Theory – andrew goodwin, carol vernallis
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The document discusses different theories about how music videos relate to song lyrics. Andrew Goodwin's theory is that a music video is simply a visual interpretation of the lyrics. Carol Vernallis' theory is that a music video can be based on or tell a narrative inspired by the lyrics, and that repetition of ideas, themes and shots helps create meaning for viewers. The document also notes that editing in music videos allows jumping through time and space without seeming odd. Based on these theories, the evaluation concludes it is okay to be more creative than just matching the video exactly to lyrics, and that Carol Vernallis' theory allows for more flexibility.
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Carol vernallis theory
Carol Vernallis' music video theory focuses on four key concepts: narrative, editing, camera movements/framing, and diegesis. For narrative, the video visually reflects the song lyrics but the narrative may be incomplete or displayed in fragments. Editing techniques include jump cuts, cutting with lyrics, extreme pace changes, and juxtaposed frames. Camerawork features establishing shots and close-ups that are reused, and camera movements sync with lyrics. The diegesis or world of the video is revealed slowly through repetitions and some important frames.
Half term media
The document discusses two music videos and how their visual elements relate to the genre and tone of the songs. For the first video, the costumes and lighting change to match different genres as the song's genre changes. For example, darker clothes and lighting create a rock feel. The second video features upbeat, energetic outfits and pink lighting to match the girly, fun song. Camerawork also reflects the tone, with quick cuts during energetic parts and longer shots during slower sections to build emotion. The visuals in both videos effectively correspond to the songs' styles.
Foo fighters run
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3) The video escalates with the music from slow intro to faster cuts and movements as the song builds, then slows again for the chorus with sweeping shots.
Evaluation Question 1
Laura Mulvey proposed that females are used for male fantasies in media. Robin Thicke's "Blurred Lines" music video applies this "male gaze" theory by dressing females in similar, revealing outfits to appeal to the male audience. However, the focus of the "Blurred Lines" lyrics and video is actually the artist himself.
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Vowels and consonants
This document summarizes two English phonetic elements - the consonant "h" and the vowel "æ". It provides examples of words containing each sound, along with famous movie quotes that use them. References to online resources on pronouncing these sounds are also included.
Carol vernallis theory
Carol Vernallis' music video theory focuses on four key concepts: narrative, editing, camera movements/framing, and diegesis. For narrative, the video visually reflects the song lyrics but the narrative may be incomplete or displayed in fragments. Editing techniques include jump cuts, cutting with lyrics, extreme pace changes, and juxtaposed frames. Camerawork features establishing shots and close-ups that are reused, and camera movements sync with lyrics. The diegesis or world of the video is revealed slowly through repetitions and some important frames.
Half term media
The document discusses two music videos and how their visual elements relate to the genre and tone of the songs. For the first video, the costumes and lighting change to match different genres as the song's genre changes. For example, darker clothes and lighting create a rock feel. The second video features upbeat, energetic outfits and pink lighting to match the girly, fun song. Camerawork also reflects the tone, with quick cuts during energetic parts and longer shots during slower sections to build emotion. The visuals in both videos effectively correspond to the songs' styles.
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2) Some lyrics are directly connected to visual moments, like a man jumping in sync with the lyrics "we run" or old people fighting matching "In another perfect life."
3) The video escalates with the music from slow intro to faster cuts and movements as the song builds, then slows again for the chorus with sweeping shots.
Evaluation Question 1
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Evaluation task 6
The document appears to be written by Will Smith as the author is listed as "By Will Smith" in the header. However, no other context or details are provided about the content or topic of the document. The single line document header does not provide enough information to generate a meaningful multi-sentence summary.
Media planning of titles
Will Smith plans to use freeze frames of characters during the opening credits of his film. He takes inspiration from the credits of Snatch, which introduce many characters. To avoid overwhelming the audience, he will limit characters to 5. The credits of Snatch use bold white font, lines above/below names, and stars to imply importance. Smith will experiment with different fonts like Aharoni and Biondi to choose one for the credits. He will finalize the credits in white text like other gangster films, with posterized backgrounds, capital letters, lines and stars to identify important characters.
