Myself and Nick have been discussing ideas of what we can do with our video. We have both come up with good ideas. We will use the green screen for meat shots and close up shots of our actors playing instruments. It will be beneficial for us to use the green screen as it is fairly simple and we can do what we like with it in the editing stage. We have also considered the use of a wide angled lens to capture large shots of any scenic locations. A wide angled lens will be particularly useful for any establishing shot we may need to shot. Green screen is used to great effect in the video for 'Korean Karaoke' by the Flight of the Choncords.
Wednesday, 30 September 2009
MS - Green Screen and wide angled lens
Myself and Nick have been discussing ideas of what we can do with our video. We have both come up with good ideas. We will use the green screen for meat shots and close up shots of our actors playing instruments. It will be beneficial for us to use the green screen as it is fairly simple and we can do what we like with it in the editing stage. We have also considered the use of a wide angled lens to capture large shots of any scenic locations. A wide angled lens will be particularly useful for any establishing shot we may need to shot. Green screen is used to great effect in the video for 'Korean Karaoke' by the Flight of the Choncords.
NW Shot Idea - Fish Eye Lens
http://www.youtube.com/watch?v=factvnciXTE
Posted by Nick
We have also toyed with the idea of using a fish eye lens which will give the video a surrealistic feel, distorting objects in the background, and bringing emphasis onto objects in the foreground. This lens shot will be in keeping with the peculiar yet artistic feel we wish to achieve in our final video. An artist who uses a few fish eye lens shots in one of their music videos is the rapper Consequence, with his song ‘Job Song’, the lens being used to create the idea that the audience are engaging in the rappers mind, invited to look in on his personal thoughts and feelings.
NW Shot Idea - 'Snail Art'
After watching our chosen artist, Jack Peñate’s video for ‘Tonight’s Today’, we have thought of a few interesting shots which are similar to those in this video for our final music video.
Tuesday, 29 September 2009
NW Shot Idea - Reverse Time
NW Shot Idea - Stop Motion Animation 1
Posted by Nick
We have been toying with the idea of using stop motion animation in the choruses of our music video, using the character of Jack and other band members all dancing, with each still image being cut in time with the fast paced and vigorous beat of the opening music and chorus.
Monday, 28 September 2009
NW Technical Analysis Evaluation
As a group, we have learnt from this technical analysis how much work and effort needs to be put in to produce an artistic and challenging video. We can also see how a ‘lo-fi’ video can be as effective as a ‘high-fi’ video, the simple shots in one singular location clearly displaying the artistic and postmodern feel, without usage of special effects, the video relying heavily on the shots and the narrative rather than extravagant editing techniques. It is also evident how artists from the ‘Indie’ genre do not have to conform to rituals associated with mainstream videos, as there are no meat shots of the band, as well as there being a large variety of shot sizes and movements, no strict regulations meaning the artists are free to produce a video to their taste.
MS - Technical Analysis Evaluation
For my Technical Analysis I used 'Today's Tonight' by Jack Penate. As we are making the video for another one of his songs I thought it would be useful to analyse one of his videos so we could get a good idea of what his videos are like. It could also provide us with some inspiration for our own video.
From the technical analysis I found that as his song are generally fast paced that there are quick shot changes for example in the first minute of the video 'Today's Tonight' there are 38 shot changes. The video was a mixture of narrative based and performance based as there is shots of Jack singing. The majority of the shots used were close ups and medium shots. I found that there is a lot of movement in the video. If the characters weren't moving then the camera would be. There was a lot of flamboyant dancing. The video is shot completely in black and white and quite often the shots were slightly blurred. These could be things that we would want to consider for our video.
Close ups were used for first person mode of adress. This is when the artist is singing directly into the camera to make the audience feel as if they are adressing them. They were also used to show particular actions for example when Jack kissed the woman in the video the camera was focused on there lips. Medium shots were used as they are a good way of focusing on a particular thing, but you still get a large shot so the audience can see what is going on in the background. Medium shots were particularly useful for this video as it enabled them to show the narrative aswell as showing the flamboyant dancers in the background.
