The document provides questions and guidance for answering a question about how a media product uses, develops, or challenges conventions of real media products. It begins by outlining what should be included in the introduction such as explaining the importance of genre conventions in media texts, particularly for music.
It then lists several points to address for both a music video and ancillary products, including what genre conventions were included/excluded and why, what was learned about conventions for real products and what was included/excluded. It suggests considering how conventions appeal to audiences and any conscious decisions to challenge conventions. Lastly, it recommends providing examples from the media products and using technical terms. The document concludes by offering advice on planning an answer and providing examples of
The document discusses the ways in which the author's music video, digipak, and magazine poster use, develop, or challenge conventions of real media texts. The author researched music video structure theory and incorporated generic camera shots and mid-range shots to visualize the artist's performance. They aimed to be partially conventional as a hip hop music video but also unique to appeal to viewers. Archetypes, repetition and difference, and promotion theories were also researched and applied to represent the artist as "troublesome" across all products through imagery like drugs and to reinforce this intended dominant reading. Both promotional products seamlessly integrated the same drug-related imagery to visually relate to the "Exile" album name and establish familiarity
The combination of the main music video production and ancillary texts (digipak and magazine poster) was effective in promoting recognition and synergy across mediums. Key elements like recurring imagery, camerawork, lighting, color scheme, and character representation were adapted from Eminem's "Curtain Call" album to construct visual and thematic relations between the products. While maintaining similar design formalities, the ancillary texts differentiated in information layout to distinguish the mediums but attract larger audiences through repetition and difference. This promoted the dominant reading of the artist's troublesome character through selective high visibility of conventions relating to drugs and social identity.
The document discusses typical conventions used in music videos and how the student incorporated those conventions in their own music video and related digipak. Some key conventions discussed include the use of various camera shots, editing techniques like jump cuts and transitions, mise-en-scene to represent importance through lighting and props, and common themes like narrative-based videos. The student explains how they researched conventions to develop their idea about the impacts of religion, and how they shot and edited their video to effectively portray emotions and relate to the audience. For their digipak, the student followed conventions like displaying the artist and album but also subverted expectations by using an unusual image and inverted orientation.
The document discusses a group media project to create a music video and ancillary tasks promoting a fictional band called Funnel. It describes the contributions of each group member, including filming and editing the music video. Feedback from audiences found the video creative but could have more location variation. Various technologies like Photoshop, Final Cut Express, digital cameras and Blogger were used effectively in the construction, research, planning and evaluation of the project.
The document discusses the results of audience feedback received on a student's music video production and ancillary tasks. Key findings include:
1) The music video was identified as a hip hop production and was seen as unique while also incorporating enough generic conventions of the genre.
2) The ancillary tasks (a magazine poster and digipak) were recognized as successfully advertising the music video through similar design elements.
3) While the ancillary tasks provided sufficient information, 40% felt they could provide more details. The student plans to include more production details.
4) Overall the feedback showed the productions were successful at meeting the student's goals of being identifiable while also unique. Room for improvement was noted in
This document provides guidance on analyzing media language in music videos for an exam. It begins by defining media language as the ways media producers make meaning specific to their medium and how audiences learn to interpret those meanings.
The document then gives suggestions for themes to address in an analysis of a music video, such as issues of authorship given audience participation online, postmodern elements like intertextuality, and debates around whether sound or image dominates in music videos. It discusses applying theories from genres, audiences, representations, and narratives. Finally, it contrasts the views of Vernallis, who sees the music as primary, and Goodwin, who identifies six key features of music videos, to analyze the defining elements of the music video's
1) The document evaluates a music video and its ancillary texts through audience feedback.
2) A questionnaire was administered to 30 people in the target age group of 14-24. It contained closed and open-ended questions about the CD cover, advert, and music video.
3) The results showed that most respondents found the link between the ancillary texts and music video to be clear. They also said the video matched expectations of a typical hip hop video and that they would be willing to watch it after seeing the advert or CD cover.
The document discusses the ways in which the author's music video, digipak, and magazine poster use, develop, or challenge conventions of real media texts. The author researched music video structure theory and incorporated generic camera shots and mid-range shots to visualize the artist's performance. They aimed to be partially conventional as a hip hop music video but also unique to appeal to viewers. Archetypes, repetition and difference, and promotion theories were also researched and applied to represent the artist as "troublesome" across all products through imagery like drugs and to reinforce this intended dominant reading. Both promotional products seamlessly integrated the same drug-related imagery to visually relate to the "Exile" album name and establish familiarity
The combination of the main music video production and ancillary texts (digipak and magazine poster) was effective in promoting recognition and synergy across mediums. Key elements like recurring imagery, camerawork, lighting, color scheme, and character representation were adapted from Eminem's "Curtain Call" album to construct visual and thematic relations between the products. While maintaining similar design formalities, the ancillary texts differentiated in information layout to distinguish the mediums but attract larger audiences through repetition and difference. This promoted the dominant reading of the artist's troublesome character through selective high visibility of conventions relating to drugs and social identity.
The document discusses typical conventions used in music videos and how the student incorporated those conventions in their own music video and related digipak. Some key conventions discussed include the use of various camera shots, editing techniques like jump cuts and transitions, mise-en-scene to represent importance through lighting and props, and common themes like narrative-based videos. The student explains how they researched conventions to develop their idea about the impacts of religion, and how they shot and edited their video to effectively portray emotions and relate to the audience. For their digipak, the student followed conventions like displaying the artist and album but also subverted expectations by using an unusual image and inverted orientation.
The document discusses a group media project to create a music video and ancillary tasks promoting a fictional band called Funnel. It describes the contributions of each group member, including filming and editing the music video. Feedback from audiences found the video creative but could have more location variation. Various technologies like Photoshop, Final Cut Express, digital cameras and Blogger were used effectively in the construction, research, planning and evaluation of the project.
The document discusses the results of audience feedback received on a student's music video production and ancillary tasks. Key findings include:
1) The music video was identified as a hip hop production and was seen as unique while also incorporating enough generic conventions of the genre.
