Saturday, 19 October 2013
Case Study 3
The concluding piece of media text, I
have chosen to analyse is a song by Tom Odell called ‘Another Love’ I will be
looking into how the micro features like: camera choices, sound
and mise en scene, fit into the generic conventions of a music video. As well
as stating the intuition and its importance to the video. Additionally I will
connect this with audience theory, and what purpose does the performer have;
whilst incorporating codes and conventions through audience pleasure. All this
is in preparation for when I begin to produce my own music video.
Institution
The
video ‘Another Love’ by Tom Odell was published on the 5th of November
2012. The video was directed by Bella Monticelli, who does not have a
high or established record of previous film making; but had her major break
through with the release of this video.
This video was produced
by Gareth Thomas who has worked on a number of alternative media text’s
such as Eliza Doolittle’s big when I was older’, The Vaccines' If You Wanna’
and many more. The editor of this video is Kit Wells who used Final Cut, the production company for this video is HSI London who have risen in popularity,
through their diverse range in video productions: from ‘Kanye West’s Love Lock
Down’, ‘James Blunts I really want you’,
Pixie Lott’s Boys and Girls, to the ‘Gorillaz Andre 300’ video, and many more.
The company was founded by Stavros Merjos in 1986, from then on the company began to gain
esteem; for its diverse range of work and high profile bookings in artists. The
company has conglomerate branches in
London , Los Angelis and New York
Audiences Theory/tech-convergence
We are
directly connected to the artist from the offset, as the scene begins with a close up of Tom Odell directly looking
at us. This has been masterfully executed by Monticelli and Thomas throughout the text, as Tom is
singing directly to the audience,
some might conclude that this is a form of textual
schizophrenia but it is a combination of a highly constructed narrative
in dissemination around the artist who is in constant eye contact with the
viewer. This has been accomplished in the determination, that the audience have
a connection to the artist. As an audience we can identify the narrative
playing out around him, but we are still in direct focus and eye contact with
Tom Odell.
The Uses and Gratifications Model can be
applied to this text: as throughout this clip we are presented with themes of love and compassion playing
out around Tom. All from who we assume to be his lover, as an audience we receive pleasure from this text however
the leitmotif then changes with the music into anger and aggression; which places the audience into a more uncomfortable position, this use of audience positioning has been
carried out purposely, as we are provided with emotions, we have experienced at some point in our lives. This gives the audience power as they are choosing to identify with aspects or all of this
video; and are using the text to
fulfill a need, that they are connected to it emotionally, instead off being used by it.
This also denotes Stewart Halls Reception theory: in that the text in this video has been coded with meaning by Monticelli and Thomas who want to portray a message, to the audience. Which is then to be decoded by them to receive either a positive, negotiated, or negative reading of the text, from research I have been able to identify audiences have a positive reading of the text as they understand the message and have a connection to the meaning.
This also denotes Stewart Halls Reception theory: in that the text in this video has been coded with meaning by Monticelli and Thomas who want to portray a message, to the audience. Which is then to be decoded by them to receive either a positive, negotiated, or negative reading of the text, from research I have been able to identify audiences have a positive reading of the text as they understand the message and have a connection to the meaning.
I have been able to establish this from the technological convergence of media text today; as this video
has over 10 million views on YouTube
and 71,000 likes over a dismal 1,000 dislikes the reaction from people
to this video is expressive especially in how they feel, by having a positive discussion with comments such
as “Most
likely the best song of this whole year.” and “I love this song I have such a strong connection to it”; as well as having a strong popularity
on social media platforms such as
being liked 251,576 and shared 203,989 on Facebook, Tweeted 14,252 times on Twitter and 1,850 on Google Plus One. This serge in technological popularity allows me
to see audience reactions to media texts, and I have been able to identify a positive reading of this text. This has
become a highly useful tool for production companies in assessing what
sells to consumers.
‘Roland Barthes Grain of Voice’ theory can be related to this piece of media text, as Tom
Odell has formed his own identity through the way that he sings. He is not one
your overly produced stars, but has his own way of expressing his voice and has
established his own quirky music style as a trademark in helping him to connect
with audiences; his style of music is identified as Folk Indie-Pop.