Sunday, 27 September 2009
NW Location Reccie Proposal's
After our visit to Brighton, our eyes have been re-opened to the world of cameras. Our task being to record a variety of shots, using different sizes, angles and movements, as well as shots of our own design, in order to remind ourselves of what is needed, and what processes we must use to create both visually beautiful and challenging shots to make film openings or music videos. For our project, we will need to use a variety of locations, as we have decided to opt for a concept based video which will, hopefully, in the final outcome have an imaginative and aesthetically pleasing look to it, and thus artistic shots in a variety of locations will give us this outcome. Looking back at the treatment for the track in the ‘Responding to a track’ post, it is evident how Peñate has chosen to make a track that will conjure up feel-good emotions, with a lively and energetic atmosphere.
Street
We hope to film a number of shots in a crowded street, using effects in Premier such as speeding up time, making everything in the background move at a faster pace than the main subject, as well as reverse shots, where the main character can for examples, have their clothes coming onto their bodies, when in the actual shot, they are taking them off. For the street, we will either go somewhere local, i.e. Tonbridge or Tunbridge Wells; however, we may choose to venture towards London to achieve more visually dynamic shots, perhaps with famous monuments in the background.
Woodland
As well as the crowded street, we hope to film in a woodland area, hopefully in the surrounding area, where we will shoot large chorus sequences, where everyone is present in their elaborate costumes and make up giving an eerie and artistic look. We will shoot a variety of shots in exterior, large, open spaces, capturing images of green hills and trees.
Garage
We could also shoot in a small interior space, such as a garage, where we will be able to produce atmospheric and artistic settings from the use of some simple lighting, as well as using colourful materials and objects to give captivating and different mise-en-scene. I propose that we use either one of our group members garage, which is roomy and can accommodate for the whole crew.
Greenscreen
We will also use the green screen heavily in our video, using shots taken in front of the amazing piece of technology in the choruses, where the music is at its liveliest and the beat the fastest. As the cutting rhythm will be fast (due to the fact we will be using stop motion animation), we could, potentially, use any location that comes to mind, ranging from major cities and monuments from across the world, all being edited in during post production.
Overall, we hope to use a diverse amount of locations, exterior and interior, as well as using green screen technology to give our video a colourful, exciting and visually compelling atmosphere which will be in keeping with the artist’s previous, artistic videos, as well as being in keeping with the rhythm of the music.
MS - Brighton Evaluation
When on our 'reccie' we decided to use Nick's camera. Unfortunately we were unable to edit the footage in the editing software so we shall post the footage up as soon as possible.
Thursday, 24 September 2009
MS Shot Idea - Face Art
http://www.youtube.com/watch?v=IhmKNBBp3OU
NW Auteur Video's
MS - Auteuer Videos
Examples of Auteur's videos:
http://www.youtube.com/watch?v=8nTFjVm9sTQ
http://www.youtube.com/watch?v=4N3N1MlvVc4
NW Jack Peñate
Posted by Nick
Monday, 21 September 2009
MS - Video Analysis 1
Genre and Narrative
Within the music video for ‘A-Punk’ by ‘Vampire Weekend’ there are several key feature of a music video as identified by Goodwin. The Video is a hybrid of concept based and performance based. It is performance based it features the band performing the song to us the audience. Another reason for it being performance based is that the audience is positioned; via the first person mode of address, as if they are in the crowd at a concert being played to. First person mode of address in this case is produce by the band especially the lead singer coming further forward then the rest of the bad and looking straight into the camera. The video could also be seen as concept based as there is only a loose relation between the video and the lyrics. The video is a loosely illustrative video. This means that there is some relation between the video and the lyrics, but the video does not explain what is being said in the lyrics it just illustrates the main parts. This video could be considered art as it is not a main stream video, it is quite lo-fi and simplistic. For the majority of the video the band are just standing in front of a white background, wearing bright clothing and exaggerating how they are playing there instruments. The genre of this music video would be alternative/indie rock. We know this as this is the typical genre of the band and they conform to the typical styles of the genre in the instrument that they use; such as drums and guitars.