Research in to the relevant genre – task
This document summarizes characteristics of the indie music genre. It originated in the UK and US in the 1980s, defined by artists signed to independent record labels. Indie music videos typically have deeper meanings and surreal elements compared to other genres. They portray artists dressing casually and using natural urban settings with low saturation filters. The indie genre derived from alternative rock and includes subgenres like indie pop and post-punk. Examples of indie artists provided are Bastille, The 1975, and The Arctic Monkeys, though some became more mainstream. The document evaluates that adopting normal clothing, low saturation filters, and natural settings align with conventions of indie music videos.
Props and costume list
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Theory
This document summarizes several narrative theories that could be applied to a film opening. It discusses Claude Levi-Strauss's concept of binary oppositions between terms like good-bad. It also outlines Vladimir Propp's 8 character archetypes that often appear in stories. Additionally, it covers Tzvetan Todorov's theory of equilibrium, disequilibrium, and new equilibrium. Barthes' hermeneutic and proairetic codes are mentioned as ways to build tension. The document concludes that elements from Levi-Strauss, Propp, and Todorov could be blended to structure a film opening showing the initial equilibrium disrupted by some event.
Lock, stock and two smoking barrels
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Conventions of a gangster film
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Evaluation task 2
The document discusses how different social groups are represented in Will Smith's film. It describes how the main character Jordan is portrayed as less powerful than his demanding girlfriend, showing a modern representation of men with emotion. The antagonist Tony is shown as powerful, emotionless, and strong, representing a traditional view of men. There is only one woman depicted, who is aggressive and controlling, demonstrating a modern portrayal of women as not nice. The costumes help establish the characters as being of both lower and upper classes. Freeze frames are used to depict the relationship dynamics between characters through single images. The film aims to represent both modern and traditional views of men.
Research into relevant gangster genre
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Media initial planning
The document contains initial planning ideas for a short film by Will Smith. It includes ideas for characters (a male protagonist, his controlling girlfriend, and a gangster leader), locations (different rooms in the filmmaker's house), props (a cheap ring, money, guns, cigarettes, a car), costumes (basic modern casual clothes), and a narrative outline. The narrative involves the protagonist getting kicked out by his girlfriend after buying her a fake ring, then getting in trouble with gangsters who want him to help with illegal deals since he needs money. The credits sequence would use freeze frames to introduce each character inspired by British gangster films.
Media props list
Will Smith outlines props needed for his upcoming film including:
1) A fake/cheap ring to show a relationship in trouble after a marriage proposal with a cheap ring.
2) A toothpick for an antagonist character.
3) Spare clothes to imply a girlfriend kicking her boyfriend out and not wanting him back.
4) A gun to indicate violence and identify the protagonist and antagonist.
5) Fake blood to show the protagonist tied up in a van with blood from his mouth.
Theory – andrew goodwin, carol vernallis
The document discusses different theories about how music videos relate to song lyrics. Andrew Goodwin's theory is that a music video is simply a visual interpretation of the lyrics. Carol Vernallis' theory is that the visuals in a music video can be based on or tell a narrative inspired by the lyrics, using techniques like repetition, extreme camera shots and editing to create meaning for viewers. The evaluation concludes that it is okay to be more creative than just matching the video exactly to the lyrics, and that Carol Vernallis' theory allows for more flexibility in music video creation.
