
light – the stereotype that they will bring chaos and cause trouble in society. The music video features teenagers uniting and
coming together, with the use of gas marks connoting war and disruption as well as the use of the colours black and red
displaying evil and danger. All these features help and add to the representation of teenagers in this particular music video.
• Additionally promotion is an important aspect of music videos as it allows the producers to sell their product in an effective
way, reaching the widest audience possible. By promoting their production through various forms such as posters and
band/artist merchandise, music videos can gain popularity as more and more people are aware of it. Additionally, television
music stations such as MTV play recent and popular music which help get new releases heard and noticed by consumers.
Furthermore, social networking sites help promote new releases as well as sites such as YouTube where new releases are
advertised behind videos that the viewer is watching, raising awareness of the music.
2
3. Music Videos
• The sale of CDs and DVDs allows for music videos to be transferred into a portable form and helps promote
the sale of the product. For example, when a track is burned onto a CD physical format it can be sold in
shops and online to paying customers who can then use the music on a number of technologies, i.e. ipods
and cd players. Producers can also include bonus tracks and extra material in their CD package which can
help promote the music artist. DVDs can also help the sale of the media product as companies can feature
live recordings of concerts which may appeal to the target audience, even enticing them to go see the band
or artist live.
• Music videos can also be used in relation to film and television programmes. Not only can music channels
broadcast music to a viewing audience but producers can bring more attention, popularity and ultimately
more sales by letting the music track be played through the form of film and television programmes.
Additionally, by releasing a music video linked to a film that has recently been released, i.e. a song in the
soundtrack, producers can widen their audience. If the consumers enjoy the song in the film, they are likely
to want to listen to it outside of the motion picture so therefore making it easily identifiable and linked to the
film will help its success. For example, Paramore’s ‘Decode’ is set in a similar and recognisable setting and
Paramore’ Decode’
features scenes from the film Twilight. Footage from the film is featured in the video to show explicitly the link
between film and music.
• http://www.youtube.com/watch?v=RvnkAtWcKYg
4. ‘Hey There Delilah’ by The Plain White T’s
• For the textual analysis, me and my partner have decided to
use the music video for Plain White T’s song ‘Hey There Delilah’. http://www.youtube.com/watch?v=EbJtYqBYCV8
Released in 2006, the acoustic track shows the relationship of a
male and female which is portrayed in a somewhat emotional and
negative style - for example, darker colours used suggest
depressing, lonely or dismal feelings.
• This music video features a lot of codes and conventions which may
contribute to it being a successful media product. Firstly, the dress codes of the
two main actors within the video portray a lot about the narrative and the song
itself. The main singer, who is also the guy in the relationship, wears very plain
and casual clothing such as a t-shirt, jeans and trainers. This relaxed and
everyday style could enforce the idea that anybody and everybody can be
affected by relationships yet the world still carries on regardless of personal
difficulties. The colours used are neutral such as beige and brown which may
suggest that the male is feeling calm about the situation. Contrastingly the
female in the video wears clothes such as tights, denim skirt and a jacket with
the hood up. The style is casual, similar to her male counterpart, however the
colours used are colder - grey, blue and black. This could suggest that the girl is
feeling lonely and distant, and as she applies dark eye makeup in the narrative
she could be wanting to hide or conceal her true feelings and emotions.
• Furthermore, the lead singer is lip synching which looks professional in addition to playing the guitar which also
adds to the verisimilitude. The narrative shows him either sitting casually playing the guitar or wandering around his
apartment. This could show how he may feel lost inside an empty apartment without his girlfriend/lover.
Contrastingly the girl appears lost and lonely as she walks around a big city, frequently looking about her. This
juxtaposition between inside and outside locations could be employed to portray how people can struggle with their
feelings, experiencing loneliness no matter where they are or who they are surrounded by - a bustling city or their
own home.