Media Language
The video is very lo-fi and so are the visual techniques. There is only one camera shot used during the whole video and that is a long shot. The camera does not move throughout the whole video. The editing techniques are very simplistic to maintain the lo-fi feeling about the video. The editor uses a fade when the background changes from white to black and then it fades back to white. As there is only a long shot in the video there is no voyeurism or dismemberment. I believe that they would have shot the video all at once but at a slower pace and then sped it up in the editing process. The mise-en scene in the video is the style of clothing the band members are wearing; these clothes are representative of the genre the band belongs to. The band is playing instruments in the video to connote that they are the band. When it comes the with cold winter shot the band are all wearing hats and scarves which connotes the cold along with the snow on the black background which connotes night time which is colder then daytime. When it comes to the shot of them underwater which illustrates the lyrics which say ‘at the bottom of the sea’ a blue filter is used over the camera lens to connote the blue of the water and fish are used to connote the bottom of the sea. The set where the video is being shot is very brightly lit to make the bright colours look as bright as possible. There are not any special effects used in the video, everything is done at the time and in front of the camera which gives the video a very lo-fi feel, for example when they do the underwater shot the fish are just finger puppets that they are holding in front of the camera. This gives the video a very childish feel. There is a reference to popular culture in the clothes that the band wear, within in the genre that the band are aiming for the clothing that they wear is considered to be stylish.
Representation
The band are represented as quite childish from the video. They use finger puppets and the way the exaggerate hitting the drums as hard as they can all makes the video feel quite childish. Therefore, the video adds to their meta-narrative in a big way as it shows a side to the band that is not seen in any other videos and you would not be able to see this from just listening to the song. They are represented as a band making music. The social group that is represented in the music video are white middle class males. This is due to the fact that everyone shown in the video are white middle class males. White middle class males would typically be the target audience for this genre, which would be alternative/indie rock. The dominant ideological discourse in the video is rebellion. The band are breaking many conventions within the video and if you break conventions in society you are seen as rebellious. They break conventions in the way they move around as the video is quite jerky and fast as it has been sped up, and they break conventions in the way the play the instruments.
Using Dyer’s critical framework on ‘star’s, it is evident that Vampire Weekend construct an ordinary image for themselves in the clothes that they wear, to make themselves more accessible to the audience. However, they try to make themselves look extraordinary in the speed of the video and the way they use finger puppets.
Institution and Audience
I think that this video would be for a more ambient viewing as it is simple so you do not have to concentrate and think hard about it to understand it. It could be the type of video that you can just put on in the background and watch as you do something else. I think that as this video is not a mainstream video, and the band isn’t really famous then they would have quite a lot of say in the video and the record company will just give them a budget and let them get on with it, the record company may just give them a list of things they want to do within the video.
http://www.youtube.com/watch?v=_XC2mqcMMGQ
MS - Advert Analysis
The rule of thirds is used in the advertisement. The band are situated along the bottom line and the title and quotation along the top. The rule of thirds is when you put the important elements of the print text in certain places in the frame. If you were to split the page equally into three sections along the length and width of the page, you would put the most important elements along those imaginary lines. There are bright colours in the advertisement and it is very well lit. Although you may expect dull colours from an indie/alternative rock band like there album covers, dull colours would not be so good for advertising. The whole point of advertising is to get people to buy the product that is being advertised, so you want bright colours in an advertisement to draw people’s attention to it. Once you have their attention it does not matter if you have a dull album cover as you would have already convinced them to buy the product. The mise-en-scene in the advertisement is the clothes that the band are wearing and these denote the genre of the band. The background that the band are sitting in front of is a painting of an idyllic location, they are sitting on a beach with water and palm trees in the background. This represents the perfect lifestyle. The band are relaxing on the beach drinking cocktails and reading whilst sunbathing, showing that they are on holiday. This could suggest that there album is quite a happy, relaxing one. The fact that the background is clearly a painting shows that the picture was taken in a studio; probably near where they live. This shows the band is fairly new and hasn’t had much success yet so they cannot afford to go to a location like the one that is drawn in the background for the album cover. The advertisement contains the use of a quotation, which is ‘The band of the summer’ then underneath that is written who said that which is ‘The Observer’. They use this to show that people have enjoyed the album, it is used as proof that the album is good. The say who said the quotation just to show that it was actually a credible source not just anyone who said it, this adds to the authenticity. At the bottom of the advertisement it says ‘The Mercury Prize Nominated Album’ this is to add even more credibility and authenticity to the quotation and to the album. The fact that the advertisement has the quotation and the fact that the album was nominated for the Mercury Prize shows that the band are still trying to make it in the music industry and are still trying to persuade people to go and buy there album. If it was an advertisement for a band or artist that had already made it and were popular and famous they wouldn’t need to put these sorts of things on there as everybody already knows if they like them or not, so there is no need to try and sell them to the public through use of quotations. The reference to popular culture is the style of clothes that the band are wearing and the style of there hair. The style of the band is popular in there genre, wearing those clothes and having their hair how they do make them more accessible to the fans of that genre.