2) The ancillary tasks (a magazine poster and digipak) were recognized as successfully advertising the music video through similar design elements.
3) While the ancillary tasks provided sufficient information, 40% felt they could provide more details. The student plans to include more production details.
4) Overall the feedback showed the productions were successful at meeting the student's goals of being identifiable while also unique. Room for improvement was noted in
This document provides guidance on analyzing media language in music videos for an exam. It begins by defining media language as the ways media producers make meaning specific to their medium and how audiences learn to interpret those meanings.
The document then gives suggestions for themes to address in an analysis of a music video, such as issues of authorship given audience participation online, postmodern elements like intertextuality, and debates around whether sound or image dominates in music videos. It discusses applying theories from genres, audiences, representations, and narratives. Finally, it contrasts the views of Vernallis, who sees the music as primary, and Goodwin, who identifies six key features of music videos, to analyze the defining elements of the music video's
1) The document evaluates a music video and its ancillary texts through audience feedback.
2) A questionnaire was administered to 30 people in the target age group of 14-24. It contained closed and open-ended questions about the CD cover, advert, and music video.
3) The results showed that most respondents found the link between the ancillary texts and music video to be clear. They also said the video matched expectations of a typical hip hop video and that they would be willing to watch it after seeing the advert or CD cover.
The document discusses the conventions of music videos and how the creator's music video both develops and challenges some of these conventions. It summarizes that the music video develops conventions through the use of close-ups, tracking shots, costumes, locations, and sound parallel editing to match the rhythm of the song. However, it also challenges conventions by not including a full performance and having a fragmented narrative structure to represent the artist's mental state. The document also discusses conventions of other related genres and formats like the Indie-pop genre, digipack covers, and magazine advertisements.
The document discusses the student's evaluation of their A2 media coursework, which included producing a music video, digital album artwork, and advertisement. The student structured their evaluation around 4 questions that examined how they followed, developed, and challenged conventions of the genre. They analyzed how audience feedback informed their work and how media technologies were used at each stage of production. Overall, the student demonstrated thoughtful consideration of genre conventions and theory in both their creative work and self-evaluation.
The document discusses the evaluation of the student's media products for a music project. It analyzes how the album cover, poster, and music video challenge or follow conventions of real media. The music video aims to challenge conventions by illustrating the relationship between lyrics and visuals, and music and visuals. The genre and style draws from the band Fall Out Boy. Overall, the products conform to some points of music video theory but challenge others due to being an animation. Feedback informed changes to improve the products and connection between them. A variety of software like Fireworks, Pinnacle, and online tools were used at different stages.
The document summarizes feedback received from an audience about various media products, including a music video, magazine advertisements, and a digipak. Key points from the feedback include:
- The audience recognized consistency in color and imagery between ancillary texts that helped link the products together.
- Feedback indicated the genre was effectively communicated as indie through unique style and lack of major label logos.
- Some images and designs were more effective than others at clearly promoting and linking the products, and some could be improved for better identification of the artist.
- The music video narrative around a mental health condition was understood but could have been made more clear by specifying the condition or using a more linear storytelling approach.
Ed Sheeran's music video for "Galway Girl" tells the story of how he met a girl in Galway, Ireland as depicted in the song's lyrics. The video uses techniques like close-ups and dynamic camerawork to follow the girl's movements and show her emotions. It incorporates Irish culture through dance scenes and references Rolling Stone magazine. The go-pro style camerawork from Sheeran's perspective and sped-up footage editing help portray the narrative. Overall, the video aims to represent the song through a visual story that immerses viewers in the experience.
The student created a music video, CD cover, and magazine advert for a band. They aimed to use, develop, and challenge conventions of these media. For the music video, they used fast editing and editing in time with the music. They challenged using women for aesthetic purposes. They developed using both a narrative and footage of the band performing. For the ancillary products, they challenged darker themes by using bright colors and a cartoon theme throughout to create continuity and a unique identity for the band. Feedback indicated the combination of products successfully represented the band as young, fun, and unique.
The music video conforms to conventions outlined by Andrew Goodwin such as clearly linking the narrative and lyrics. It features the artist singing, establishing a personal feel. It avoids conventions like choreography to reflect the song's simplicity. While conforming to some conventions, it rejects others like close-ups to emphasize the natural surroundings matching the song. Audience feedback showed most people liked the video and were interested in the band. It was seen as suitable for various occasions. People recognized the acoustic genre and link between song and video, showing the video looks professional. New media like YouTube, Jamendo and Adobe Photoshop were used for research, production and evaluation.
The candidate discusses how they constructed meaning in their music video coursework production through the use of media language. They explain how they used conventions like illustrating the relationship between lyrics and visuals, employing close-ups of the artist as demanded by record labels, and establishing the mise-en-scene through mid shots and long shots. The candidate also discusses applying Carol Vernallis' four concepts of how music videos construct meaning - narrative, editing, camera movements/framing, and sound - through a love story narrative, frequent cuts between shots under 5 seconds, and a close-up of the artist singing followed by a mid shot of them walking.
The document provides instructions for completing a case study assignment on music video production. It is divided into 3 tasks - the first addresses the purposes and strategies of music videos, the second focuses on styles, techniques and conventions of music video production, and the third involves analyzing a minimum of 3 music videos considering the first two tasks. Students are expected to submit each section on a weekly basis and can get guidance from their tutor if needed. The notes also provide tips for completing the case study such as including illustrative images and adding extra slides if needed.
This document analyzes how the author's music video and promotional materials for the song "Moving to New York" by The Wombats reinforce conventions of the indie music genre. The music video uses conventions like dark lighting, handheld camerawork, and casual clothing to portray the band consistently with expectations for low-budget indie videos. Similarly, the promotional poster and album packaging stick to genre norms by prominently displaying the song and band names while omitting images of the band themselves. Through adhering to these established forms, the author aimed to effectively promote the song while reinforcing the genre's stereotypical "outsider" image.