5. ‘Hey There Delilah’ by The Plain White T’s
• A key aspect when analysing this music video is the meaning of “ Hey there Delilah, I know
the song. By looking at the lyrics, it can be suggested through the times are getting hard
chosen words that the song is about a male and female who are
experiencing a long distance relationship. The girl is said to be in But just believe me ”
New York whilst the guy has gone away to study music - he girl, someday I'll pay
wrote the song for her to remind her that they will be together one the bills with this
day when he’s a successful music artist. guitar
• Throughout the song he compliments his lover and has a positive
outlook that they will be together in the end despite the struggles
they are facing now. It could be suggested perhaps that the song
reflects a letter, as if the guy is writing to her to remind her to look on
the bright side. However, like a letter, and like a song, everything
comes to an end at some point which could reflect their relationship
- how eventually it will come to an end as a result of their
circumstances. As their relationship is geographically challenged,
their lives are going two separate ways and they will have to come
to terms each other growing apart.
• This song is similar to
Secondhand Serenade -
our chosen song - as it
features the theme of
relationships and distance.
6. ‘Hey There Delilah’ by The Plain White T’s
• The narrative of ‘Hey There Delilah’ is fiction as it shows actors/actresses re-
presenting reality. Additionally, it is linear as it shows the progression of the
relationship as well as the song in a logical fashion. It features a parallel storyline as
the video shows two people in separate locations at the same time, through the use
of split screens. This could also enforce how they have to get on with their lives
regardless of what the other person is doing or feeling.
• The video is shown through split screen with either two or three different frames
displayed at a time. This does not show a firm structure as the frames are shown at
different times and vary in size and orientation - the lack of structure could reflect their
relationship. Furthermore, the scenes change and do not cut on a regular beat so this
could also enforce the idea that the irregular structure to video is simply portraying the
irregular structure of the couple. It could also be suggested that as they are far apart the
distance has made them lose what once was firm and strong, to something that lacks
formation.
• The camera tracks the girl’s movements as she walks around the city.
She features in a lot of long shots which also display the urban location,
making the audience aware that the couple are in two completely
different settings. There are a lot of close ups of the male which not only
shows that he singing but helps the audience better understand his
emotions through his facial expressions and body language.
• Additionally, in the apartment the camera movement is steady and smooth however when focusing on the girl in the city
the camera has a very shaky movement. This can perhaps show how he has a calm and positive outlook on their
relationship whereas for her it is chaotic and turbulent - her emotions may be more negative as she struggles with the
distance or the idea of a long distance relationship.
7. ‘Hey There Delilah’ by The Plain White T’s
• This video may appeal to the target audience as it portrays a relationship of a young couple so therefore
the target audience of teenagers or young adults may be able to relate to the content and identify with the
characters shown. Furthermore, the ending is ambiguous so the audience can make their own ending as to
how they want it to play out. By leaving it up to the audience to decide what happens with the couple, the
listeners may form their own view in a way that helps them connect to the song. The narrative does not give
a lot away about the personalities of the couple and there is a lack of obvious portrayal of emotions
especially from the girl. This therefore leaves it up to the audience to decide and form a view of how the girl
feels, and whether it is the same as the guy. Due to their age differences (it was hinted the girl was still in
school) then they may not feel the same in terms of the relationship.
8. ‘Like We Used To’ - by A Rocket To
The Moon
• http://www.youtube.com/watch?v=US46cHVj0-M&feature=relmfu
• This acoustic rock track released in 2009 and has a slight upbeat style but the video portrays an eventful
narrative that displays a boy reminiscing a past relationship and how he possibly regrets it ending.