The advertisement does add to the meta-narrative of the band as it features them and shows a different side to them that their target audience may not know about as the advertisement is very different to the bands album cover. This advertisement shows the band relaxing, so it connotes that they are quite relaxed guys and nothing really bothers them. The fact that the band are sitting in front of a constructed scene of paradise could show that they are trying to achieve the perfect lifestyle, and they will have lots of money so they will be able to afford to go to these paradises or maybe even live there. However, as it is constructed it shows that they are not there yet. There is an ideological discourse behind this advertisement, and it is capitalism, and achieving the 'American dream'. We can tell this as although they are sitting in front of a fake paradise, that is what they want to achieve and to have this they will need fame and fortune.
NW Video Analysis 1
There are a variety of forms and conventions which make the video easily identifiable with the ‘Indie’ genre. Firstly, by using Andrew Goodwin’s ideas about the basic structure of all music video’s, we can see that the video is both narrative and concept based. We see the main character dressing in dark and mostly leather clothing, connoting that he is part of a ‘rock’ subculture. As the music changes from the slower beginning verse (highlighted by lingering shots and the characters doing very mundane things, such as eating and getting dressed), to the chorus, a more lively and energetic piece of music, the visuals change, showing the men all dancing frantically to the music. This then repeats for the next verse and chorus, giving the video its narrative. The video is also concept based, as the lyrics have no reference to Japan or its subcultures, thus showing that the producers have decided to go for the artistic route for the music video (previously chosen for other music videos by the band), and give the video its ‘repeatability’ factor.
When analysing the video, one could argue that the Rockabilly’s are perhaps the performers in the video, displaying various dance moves and giving an insight into their everyday lives, whilst keeping with the visual style of the video, (having a documentary feel, shot with handheld cameras, depicting a normal person’s life in a culture that seems alien to British audiences). There is no reference to the notion of looking (apart from on a couple of occasions in the beginning verse when the character looks at himself in the mirror whilst getting ready). I believe that the director has chosen not to include many of these shot’s as the band are not included in the video at all, and using them would break the visual style.
The video has many intertextual references, mainly associated with Asian cinema combined with the American high school movies such as those by John Hughes, hence the rebellion motif of the men in their leather suits, not conforming to Japan’s tendency to maintain an image of the ‘squeaky clean’ individual. The dance sequences and MS shots were characters are on motorbikes or in bar’s are all neatly choreographed and thus similar to the dance and fight scenes in Asian cinema.
The music video is an example of ‘disjuncture’, as there is no relevant relationship between the lyrics and visuals, (however the lyrics of the chorus read ‘I’ve got nothing to worry about’, and thus the characters are seen dancing in their own individual styles in their unique clothing, perhaps illustrating that these people truly do have ‘nothing to worry about’ as they can do what they want. This is highlighted through the narrative depicting the character waking up, washing, doing weights and going out with friends, perhaps seen to be self-indulgent, meeting friends and performing dance moves, and thus illustrating the lyric’s, but not in a direct way).
The video is very postmodern, with an attention-grabbing look which makes the audience want to watch the video in a focused manner. It present’s the Japanese ‘hillbilly’ culture in a suburban area, not normally depicted in music videos, giving it it’s postmodern feel (along with the costumes and hairstyles), with both interior and exterior shot’s detailing the bleak feel of the place, with the MS in the bar, with the character dressed in black against a black and grey cluttered background, filled with posters and stickers of rock star’s, not being able to stand out, as well as the high angle shot above the group as they walk forward conveying they are distant from any other’s in the city, and this is all changed when the chorus begins and the men lose themselves in dance. The video embraces bricolage, taking styles from American fashion and European dance, challenging them separately and combining them to give the video an extremely different look, remaining non-commercialised and artistic, amongst mainstream videos highly influenced by the record companies need for the artist to be sold as a ‘product’.
Media Language
The video was obviously shot with the idea of avant-garde and pastiche in mind, as the director has borrowed from cultures recognisable in the western world (the rockers in their leathers riding motorcycles), and applied it to a completely different setting; Japan, and thus the outcome is a truly out of the ordinary piece which encourages repeatability as well as using semiotics of the rock culture and Japan, the tattoos, hairstyles and people within the video, to offer the audience a chance to identify with the characters and recognise what they do.