This document summarizes how a student's music video project for an A2 media course both followed and challenged conventions of the indie music genre. The student researched conventions by analyzing other indie music videos. They found that indie videos often do not focus on presenting the artist as a star and may tell unrelated stories. The student developed conventions by not consistently showing the artist, and challenged conventions by using a fragmented narrative structure. Overall, the student aimed to make their video intriguing while still relating to the song's meaning.
The document discusses media language and how meaning can be derived from images through their connotations and denotations. It then discusses how the director of a moving image text can influence meaning through techniques like camera angles, lighting, editing, and other cinematography elements. Finally, it discusses the student's plans for their music video, which includes using close-up shots to develop relationships with the performers, slowing down and chopping up the footage to keep it engaging, and focusing on accurate 1950s-era mise-en-scene, costumes, makeup, and setting to clearly convey the time period to audiences.
This document provides guidance for a case study assignment on music video production. It outlines the learning outcomes and assessment criteria for the case study. The document is split into three tasks. Task 1 addresses the purposes of music videos and strategies used by labels and artists. Some key purposes discussed are entertainment, branding/identity, and sales. Task 2 focuses on styles, techniques and conventions of music video production. Task 3 involves analyzing at least three music videos considering what was discussed in Tasks 1 and 2. Notes are provided on completing the case study, including using images and examples to support points. Questions for Task 1 examine the core purposes of music videos and broader strategies employed by different types of artists.
This document summarizes how a student's music video project used, developed, and challenged conventions of real media products. The student researched conventions of genres like rap and nerd rap to appeal to different audiences. Inspired by YouTube Rewind's postmodern remixing, the student included smooth transitions and micro-narratives linked to lyrics. Conventions like close-ups, dark backgrounds, and fire visuals supported the lyrics. Film noir influences like lighting, angles, and an alienated protagonist conveyed themes of nerd suppression. The student also incorporated conventions from K-pop like audience interaction and seamless transitions. Intertextual references to other media products further reflected remix culture.
The document discusses how the media product uses, develops, and challenges conventions of real music videos. It analyzes conventions around camera angles, shots, editing, lighting, and voyeurism found in music videos by Laura Marling, Gabrielle Aplin, Ben Howard, Florence and the Machine, and P!nk. It aims to build the identity of fictional artist "Emily" through close-up shots, but challenges typical sexualized representations of female artists described in Mulvey's "male gaze" theory. Overall, the media product develops many conventions to establish genre, while challenging aspects that did not suit its target audience.
The document provides answers to four questions regarding a media production project. For question 1, the response discusses how the music video adheres to and challenges conventions of the indie rock genre through elements like including band performances and having a nonlinear narrative. Question 2 examines how the music video, digipak, and advertisements create an effective brand through consistent visual style, themes, and focus on the band members. Question 3 outlines what was learned from audience research, such as a preference for interpretive narratives in music videos. Question 4 details the use of software like Final Cut Pro X and Photoshop in editing the video and creating marketing materials, noting both the benefits and some difficulties of the programs.
This document provides guidance for a case study assignment on music video production. It outlines three tasks: 1) the purposes and strategies of music videos, 2) styles, techniques and conventions of music video production, and 3) a case study analyzing at least three music videos. It discusses learning outcomes related to understanding the purpose and production of music videos. The document provides questions to guide research and analysis for each task, focusing on topics like the purposes of music videos, camerawork, editing, technical developments, and comparing different artists' music video styles.
The document summarizes how the media product uses and challenges conventions of real media through techniques like camera shots, editing, sound, and mise-en-scene. It discusses using close-up shots of the artist and props to engage audiences and convey emotions. Feedback was gathered from audiences to understand how to improve the video and print products. A variety of media technologies were used in the research, planning, and evaluation stages.
The document discusses how the student's media products for a music video, print advert, and digipak for the song "Adrenaline Junkie" both utilize conventions of real media products in the indie rock genre as well as introduce some original, entropic elements.
The music video uses conventional techniques like close-up shots of musicians performing and lip syncing, but also employs unconventional color filters to signify mood and monochrome/color switching for visual interest. Audience feedback helped shape some unique elements. While following standard formats, the print materials also feature monochrome/color mixing not found in the student's research. The goal was to balance familiarity and novelty to engage the target audience.
The document discusses how the media product uses and develops conventions of real music videos. It follows conventions such as using a narrative/performance structure, similar representations of the artist, lighting techniques, locations, costumes and makeup, cinematography like close-ups, and editing that matches the song's pace. However, it also challenges some conventions like not portraying the female character in a sexualized way. Overall, the product aims to appeal to audiences by following genre conventions while also updating them for the song's themes.
The document discusses the conventions of music videos and how the creator's music video both develops and challenges some of these conventions. It summarizes that the music video develops conventions through the use of close-ups, tracking shots, costumes, locations, and sound parallel editing to match the rhythm of the song. However, it also challenges conventions by not including a full performance and having a fragmented narrative structure to represent the artist's mental state. The document also discusses conventions of other related genres and formats like the Indie-pop genre, digipack covers, and magazine advertisements.
The document discusses the student's evaluation of their A2 media coursework, which included producing a music video, digital album artwork, and advertisement. The student structured their evaluation around 4 questions that examined how they followed, developed, and challenged conventions of the genre. They analyzed how audience feedback informed their work and how media technologies were used at each stage of production. Overall, the student demonstrated thoughtful consideration of genre conventions and theory in both their creative work and self-evaluation.
The document discusses the evaluation of the student's media products for a music project. It analyzes how the album cover, poster, and music video challenge or follow conventions of real media. The music video aims to challenge conventions by illustrating the relationship between lyrics and visuals, and music and visuals. The genre and style draws from the band Fall Out Boy. Overall, the products conform to some points of music video theory but challenge others due to being an animation. Feedback informed changes to improve the products and connection between them. A variety of software like Fireworks, Pinnacle, and online tools were used at different stages.