Task 8
Andrew Goodwin believes that music videos are a visual interpretation of song lyrics. Some videos, like Taylor Swift's "You Belong With Me" directly illustrate the lyrics through narrative. However, other videos like Oliver Heldens and Becky Hill's "Overdrive" do not relate to the lyrics at all. Justin Timberlake's "Cry Me a River" uses heavy rain and low lighting as a metaphorical representation of the lyrics. Carol Vernallis identifies four ways to analyze music videos: narrative, editing, camera movement/framing, and diegesis. Narrative videos are directly based on lyrics through performance or story, while diegesis creates a self-contained world for the video. Camerawork often uses
A2 media task 8 theorists
Andrew Goodwin believes that music videos are simply a visual interpretation of the lyrics of a song. Taylor Swift's "You Belong With Me" supports this view with its literal interpretation, while Justin Timberlake's "Cry Me A River" is more metaphorical but still links to the lyrics. However, videos like Fatboy Slim's "Praise Him" and Ed Sheeran's "Don't" have abstract videos with little connection to the lyrics. Carol Vernallis identifies four ways to analyze music videos: through narrative and performance; diegesis and how a story is created; camera shots and framing; and editing, which may break continuity for effect.
Music videos – analysed
The video consists primarily of performance shots of Kesha against a desert backdrop. The camera movements are intended to emulate the effects of being under the influence of drugs, with zooms, circles, and shifts in and out of focus. The editing increases in pace during the "comedown" section, using fast cuts, jump cuts, and reverse shots. While some shots sexualize Kesha's body, the overall video portrays her as an independent woman in control of herself.
Nhadia presentation 7i9789i78
The document discusses how the student's music video challenges conventions of real music videos through its use of disjuncture, where the video has nothing to do with the song lyrics. It also discusses how the video follows theories of the male gaze in its framing of the female artist and focus on her appearance. Finally, it discusses how the video aligns with Carol Vernallis' theory through its editing, camera movements, narrative elements, and diegetic features like movement to the beat of the music.
Carol Vernallis Theory
Carol Vernallis' theory discusses three key aspects of music videos:
1) Narratives in music videos loosely follow the lyrics of songs through disjointed visuals that show parts of a story without a clear conclusion.
2) Editing in music videos breaks traditional continuity rules by making cuts noticeable and sync with the beat of the song.
3) Camera work in music videos uses shots like close-ups and establishing shots that are framed and move in ways influenced by the music's beat.
Carol theory assignment 20 something
Carol Vernallis' theory analyzes the visual, lyrical, and musical elements of music videos. It focuses on four main concepts: editing, narrative, diegesis, and camera movement/framing. Editing in music videos is unique in that it synchronizes image and sound and reflects the music. The narrative is a visual response to the story told in the song's lyrics and music. Camerawork frequently positions the lead centered and in close-ups, and movement and framing can change the video's feeling. A narrative is slowly developed through diegesis to create anticipation without completion.
Carol Vernallis
Carol Vernallis developed a theory for analyzing music videos and films that focuses on four key concepts: narrative, editing, camera movement/framing, and diegesis. According to Vernallis' theory, narratives in music videos are often fragmented and unconventional compared to films, driven more by elements like the music or artist. Editing in music videos frequently breaks conventions like continuity to draw attention through techniques like jump cuts or changes in pace aligned with the music. Camerawork commonly uses extremes of close-ups or establishing shots that are repeated in distinctive ways for a given video/genre. A music video's diegesis or world is gradually revealed through elements like characters moving to the music or important frames, with gaps left
Carol Vernallis - Music Video Theory
Carol Vernallis' theory focuses on 4 key concepts for analyzing music videos: Narrative, Editing, Camera Movement/Framing, and Diegesis. The narrative of a video may be partial or disjointed and reflect the song lyrics. Editing often disrupts continuity for effect. Camerawork relies on establishing shots, close-ups, and moving with the music. The diegesis or world of the video is revealed slowly through incomplete or disrupted actions and repeated frames that draw attention.
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Alternative
The document discusses conventions of indie music videos. It is conventional for indie music videos to have a casual dress code, low production value, a mix of narrative and performance elements, and some odd or symbolic shots. Key features that could be used in an indie music video include natural lighting, diverse locations, surreal elements, and a focus on the artist themselves through close-ups. Common themes across analyzed indie music videos are the use of lighting, symmetry, and a dark, minimal aesthetic.