As there are no shot’s of the band themselves in the video, there is no need for meat shots or CU, normally used to let the audience familiarise themselves with themselves with the artist and thus buy into the ‘product’ that the producers have created. However, the video is very artistic and in keeping with the band’s previous videos. This adds to the bands meta-narrative as the audience have bought into the bands artistic videos and expect them to produce videos challenging conventions. All of the band’s previous outlets have been artistic, employing different methods of production for each one, ranging from animation in ‘Young Folks’ to a documentary style video for ‘Nothing to Worry about’, and thus there is no narrative to the bands videos but they are all similar in the fact that they push boundaries and offer an alternative view to the music video.
Representation
The ideology of capitalism certifies that to be successful and happy, one must be rich, highlighted in traditional hip-hop videos where rappers are shown lavished in jewellery and expensive luxuries, connoting wealth. In Peter, Bjorn & John’s video, this ideological discourse is challenged as we see the group waking up in their small apartments, drinking in cluttered bars and then dancing on a crowded street, no luxuries immediately recognisable, but thus they are all seen to be having a good time. The steadicam shot following the main character walking from his apartment shows the place in which he lives, a block of flats lit by harsh, cheap lighting, connoting that the living accommodations for the group are not of the highest standard. All the characters are middle aged and thus the traditional belief that those in their teenage years often have the most fun is challenged. When watching the video, with its documentary feel, one gets the feeling that everything the group does is secret, going against the strict regimes set out by those above them, the jerky handy cam shots and the lo-fi feel gives the idea that someone is documenting the Rockabilly’s lifestyle, bringing light onto the group’s different lives.
Institution & Audience
Due to the video obviously being shot on a low budget, the record label would have had little input into the production of the video as the video is postmodern and artistic, with the artist not appearing in the video and thus no star persona being created. The video is really about promoting the music rather than the band, and thus whilst the video is lo-fi and can be consumed in an ambient manner, the music really stands out, the enjoyment for the audience coming from the music rather than the visuals. ‘Social currency’ evident in the video would be copying the dance moves and perhaps the hair and clothes styles of the Rockabilly’s, however as we immediately understand that these people are from another country and lead a truly separate way of life to the rest of their country, it would be difficult for a European or American audience to truly appreciate the styles and thus copy them for themselves.
NW Ad Analysis
The rule of thirds is used on the poster, with the eye following the reading pattern from right to left, first of all reading the artist and then the album name (the most important piece of information), and then following onto the tall animal on the far left of the poster, (connoting a new and postmodern album), the reader first discovering the relevant information about the band, and then finding the genre through the connotations of the artwork. There is a leading line flowing from the top left of the advert and leading to underline the album name and artist, and as the reader follows this line they are drawn to all the relevant pieces of information on the page. The colour of the poster is very prominent, using pink, blue and yellow, colours that together would not normally match, but thus conveying to the reader that the album is a combination of a number of different musical styles. The texture of the poster is soft, with the promoters choosing to use large block shapes for the drawing and the typography, as well as only four colours for the entire spread, and thus there are no connotations of a rough and rugged album, simply a stylish and sleek album. The pink outline to the animal on the left gives the idea that it is 3D, striking out from the page and grabbing the reader’s attention. Analysing the mise-en-scene, we can see how the promoters have included all the relevant information about the band, letting the reader know when the album is out and who it is by, and from the artwork and typography the reader, in either an ambient or focused viewing, can easily deduce what genre and feel the album will have.
The drawing on the left is an obvious signifier of the loud and vibrant tone of the album, whilst also drawing connotation about the band, the penguin, (found in the Arctic) bringing emphasis onto the bands name the ‘Arctic Monkeys’, as well as being similar to the graffiti art shown on the actual album cover, offering a visual link, the reader seeing the bright and bold colours and shapes of the poster and then recognising them immediately when they see the album cover. As well as being extremely striking and bold the graffiti art and the text could also be seen as rebellious, (emphasising the bands semi-mythological set of meanings), using colour and bold shapes to highlight their individuality.
Analysing the typography we can see how the promoters have chosen to use very few words, instead only offering snippets of information to entice the reader to look more closely at the album and potentially buy it. There are connotations of a dream like album with the use of the word ‘nightmare’, whilst the contradiction of the words ‘favourite’ and ‘worst’ gives the idea of a largely individual album with a variety of influences. All relevant information about the album is very direct, simply reading ‘the new album - out now’, (in lower case text in comparison to the striking album title and artists name), letting the colourful artwork speak for the music, allowing the reader to decide if they will or will not look at the album in closer detail simply through the artwork rather than information telling the reader directly what the album is about.