The document summarizes feedback received from an audience about various media products, including a music video, magazine advertisements, and a digipak. Key points from the feedback include:
- The audience recognized consistency in color and imagery between ancillary texts that helped link the products together.
- Feedback indicated the genre was effectively communicated as indie through unique style and lack of major label logos.
- Some images and designs were more effective than others at clearly promoting and linking the products, and some could be improved for better identification of the artist.
- The music video narrative around a mental health condition was understood but could have been made more clear by specifying the condition or using a more linear storytelling approach.
Ed Sheeran's music video for "Galway Girl" tells the story of how he met a girl in Galway, Ireland as depicted in the song's lyrics. The video uses techniques like close-ups and dynamic camerawork to follow the girl's movements and show her emotions. It incorporates Irish culture through dance scenes and references Rolling Stone magazine. The go-pro style camerawork from Sheeran's perspective and sped-up footage editing help portray the narrative. Overall, the video aims to represent the song through a visual story that immerses viewers in the experience.
The student created a music video, CD cover, and magazine advert for a band. They aimed to use, develop, and challenge conventions of these media. For the music video, they used fast editing and editing in time with the music. They challenged using women for aesthetic purposes. They developed using both a narrative and footage of the band performing. For the ancillary products, they challenged darker themes by using bright colors and a cartoon theme throughout to create continuity and a unique identity for the band. Feedback indicated the combination of products successfully represented the band as young, fun, and unique.
The music video conforms to conventions outlined by Andrew Goodwin such as clearly linking the narrative and lyrics. It features the artist singing, establishing a personal feel. It avoids conventions like choreography to reflect the song's simplicity. While conforming to some conventions, it rejects others like close-ups to emphasize the natural surroundings matching the song. Audience feedback showed most people liked the video and were interested in the band. It was seen as suitable for various occasions. People recognized the acoustic genre and link between song and video, showing the video looks professional. New media like YouTube, Jamendo and Adobe Photoshop were used for research, production and evaluation.
The candidate discusses how they constructed meaning in their music video coursework production through the use of media language. They explain how they used conventions like illustrating the relationship between lyrics and visuals, employing close-ups of the artist as demanded by record labels, and establishing the mise-en-scene through mid shots and long shots. The candidate also discusses applying Carol Vernallis' four concepts of how music videos construct meaning - narrative, editing, camera movements/framing, and sound - through a love story narrative, frequent cuts between shots under 5 seconds, and a close-up of the artist singing followed by a mid shot of them walking.
The document provides instructions for completing a case study assignment on music video production. It is divided into 3 tasks - the first addresses the purposes and strategies of music videos, the second focuses on styles, techniques and conventions of music video production, and the third involves analyzing a minimum of 3 music videos considering the first two tasks. Students are expected to submit each section on a weekly basis and can get guidance from their tutor if needed. The notes also provide tips for completing the case study such as including illustrative images and adding extra slides if needed.
This document analyzes how the author's music video and promotional materials for the song "Moving to New York" by The Wombats reinforce conventions of the indie music genre. The music video uses conventions like dark lighting, handheld camerawork, and casual clothing to portray the band consistently with expectations for low-budget indie videos. Similarly, the promotional poster and album packaging stick to genre norms by prominently displaying the song and band names while omitting images of the band themselves. Through adhering to these established forms, the author aimed to effectively promote the song while reinforcing the genre's stereotypical "outsider" image.
This document summarizes how a student's music video project for an A2 media course both followed and challenged conventions of the indie music genre. The student researched conventions by analyzing other indie music videos. They found that indie videos often do not focus on presenting the artist as a star and may tell unrelated stories. The student developed conventions by not consistently showing the artist, and challenged conventions by using a fragmented narrative structure. Overall, the student aimed to make their video intriguing while still relating to the song's meaning.
The document discusses media language and how meaning can be derived from images through their connotations and denotations. It then discusses how the director of a moving image text can influence meaning through techniques like camera angles, lighting, editing, and other cinematography elements. Finally, it discusses the student's plans for their music video, which includes using close-up shots to develop relationships with the performers, slowing down and chopping up the footage to keep it engaging, and focusing on accurate 1950s-era mise-en-scene, costumes, makeup, and setting to clearly convey the time period to audiences.
This document provides guidance for a case study assignment on music video production. It outlines the learning outcomes and assessment criteria for the case study. The document is split into three tasks. Task 1 addresses the purposes of music videos and strategies used by labels and artists. Some key purposes discussed are entertainment, branding/identity, and sales. Task 2 focuses on styles, techniques and conventions of music video production. Task 3 involves analyzing at least three music videos considering what was discussed in Tasks 1 and 2. Notes are provided on completing the case study, including using images and examples to support points. Questions for Task 1 examine the core purposes of music videos and broader strategies employed by different types of artists.
This document summarizes how a student's music video project used, developed, and challenged conventions of real media products. The student researched conventions of genres like rap and nerd rap to appeal to different audiences. Inspired by YouTube Rewind's postmodern remixing, the student included smooth transitions and micro-narratives linked to lyrics. Conventions like close-ups, dark backgrounds, and fire visuals supported the lyrics. Film noir influences like lighting, angles, and an alienated protagonist conveyed themes of nerd suppression. The student also incorporated conventions from K-pop like audience interaction and seamless transitions. Intertextual references to other media products further reflected remix culture.
The document discusses how the media product uses, develops, and challenges conventions of real music videos. It analyzes conventions around camera angles, shots, editing, lighting, and voyeurism found in music videos by Laura Marling, Gabrielle Aplin, Ben Howard, Florence and the Machine, and P!nk. It aims to build the identity of fictional artist "Emily" through close-up shots, but challenges typical sexualized representations of female artists described in Mulvey's "male gaze" theory. Overall, the media product develops many conventions to establish genre, while challenging aspects that did not suit its target audience.