• The music video features a variety of codes and conventions which may contribute to it being a successful
media product. Firstly, the dress code of the male who is both singer and main actor is very casual - he
wears jeans and a white t-shirt at the beginning of the narrative. As he wears the white colour at the start
of the narrative where he is with his ex-girlfriend it could connote innocence and purity of their relationship
when they were at their happiest. As the narrative progresses the scenes change so therefore the actors
are wearing different clothes. Towards the centre of the narrative the main guy is still in casual attire
wearing a checked shirt and denim jacket. This contrasts with the suit and blazer he wears when
performing on stage, showing him as part of the crowd as well as the one providing the music at the same
event. Similarly, the girl in the video also has a casual style and can be described a stereotypical as she
has blonde hair and girly fashion sense, wearing colours such as pink and purple as well as white at the
start of the narrative (innocence/purity). The girl’s new boyfriend who is featured mainly in the middle of
the narrative wears the colour black which could connote evil and negative emotions - helping the
audience identify that the singer lost his girlfriend to this new guy, who they are not supposed to feel any
positive feelings for but evoke sympathy for the main singer.
8
9. ‘Like We Used To’ - by A Rocket To
The Moon
• Furthermore the lead singer lip synchs the music track
and also sings directly to the camera as well as acting
within his role. This makes the audience feel like he is
singing directly to them and could create a connection
between singer and listener. It could also be argued it
makes the song more personal, as it is like he is telling
the audience his story and emotions as he
experiences different events which the narrative
reveals.
• The body language between the couple portrays a lot
about their relationship. At the beginning of the
narrative they are close, messing around and enjoying
each others company explicitly displayed by their
mannerisms with each other and their facial
expressions. As the video progresses to a time when
they are no longer together and the girl has a new
boyfriend, their body language towards each other is a
lot more reserved and distant as opposed to how they
once were. There is still a slight connection between
them but they both chose to move on - they keep
looking at each other at the outside event/they talk to
each other. Cutaways in the video also show other
couples at the event with close and comfortable body
language, which could help emphasize how the main
couple in this video are no longer close.
9
10. ‘Like We Used To’ - by A Rocket To
The Moon
• Similar to ‘Hey There Delilah’ this song features a couple dealing with a relationship that may not be going to plan. It is the
memory of the lead singer/actor who reflects on a past relationship. From the chosen lyrics and what is portrayed in the music
video, it could be suggested that he regrets the relationship ending and he misses the girl.
“If only it were me instead of him”
“Will he love you like I loved you?”
“Will he tell you every day?”
• It appears that he doesn’t want the girl to move on, yet the narrative shows how they both get on with their lives at the end of
the day. At the end of the narrative, it shows a new girl with the lead singer so it is not only the girl who has moved on. Despite
this, the song hints that his new relationship is not the one he really wants but he’s doing what he can to move on and accept
that they are not together.
• Furthermore, the props and setting portray a lot about the song. The vintage style and colours used in the bedroom scene at
the beginning of the video emphasize the memory and recollection, making it appear older and distant yet original.
Additionally, in the room there are empty photo frames, vases without flowers and a lamp without a lamp shade. These props
help make the bedroom appear more vintage however it could be argued that these props are employed to indicate that as
things are missing, memories are fading piece by piece which reflects their relationship slowly deteriorating. There is also the
use of an old TV and camera which help further portray the memories are old and far away from the couple. The bed in the
room is blue which could connote calmness as well as sadness - they are unaware of the course of events that is creeping up
on them. Moreover, the use of outside settings could suggest that the emotions are experienced wherever you are. As they
are at an outside party/event surrounded by people it emphasizes the connection they once had as they could be spending
time with others yet seem to choose each other to spend some of their night with despite having different feelings/emotions.
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11. Digi-Pack: Under My Skin
By Avril Lavigne
• In addition to looking at music videos, me and my partner also looked into the digi-
packs - the albums the artists release in order to sell their product in a physical format.
The first album we looked into was one by Avril Lavigne titled ‘Under My Skin’
(featured left). Avril Lavigne is a female rock music artist who is typically known for her
grungey style, which can be argued is portrayed through her album cover. Firstly, the
colours used on the front of the digi-pack are very dark, using black, grey and then
contrasting this with the colour red. Black and grey tones can be suggested convey
negative and dark feelings, whereas the red not only brings a pop of colour to the
cover but could hint at emotions such as love or danger.
