Summer project tasks

 1) Research: music video analysis 

You need to write a 200-word close-textual analysis of five (or more!) music videos in your chosen genre. For each music video, focus on a different aspect of media language, and embed each one on your blog:

Music Video 1: Narrative
How is narrative used in the music video and what impact does this have on the audience? Can you apply any narrative theories to the story in the music video?

https://youtu.be/K1xJSV6Mrco

The music video follows a simple narrative of two people who have known each other since childhood. The video starts with one of the three time zones in which we see the characters interact. Using a bracelet as a macguffin, the narrative guides us through time skips to navigate their relationship with each other. Another way the bracelet is used is as a way of linking the 'present' with the far past and establishing that this is a time skip instead of entirely fresh characters. Every segment from the past is played in reverse as a way to symbolize the characters retracing their time together. The order of the narrative is cyclical as we end with the start of the first scene. In terms of Todorov's theory of equilibrium, the equilibrium is the pair being in a relationship, the disequilibrium is them being broken up, and the new equilibrium is hinted at by their meeting at the park. 

Music Video 2: Mise-en-scene
What do you notice about the use of mise-en-scene to create meanings for the audience? Use CLAMPS to help you here and think in particular about how mise-en-scene is used to communicate the genre of music.

https://www.youtube.com/watch?v=v4LOTTRoNNc

The music video inspires uncanny valley. The setting of the world is hyper realistic yet the characters we see are isolated in their framing. The way they move isn't natural yet they're all dressed conventionally walking around in their conventional world. The decision to have the skin be shiny relates the characters to dolls more so than people, which is where the uncanny valley feeling is derived from. The setting is a nondescript personality-less city which the characters that are hinted to have depression interact with. The use of such a background makes it so that it speaks for a generation of people all over the world, which wouldn't have the same message if it was set in Paris or somewhere immediately recognizable.  

Music Video 3: Camerawork
Here you are looking for particular camera shots and movement. Remember that movement is a critical convention of most music videos and camerawork can contribute to this.

https://www.youtube.com/watch?v=iDpxJHblYEU

The close ups in this video are particularly interesting because they match with the music to give the vampire a narrative. Similarly, when close up into the eyes, the filter over the video changes as an homage to old horror movies that it's emulating. When the vampire goes on his rampage, the camera movement goes from stable to handheld and gives urgency to what's happening on screen. 

Music Video 4: Editing
Analyse pace, transitions, the number of shots and juxtaposition. How does the music video create pace and excitement - or does it create a different effect for the audience? 

https://www.youtube.com/watch?v=xAkg4cwJp1Y

 

The fast pace editing with the closeups at the beginning add to a sense of urgency to his situation before the video goes psychedelic with the layering and skeleton after effects. You really get a sense of being trapped through the constant closeups that restrict the amount of negative space in the shot and the fast cutting between faces to establish a connection with the characters.



Music Video 5: Conventions
Think back to our Introduction to Music Video and our work on Andrew Goodwin's theory on music video conventions as part of the Ghost Town CSP. How many key conventions of music video can you find in your fifth music video example?

You can find a range of notable music video examples in this blogpost or you are free to select videos of your choice. You may wish to write more about one video than another but as long as you have 1,000+ words of research in total you will be fine.

2) Planning: music video treatment (concept)

In order to produce a successful music video, you will need to write a treatment. This is like a script - it tells the band or artist exactly what will happen in the video and the kind of style or effect the video will have. You'll need choose what song you are going to use at this point - remember, you can use an existing artist's track but it needs to be appropriate for a mainstream audience. 

You can find further music video treatment guidance here plus an example of a genuine director's treatment for the brilliant alt-J video Breezeblocks.  

washed out colours, tons of close ups on movement to highlight the tiny detail changes between the cycles

BLACK SCREEN WITH NUMBERS FOR HELP HOTLINES BEGINNING/END

scene 1: 

woman waking up in her bed, husband sleeps facing away, gets out of bed gently to not wake him, puts bathrobe on, goes to make a sandwich, takes plate into living room to watch news (aim to match lyrics TV to shot of TV), turns news on, sleeve moves slightly to show bruise/red marks while changing channel, different shots of her in the same place? to keep movement while showing she's static, passage of time

scene 2:

Cut to her getting up again at the chorus, husband still sleeping facing away, going to get breakfast, breakfast is a pot of yogurt, taking spoon out of drawer, opening the family laptop to turn the news on with headphones on

scene 3: 

Getting up again on 3rd chorus, this time waking the husband up, close up of him grabbing her night dress violently, cuts to eating sandwich in the living room, red eyes, red marks on neck from hand, shaking a little and watching the news.