The document provides answers to four questions regarding a media production project. For question 1, the response discusses how the music video adheres to and challenges conventions of the indie rock genre through elements like including band performances and having a nonlinear narrative. Question 2 examines how the music video, digipak, and advertisements create an effective brand through consistent visual style, themes, and focus on the band members. Question 3 outlines what was learned from audience research, such as a preference for interpretive narratives in music videos. Question 4 details the use of software like Final Cut Pro X and Photoshop in editing the video and creating marketing materials, noting both the benefits and some difficulties of the programs.
This document provides guidance for a case study assignment on music video production. It outlines three tasks: 1) the purposes and strategies of music videos, 2) styles, techniques and conventions of music video production, and 3) a case study analyzing at least three music videos. It discusses learning outcomes related to understanding the purpose and production of music videos. The document provides questions to guide research and analysis for each task, focusing on topics like the purposes of music videos, camerawork, editing, technical developments, and comparing different artists' music video styles.
The document summarizes how the media product uses and challenges conventions of real media through techniques like camera shots, editing, sound, and mise-en-scene. It discusses using close-up shots of the artist and props to engage audiences and convey emotions. Feedback was gathered from audiences to understand how to improve the video and print products. A variety of media technologies were used in the research, planning, and evaluation stages.
The document discusses how the student's media products for a music video, print advert, and digipak for the song "Adrenaline Junkie" both utilize conventions of real media products in the indie rock genre as well as introduce some original, entropic elements.
The music video uses conventional techniques like close-up shots of musicians performing and lip syncing, but also employs unconventional color filters to signify mood and monochrome/color switching for visual interest. Audience feedback helped shape some unique elements. While following standard formats, the print materials also feature monochrome/color mixing not found in the student's research. The goal was to balance familiarity and novelty to engage the target audience.
The document discusses how the media product uses and develops conventions of real music videos. It follows conventions such as using a narrative/performance structure, similar representations of the artist, lighting techniques, locations, costumes and makeup, cinematography like close-ups, and editing that matches the song's pace. However, it also challenges some conventions like not portraying the female character in a sexualized way. Overall, the product aims to appeal to audiences by following genre conventions while also updating them for the song's themes.
The document provides an evaluation of a media production project. It summarizes the ways the media product did or did not use conventions of real music videos, including genre characteristics, relationships between lyrics/music and visuals, close-ups of artists, and treatment of female bodies. It also discusses how consistent the look and persona were between the music video and album materials. New media technologies like YouTube, Final Cut Pro, and Photoshop were used for research, planning, construction, and feedback. Audience feedback was gathered through an online Prezi presentation. The evaluation demonstrates how the project challenged some conventions while maintaining consistency across its main product and ancillary texts.
The document analyzes how the student's media products for an album by the artist Pink use, develop, and challenge conventions of real music videos, magazine advertisements, and album covers. The main music video and two ancillary products (advertisement and album cover) effectively work together through repetitive visual elements and themes that create a cohesive brand identity and allow audiences to connect the products.
The document analyzes how the student's media products for an album by the artist Pink use, develop, and challenge conventions of real music videos, magazine advertisements, and album covers. The main music video and two ancillary products (advertisement and album cover) effectively work together through repetitive visual elements and themes that create a cohesive brand identity and allow audiences to connect the products.
The document analyzes how the student's media products for an album by the artist Pink use, develop, and challenge conventions of real music videos, magazine advertisements, and album covers. The main music video and two ancillary products (advertisement and album cover) effectively work together through repetitive visual elements and themes that create a cohesive brand identity and allow audiences to connect the products.
The three media products, including the main music video and two ancillary products, use, develop, and challenge conventions of real music videos. Repetitive features like similar imagery and themes create synergy between the products and a strong brand identity, making the combination of products effective. Audience feedback helped improve the products and showed that people enjoyed the video and ancillary texts and found them similar to real media. New media technologies were used extensively in research, planning, construction, and evaluation stages.
The document analyzes how the student's media products for an album by the artist Pink use, develop, and challenge conventions of real music videos, magazine advertisements, and album covers. The main music video and two ancillary products (advertisement and album cover) effectively work together through repetitive visual elements and themes that create a cohesive brand identity and allow audiences to connect the products.
This document discusses the student's music video coursework and how it uses conventions of real media products. The student researched existing successful music videos to understand conventions like narrative and performance styles. Their video follows these conventions, using elements like lighting, cinematography, mise-en-scene, and others to effectively portray the artist and elicit emotion from the target audience. The student analyzes how their use of conventions like close-ups, costumes, and simple lighting and settings help achieve their goals and will appeal to viewers familiar with similar music videos.
The document discusses possible themes and approaches for analyzing media language in a music video using theories from MANGeR (Media, Audiences, Narrative, Genre, Representation). It suggests three main themes: 1) Issues with discussing the meaning of the video or its agency given participatory culture and user-generated content; 2) Postmodern elements like intertextuality and breaking down distinctions between high and popular culture; 3) Differences in perspectives on what defines music videos, such as whether the sound or image dominates as proposed by Vernallis and Goodwin respectively. The document provides examples and theorists to support analyzing the video through these lenses.
The document outlines a case study for analyzing music videos from different perspectives. It is divided into 3 tasks. Task 1 addresses the purposes of music videos, including entertainment, promotion of artists/brands, and sales. Strategies employed by major labels, independent labels, and unsigned artists can differ. Synergy between music videos and other media is also discussed. Branding is important, as seen in the example of Imagine Dragons presenting a consistent image. One Direction videos aim for commercial success, while Animal Collective prioritizes the music and artistic creativity over fame.
The document analyzes how a student's media project uses, develops, or challenges conventions of real media products based on Andrew Goodwin's six key conventions of music videos.
The student's music video develops conventions by including a stage performance, which is common in metal genre videos. It uses conventions by having a clear relationship between lyrics and visuals, and between music and visuals. It also uses conventions through an intertextual reference to another music video.
The student's digipak and magazine advertisement further use conventions to maintain consistency across the media project.