Evaluation task 6
The document appears to be written by Will Smith as the author is listed as "By Will Smith" in the header. However, no other context or details are provided about the content or topic of the document. The single line document header does not provide enough information to generate a meaningful multi-sentence summary.
Media planning of titles
Will Smith plans to use freeze frames of characters during the opening credits of his film. He takes inspiration from the credits of Snatch, which introduce many characters. To avoid overwhelming the audience, he will limit characters to 5. The credits of Snatch use bold white font, lines above/below names, and stars to imply importance. Smith will experiment with different fonts like Aharoni and Biondi to choose one for the credits. He will finalize the credits in white text like other gangster films, with posterized backgrounds, capital letters, lines and stars to identify important characters.
Research in to the relevant genre – task
This document summarizes characteristics of the indie music genre. It originated in the UK and US in the 1980s, defined by artists signed to independent record labels. Indie music videos typically have deeper meanings and surreal elements compared to other genres. They portray artists dressing casually and using natural urban settings with low saturation filters. The indie genre derived from alternative rock and includes subgenres like indie pop and post-punk. Examples of indie artists provided are Bastille, The 1975, and The Arctic Monkeys, though some became more mainstream. The document evaluates that adopting normal clothing, low saturation filters, and natural settings align with conventions of indie music videos.
Props and costume list
The document provides a props and costume list for a music video production including 200 tea lights, balloons, face paint, rope, powder paint, matches, a sand timer, and animal masks. It notes that a sad clown costume can be made from separate inexpensive components instead of being purchased as a single item. It also mentions that the face paint and powder paint will be used on actors in different scenes, including one with two dancers in basic clothing and another surreal scene with people wearing animal masks in a room. The document recommends styling the artists in monochrome, indie-inspired clothing similar to bands like The Script, The 1975, and Imagine Dragons.
Theory
This document summarizes several narrative theories that could be applied to a film opening. It discusses Claude Levi-Strauss's concept of binary oppositions between terms like good-bad. It also outlines Vladimir Propp's 8 character archetypes that often appear in stories. Additionally, it covers Tzvetan Todorov's theory of equilibrium, disequilibrium, and new equilibrium. Barthes' hermeneutic and proairetic codes are mentioned as ways to build tension. The document concludes that elements from Levi-Strauss, Propp, and Todorov could be blended to structure a film opening showing the initial equilibrium disrupted by some event.
Lock, stock and two smoking barrels
Guy Ritchie's 1998 crime comedy film Lock, Stock and Two Smoking Barrels follows a group of small-time London criminals who find themselves in serious trouble after a high-stakes poker game goes wrong. Eddie, Soap, Bacon, and Tom develop an elaborate plan to pay back the half-million pounds they owe the ruthless crime boss Hatchet Harry. Their scheme involves stealing antiques and selling them at a local market.
Research into digipaks
The document discusses and analyzes the digipak album covers of several indie/alternative bands, including Bastille, The 1975, and Arctic Monkeys. It notes common design elements across the covers like the use of dark, moody imagery and color schemes; simplistic yet distinctive graphics that represent the bands' styles; and photos that convey a sense of realism or mystery. The analysis concludes that successful indie digipaks emphasize themes of surrealism and rebellion through their visuals while maintaining a simple, cohesive aesthetic.
Conventions of a gangster film
The document discusses the key elements and conventions of gangster films. It notes that gangster films typically feature suits, guns, cigars, cars, alcohol, money and violence representing the glamorous lifestyle pursued by criminals. They also involve sinister actions like crime, bank robberies, murder and operating outside the law. The document adds that women in gangster films are usually secondary and portrayed as sexy objects. It concludes by stating the author wants to base their project on a British gangster film.
