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

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