In conclusion, the student's media product as a whole effectively uses and develops Goodwin's conventions to create a consistent and professional end product, without
The document discusses audience feedback received during the creation of a music video, website, and digital pack for an artist named Summer Thor. Key points:
- Audience research helped determine that the video should include both performance and narrative elements and that the artist should be dressed in light, floaty clothes.
- Feedback on mood boards and images helped decide the style and look for the artist's costumes, makeup, and overall brand identity.
- The name "Summer Thor" was the most popular choice for the artist after getting input from the target audience.
- Track listings and album titles were adjusted based on audience opinions to better fit the overall theme and message.
- Images and layouts for the digital
The document provides information about music video production and completing a case study analysis of music videos. It outlines three tasks for the case study: 1) the purposes of music videos in terms of promotion, branding, and sales; 2) common styles, techniques and conventions used in music video production like camerawork, editing, and special effects; 3) analyzing a minimum of three music videos considering the information from tasks 1 and 2. It encourages adding images and links from video examples and following points with explanations and further sources.
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The document discusses how the student's music video product both uses and challenges conventions of real music video genres. It incorporates common elements of pop music videos like dance routines, close-ups, and fast-paced editing to attract the target audience. However, it also shows the artists in more realistic, everyday settings to develop the genre by providing a more relatable representation and reflecting social changes in audiences preferring authenticity over overly glamorized portrayals. The music video aims to both engage conventions to relate to the genre while updating the format with a storyline and realistic elements to better connect with the target young female viewers.
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1. Question 1:
Things to include in your answer:
Start with an introduction that outlines the importance of Genre / Conventions within media texts. You should
explain how genre is relevant to music (each musical genre has a set of conventions that are utilised within
promotional texts such as videos, and print promotional texts). Why is it important to use the appropriate
conventions for that genre? You could include references to Goodwin here and some quotes if you want to (look
back at genre theory in iLearn).
Then, address the following bullet-points for both your video and ancillary products (you might find it easier to
do this as two separate answers).
What did you learn about your music genre conventions and what genre conventions have you included in your
video / not included and why?
What did you learn about real digipak conventions and what digipak conventions have you included / not included
and why?
What did you learn about real advert conventions and what advert conventions have you included / not included
and why?
How might your use of conventions attract or appeal to an audience?
Did you make a conscious decision to challenge any forms and conventions? Explain with reference to examples
from your own texts.
Have they proven successful? Have you developed (extended/improved/made more prevalent) any existing
conventions in your own video and ancillary texts?
Make sure you use technical terms in this question and provide lots and lots of evidence from your products and
real products.
In what ways does your media product use,
develop or challenge forms and conventions
of real media products?
2. How could you answer this question?
• Start by making notes and drawing your ideas together. If you worked
in a group, plan an answer together. Work your way through the
prompts and look back at your work and research.
• Think carefully about how to present this work…you need a
presentation method that allows to mix text / video and images as well
as being creative!
• Here are some good examples…
http://blogs.gryphon.dorset.sch.uk/8227sophiewebster/category/evalation
/
http://blogs.gryphon.dorset.sch.uk/jessicalouiseturvey/?cat=8
http://blogs.gryphon.dorset.sch.uk/elizabethkatecarswell/?p=414
http://blogs.gryphon.dorset.sch.uk/oliverkroggshirley97/?p=368
3. Start with an introduction that outlines the importance of Genre / Conventions within
media texts. You should explain how genre is relevant to music (each musical genre has a
set of conventions that are utilised within promotional texts such as videos, and print
promotional texts). Why is it important to use the appropriate conventions for that genre?
You could include references to Goodwin here and some quotes if you want to (look back
at genre theory in iLearn).
Genre refers to a category or classification of a particular medium, characterised by
similarities in terms of form, style, and semantic and syntactic elements. With regards
to musical genre, each genre has its own set of unique conventions that can be utilised
within promotional texts, such as music videos and print products, to successfully
establish an artist or band as working within that particular genre. Over time,
audiences learn to recognise key iconography associated with a particular genre, and as
a result, develop automatic expectations that a producer can choose to fulfil or subvert
within their media text to provide their audience with gratification.
Fowler proposes that a key advantage of genre and genre conventions is that they act
“as a kind of shorthand, increasing the efficiency of communication” between producer
and consumer, and therefore utilising the appropriate genre conventions within a
media text will enable the consumer to recognise the text as belonging to a particular
genre, and decide whether or not they wish to consume it.
When designing and constructing both my music video and associated ancillary texts, I
adopted a number of conventional elements associated with not only each form, but
the pop genre as well, to ensure that the products and the artist himself were
recognisable as belonging to this genre, therefore increasing the likelihood that the
products would be popular with members of my primary target audience.
4. MUSIC VIDEO
- SHOT TYPES:
o CU and mid-shots of the artist during both performance and narrative sections of the video with the artist typically centrally positioned (Goodwin / Dyer / Vernallis theories)
When analysing a variety of pop music videos that had been released as part of the promotional package for existing solo male pop artists, I
frequently observed that such videos contained a proliferation of what Goodwin describes as ‘money shots’ of the artist themselves.
‘Money shots’ are close-up shots or mid-shots of the artist that draw the focus of the consumer to what Dyer describes as the unique ‘star
image’ of the artist that has been constructed by the record company to appeal to a primary target audience. Not only did I observe that the
solo male pop artist within a music video would typically be framed within a CU or mid-shot, but it was noted that the vast majority of the
available screen time within the video had been dedicated to the artist themselves, which again ensures that the focus of the consumer is
predominantly centred on the artist, and the ‘star image’ that the record company responsible intends to portray to members of the target
audience to both promote and sell the artist as effectively as possible.
EXAMPLE
Within my own music video, it was my decision to follow these conventions, incorporating numerous CU shots and mid-shots of the artist,
both as he performed, and fulfilled his role as the protagonist within the narrative plotline, and dedicating almost all of the available screen-
time to him as well. As solo male pop artists are predominantly sold to their target audience through their constructed ‘star image’, I felt it
especially important to maintain a consumer focus on the artist, allowing for effective promotion. On a thematic level, both CU shots and
mid-shots work to largely isolate the artist within the frame, and therefore, on a thematic level, frequently featuring such shots within my
music video worked to emphasise the loneliness of the artist, and visually suggested a pre-occupation with his own negative emotions.