• By analysing Avril’s body language and facial expression, it appears the photograph
is staged as she poses in a neutral manner. Her facial expression does not give much
away about how she is feeling or any clear emotions she is trying to get across to the
The purpose of an album cover is to audience, so therefore she appears very neutral and expressionless. One may argue
attract an audience so therefore Avril’s that her disinterested or detached facial expression may juxtapose her songs which
album has to stand out on the shelf. As are full of emotion, as Avril expresses herself more through her music as opposed to
many people buying her music may posing in front of a camera. Her body language is not as easy to depict as the midshot
already be existing fans the artwork only allows for her upper body and face to be featured. However, her body is staged
may not be as important, however for at an angle from the side which once again shows she may be disinterested, but could
people looking for new music the also display the red ‘X’ on her arm more easily and explicitly to the audience. Despite
artwork may play a large role as it her body not facing the camera, she turns her head and has eye contact with the
portrays an image of the artist which audience. This could further convey that she has the attention of the viewer/listener
reflects their music. Avril’s album cover but does not give anything away in terms of expression.
reflects a rock/punk/grunge style which
people may assume her music will
sound like.
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12. • Furthermore, Avril wears the colour black which could also connote a lack
of emotion or negative feelings. It is hard to clearly see what costume she
has on, however it appears to be of a ‘grungey’ style. She wears a big skirt
which is often associated with a more girly fashion and could even be
described as a ballerina’s tutu, yet this feminity is contrasted with the black
colour and braces. The red ‘X’ on the costume’s arm could connote love or
danger, however it is hard to tell simply from the cover. The title of the album
is called ‘Under My Skin’ which hints at the idea of someone really liking or
knowing someone well, or alternatively someone irritating another and
getting ‘under their skin’. In a more literal sense, to get ‘under the skin’
physically it could mean using an injection to penetrate the epidermis, which
if you take from the image the red X could somewhat mark the point of entry
where someone or something might get to her physically or emotionally.
• Avril’s makeup is dark which conforms to her rock/grunge image and her
hair is long and straight which also shows a slight feminine side.
• Furthermore, the overall style of the album cover is dark and rough as the
edges of the booklet are edited to appear damaged and imperfect. This could
reflect how Avril is feeling and what she may express in her songs. The font
used is additionally very imperfect, with varying sizes and thickness of the
individual letters. Parts of the letters have been edited out to create an
imperfect title which also helps emphasize a style and even attitude that not
very everything has to be immaculate and precise. Both the colours black
and red are used which cohere to the main image. ‘Under My Skin’ is in red
font so therefore the emphasis is placed more heavily upon the title of the
album, or arguably what Avril Lavigne is trying to express through her music.
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13. • The grungey theme featured on the cover remains throughout the whole digi-pack and even on the physical disc. The red X
which is from one of the costumes Avril wears is part of the disc design which keeps a house style running throughout the whole
media product. The disc is also black and red which keeps in theme with the album and dark colours are used for the images inside
the booklet. Inside the digi-pack there are lyrics which accompany the tracks on the CD so the audience can read the words whilst
they listen to Avril sing them. Each set of lyrics is accompanied by a different picture which shows a staged shot of the music artist.
She wears different costumes, ranging from a red tutu to casual t-shirt and jeans which portray a rock/punk image contrasted
against a more laid-back style. The imperfect and damaged style of the booklet can also be seen throughout, emphasizing that not
everything has to be structured or flawless. The same font is used with the lyrics which also adds to the house style, in addition to
being used on the back of the album where the tracks are listed.
The images of Avril will appeal to the target audience and those who enjoy her music, providing visual entertainment and images to
look at in addition to listening and enjoying her songs.
