Music video assessment
Explain how representations in music videos are chosen to promote the artists. Refer to one of the music videos you've analysed.
At the beginning of the music video by Titanium by David Guetta and Sia, there is a boy aged 12/13 crouching in a ball amongst debris and mess in a school. We cannot yet see his face but the camera pans across his body at floor level to visualise his closed body language, suggesting he is scared and vulnerable. The shots then focus on the destruction around him then a long shot pans out and portrays the boy sitting up amongst the mess of a school. The camera then pans along with a close up shot of the boy as he walks out of the school and puts on a bright coloured hat which foreshadows the colour contrast between his hat and the dullness of the school whilst also suggesting the contrast between society and the brilliance of the boy’s unknown hidden powers and individuality. The boy then walks outside, where the atmospheric colour becomes more enhanced, encouraging the theme of escape and freedom. Whilst doing this, the police car discourages the theme of freedom with the theme of threat. The shot then shows the boy riding a bike, however, editing has allowed the pace of the shot to speed up to portray the power within the boy and his need for escape. When at his home, the camera goes from a long shot of the living room to a close up of the television that reads “supernatural occurrence at local school”. To the left of it, there is a ‘superargo’ poster which Is a vintage supernatural fan poster. The shot then changes to a mid-shot of the boy throwing stuff off his bed. After the boy has left by using his powers, the drop of the song erupts as the door smashes open by the police. Although the music Is fast-paced, the shot of the door opening is edited in slow motion, presenting the impact of the strong beat within the song. A low shot is then used facing upwards to the ceiling of the boy’s room, where two teddies’ are floating. As the boy steps out into the forest, the bridge of the song starts playing which builds a climax to the final event of this boy’s journey. At this point, the sky has turned to dusk to represent the darker stages of the story which is proven as we see a long shot of the police chasing after the boy through the woods. As the boy is caught, a mid shot is used to show he has fallen and is now trapped by the police. At this moment, the head lights of the car near him turn on which represents the light of the boy’s powers and allows the audience to see the actions occurring. Close ups of the police men’s faces emphasise the stress and fear due to the situation. In the final moments, the boy returns to his original crouching position which was performed at the start of the video, showing a cyclical theme. From a long shot a bright light then follows from the boy and causes the police men to be thrown backwards in slow motion. The contrast of the bright light to the surrounding dark atmosphere creates brilliance for the boy with the power and encourages the audience to remember the video due to the explosive visual.
The costumes used in the video are basic, autumnal and normal to everyday people. The set is also basic and shows a national school where disaster has stuck along with an average 80’s American neighbourhood. No characters have heavy makeup or outfits. Although the basis of the video is neutral and normal, the artist behind it are glamorous, rich and well-established. They probably do not usually visit schools or even normal neighbourhoods, therefore, this representation of working-class people makes the audience feel that the rich celebrities behind the song do have an idea of normal life and the difficulties of wanting to be individual in society.
The music video takes on a narrative form, showing the journey of a supernatural boy. The main character, the boy, never breaks the fourth wall or breaks character. He is shown as vulnerable and desperate throughout. This identifies the difficulty individuals may feel when wanting to be comfortable in their own skin but society does not accept it. The artists David Guetta and Sia, may have wanted to portray this to show they support individuality and want encourage young people to be themselves without fear.
Music video notes
Forms and conventions
A music video is a videotaped performance of a recorded popular song. It is usually accompanied by dance or a fragmented story. Music videos sometimes use concert footage.
3 types of video
A music video is a videotaped performance of a recorded popular song. It is usually accompanied by dance or a fragmented story. Music videos sometimes use concert footage.
3 types of video
- performance
- Narrative
- Concept
- Quick shots
- Stylisations
- Fanciful imagery
- Erotic imagery
- Computer graphics
- Animations
- Live action
- Documentaries
- Non-narrative
- Abstract film
- Eg, Macho rock male representation, long hair, leather, tattoos etc.
- Cutting edge techniques and artistic innovations
- Women= sexualised
- Race
- Music, lyrics, performance, themes, genre
- Performance of the artist as part of the video
- It was from clips of performances that music video developed
- Tell a story either that features in the lyrics or is suggested in the lyrics
- Can be like a mini film. with a beginning, middle and end
- Can suggest links to a story
- Can promote a film with clips from the film including telling a story
- Based around a single idea or concept
- Usually unusual or obscure even surreal for the audience
- Lots of common themes
- Depends on genre
- Lots of editing
- Symbols, montage, lighting, fast paced and pictures
- All white and black (simplistic)
- performance
- Stylised look
- Satire of a serious indie pop band
- Shot of 3- obvious who the lead is
- Serious facials
Charity shelter campaign
Campaigns make your feel
Children are often used because they are innocent, have no regrets and do not deserve to suffer.