What
connects this video to Roland Barthes theory, is that he states that the meaning
is identified through the singer; who is connoting a narrative through the
lyrics they are singing. This captures the audiences especially if the artist
is directly singing to the audience, this is an exact representation of what is
being portrayed in Odell’s video. In addition the audience’s visualisation of
the video how audiences can be captured by aspect of this video, and find that
they can connect memories of their own life to it.
Narrative/Codes
The
Narrative has been carefully constructed, as Monticelli and Thomas are trying to represent new ideas to their audience; and
have cleverly achieved this through an interesting plot which contrasts with certain
narrative conventions. For example there are no cuts from the artist back to
the narrative as the narrative unfolds around the artist. Where this video does
follow some conventions is it that the artist is in the video singing directly
to the audience this contrast the ‘Hello Brooklyn’ Video I looked at where no
there was no artist performance.
One of the key symbolic signifiers I noticed, taking place thought out this video; are the flowers next to the artist. They are a sign they are a signifier for the disruptive relationship the artist has, with the woman in the video; and the referent is how relationships are difficult in the real word; they can start off well, but can turn bad near the end, just like the flowers do.
One of the key symbolic signifiers I noticed, taking place thought out this video; are the flowers next to the artist. They are a sign they are a signifier for the disruptive relationship the artist has, with the woman in the video; and the referent is how relationships are difficult in the real word; they can start off well, but can turn bad near the end, just like the flowers do.
This video also follows some of Vernallises theories on narrative in that the video is a visual
repose to the song, which it is as it tackles conations of love and anger. Also the resolution is not too clear at the
end, which also connotes what Vernallis states.
Micro/Macro
The camera work begins with a deep close up; this connotes Andrew
Goodwin’s theory of how it is important to get close up of the artist so
audience can connect with them. Also the sequence begins and ends in a close
up; this has been carried out on purpose so that we are visually connected to
the artist for start to end.
The camera
movements are quite slow, in
order to be in keeping with the pace of
the artist lyrically. The camera pans
out slowly from a close up into a mid-close up, and
then a wide shot and mid-shot of the artist; and we can begin to
establish the mise en scene: which
connotes an apartment studio room with not many furnishing.
The editing
has been utilised through parts of the sequence at 1:35 the woman fades out who we assume is hid girlfriend, this fade has been used to signify time passing by, the camera
stays still on a wide shot of the
room with artist in his chair, the editing
has then been used to fade-in
furnishings, this signifies
their relationship of her moving in.
The camera work is quite alternative, and does not
follow generic conventions in music
video filming. In the first part of the song: 0:00 until 1:39; the camera slowly pans-out. This represents the more content part of their relationship, which is
also shown though the lighting in
the mise en scene which is light and
ambient, as well as the props such
as the flowers are still fresh, his companion is showing him affection: she is dressed in white to represent her purity and their happiness...
... However this changes at 1:56 as the camera now begins to slowly pan in the mise en scene
shifts and the lighting becomes a
bit more low key, her clothes are darker from white now to black and grey; this has be done purpose
to show the change in the artist’s voice: his anger and frustration. Then at 2:16
the camera stops at a mid wide shot this has been done on purpose so we focus on the action taking place around the artist,
as this abrupt, stop in fluid motion in panning, makes us as an audience feel more on edge and uncomfortable.
. .
… As the lyrics become more agitated so does the diegesis, as the actions of the women at 2:26 hitting the artist, is portrayed through the camera work as it shakes when she hits him. This has been done so the audience feel
as thou they are in his position.
From then on-wards the camera work is shaky to signify their relationship. Then
as the camera pans-out, the mise en scene begins to drastically
change at 3:07 the lighting becomes
increasing dim, so do the prop the vase of flowers begin to die: like their relationship.
Saturday, 5 October 2013
Case Study 2
The piece of media text, I have chosen to
analyse is a music video called Clubbed to Death by Rob Dougan, which is a high
expense production. I will be looking into how the micro features such
as the camera choices, sound and mise en
scene, fit into the generic conventions of a music video; and why
they are used to provide information. I will also explore editing; and how it
is cut with the lyrics. I will especially
be linking audience theory as well as visual identity; while interconnecting codes/conventions and the performance.