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14. Digi-pack: Sinners Never Sleep
By You Me At Six
• The next digi-pack me and my partner looked at was ‘Sinners Never Sleep’ by the rock
band You Me At Six. Contrasting to Avril Lavigne’s album, this cover does not feature the
band members on the front yet has a staged image of a person holding a sign with the title
of the album and band name. The cover does not give a lot of information away about the
album, as it does not feature images of the band or people with facial expression or evident
body language. Similar to the previous digi-pack cover, Sinners Never Sleep uses dark and
neutral tones which may not appear eye catching on the shelf. However, its ambiguity and
lack of information and image may make the album seem more appealing as people want to
pick it up to find out what it may include, especially those unfamiliar to the artist/band. The
use of black and brown in a sort of sepia effect makes the album appear neutral and
indifferent, however this could place more focus upon the title of the album which is placed
in the centre of the cover. The model featured wears dark nail varnish which could suggest it
is a female which contrasts against the all male band. The sign which the model is holding
could refer to a police image/photograph which criminals hold up with their details on. This is
later featured in the digi-pack where each band member holds up their board for
photographs.
• The font used on the cover is white which shows up against the dark background, which
could connote innocence and purity. This white may be used to juxtapose the name of the
album, the innocence contrasted against ‘sinners’ who may better be referred to with the
colours red or black.
• The disc itself keeps to the same neutral and basic theme with a black background and
white text. The font stays the same throughout to keep a housestyle throughout the media
product.
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15. • Throughout this digi-pack there is the running theme of crime and conviction. The
booklet involves images of the band posing as criminals, holding up boards for the
LAPD. This could refer to the title as the band members may have sinned so
therefore are being punished by the law and society for their wrongdoings.
Furthermore the digi-pack appears to lack any colour apart from black, white and
neutral tones so therefore it could suggest that the law has now stripped all the fun
and excitement out of their lives. The lack of colour could also be argued juxtaposes
the music - the album may appear neutral and not very exciting whereas their music
will be doing the expressing of their emotions. Additionally, the digi-pack features a
variety of images of the band as well as pictures such as fingerprints and head shots
which all contribute to the theme of crime.
• The band members are wearing casual clothing which suggests their casual and
laid-back attitudes they have. Their expressions are neutral as they look at the
camera for their picture, however some hold the board and hold their body language
differently - some appear as if they care more than others.
• Not only does the digi-pack feature the main CD but also a DVD for their track
‘Bite My Tongue’ which is on a contrasting white disc with black writing. By
incorporating a DVD within the digi-pack it allows the audience to watch
features about the band and watch live perfomances, providing something
more visual as opposed to just audio. Including a bonus disc as a DVD it may
entice more people to buy it as they may be more interested in this added
extra.
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16. • The images in the digi-pack appear to be staged, and this one (left)
especially shows all five band members posing for the camera. They
are arranged so the main focus falls on the lead singer who is in the
centre of the image, with the light highlighting the faces of the band.
They are wearing dark clothes which could connote evil or negativity,
which once again could relate to them being ‘sinners’. Their
expressions are neutral and provide the audience with an idea that they
do not care. These images of the band will appeal to all fans of You Me
At Six as it provides the audience with visual images of the band in a
creative way. By making them appear as ‘criminals’ or ‘sinners’ then
they appear bad, going against the rules in what may come across a
‘cool’ way.
• Furthermore, the digi-pack also includes the lyrics of the tracks. Dissimilar to
Avril Lavigne’s album, the lyrics are not accompanied by images of the band.
This may be because pictures and photographs of the band are featured
separately in different sections of the digi-pack and this section focuses solely
on the lyrics. The background is plain and white and font used appears very
plain too, which helps the audience read the words without too much
distraction from creative flair that some producers/artists like to incorporate.
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17. Magazine Advertisement: Hold
Me Down By You Me At Six
• In addition to the music video and digi-pack we also analysed magazine
advertisements for the release of an album. Firstly we looked at an
advertisement for You Me At Six’s album ‘Hold Me Down’. The advert has been
created digitally as opposed to using photographs or original images of the
band. The advert is very colourful and eyecatching so therefore when someone
is flicking through a magazine it serves the purpose of grabbing their attention.