Techniques used:
- Sad
- Guilty
- Tug on the heart strings
- Grateful
- Considerate
Children are often used because they are innocent, have no regrets and do not deserve to suffer.
Techniques used:
- vulnerable, innocent humans.
- People whose rights are neglected.
- We are being cultivated.
- We do not realise the issues because we have become immune.
- Emotional shutdown.
- Issues normalised/accepted in society.
- Humanised to human brutality.
- Losing empathy.
- Heavy exposure to violence in media numbs us.
- We have a wet appetite for wanting to see violence.
- Children are exposed o 5 scenes of violence a day.
- 5% addicted to violence.
- Accepting violence is normal.
- Storytelling driven by marketing- less caring.
- Thousands of people loose their homes because of relationship breakdown.
- 2 minutes, someone faces loosing their home.
- 1million come for advice and support.
- Shelter helps people find homes and keep them and finds the root to their problems.
- Founded in 1966 in London.
- campaign launch0 poster ads, Facebook and mobile messaging.
- Poster campaign launched in 4 towns for 6 weeks.
- Adverts directed by ken Loach.
- Adverts want to shock and stand out without gimmicks.
- Wanted people to empathise with real people.
- Posters use direct mode of address.
- 1 in every 200 people in UK are homeless.
- Over 300,000 homeless in Britain.
- Phone number/website.
- Tag line/ slogan.
- Rhetorical question.
- People/ children/ animals.
- Vulnerability.
- Reality.
- Direct mode of address,
- Price of donation.
- Company facts/ stats.
- Celebrity promotion.
Introduction to Minecraft
Reasons why Minecraft is so successful
- Sandbox game.
- Continuous.
- Appeals to all age groups.
- Allows for creativity.
- Mass marketing.
- original, little competition.
- Can help relationships (forcing social skills).
- Imagination- no limits.
- Strong community.
- Infinite replays.
- Players own marketing campaign.
- Platform agnostic.
- Play on computers.
- Co-opted by children- house hold name.
- Not limited by genre.
- Human instinct to bring order to chaotic wilderness.
- Sandbox games.
- No instructions- word of mouth.
- Twitch- stream live on YouTube.
- Interactions.
- YouTube- inspiration forums.
- Adverts on apps.
- Multiplayer.
- Recommendations/reviews.
- Unique- limited competition.
- Free trial in limited time- hooked.
- Multi-platform.
- Realms.
- Fan clubs.
- Subscriptions to magazines.
- Fans influence updates.
- Buy add ons.
- Attend Mincom.
- merchandise, toys and clothes.
- fan made modifications.
- Merchandise.
- Advertisements on websites.
- Trailers on TV/ apps.
- Handbooks- secrets.
- Gift cards in shops.
- Brand collaboration e.g. McDonald's.
The Big Issue introduction
Specification
- Related to media language- mise en scene, editing, camera, sound, text and meaning.
- Social, cultural and political issues and opinions.
- How media language is used to construct representations.
- Niche magazine outside commercial mainstream.
- Study 2 front covers of Big Issue from September 2017.
- Just front covers- representations that are alternative to the mainstream.
- Choice of camera shot, layout, locations, costumes, props, typography.
- Circulation- number of copies sold.
- Readership- number of people likely to read it.
- Mass audience- readership on a large scale.
- Niche audience- narrow group of readers with particular interest.
- Subscriptions- reader pays for a set of copies in advance at a lower price and sells them for more.
- Masthead- title of magazine.
- Plug- text plugs a feature that will appear.
- Puff- a story tat is given prominence on the cover.
- Intertextuality- make references to other things.
- Cover star- 'star' featured.
- Anchorage text- text anchors main image and gives it context/ meaning.
- Banner- text that runs across the bottom of the cover.
- Skyline- text that runs across the top of the cover.
- 1991- start of magazine for homeless people. Created by John Bird and Gordon Roddick.
- Stars help promote the big issue.
- 200 million copies sold so far.
- Spread world wide.