INSTITUTION
The music
video was directed by David Slade, who is well known in the music industry for
his avant-garde style of film making. He has produced various renowned music
videos such as Hyper by Muse, Girls Not Grey and many others. The music video
was realised in 1996 and was considered as a forefront for high budget music
productions. The record label that signed the artist and financially marketed
the music video, where Mo Wax Records owned by James Lavelle, established in the UK, and founded
by Lavelle in 1992. It did not take long for the label to gain public awareness
and with Steve Finan who shortly after co-owned the label with James. The label became
identified for being the leading edge of turntablism, trip hop and alternative
rap in the 90’s. Mo Wax was partially signed over to A&M records in 1996
by Lavelle, which is now a subdivision of the Universal Music Group.
AUDIENCES
The Imagery in
the music video is almost reminiscent of film noir, as the clips have been
highly contrasted in saturation’s and levels; in order to interject a more
intense response from an audience. This extract targets a group who enjoy music
of a more orchestral genre, therefore signifying towards an older demographic.
The music video has many intertextual references which audiences can recognise
for instance at 1:37 the couple kissing has a reference to films such as Casablanca;
Throughout the music video the audience are able to identify
what is a highly elaborate production almost congeneric to film sequences; such
as the explosion scene at 2:52, this can be linked to audience power theory: in
that in the technological age of multi-channel publishing, allows audiences to have
input in shaping of the content, as there is a high demand in advancements in
media texts.
NARRATIVE/CODES
Narrative in this
music video is quite complex, and is comparable to a powerful film extract; as
it is rare to find a complete narrative in a music video. The narrative also
differentiates from many music video conventions as it does not provide
audiences with repetition. This gives the audience a higher sense of engagement
with the text as they are focused on following the plot. The anchorage of the
narrative is corruption vs. stability and forward thinking, this has been
provided throughout the video, as the camera is in constant close up as well as mid
shots of artist at 0:50: These shots have been chosen, so the audience are
consistently in observation, of that one character in comparison to the others.
But
where this video contrasts her theory highly, is the fact that the narrative presents a story-line from start to finish: as in the beginning we are presented with
the corrupt giant figures of society, an indexical reference to the Wall Street
crash. The girl at 0:50 is looking up at the corrupt men at 0:33, the man sees what is happening
at 0:51 and begins moving forward, the conclusion is he becomes a leader
himself the girl sees this at 3:13 and begins moving forward herself.
This
represents that the music video poses questions which are answered and follows
through with the narrative. This provides the audience pleasure as there is a resolution at the end of the video
which audience find satisfying. Most of society’s codes and conventions: is being a moral citizen, and many
view themselves as the man in the video moving forward and not backwards, this
connection gives the audience a preferred
reading of the text.
The editing is highly powerful in this, as there are many pace changes throughout
the sequence, which have been inputted to implement a varied response in
emotion from audiences by adjusting their mood through the sequence. As well striking
visual effects are employed, for instance in the long running scene movements have been sped up to add increasing levels of intensity. We are
then provided with a spectacular explosion at 3:51 this has been implemented to
present audiences with pleasure and has intertextual references to action packed
films.
PERFORMER
This video does not follow your old music video conventions, of textual schizophrenia: in that the artist performs directly to the camera not moving. This video contrasts that, in sense that the creator of the actual music does appear throughout the video, as the main protagonist... This is important especially for an audience as involving the artist provides more originality to the video: (this connotes Andrew Goodwin’s theory.) The artist plays a large part in the story line, however there are no lyrics which makes his part solely performance based; the reason for this is that the audience become even more intrigued by the character, therefore making them more engaged in viewing more of the video. There are close up’s of the performer and the general focus is on him. The purpose of this is to add more drama which makes a highly effective music video.
Tuesday, 1 October 2013
Case Study 1 'Hello Brooklyn'
Hello
Brooklyn
I will be
discussing the conventions of music videos today and how they communicate
theories such as ‘Mathew Goodwin’s’
five elements to a music video theory, ‘Carol
Versailles’s’ narrative link or disconnection theory… and I will be analysing
how the video ‘Hello Brooklyn’ rapped by Jay z (who is signed by Roc-A-Fella), communicates this: through editing, imagery, mise en scene
and visual identity.