The poster is a pastiche, combining styles of the ‘childish’ drawings and shapes, filled with the bright colours and prominent typography used by graffiti artists around the world. This postmodern look of the advertisement means that the audience will recognise almost instantly that they are buying into the ‘new sound’ the band are making, the advertisement telling them that the music is lively and different to all mainstream music. There is reference to popular culture in the fact that the artwork is similar to that of many graffiti artists and thus associates with those who will potentially be interested in this artwork, predominantly the younger generation.
When focusing on the ‘Star’ analysis by Richard Dyer, we can see how the poster is rebellious as it does not conform to traditional conventions of ‘Indie’ posters (for example, many have pictures of the band members all playing their separate instruments), and it is clear how the group have become successful against the odds, as many people who buy the album will simply buy it for the sake of having the latest outlet from the band, the poster not offering much information about what music the band are now making, and thus not directly promoting them through use of ‘meat shots’. The band are in keeping with their meta-narrative, as again, they have chosen to use a postmodern look for their adverts, sticking to styles created by the band for their first album ‘Whatever People Say I Am, That's What I'm Not’.
The poster would be consumed in a focused viewing, as many will not truly understand the band’s message about their album on first glances, as there are no pictures of the artist, simply the album title and band, along with information about the release date. Therefore the reader will see the advertisement, and due to its unusual graphics and shapes, will want to learn more about the music.
NW Digipak Analysis
'Favourite Worst Nightmare' by the Arctic Monkeys
The houses are an iconic sign of the struggle of poor families in the 1980’s and 1990’s, cheaper houses being seen as harbouring those who were frowned upon by both the government and those higher up than them, and the graffiti is an iconic sign of the rebellious artists in the same time using colour and bold shapes to highlight their individuality. The text is also bold and stands out, however it is one of the last thing one looks at, following the reading pattern looking from the top right of the digipak first and then taking in other elements later. The digipak as a whole creates an individual coding system, following the formula of the signs on the cover, including the dimly lit houses, the interior visible through the windows, and the setting itself, all adding to the overall image of the band created by the cover, that being that their individualism has helped them stand out in an industry dogged by those striving to sell the most music rather than produce good and well thought out songs.
The title of the album ‘Favourite Worst Nightmare’ brings up a variety of connotations instantly, all relating to the visual techniques evident on the album cover. First of all, the title is a complete contradiction, with ‘favourite’ and ‘worst’ being immediate opposites, and thus the audience could connote that the combination of the modern graffiti intertwined with the picture of the terraced houses resembles the confusion and thus enigma created in the album title. The word ‘nightmare’ brings ideas of dreams and confusion to mind, playing on the audiences emotions and inviting them to share with the bands ideas. ‘Nightmare’ could be taken as the state in which the group have lived in before they found success, highlighting the picture on their album cover, with the colours in the windows being seen as the ‘dream’ like state, starkly different to the reality of the estate in which they live. The title itself, using two contradicting words, could draw attention to how the band find their history living in a poor community as something negative (‘worst’), but has thus shaped them into the successful group whom they are today, thus being the ‘favourite’ part of the ‘nightmare’. The typography itself is very bold, with straight lines used instead of a curvaceous text, and this is more striking, making a statement that the band have produced a very loud and daring album.
The album cover is very postmodern, using bricolage, combining both modern and past styles to create an artistic digipak that stands out from others on the shelf. With the covers tone and colour being quite dull in comparison to the areas of colour, it may not truly stand out from other more ‘in your face’ albums on the shelf, but as the artwork is not easily understandable on a first glance, (its setting and typography not sticking to traditional conventions of ‘Indie’ album covers), audiences will want to look at it in more depth to understand the use of location and colour, giving it its postmodern feel. The album is a pastiche of artists in the twenty first century who have chosen to combine new and old styles of print making to produce fresh and exciting artwork.