5. - PERFORMANCE NARRATIVE
(ANACHRONIC NARRATIVE) VIDEO
o Narrative explores a
heterosexual relationship
and its breakdown, and the
artist plays the male
protagonist.
o There is a greater amount
of performance than
narrative (Vernallis theory)
o The narrative both amplifies
and illustrates the lyrics and
themes of the song
o Lip-syncing is conventional
to the pop genre
o Cyclical narrative – not
conventional to genre, a
unique spin on the video
that provides difference,
which according to Neale
and Abercrombie is
important in engaging the
audience, and ensuring that
they watch the whole video
o Anachronic narrative can be
applied to Vernallis’s theory
of music videos
With regards to type of video, whilst researching and analysing existing videos belonging to solo male pop artists, I observed
that it was typical for such videos to be performance narratives, within which the artist can be seen performing the track, as
well as starring as the protagonist of the narrative plot.
EXAMPLE:
According to Goodwin, combining and alternating between performance and narrative is more likely to engage the
audience, and therefore encourage repeated viewing of the music video, which is extremely important, as music videos “are
essentially advertisements” for the artist. In addition, when the artist fulfils the role of both narrator and performer within a
music video, the authenticity of the video is increased, and, as a result, is more appealing to the audience. With Goodwin’s
theoretical proposals in mind, and an understanding of the conventional type of video produced to promote solo male pop
artists, I decided to construct a performance narrative video myself with the aim of producing a video that could be
considered both authentic and engaging by members of my primary target audience. Furthermore, my music video
deliberately contains a greater amount of performance than narrative, as Vernallis proposed that this is a typical convention
within the majority of music videos that ensures effective promotion, and I found it to be true of music videos associated
with solo male pop artists.
As part of his theory, Goodwin proposes that there are three ways in which the visuals within a music video work to
promote the track. It may be that it is done through disjuncture, whereby the visuals do not relate to the lyrics/themes of
the track. Alternatively, this could be done through amplification, whereby the meaning of the track is exaggerated by the
on-screen visuals, or through illustration, whereby the meaning of the track is demonstrated within the video through the
use of particular symbols/scenes that represent the lyrics. Within music videos promoting solo male pop artists, I observed
that it is typical for the on-screen visuals to amplify and/or illustrate the lyrics of or themes presented within the track.
EXAMPLE: OLLY MURS DEAR DARLIN’ – ILLUSTRATES AND AMPLIFIES
With regards to the narrative aspects of my music video, I decided that predominantly, the narrative would amplify the
lyrics of the track, but that particular shots within the video would illustrate key points referenced within the lyrics.
6. RMANCE NARRATIVE
HRONIC NARRATIVE) VIDEO
Narrative explores a
eterosexual relationship and
ts breakdown, and the artist
lays the male protagonist.
here is a greater amount of
erformance than narrative
Vernallis theory)
he narrative both amplifies
nd illustrates the lyrics and
hemes of the song
ip-syncing is conventional to
he pop genre
yclical narrative – not
onventional to genre, a
nique spin on the video that
rovides difference, which
ccording to Neale and
Abercrombie is important in
ngaging the audience, and
nsuring that they watch the
whole video
Anachronic narrative can be
pplied to Vernallis’s theory
f music videos
As part of his theory, Goodwin proposes that there are three ways in which the visuals within a music
video work to promote the track. It may be that it is done through disjuncture, whereby the visuals do
not relate to the lyrics/themes of the track. Alternatively, this could be done through amplification,
whereby the meaning of the track is exaggerated by the on-screen visuals, or through illustration,
whereby the meaning of the track is demonstrated within the video through the use of particular
symbols/scenes that represent the lyrics. Within music videos promoting solo male pop artists, I
observed that it is typical for the on-screen visuals to amplify and/or illustrate the lyrics of or themes
presented within the track.
EXAMPLE: OLLY MURS DEAR DARLIN’ – ILLUSTRATES AND AMPLIFIES
With regards to the narrative aspects of my music video, I decided that predominantly, the narrative
would amplify the lyrics of the track, but that particular shots within the video would illustrate aspects
of the lyrics. For example, at the beginning and end of the video, I have featured a CU shot of an alarm
clock that changes from 2:59AM to 3:00AM as the lyrics of the track state that “It’s 3:00AM”. In addition
to this, at the beginning of the video, the artist can be seen beginning to leave a voicemail for his ex-
girlfriend as the lyrics state that “I’m calling in…”. Illustrating certain aspects of the lyrics within the
music video not only enabled me to draw attention to key points, but, with regards to the reference to
the time of day, it helped to set the scene, and therefore increase the authenticity of the music video.
7. Within my own music video, the narrative presented is largely anachronic, with the artist experiencing
flashbacks to both positive and negative moments that occurred during the relationship he is seen to be
mourning. Although this particular type of narrative is relatively uncommon within music videos belonging to
solo male pop artists, and can not therefore be considered conventional, I did identify a small number of
videos that did contain such a narrative.
EXAMPLE: DEAR DARLIN’ AND THE NATHAN SYKES VIDEO
Not only could the anachronic narrative presented within my music video be considered unconventional to
the pop genre, but the cyclical structure of the video could be considered unconventional as well. At the
beginning of the video, the artist is seen waking at 3AM and leaving a voicemail to his ex-girlfriend, and at the
end of the video, the artist is once again seen to wake at 3AM, but on this occasion, he is seen to fall back on
the bed next to his sleeping girlfriend, therefore revealing the dream element of the narrative. Although a
cyclical structure is not conventional to music videos belonging to solo male pop artists, it gives a unique
element to my music video, presenting the consumer with a “difference” that Neale argues is vital to
providing both viewing pleasure, and gratification.