This video was created
and visually designed by Greg Solenstorm
who produced the animation, as well as well as the editing and SFX for this
video; which follows more alternative
conventions then your more main stream music videos; as this video
contrasts some of ‘Andrew Goodwin’s’
theories as there is no performance or visual appearances or even close ups of
the artist in the video, for audiences to connect with. No stereotypes of women
being degraded (you can also contrast
this to ‘Laura Mulvey’s’ male
gaze theory). As well there are no intertextual
references to other music videos, television or films, as the text
provided is a more alternative and is
an original take on music video producing.
... This is where ‘Textual Schizophrenia’ comes
into play, as this video does not
follow your old conventions of the artist/artists; standing in front of the
camera and singing directly to the
audience. New conventions are being communicated, allowing the maker of the
video to inject their own ideas, feelings and imagery to audiences. . .
The maker of ‘Hello Brooklyn’ is ‘Andrew
Goodwin’ who lives in Brooklyn and has a strong connection to
its urban environment, so collecting imagery to visually communicate the lyrics
was something personal to him. 
The concept of
this music video is to communicate 
The mise en scene in this music video represents a more: urban to lower
class demographic of people;
who will most likely connect to this video through an recognition of the
imagery; as well as having patriotism in their psychographics in that their personal lives are an reflected
in their relation to the images; which evoke feelings of conation in the area. This makes the video, niche in the demographic it is targeting, so does not have the bearing’s to have a large commercial distribution.
Once he had completed developing the
images: he could use the ‘vanishing
point’ tool in Photoshop, to distort his image into segments, and then
bring into the main editing software Adobe After
Effects: which is a moving imagine and video editing software, that allows
you to create cinematic motion
graphics and sophisticated visual effects.
Andrew
used this software throughout the whole editing processes, and it allowed him
to achieve faultless continuity.
This can be allied with some of ‘Carol
Vernallises’ theories: one of which relates to how a music video is a
‘visual response to the lyrics’, and this is exactly the case in the ‘Hello
Brooklyn’; which represents the music through a series of photographic
responses to the city Brooklyn.
‘Carol Vernallises’ theory about editing in music videos, distinctly relates to the editing choices in ‘Hello Brooklyn’;
for instance Vernallis makes known that a music is cut to the beat and edit
matches the lyrics in the video, and in ‘Hello Brooklyn’ the lyrics are displayed visually and when the
artist puts definition on a word
when he raps, the edit reflects this
by providing us with a harsh cut to
the word, by zooming in, this happens in various parts of the video as
illustrated in 0.46 to 0.48 and 1.23 extra … This is something
I want achieve in my own video by looking a tutorials and making sure I
have a clear editing plan.
The framing and movements in the music
video ‘Hello Brooklyn’ have been skilfully
constructed, to create a perception of a moving camera, however these are a
series of images; which have had motion’s and angle movements emplaced during
the editing process. Although there
was no moving camera, originally used in the formation of this video; it still
is in keeping with ‘Carol
Vernallises’ theory on how the ‘camera
moves in motion with the lyrics’. This is
semblant throughout the music video ‘Hello Brooklyn’ as motion is emplaced onto the images to
follow the typographic lyrics, which are continuously shown from start to finish.
The typography used, is also something
which needed to be thought about logically, as the graphics and positioning of the typography; was key in creating a
competent video. The type used was ‘Helvetica’
which is popular amongst designers as it is a clean legible font and is how the artists would want to be perceived: (little things like this are important in establishing a video.)
There is no real diegesis presented in the music
video ‘Hello Brooklyn’, and by no
means; is the audience provided with a prominent storyline or character. So
this is where the video differentiates
from most of ‘Carol Vernallises’
theories on diegesis; however there is one point she makes that is in pertaining to the video: ‘Vernallis’ states that there is
‘repetition’ throughout a music
video, that certain aspects of a video are re-shown in the edit. This is apparent in the music video ‘Hello Brooklyn’ as at the beginning of
the video until 0.29 there is a
close up shot of concrete, this is then repeated
at the end of the video at 2:10 until
2:29.
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