Looking at Richard Dyer’s analysis of ‘stars’, we can see how the band have chosen to continue with their ‘meta-narrative’, with the band offering another postmodern album cover similar to that of their first album ‘Whatever People Say I Am, That's What I'm Not’, with the band not on the front cover of the album, meaning the audience will read their album cover in a focused manner to learn more about them. The band are seen as rebellious yet original with their non-conventional digipak, whilst also being seen to be successful against the odds, as through the mise-en-scene we can see that the artists futures looked bleak, all growing up to similar futures (connoted through the four identical houses), but thus their artistic flare (shown through the spots of colour on the interior of the house) means that they have come out of the trap of living their entire lives as poor and are thus producing number one albums. We can see how the Arctic Monkeys fans have taken in their image and thus have bought into the ‘product’ of the group, as the album covers do not give a big inclination into what music the band have produced, but the audience still consume the music as they wish to own the latest outlet from the band, and thus make sense of the image on the album cover.
Audiences may choose to consume the digipak in both an ambient and focused view, as on one hand, the tone of the cover is dreary and lifeless, no loud and vibrant colors, thus being consumed in a casual manner, one potentially brushing past the album on the shelf, but on the other hand, one may wish to consume the cover in a passive manner, not entirely sure what the band are trying to convey through the artwork and thus will look at it closer to truly understand it.
Sunday, 20 September 2009
MS - Digipak analysis
The genre of the artist is evident from the album cover. The style of clothing that Daniel Merriweather is wearing connotes an indie/alternative rock style for example his coat. Another example of how the album cover shows the genre of the artist is Daniel Merriweather’s hair style. He has the classic indie haircut which is short back and sides, with the top left longer to style; it will usually be swept to one side. This hair style breaks the conventions of classic rock hair styles. They usually have long hair as this goes against the norms of society; and rock is all about rebellion.
The album cover has constructed a dominant reading path, your eyes naturally start at the top left and read ‘Love & War’. The next thing you read is ‘Daniel Merriweather’ as it is directly below ‘Love & War’, you then look at Daniel Merriweather himself as ‘Love & War’ and his name are slightly slanted as if they are pointing your eyes towards him. The rule of thirds is used in the album cover, the title and name of the artist are along the top line of the rule of thirds and Daniel Merriweather is situated along the right line. The title and the artists name is at the top of the album cover so when it is sitting on a shelf in a shop you can easily see it. The album cover has quite dull colours and tones; there are no bright vibrant colours, this seems to be a convention of the genre. These dull colours and tones could connote that the album is meaningful and emotional; this is reinforced by Daniel Merriweather’s facial expression he looks as if he is staring into space, deep in thought. Mise-en-scene in this album cover is obviously Daniel Merriweather, his clothes and hair style which all signify his genre; another part of the mise-en-scene will be the location. The location is New York. This signifies that Daniel Merriweather wants to try and ‘crack’ the American music market. The fact that the cover shows quite a rough looking area of New York denotes that he has to start at the bottom and work hard, otherwise it would of depicted him living the American dream. The title, ‘Love & War’, is written in black with a white background and Daniel Merriweather is written in white with a black background. They are contrasting to anchor the words ‘Love & War’ as they are two completely different and contrasting things. The font that is used for the writing could be seen as a pastiche as different artists from different genres such as Dizzee Rascal and Mark Ronson have used it. The references to popular culture are the style of Daniel Merriweather and the location. New York, along with Los Angeles, is often a place an artist starting out will go to break into the American music scene.
This album does add to Daniel Merriweather’s meta-narrative as it shows us his style and what he is up to. The fact that he is featured on the album cover adds to his meta-narrative as it shows the style he is into. The location adds to the meta-narrative as it shows he would like to become famous in America, this adds to his meta-narrative as it shows what he will be doing in the next period of his career. This album cover will help sell his product as it shows Daniel Merriweather as an ordinary guy, so it helps people relate to him. People can also relate with what he is trying to do, which would be achieve the ‘American dream’. This album cover reinforces capitalism; which is the dominant ideology in Western countries, which is where the album will be predominantly sold, so this is another way that people can connect with him. As Richard Dyer said in his book ‘Stars’, the star must be ordinary and extraordinary at the same time. So, the star must be accessible so people can relate to them at the same time as being special so people can recognise there talents and they will be able to sell their product.
The way the print text is constructed in a way so that the title and artist is easily seen when it is on the shelves in shops, this is why they are written across the top of the album cover. Often in shops the bottom half of the album will be hidden therefore, you need the title to be at the top so the album is easily identifiable.
Tuesday, 15 September 2009
MS What is the role of 'We Media'?
What is the role of 'we media'?