3) Statement of Intent

Write the first draft for your genuine 500-word Statement of Intent. This will be submitted to the exam board alongside your media products and is worth 10 marks of the overall 60 marks available.

Although the video will go over the suggested length by a minute, I intend to promote the band through a touching music video intended to sympathise with people living with abusers during lock down. This social consciousness would be an excellent marketing move to make the band appear as if they care about current issues. I will use a wide variety of camera angles and shots in order to highlight how trapped the main character feels within the walls of her house, such as lots of close ups to remove negative space and make everything feel cramped together. Additionally, I will feature the band's sponsor with Sony Headphones in the video in a subtle way to not take away from the intended message. My music video will bring the subject of abuse to the foreground, subverting the media's tendency to create panic about issues instead of aiding in the fight to prevent them. I will be using a stereotypical 

Guidance is provided by AQA in their NEA Student Booklet but we strongly recommend you also look at our Statement of Intent questions to consider document too (you'll need to log in with your Greenford Google account to read this).


4) Ignite presentation

Prepare a 5-minute, 20-slide presentation using the Ignite format in which you present your coursework project. In effect, this is your statement of intent in presentation format. You must cover:

• Your music video concept: artist, song, genre, narrative/performance/effects etc.
• Media language: how you will use music video conventions, camerawork, editing and mise-en-scene to create meanings for your audience. Remember the key word: connotations.
• Media representations: how you will use or subvert stereotypes in your music video; applications of representation theory.
• Media audiences: your target audience demographics and psychographics; audience pleasures - why they would enjoy your video; audience theory.
• Media industries and digital convergence: the potential record company that would sign and promote your band or artist; how fans could watch the video; other ways you could promote your artist (e.g. the headphone sponsorship in the brief).

Ignite presentations have very specific rules: you must create exactly 20 slides with each slide set to 15-second auto-advance. This means your presentation will be exactly five minutes followed by questions and comments from the class. You will deliver your presentation on your coursework planning in the first week back in September.

Your Ignite presentation will be marked out of 30 on the following criteria (each worth a possible 5 marks):

1) Research (through the presentation AND your blog) 
2) Music video concept
3) Language: terminology and theory
4) Representations
5) Audience and Industry
6) Delivery

Introduction to radio: blog tasks

Introduction to radio: blog tasks

Create a new blogpost called 'Introduction to Radio' on your Media 2 Coursework blog and complete the following tasks:

BBC Sounds

Read this Guardian feature on the launch of BBC Sounds and answer the following questions:

1) Why does the article suggest that ‘on the face of it, BBC Radio is in rude health’?

"It has half the national market, with dozens of stations reaching more than 34 million people a week. Radio 2 alone reaches 15 million listeners a week and for all the criticism of the Today programme (“editorially I think it’s in brilliant shape,” says Purnell), one in nine Britons still tune in to hear John Humphrys and his co-presenters harangue politicians every week."

2) What percentage of under-35s use the BBC iPlayer catch-up radio app?

"just 3% of under-35s use the iPlayer catch-up radio app"

3) What is BBC Sounds?

"a new app and website that formally launches on Tuesday with a glitzy event at Tate Modern. It will bring radio livestreams, catchup services, music mixes and podcasts together under one roof."

4) How do audiences listen to radio content in the digital age?

"Convincing people to break their existing habits and put their trust in a BBC-only app will not be easy. Spotify has started to include a large number of podcasts – including BBC material – directly in its app and a growing number of people listen to the radio via voice assistants such as Amazon’s Alexa. Although there is the prospect of commercial radio being added later, industry voices have raised concerns that the app is a solution in search of a non-existent problem."

5) What does Jason Phipps suggest is important for radio and podcast content aimed at younger audiences?

"He says there is a need to reconsider the entire tone of how the BBC tells stories, shifting away from rigid formality if it wants to attract the precious under-35 audience: “It has to be a warmer, more story-led journey. You need to report the very personal experience of it.

BBC Sounds listeners will get personalised recommendations.Photograph: BBC

“The very best stories are fundamentally anchored around the personal experience. You’re trying to find the human in the machine. Journalists have a process but younger audiences can find that very cold and want to access the actual response of human beings. They really want to understand the heart of the story.”"

6) Why does the BBC need to stay relevant?