Evaluation task 2
The document discusses how different social groups are represented in Will Smith's film. It describes how the main character Jordan is portrayed as less powerful than his demanding girlfriend, showing a modern representation of men with emotion. The antagonist Tony is shown as powerful, emotionless, and strong, representing a traditional view of men. There is only one woman depicted, who is aggressive and controlling, demonstrating a modern portrayal of women as not nice. The costumes help establish the characters as being of both lower and upper classes. Freeze frames are used to depict the relationship dynamics between characters through single images. The film aims to represent both modern and traditional views of men.
Research into relevant gangster genre
The document analyzes several notable British gangster films - Snatch, Lock Stock and Two Smoking Barrels, and Layer Cake. It discusses their commercial success, conventions used, including themes of crime shown early and titles in white font. It examines mise-en-scene elements like locations and shots. While the films generally don't challenge gangster conventions, Layer Cake is unusual for not revealing the plot in its opening. The document concludes the author has learned about common traits of British gangster films and how to apply them, while also challenging norms like Sexy Beast did with its credits.
Media initial planning
The document contains initial planning ideas for a short film by Will Smith. It includes ideas for characters (a male protagonist, his controlling girlfriend, and a gangster leader), locations (different rooms in the filmmaker's house), props (a cheap ring, money, guns, cigarettes, a car), costumes (basic modern casual clothes), and a narrative outline. The narrative involves the protagonist getting kicked out by his girlfriend after buying her a fake ring, then getting in trouble with gangsters who want him to help with illegal deals since he needs money. The credits sequence would use freeze frames to introduce each character inspired by British gangster films.
Media props list
Will Smith outlines props needed for his upcoming film including:
1) A fake/cheap ring to show a relationship in trouble after a marriage proposal with a cheap ring.
2) A toothpick for an antagonist character.
3) Spare clothes to imply a girlfriend kicking her boyfriend out and not wanting him back.
4) A gun to indicate violence and identify the protagonist and antagonist.
5) Fake blood to show the protagonist tied up in a van with blood from his mouth.
Theory – andrew goodwin, carol vernallis
The document discusses different theories about how music videos relate to song lyrics. Andrew Goodwin's theory is that a music video is simply a visual interpretation of the lyrics. Carol Vernallis' theory is that the visuals in a music video can be based on or tell a narrative inspired by the lyrics, using techniques like repetition, extreme camera shots and editing to create meaning for viewers. The evaluation concludes that it is okay to be more creative than just matching the video exactly to the lyrics, and that Carol Vernallis' theory allows for more flexibility in music video creation.
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Task 8
Andrew Goodwin believes that music videos are a visual interpretation of song lyrics. Some videos, like Taylor Swift's "You Belong With Me" directly illustrate the lyrics through narrative. However, other videos like Oliver Heldens and Becky Hill's "Overdrive" do not relate to the lyrics at all. Justin Timberlake's "Cry Me a River" uses heavy rain and low lighting as a metaphorical representation of the lyrics. Carol Vernallis identifies four ways to analyze music videos: narrative, editing, camera movement/framing, and diegesis. Narrative videos are directly based on lyrics through performance or story, while diegesis creates a self-contained world for the video. Camerawork often uses
A2 media task 8 theorists
Andrew Goodwin believes that music videos are simply a visual interpretation of the lyrics of a song. Taylor Swift's "You Belong With Me" supports this view with its literal interpretation, while Justin Timberlake's "Cry Me A River" is more metaphorical but still links to the lyrics. However, videos like Fatboy Slim's "Praise Him" and Ed Sheeran's "Don't" have abstract videos with little connection to the lyrics. Carol Vernallis identifies four ways to analyze music videos: through narrative and performance; diegesis and how a story is created; camera shots and framing; and editing, which may break continuity for effect.
Music videos – analysed
The video consists primarily of performance shots of Kesha against a desert backdrop. The camera movements are intended to emulate the effects of being under the influence of drugs, with zooms, circles, and shifts in and out of focus. The editing increases in pace during the "comedown" section, using fast cuts, jump cuts, and reverse shots. While some shots sexualize Kesha's body, the overall video portrays her as an independent woman in control of herself.