8. - END TITLE SCREEN
o I have included an end title screen to add something unique to my video, but this is
not conventional to pop music videos overall – done for stylistic reasons and to create
a direct link to the ancillary products – reinforced the emphasis on the artist as well
At the end of my music video, I opted to add end-titles that featured the
title of the track itself, and the name of the artist. Although it is not
conventional within music videos that promote solo male artists to
incorporate such a feature, I felt that doing so added something unique
to my own video that would once again create the “difference” Neale
thought to be essential. Furthermore, featuring end-titles within my
music video enabled me to add a further link to both the digipak and
magazine advert I had constructed, as the font and colour used for the
text was identical to that used on each of the ancillary products.
9. MUSIC VIDEO
- MISE-EN-SCENE
o Lighting and colour reflect the mood / tone of the track itself
“In terms of colour, the scheme used throughout this video is dull/dark, with black and grey frequently seen. Within the video, the use of low-key lighting and dark/dull colours subverts the
conventions of the pop genre, which is well known for its high-key lighting and bright colours. According to Abercrombie, it is possible for the audience to “derive pleasure from observing
how the conventions of a genre are manipulated”, and therefore the subversion of genre conventions within Maynard’s video is likely to induce a greater degree of viewing pleasure for his
audience, and provide them with greater enjoyment. This notion is supported by Neale, who proposed that audience “pleasure is derived from repetition and difference”; whilst the video
does repeat some pop conventions, it subverts them as well, providing difference that will ensure the audience thoroughly enjoy viewing the video.”
It was observed whilst researching and analysing existing music videos belonging to solo male pop artists that it is typical
for the lighting within and the colouring of the footage to reflect the mood and tone of the track, and/or the plotline of
the narrative if the video contained a narrative element.
EXAMPLES: HAPPY AND SAD EXAMPLES
Within my music video, I
10. MUSIC VIDEO
- DIRECT MODE OF ADDRESS
o Within most pop videos, artists use direct mode of address whilst lip-syncing, but there is no direct mode of address within my video
SUBVERTING CONVENTIONS:
Whilst researching and analysing existing music videos used to promote solo male pop artists, it was typical to see the artist
performing the track to the camera via direct mode of address, enabling them to connect more effectively with members of
their target audience by creating a greater degree of interaction, and to emphasise particular sections of the track.
EXAMPLE: SEASONS – OLLY MURS
Although the use of direct mode of address within a music video does allow for a greater degree of interaction, and
therefore a better connection, between the artist and consumer, I decided against using such a technique within my own
music video, as a key aspect of the video is that the artist is directing the lyrics of the track towards his ex-girlfriend in the
form of a voicemail following their recent break-up. As a result, although the use of direct mode of address within the video
may have helped to better convey his emotion to the audience, I felt that the use of such a technique would be
inappropriate, as it would undermine the narrative element of the video, and perhaps convey a level of insincerity.
11. DIGIPAK
- When researching the digipaks/magazine adverts associated with solo male pop
artists, it became apparent that they are predominantly sold through their star
image, which predominantly centres around their physical appearance, which must
be attractive, and their cultural relevance. Both digipaks and magazine adverts
feature CU / mid-shots of the artist themselves, and related motifs / iconography
do not appear to be a key aspect of establishing their brand identity.
- Links between each of the three products (conventional to link promotional
products):
o Identical appearance of text across all three products
o The photograph used for the front panel of the digipak is the same as that
used for the background image of the magazine advert
o Appearance of the artist is consistent across each of the three products
- Front panel features photograph of artist himself
- Six panels
- Back panel containing track listing / institutional information / barcode
- Front panel featuring image / title of album / name of artist
- Spine featuring title of album / name of artist / record company logo / cat. number
Whilst researching existing digipaks and
magazine adverts associated with solo male
pop artists, it became apparent that both forms
of promotional material centred almost entirely
on the artist themselves.
12. Whilst researching the conventional features of digipaks, particularly those belonging to solo male pop artists, I discovered that it is
typical for digipaks to demonstrate a consistent ‘house style’ across all six panels with regards to colour scheme, imagery, etc.
EXAMPLE: JUSTIN BIEBER BELIEVE
With regards to the digipak that I constructed, the application of a monochrome filter to the photographs of the artist featured on
four of the six panels, and the application of an identical monochrome filter to the background images for the remaining two panels,
and the inner and outer spines, ensured that the overall aesthetic of the digipak was uniform. Furthermore, when photographing the
artist, I ensured that the composition of each photograph was relatively similar, and, by taking the photographs on the same day, I
ensured that the appearance of the artist was not altered as well. Developing a ‘house style’ for the digipak I constructed ensured a
thematic consistency with the music video as well as a visual consistency across all panels, as the monochrome filter accurately
reflects the mood and atmosphere depicted within the video itself. Not only did I demonstrate a homogenous ‘house style’ across all
six panels of the digipak, but I extended this ‘house style’ to the design of my magazine advert as well. It was my intention that
creating a synergetic link between the two ancillary products would enhance the promotional campaign that I had constructed for the
artist, and in turn, strengthen the presence of his brand identity within his sector of the pop music market.
13. DIGIPAK
- Front panel features photograph of artist himself
- Six panels
- Back panel containing track listing / institutional information / barcode
- Front panel featuring image / title of album / name of artist
- Spine featuring title of album / name of artist / record company logo / cat. number
14. MAGAZINE ADVERT
- SYNERGY – Conventional for mag ads to use imagery
relating to digipak – my advert features the same
photograph that has been used for the front panel of the
digipak, and same monochrome filter over photograph –
direct connection, strengthens campaign – EXAMPLE
WOULD BE MIKA MAGAZINE ADVERT
- Different coloured text used within advert – EXAMPLE
WOULD BE OLLY MURS DIGIPAK / MAG AD
- Other conventional elements featured within the advert
as well, as these were essential to the design – audience
needed to know title of album/name of artist/release
date for album/where it would be available/record
company/hit single names/web address for further
promotion