“You have to win the case for free speech over and over again,” he says. “For the last few generations people have taken it for granted. It’s absolutely core to us to present everyone with that wide range of views. That doesn’t mean you have to suspend your judgment.”

Now read this review of the BBC Sounds app.

7) What content does the BBC Sounds app offer?

"The big idea is that you download the app and then go to BBC Sounds for anything audio (apart from long-form audio books). Music, news, drama, documentaries, true crime, comedy – if you want it in your ears, you start with the orange button."

8) How does it link to BBC Radio?

Lets you listen to live BBC radio

9) What are the criticisms of the BBC Sounds app?

"The BBC has thousands of amazing audio programmes! If you browse podcasts via, say, the Apple Podcasts app, you have 16 categories to choose from, and within each, at least 20 series to try. Sounds needs to feel as packed as Netflix in order to properly work."

10) Two new podcasts were launched alongside the BBC Sounds app. What are they and why might they appeal to younger audiences?

End of Days and Beyond Today

ShoutOut Network

Read this Huffington Post feature on the Shout Out Network and answer the following questions:

1) What is the ShoutOut Network?

a London-based network of diverse podcasts

2) What podcasts are offered by the ShoutOut Network?

They have seen continual growth to their roster of conversational shows adding pop-culture literature podcast Mostly Lit, carefree comedy duo Two Fools Talking, theatre and music aficionados Artistic State of Mind and brand new football show Top 4mation.

3) What audience do they reach?

20,000 listeners per month, of which 92% are from Black, Asian and Minority Ethnic communities

4) What are the 2015 statistics on podcast listening in the UK?

from autumn 2015, 3.7 million adults listen to podcasts which equate to around 6.5% of the adult population.

5) The article suggests podcasts are ‘picking up more steam’. Do you think podcasts the future of radio?

I really do believe podcasts are the natural evolution of Radio as they can be consumed on demand and do not require the listener to sit and watch. Quite a lot of people are making a U-turn back to audio based media because of the convenience. 

assessment

"Realism is a vital component of television drama”. To what extent does an analysis of your television close-study products support this view? [25 marks]



Realism in a television drama can enhance the experience or dampen the mystery. For example, Deutschland 83's attention to detail and fact checking the past greatly benefit the show's world building, allowing audiences to get invested in the hyper-realism. Jean Baudrillard suggested audiences view a copy of reality in the media as being more real than the original, meaning Deutschland also serves an educational purpose for its audience as well as the traditional entertainment most TV dramas provide. This is apparent with the use of archive footage of ex-president Ronald Reagan reciting a controversial speech, mixing reality with fiction to create a mesh of both. The realism used in Deutschland 83 is absolutely vital to the success of the story. 

However, the realism in Capital isn't believable enough to create interest. What was a clean cut concept (property increasing in value) became clouded through creating leftist fanfiction characters that vehicle biased viewpoints into a show that was originally meant to be a whodunnit. The very childish stereotypes used for some characters such as Roger and his wife (middle class is selfish) and Petunia (old so is conservative) are only highlighted by the shallow attempts at subverting the stereotypes for the minority characters. 

music video introduction

This week's work requires Media Factsheet #69: Music Video. You'll need to log in to Google using your Greenford Google account to access this. Read the factsheet and answer the following 10 questions:

1) What is the purpose of a music video?

"The purpose of a music video is to sell products, the most obvious

of which is the song featured in the video. However, other connected

products are also marketed by a music video."

2) How has the digital age changed the production and distribution of music videos?

"the development of new media technologies meant that music

videos, and the songs along with them, were more widely available

at any time."

3) Which three major record labels are behind VEVO? What is VEVO and why was it created?

"three major record companies, Sony Music Entertainment, Universal Music Group 

and Abu Dhabi Media (along with content licensed by EMI), have also launched Vevo,

 a video hosting site specifically for music videos."

4) What are the key conventions of a music video?

"Movement is essential to music video and usually complements the

rhythm of the song."

5) How can narrative be used in music video? Give an example of a music video that uses a narrative.

Narrative can be used as an audience pleasure. It gives a personal identity and builds an emotional relationship with the song. Perfect by Pink uses narrative in this exact way. 

6) What examples are provided in the factsheet for intertextuality in music videos?

"Such references may be very obvious, such as the

way that the Blink 182 video for All the Small Things makes

references to videos by pop artists such as Back Street Boys (I

Want it That Way) and Christina Aguilera (Genie in a Bottle) by

directly copying scenes."