Nhadia presentation 7i9789i78
The document discusses how the student's music video challenges conventions of real music videos through its use of disjuncture, where the video has nothing to do with the song lyrics. It also discusses how the video follows theories of the male gaze in its framing of the female artist and focus on her appearance. Finally, it discusses how the video aligns with Carol Vernallis' theory through its editing, camera movements, narrative elements, and diegetic features like movement to the beat of the music.
Carol Vernallis Theory
Carol Vernallis' theory discusses three key aspects of music videos:
1) Narratives in music videos loosely follow the lyrics of songs through disjointed visuals that show parts of a story without a clear conclusion.
2) Editing in music videos breaks traditional continuity rules by making cuts noticeable and sync with the beat of the song.
3) Camera work in music videos uses shots like close-ups and establishing shots that are framed and move in ways influenced by the music's beat.
Carol theory assignment 20 something
Carol Vernallis' theory analyzes the visual, lyrical, and musical elements of music videos. It focuses on four main concepts: editing, narrative, diegesis, and camera movement/framing. Editing in music videos is unique in that it synchronizes image and sound and reflects the music. The narrative is a visual response to the story told in the song's lyrics and music. Camerawork frequently positions the lead centered and in close-ups, and movement and framing can change the video's feeling. A narrative is slowly developed through diegesis to create anticipation without completion.
Carol Vernallis
Carol Vernallis developed a theory for analyzing music videos and films that focuses on four key concepts: narrative, editing, camera movement/framing, and diegesis. According to Vernallis' theory, narratives in music videos are often fragmented and unconventional compared to films, driven more by elements like the music or artist. Editing in music videos frequently breaks conventions like continuity to draw attention through techniques like jump cuts or changes in pace aligned with the music. Camerawork commonly uses extremes of close-ups or establishing shots that are repeated in distinctive ways for a given video/genre. A music video's diegesis or world is gradually revealed through elements like characters moving to the music or important frames, with gaps left
Carol Vernallis - Music Video Theory
Carol Vernallis' theory focuses on 4 key concepts for analyzing music videos: Narrative, Editing, Camera Movement/Framing, and Diegesis. The narrative of a video may be partial or disjointed and reflect the song lyrics. Editing often disrupts continuity for effect. Camerawork relies on establishing shots, close-ups, and moving with the music. The diegesis or world of the video is revealed slowly through incomplete or disrupted actions and repeated frames that draw attention.
What is a dance music video
The document discusses what a dance music video is and the different styles and techniques involved in creating music videos. It explains that a music video is primarily a promotional tool to encourage sales of a song and artist. There are three main subgenres of music videos: narrative videos which tell a story, performative videos which mainly feature the artist performing, and conceptual videos which follow an abstract theme without a clear story. The document also outlines other styles like mixture videos and cameo videos, as well as important technical elements like camera shots, angles, movements, editing, and mise-en-scene considerations.
Carol Vernalli’s music video theory
Carol Vernalli's theory focuses on how music videos are constructed through narrative, editing, camera techniques, and diegesis. Narratives in music videos are often fragmented and non-linear, reflecting the lyrics. Editing frequently matches the musical phrases and is foregrounded to draw attention. Camera movements and framing utilize extremes like close-ups and establish shots that move with the music. The diegetic world is revealed slowly and actions may be disrupted, creating gaps for the audience.
Analysing music videos
The document discusses analyzing 4 music videos within the same genre as the author's chosen track for their advanced music portfolio. The author watched each video and analyzed them based on 10 key questions, including what men and women were doing, how they were dressed, camera angles, editing, and application of theories from Goodwin, Mulvey, and Archer regarding gender, power, and voyeurism. The author then provides a detailed analysis of one video, discussing costume, camera work, mise-en-scene, and how the video both reinforces and contrasts gender theories.