- business can run through the big issue shop.
- Big issue relies on advertising, sponsorship and circulation revenue.
- helps to get a house, healthcare and training.
- "We're a social business, not a charity".
- 100,000 sold each week.
- Buy for £1.25 and sell for £2.50.
- In 2013, venders made more than 5million.
- There are 40,000 beds in hotels for homeless people.
- Body shop started during big issue- global awareness.
- 2 genres- entertainment and social business.
- Interviewing stars helps to pay for magazine.
- Ethical capitalism.
Big issue analysis
Institutional Factors and Marketing
First published in
1991 The Big Issue has gone from strength to strength
to become the world’s most widely circulated street newspaper. It
officially belongs to the hybrid genre of entertainment and
social business and as such, runs regular reviews on films, book releases,
theatre, music and art but no television listings – the entertainment aspect
attracts advertising revenue while the editorial
content is often critical of big business, banking and commerce and
champions the political cause and role of the individual within society. David
v Goliath narratives are common as downtrodden groups and disparate individuals
fight corporate giants but the magazine has come under some criticism for its
‘flashy style’ as a street newspaper and as being overly commercial.
When John
Bird and Gordon Roddick founded the magazine their aim was to offer homeless
people, or people at risk of homelessness the opportunity to earn a legitimate
income by selling the magazine – the cost of the magazine is £2-50 with £1-25
going to the trader. This was the primary objective of the magazine as an independent
publication to offer a public service and to try and improve a social
problem which they saw as endemic – John Bird MBE remains the Editor-in-Chief
and still writes a regular column at the back of the magazine. Recently
(January 2013) he appeared on BBC1’s discussion panel show Question
Time surprising some viewers with his admission that he is a ‘working
class Tory’. Other writers in the magazine Bird works with include professional
journalists and new and established writers.
Bird’s own
background was pivotal to launching The Big Issue – he
was homeless at the age of 5, residing in an orphanage between 7 and 10 and had
a spell in prison as a teenager. After leaving prison he slept rough on the
streets of London before returning to prison in his late 20s. Four years after
founding the magazine in 1995 he launched The Big Issue Foundation,
a registered charity to further help the homeless. The Foundation provides
magazine vendors with information, advice, guidance and support on a range of
issues.
As an
independent publication (published by The Big Issue Company Ltd.)
it needed, and received £25,000 start up capital, donated by The
Body Shop (the founder of the Body Shop, Anita Roddick was the
wife of co Big Issue founder Gordon Roddick). At its
peak The Big Issue sold 300,000 copies in 2001 but as
sales declined over the decade (along with the circulation of
all print media) it re-launched with a new look and new columnists including
controversial Premier League footballer Joey Barton. Weekly circulation (every
Monday) has improved to around 58,000 and presently there are 6000 registered
sellers all over the UK with acknowledgement that there are also rogue traders
(without large red jackets and clear id badges) who have ‘acquired’ copies of
the magazine illegally. Most of the vendors conform to the male (85%)
homeless stereotype, are 18-46 with broken relationships and
subsequent problems given and the major reason for their homelessness
Audience Appeals
Undoubtedly there is an element of emotional fulfilment in
buying a copy of The Big Issue – this feel good factor
associated with charity giving has to be identified as one of the key appeals
of the magazine. In making a purchase you may feel better ideologically knowing
you are helping rough sleepers and the homeless. This is why ‘carers’ using
psychographic research are targeted by the magazine. Using a different model of
audience, the Uses and Gratifications model Surveillance very
much applies as one of audience pleasures gained from reading the magazine.
Information is available on socio political issues but also the entertainment
aspect in that you can read about a current issue but then indulge in reviews
and analysis of culture.
The target audience of The Big Issue also
enjoy the fact that it speaks to them, in terms of modes of address ‘in
their own language’ using an elaborated language code assuming
a level of intelligence and cultural capital. This balanced
approach cloaks up to a point any encoded ideology and
massages carefully the readers’ understanding of key issues. Articles and
stories assume some prior knowledge e.g. in the edition October 8th 2012 a
piece on the American Presidential Debate required some knowledge of the
American constitution and political history. Shared ideological beliefs is also
a key appeal for the audience as notions of personal relationships apply – in
the same edition an ironic advert for ‘Dick Sapphire’ lectures on how to make
money targets the audience’s left wing, liberal leanings as they are aware the
lectures are written and performed by comedian Rory Bremner, known for his
strong political opinions on issues ranging from Health Care to Education and Politics.