"However, references can also be more esoteric and obscure, allowing

the audience to feel pleasure when they recognize the reference.

For example, the video for My Chemical Romance’s Teenagers

features ‘alternative’ cheerleaders, which is reminiscent of the

cheerleaders in the video for Smells Like Teen Spirit by Nirvana.

Most fans of My Chemical Romance are likely to be familiar with

Nirvana and this iconic video."

7) Why do audiences enjoy intertextual references in media products?

It gives a sense of reward to the audience for knowing the reference.

8) Read the music video example analysis on page 3 of the factsheet. Select a music video of your own choice and write your own analysis using the following headings:

SUM 41- FAKE MY OWN DEATH

• Conventions (movement/narrative/artist)- even though the camera does not move much to begin with, people are always moving in some way in the shot. As the video progresses, there are more glitches and meme bombs (mombs). The narrative is a suggested meteorite shower/ apocalypse. The artists are present. 
• Intertextuality- The many references to popular images in 2016. They themselves are a reference to 2000s punk.
• Representation- The Band are all men in punky outfits. Connotes to alternative music.
• Audience- The target audience would be their past fans, as this was a comeback video, as well as people who enjoy pop punk.
• Institution- Released by Hopeless Records, Directed by: Marc Klasfeld
  

8) Read the music video example analysis on page 3 of the factsheet. Select a music video of your own choice and write your own analysis using the following headings:

PINK- STUPID GIRLS

• Conventions (movement/narrative/artist)- Lots of narrative movement for each of the vignettes, each one has a different method to impress a man. Pink plays most of the women. Not a lot of camera movement. 
• Intertextuality- References Paris Hilton, Jessica Simpson and Nicole Richie 
• Representation- Tells the audience that women shouldn't make themselves appear dumber than they are as the "attractive" women are exaggerated stereotypes of what was found attractive at the time
• Audience- since it's a on the edgier side of pop, it's aimed more for teen girls
• Institution-  LaFace Records 

9) Watch the video for Ice Cube's It Was A Good Day (1993). How did this video set the conventions for later hip-hop music videos?

The allusion to violence and sex. 



Final question - your own opinion

10) How important do you think music videos are in the marketing and promotion of music artists in 2018? Are music videos essential to a band or artist's success?

I don't think music videos are essential to success in 2018. However, they're another layer of art and meaning that can really compliment the song. They're an expected convention of music so people often expect them.

TV Drama Index

1) Introduction to TV Drama

2) Capital: Case study and analysis

3) Capital: Marxism and Hegemony

4) Deutschland 83: Case study and analysis

5) Deutschland 83: Postmodernism

6) Industries: The rise of foreign-language TV dramas

7) Industries: The impact of new/digital media on television

8) Assessment: 750-word exam question

The rise of foreign-language TV: Blog tasks

The rise of foreign-language TV: Blog tasks

To continue our work on Deutschland 83, we need to read a range of articles on the foreign-language TV phenomenon. When answering the questions, consider the issues from both an audience and industry perspective.

Independent: British viewers can't get enough of foreign-language dramas

Read this Independent feature on foreign-language dramas. It features an in-depth interview with Walter Iuzzolino who curates Channel 4's Walter Presents programming. Answer the questions below:

1) What does the article suggest regarding the traditional audience for foreign-language subtitled media?

The "pretentious, dull and, possibly, a little odd."

2) What does Walter Iuzzolino suggest is the key appeal of his 'Walter Presents' shows?

"To Iuzzolino, the buzz around foreign TV was so strong that, over the course of two years before the project's launch"

3) The article makes an interesting claim for the popularity of subtitles in the multi-screen age. What does it suggest?

There can be hype built around more shows, extending to foreign language tv. Therefore, with the ease of viewing, it has become just as popular as regular tv. 

4) What are the other audiences pleasures of foreign TV drama suggested by the article?

"a welcome enforcement for us to focus. "When you read subtitles, you have to be glued to the screen," says Deeks. "That concentration gives a particular intensity to the viewing experience. "

Now look at the bonus article - on Sherlock and how viewers are steering their favourite shows.

5) What examples are provided of how TV companies are increasingly using audiences to inform the production process?

They include Easter eggs for their fans. Sherlock listened to their huge Chinese fan base and pandered to them a little despite being a British production.