Massive attack analysis
The music video consists mainly of extreme close-ups and long shots of the subject in a large, dark, brick room meant to evoke isolation. The lighting flickers, creating a strobe effect and sense of mystery. Shots are held for a long time with little camera movement. Throughout the video, the performer's clothes are ripped away and a butterfly imprint appears on his skin, transforming him into the vulnerable subject. The video ends by dissolving the performer into a dead butterfly, linking to themes of binary opposition between the powerful performer and vulnerable butterfly.
THEORY
Carol Vernallis developed a theory for understanding interactions between music, lyrics, and images in various forms. Her theory examines concepts such as narrative, diegesis, camera movements and framing, and editing techniques. Specifically, she notes that the narrative may be incomplete or presented through montage. Diegesis and important scenes are revealed slowly through framing and repetition of shots. Camera movements often correspond to lyrics and establishing shots as well as close-ups are frequently used. Music video editing may break conventions of continuity through techniques like jump cuts.
Music video analysis
The video for Pendulum's song "Watercolour" is set on an unknown planet eclipsed by the sun, adding an element of surrealism reflecting the band's futuristic style. Throughout the video, the band is shown battling the strong forces of wind and rain, conveying the idea of power and linking to the song's powerful bass-dominated music. Close-ups of the band members' distressed faces as they persevere show the physical effort of breaking boundaries in their music, relating to lyrics about perseverance and motivation. By the end of the video, the band is fully exposed to sunlight, representing their success in rebelling against mainstream music conventions.
Evaluation question 1
The document discusses how a music video project for an electronic track used, developed, and challenged conventions of real media products. It addresses theories from Carol Vernallis and Andrew Goodwin. For Vernallis' theory, the video broke continuity editing rules through cuts, used obvious editing like mirroring and slow motion to draw attention, and had the artist make direct eye contact with the camera. For Goodwin's theory, the video had a narrative structure with the artist as narrator and performer, used repeated shots, had a climax through an argument scene buildup, and illustrated the song's story in a way that was relevant to the lyrics.
Carol vernallis's music video theory
Carol Vernalli's theory focuses on how music videos are constructed through narrative, editing, camera techniques, and diegesis. Narratives in music videos are often fragmented and non-linear, reflecting the lyrics. Editing frequently cuts within the beat or lyrics and breaks continuity rules to draw attention. Camera movements and framing utilize extremes like close-ups and establish shots that move with the music. A video's diegesis or world is revealed slowly and actions may be disrupted, creating gaps for the audience.
My presentation 5
Vernallis analyzed editing techniques in music videos and films. She identified that music videos often use incomplete and obscure transition between shots that do not follow a typical order. This unconventional structure reveals time, space, character, and narrative incompletely. Pop videos also draw attention away from narrative through other elements like music. Vernallis believes this encourages audiences to piece together a "phantasmagorical body" from different shots of body parts. Her theory suggests using short cuts and random shot ordering to create an unconventional atmosphere and revealing characters through isolated body shots rather than showing the whole person.
In what ways does your media product use
The document discusses how a music video uses and challenges conventions of real music videos. It follows several conventions, such as including titles, varying shot lengths, cross-cutting narrative and performance scenes, active camera movements, close-ups of the singer, and relating visuals to the music. It also includes intertextual references to other music videos. However, it challenges some conventions, like not establishing shots and using blurred and shaky camera footage intentionally. The video also develops some narrative theories around binary opposites and Todorov's five stage structure.
In what ways does your media product use
The document summarizes how the media product of a music video challenges and uses conventions of existing music videos. It analyzed popular music videos to understand conventions around narrative structure, effects, locations, and ancillary tasks like CD covers. The student's music video follows Todorov's narrative structure but challenges conventions like having the singer in a minor role. It uses effects like slow motion and black and white to create mood, and includes varied shots and locations to feel authentic.