These are all areas audiences would expect The Big Issue to
cover.
The reader is made to feel
‘independent’ by the reactionary, sometimes controversial approach the magazine
has, against dominant mainstream culture. Even the adverts do not
follow mainstream conventions with copy including National Book Tokens, ‘Let’s
Trek for Children’ and Safer Medicines. There is an
element of the alternative here with the caring, liberal audience appreciating
the lack of adverts for high street brands whose primary objective is
commercial gain. Along with this, even the celebrities found within the
magazine are associated with more realist human interest stories while at the
same time remaining aspirational as figures the target
audience can identify with and relate to. The central story, “What’s your
Revolution?” is a rhetorical question challenging the target
audience making clear linking to the Communist Russian Revolution – this is an
attempt by the magazine to return to left wing political values.
• The
connotations of the Russian Revolution are evidenced by intertextual reference
to Constructivist art which references the cultural capital of
an ABC1 demographic – the fist, stars and design are common to this art
movement.
“Time to make a change” has a double meaning by
referencing a need for political change but also by referring directly to new
writers – Alex Salmond as leader of the SNP has obvious
• credentials
to write for a politically motivated magazine, Bob Crow is the reactionary,
left wing General Secretary of the RMT known for bringing railway workers out
on strike while the Archbishop of York is an outspoken block cleric on issues
of multiculturalism and homosexuality. The controversial Premier League
footballer Joey Barton is included as a controversial figure who has been
subject to considerable criticism and media speculation.
• Dame
Stephanie Shirley is the only female writer on the front cover which anchors
the male dominated narratives and viewpoints contained within the magazine –
Dame ‘Steve’ Shirley (adopting the name Steve to help her in the male dominated
business world) is a businesswoman and philanthropist whose work has focussed
on creating work opportunities for women with dependents.
Genre
• As
a hybrid magazine of
entertainment and social business key entertainment conventions include reviews on
television, film, book releases, theatre, music, the arts (see some display
adverts). As identified before these entertainment aspects draw in advertising
revenue as this is one of the key appeals of the magazine (see above). Front
covers are nearly always entertainment based with frequent use of celebrity to
anchor a narrative –
see front page deconstruction below. The Big Issue remains an unusual hybrid as entertainment
magazines are rarely hybridised with social business and as such this positions
the magazine as having a USP.
• In
terms of social business, the magazine runs so called ‘serious stories’ –
social issues e.g. AIDS in Africa, Wikileaks, liberal politics, ‘David and
Goliath’ stories which commonly focus on individuals and their struggle against
corporations in classic binary
opposition. Definitions of social business are businesses that are
associated with working for the benefit of the people e.g. Charities,
Education, Healthcare, Housing…This is clearly identifiable as a key convention
of The Big Issue as
it places this as an ideological imperative. Businesses foregrounded often
associated with a more caring approach include Virgin, Innocent
Smoothie, Co-op Bank, Organic Milk, National Book Tokens, Skillset and the University of the Arts. Critical of
big business, banking and commerce the articles are often anti-government,
state control and use of power. Despite the unusual hybrid The Big Issue retains some of its
generic features including regular articles at the back of the magazine by John
Bird and a guarantee of a ‘big splash’, colour cover that is challenging and
provoking.
Representation
• Pluralistic representations
reflect the fact that the magazine is independent – it offers a diverse range
of representations but a key focus on minority groups e.g. the homeless which
positions it as a media text that like The Guardian,
foregrounds narratives about minority groups. Connotations of
being politically liberal and socially aware and against mainstream
representations are written into the magazine despite the prior admission as
identified earlier of John Bird’s Conservative political sympathies. The
Big Issue wants however to be seem as the antithesis of
right wing political ideology and this is evident from front covers
and content analysis.
In relation to gender the magazine has a male
dominated narrative despite the alleged 59% readership (according
to The Big Issue). I personally rarely see the magazine
purchased by female consumers and the content seems to stereotypically target
‘male issues’. This is a problem for The Big Issue as
it wants to appeal to both genders. The magazine is sold not
• exclusively
but commonly by male vendors and homelessness in terms of statistics is a ‘male
problem’. As difficult as these statistics are to interpret there are many,
many more homeless males in the UK than female and as a result ABC1, educated
male consumers are more likely to be aware of this.