Film School Rejects: The foreign TV dramas you're missing out on

Now read this Film School Rejects feature on the foreign TV dramas you're missing out on. This contains some particularly useful background on Deutschland 83's reception internationally. If the website is blocked, you can access the article text here. Answer the following questions:

1) What does the article tell us about Deutschland 83's release schedule?

"Premiering on AMC Network’s Sundance TV in June 2015, the show was the first German-language TV series to premiere on a US network. The fact Germany’s commercial RTL channel received Deutschland ’83 five months after the US both signifies the series’ global appeal as well as foreshadows where the German crime thriller was (and is) to find its audience."

2) The article contains important statistics on viewing figures in different countries. What were the German viewing figures for the first and last episode? What were Channel's 4's viewing figures for Deutschland 83?

 "US premiere garnering 0.066 million viewers compared to Germany’s 3.19 million"

3) Who are the two production and distribution companies behind Deutschland 83 and what did they announce in October?

"SundanceTV and FremantleMedia finally announced in October that there will be a second series of Deutschland 83"

4) What does the article suggest was the driving force behind the series being renewed for a new season (and possibly two new seasons)?

"it’s apparent the US critical reception and UK’s record-breaking viewership have a role to play in renewing the show"

5) How does Walter Iuzzolino use social media to engage audiences in new international TV dramas? How does he suggest this has changed the reception of foreign productions in the UK?

"Even if you’re weary of foreign drama, with Iuzzolino posting a “Weekend Pick” on his Facebook page and engaging with viewers on Twitter, it’s impossible not to become engrossed in the experience."


IndieWire: The rise of international television

Now look at this IndieWire feature on the rise of international television. If the website is blocked, you can access the text from the article here. Answer the questions below:

1) What does the article suggest regarding the difference between TV and film?

"Foreign films have a place on the arthouse circuit, but where can you find foreign TV?"

2) What cultural differences are highlighted in the article - for example in turning 'Prisoners of War' into 'Homeland' when remade in the US?

"On making “Prisoners of War” into “Homeland,” for instance, creator Gideon Raff noted that the original series focused on the experiences of and the idea of POWs, which he called an “open wound in Israeli society,” but that for the U.S. the emphasis was on the agent investigating the returned soldier, on a more American issues of distrusting the government and of a fears of agents among us."

3) Why do you think Deutschland 83 was able to rise above these cultural differences to be successful in the US and UK? Did this inadvertently make the drama fail in Germany?

The show wasn't based on recent UK and US history like it was for Germany, meaning the dramatisation was more believable and less offensive to the western audiences.
4) What does the article suggest about subtitling?

it forces focus on the programme.

5) What does Sopranos actor Steven Van Zandt suggest is the appeal in foreign television drama?

“the way to make this more international is to make this more Norwegian. I want to know everything that is eccentric about Norway, different, funny, unique — all that I want to get into this show.”


The Guardian: How tech is changing television

Finally, read this Guardian feature on how tech is changing television. This has some particularly useful aspects from an industry perspective - how TV is made, the different formats of TV drama and more. Answer the following questions:

1) What are the traditional lengths for TV drama and what dictated these programme formats?

"a grid schedule designed around hours and half-hours"

2) How have streaming services such as Netflix or Amazon Prime changed the way TV drama narratives are constructed?

“Your form of storytelling has to reflect the fact that people could watch [the whole series] straight away. So the hooks at the end of every episode are very important. But you also have to think about how you give information. With a thriller for terrestrial TV, you tend to have a recap at the start of each episode. But, with SVOD [streaming video on demand], you can get straight on with the story.”

3) Why has the rise in streaming led to more complex storylines and an increase in cliffhangers?

“The fact that the audience can catch up easily on missed episodes has hugely changed content. You don’t have to go back very far to when commissioners had this idea that the audience was so fragile and fickle that you had to be careful how complex your story was...."

4) How have the "economics of production" kept TV drama largely sticking to the 45- or 60-minute episode format?

 In order to maximise the use of time, and minimise the cost of actors and crew, while part of a drama is filming, another team is prepping the next section. So, while a streamed drama theoretically need not be divided at all, it still makes logistical and financial sense to hire on episode basis.

5) How has "permanent 24/7 connectivity" changed both the production and consumption of TV drama?

Permanent 24/7 connectivity has radically altered viewer responses. Live-tweeting by audiences has usefully democratised criticism, but the downside of this new media interaction has been in giving the old media a stick with which to beat broadcasters. Stories about alleged outrage over incomprehensible actors or violent action often turn out to be based on the fact that, from among millions of viewers, a tiny handful tweeted disagreeably.