However, if a person did not know who You Me At Six was this advert may not
appeal to them because the image does not convey anything about the band or
their music. On the other hand, some may argue that the interesting image is
ambiguous and may leave them interested to find out more about the music
artist that the image is promoting.
• The image featured on the advert is the same image that is featured on the
album cover, so when people see the advert they immediately relate to the
physical album. The same font and title is used both on the advertisement and
on the album, so therefore the target audience can create an immediate link
between the real thing and the promotion of the album. On the advertisement, it
provides the information that the album is already out so therefore a potential
buyer can easily locate the right album by the identical image.
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18. • Moreover, the design of the advertisement works well at
capturing the attention of the potential audience as a result
of its creativity and colours.
• The background colour of the advert and also album is a
dark green which somewhat reflects a military style as a
result of this chosen colour. Lighter shades of green and
different tones of green are used in the main image for what
appears to be leaves to accompany orange/red flowers.
Yellows are used in addition to blue so therefore the colours
used vary greatly and contrast against eachother which
creates a bold image that stands out. The colour white is
also used which helps to merge everything together and also
is the background colour to the text on the page. This helps
the text stand out and be clear for the audience against the
creative background. As a result of the varying colours it can
be argued that they are used simply to capture the
audience’s attention as well as making the image colourful
and interesting.
• The main image itself is very hard to depict what it actually
consists of, however it can be made out that there are
flowers and some sort of wings which could relate to the title
- ‘Hold Me Down’ juxtaposing wings that enable things to fly.
• The advertisement itself doesn’t provide a lot of information
and features mainly the image and album artwork.
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19. Magazine Advertisement: Foo
Fighters’ Greatest Hits
• Next, me and my partner analysed Foo Fighter’s magazine
advertisement for the release of their greatest hits. Similar to the
previous magazine advertisement this one does not feature a
photograph or image of the band however has the Foo Fighter’s
logo in the centre of the page. By placing the emphasis on the
logo rather than have images of the band the target audience
might be able to recognise their logo and immediately associate it
with the band. Additionally, the name of the band is featured at
the top of the advertisement so for those who are unfamiliar with
the band know what the advert is for.
• When you first look at this poster, your eyes are drawn to the
logo. It is a circle with the FF initials which represent Foo
Fighters. The background colour is red, which can connote
danger which can easily be related to the idea of ‘fighters’ in
which physical violence is associated. Red is also a bright and
vivid colour which can capture the attention of the potential
audience, making their logo and their band stand out from the
rest. Behind the logo, the background is an off-white colour which
helps the logo and the next stand out as there isn’t a colour
clash. The background appears to look llike metal or even
material (hard to tell) that has been pinned up. This adds interest
and variation to the background through the unusual texture,
however it is quite minimal so therefore does not disrupt the
advertisement.
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20. • Furthermore, the font used for the initials of the logo do not
correspond to the font used for the name of the band and
name of album. This could be used to show variation between
the fonts as well as making the logo appear more distinct and
different. The font used for the band name and album title is
very unique as it adds a creative twist to certain letters, such
as the ‘O’, ‘G’ and ‘E’. This allows the text to be noticeable
and if a fan saw the typeface they might immediately
associate it with this particular band, which helps boost the
band’s popularity as more people are aware of who they are
and what their distinct style is. The font colour is black similar
to the logo which keeps a theme within the advert. Black
could enforce the idea of strength and negativity (evil) which
could promote the band’s music style i.e. rock.
• The bottom quarter of the A4 advertisement has a black
background and white font. This breaks up the page and also
provides the information about the album release in one small
section which is easy to read and easy to identify. The
advertisement includes information about the album release
including the date, what formats it is available in as well as
some of the songs the album will have. By mentioning what
tracks are on the album fans or listeners may be enticed to
buy the album because it has songs they enjoy. Furthermore
as it is Foo Fighter’s ‘Greatest Hits’ it is going to have all the
most popular and successful tracks on there so fans may
listen to their best music all on one album.
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