• Representations
of Age is interesting - The Big Issue allegedly has a
younger target audience according to the magazine’s own demographic analysis
but many articles suggest a need for cultural capital associated with an older
demographic e.g. one article on William Shatner as James T Kirk would present
‘problems’ for a younger reader. In this regard however statistics indicate
that homeless people in the UK are more under 45 than over 45 with a
significant percentage under 35. Representation of art and culture are
preferred to mainstream entertainment which again would stereotypically attract
an older audience with a positive focus on representations of working class
culture despite the middle class readership.
• Compared
to any genre of magazine The Big Issue has low
production values but compared to most other so called Street
Magazines has higher production values. Again, as with most magazines The
Big Issue is sustained by advertising revenue and
by The Big Issue Foundation and supported by www.bigissue.com. The cover is often
flamboyant, revealing a high level of cultural and political awareness (see
above covers which use intertextual links to an Alfred
Hitchcock film to link to budget cuts and debate on the power of
television) but also understanding the cover is the main point of sale. The
Big Issue is sold (points of distribution) in city
centres, built up urban areas, train stations and shopping centres with the
bulk in London where there is a high percentage of Romanian vendors. The
magazine, although dealing with national issues is up to a point globally
published being available in Australia, Japan, South Africa, South
Korea, Namibia, Kenya, Taiwan and Malawi where content is bespoke to country
and culture.
Video game language
What is a video game?
A video game is interactive entertainment. A game that is played electronically where reality is made virtual.
List of video games:
A video game is interactive entertainment. A game that is played electronically where reality is made virtual.
List of video games:
- Minecraft
- Grand Theft Auto
- Call of Duty
- Fortnight
- Lego
- Wii sports, party etc.
- Assassins creed
- Fifa
- F1
- WWE
- Cooking mama
- Dinner dash
- Nintendo games
- Club penguin
- Action
- Fantasy
- Horror
- RPG
- Sports
- Strategy
- Adventure
- FPs
- Simulation
- Puzzle solving
- Children
How the Radio 1 Breakfast show is produced
BBC 1 Breakfast show
podcast questions
What are
the different responsibilities of presenters and producers?
·
No swearing
·
Not too loud not too quiet
·
Don’t mention certain brands
·
Producers must check on presenters to make sure everyone else is
happy and ensure they ae doing their job right.
What
preparation that goes into each programme?
·
Discuss and look through what has happened and how to present
it.
·
Look at the script (flexible).
·
Plan 5 things the night before.
·
Hot foods for back up.
·
Looking for things to talk about during the day (24-hour day)
What's
most challenging and most enjoyable about working on the show?
·
Being tired (bad sleeping patterns).
·
Small space to work in.
·
Enjoy spending time with celebrities.
·
Enjoys new producers with new ideas- helps presents develop
their skills.
·
Getting along with team members.
·
Atmosphere and quality of the guests can effect a show- not
always 100% great.
·
Enjoy picking what guests they want on the show.
·
Difficult guests who don’t stay on for long- can sometimes be
boring and don’t elaborate their answers.
·
Having to sort out awkward situations when guests get too
relaxed and swear or become offensive.
What are the team dynamics like?
·
When big guests come in, the team sit down to discuss interviews
and fun games.
·
Want to ask the best questions to big celebrities when they have
the time with them.
·
Need to understand each other’s needs within a cramped space.
·
Have help with assistants outside the studio who ensure the
presenters know what they’re doing, making sure they shine.
·
Treat the show as a job with a bonus of being friends with team
members.
·
Trust allows the presenters to be prepared and relaxed in
stressful times.
How can
you break into radio?
·
Go to a local radio
station and find work.
·
Picking up skills in
university and a-levels by joining student radios.
·
Meeting producers and
promoting themselves.
·
Be persistent and not
being scared of rejection e-mails.
·
Producers have a lot to
think about (marketing, promoting, ideas and guests) therefore, try and look at
all skills and pick what you are good at as there are so many jobs.
·
Be yourself to
everyone. Does not have to be perfect and clean like TV.
·
Find topics that you find
easy to talk about and express them.
Subscribe to:
Posts (Atom)
-
Institutional Factors and Marketing First published in 1991 The Big Issue has gone from strength to strength to become the world’s ...
-
- The amount of people in the poster shows their will be multiple story lines. This attracts an audience to know who they are and what the...