I Found - Music Video Analysis
This document analyzes the music video for "I Found" by Amber Run through the lens of several music video and film theories. It discusses how the video conforms to conventions of indie rock music videos, such as using a concept-narrative format and disjointed editing. Elements like color palette, shots focused on the female subject, and synchronization of visuals and music are also examined in relation to established music video conventions. The document evaluates how well several theorists' frameworks apply to concept videos versus more straightforward performance-based music videos.
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Lyric analysis
The song lyrics describe a cycle of love and fear between two people. The singer promises to be a source of hope, guidance, and support for the subject as either a "burning sun" or "match" who lights their way. This cycle of being together and having difficulties will repeat until the feelings of love run out between them. The singer says they will continue in this cycle, being the subject's "light" and source of both comfort and fear, until the love fades away.
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The document lists props and costumes needed for a music video, including tea lights, balloons, face paint, rope, powder paint, matches, a sand timer, and animal masks. A sad clown costume can be made from separate inexpensive components. Face paint will also be used on actors. A scene with two dancers in basic clothing will feature powder paint. The female lead will wear flowing clothing for a field running scene that is not overwhelming for a narrative. A surrealism-themed scene will feature people in an room wearing animal masks. The artists' costumes will stick to an indie/alternative genre convention of monochrome styling similar to bands like The Script and The 1975.
Evaluation task 4
Dan is an 18-year-old university student studying photography who lives in Bristol. He enjoys spending time with friends, going to the cinema to see action and thriller films, and shopping at more affordable stores. He also likes watching television series about crime and mysteries. The document suggests that the target audience for the film "Dirty Work" is someone like Dan, as he enjoys British gangster films and action films, and often sees movies at the cinema with friends.
Planning of music
Will Smith chose a style of music for his British gangster film that was inspired by Quentin Tarantino's use of music, featuring a strong guitar sound and fast pace that contrasts with the on-screen action, reflecting Tarantino's theory of using contrapuntal music.
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The risk assessment document evaluates hazards for a shoot, including falling off a ladder, a van crash, harm from slapping someone, and being thrown inside a van. It assigns probability, consequence, and risk levels to each hazard, then proposes control measures to lower the probability and risk level, such as having a stable floor, driving carefully, limiting force in a slap, and using camera angles to make risks appear worse than they are.
Media risk assessment
This risk assessment document evaluates hazards for a shoot involving falling off a ladder, a van crash, slapping someone too hard, and throwing someone into a van. It assigns probability, consequence, and risk levels for each hazard, and proposes control measures like having a stable floor, driving carefully, limiting force of slaps, and using camera angles to reduce risks.
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storyboard: Victor and Verlin discussing about top hat
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Theory – andrew goodwin, carol vernallis
- 1. Theory – Andrew Goodwin, Carol Vernallis By Will Smith
- 2. Andrew Goodwin ‘Music videos are simply an extension of the lyrics’ What does this mean? The video is a visual interpretation of the lyrics. TRUE FALSE Taylor Swift - You belong with me Metaphorical Justin Timberlake - Cry Me a River Gecko – Overdrive Bastille – Pompeii Ten Walls – Walking With Elephants
- 3. Carol Vernallis Narrative – ‘The visual will be based upon the lyrics.’ It can be a performance/narrative or a mixture of both. Diegesis – ‘How a story is created within the video’ ‘The world within the video’ Through Repetition of ideas/themes/shot is key to help create meaning for the audience. Camera shots/Framing – Try to avoid mid shots and use shots and movements that sit on the extreme ends of the scale. Editing – Will be left in a state of disjuncture, you should notice the shots to the beat and music videos allow you to jump through time and space without it looking odd.
- 4. Evaluation From looking at both these theorist I've understood that its okay to be more creative than just sticking to the basic structure of matching the video to the lyrics because doing that becomes very basic. I want to break the theories and create something surreal, entertaining and unique. If I did want to stick to one of the theories I would prefer to abide by carol Vanellis’ theory as it doesn't more lenient when coming to the ‘rules’ of a music video.