The role of ‘we media’ is vital in the world that we live in today as Dan Gilmor sets out in his book ‘Grassroots Journalism by the people for the people’. He suggests that grassroots journalism has changed the way that news is handled; it has meant that big media corporations can no longer control the news that we get. This is advantageous as it prevents corporations trying to manipulate different forms of media and news to give a certain message. ‘We media’ is more of an interactive media. It allows people to comment and put there own views on media. An example of ‘we media’ would be ‘Youtube’ as people can add there own videos and others can comment on them. Record labels can put there artists videos on ‘Youtube’ for people to comment on them, it is a way for the record labels and artists to get feedback on their work. Other example of ‘We media’ could be ‘Facebook’ or ‘Myspace’ as they allow people to connect and communicate with one another and share their views and opinions. The purpose of ‘we media’ is to make the internet more interactive, instead of just consuming what we see on the internet ‘we media’ allows us to comment and share are views and opinions in forums. ‘We media’ enables peer-to-peer media, this means that any citizen could provide anybody with media; it no longer has to be fed to us by large corporations.
Monday, 14 September 2009
NW Track Response from Class - 'Give Yourself Away', by Jack Peñate
After a group discussion, we have decided to use the song 'Give Yourself Away', by Jack Peñate .
The song has an energetic and lively atmosphere, with a large variety of instruments, ranging from cow-bells to bass guitar, and thus we hope to create a concept based video for the track, with a variety of influences apparent, using elaborate costumes and make up, as well as stop motion animation.
When we pitched our idea for our song to the class, they gave a lot of positive feedback about our song choice as well as the ideas which we presented, with new thoughts about what could be done coming from different people, giving us ideas on locations, (for example, the song is quite lively and thus cannot be shot in car parks or on rainy days, which will draw emphasis onto the cold), on costume, (for example, it may not be able to use elaborate costumes as they may cost a fair amount), and editing, (for example using stop motion animation, as well as the use of the green screen, offering opportunities to show the artist in a number of different locations, all put in during the editing process).
I am extremely happy with the class feedback, and I know the rest of my group is too, and we will take all ideas through with us when creating our video.
MS - Track Proposal to Class - 'Give Yourself Away', by Jack Peñate
Myself and Nick have been loocking around at various tracks from various artists and bands looking for a suitable track that we could make a video for our A-level coursework. After much research and discusion we have found a track that we belive to be suitable, which is 'Give Yourself Away' by Jack Penate. We will have to see what the class and our teachers think of the track choice when we show them the track and pitch our ideas to them in the next lesson.
Thursday, 10 September 2009
NW Why are music videos considered postmodern, and how do audiences consume music videos?
Why are music videos considered post-modern?
All music video's are considered to be adverts, advertising an artist and their music, (this is why there are often close up 'meat shot's' of the lead singer of a band so that the audience can find out easily who the song is by, and will thus proceed to potentially buy the music).
Producer's wish to advertise a band's music, but they know that the audience will not watch if they are not entertained so they use exciting and artistic videos to engross an audience who will subconsciously enjoy watching them.
Video's could also be considered post-modern and avant-garde as they are used by their audience in strange way's, as, before the turn of the century, song's were normally just listened to, videos only being produced for large band's, but now, audiences want a visualisation of the music with every song they listen to, placing an image with the lyrics so they can easily identify any song, whilst also adding a new layer of enjoyment through the visuals.
Videos are also post-modern, as they now define who we are, a person will often ask new people they meet what kind of music they're into as a conversation starter, we are now defined by what we consume, people can make judgements about us regarding our fashion and music tastes.
Music channels can be considered to combine advertisement’s with music videos to an extent in which they 'blur boundaries', adverts and music both being artistic to an extent where the whole running of a program, with adverts and videos, is considered 'art'.
How do audiences consume music videos?
There are two ways in which audiences will watch music channels, adverts and videos combined.
The first is focused viewing, watching with an active choice of what channels one wishes to watch, committed to viewing the video in depth, analysing perhaps the dance move's and fashion displayed in a particular video to be used as our 'social currency' trading ideas and news about the latest bands and trend's in order to build conversation with those in one's social circle.
The 'opposite' viewing mode would be ambient or secondary consumption; the audience not particularly taking a large interest in what is playing, perhaps watching them for background music when getting ready to go out or when friends are over. When one is simply rotating through channels, not largely interested in what is on, this would be called casual viewing, and this is why producers will use repetition in music videos and easy to understand narratives, so that a casual watcher can come to a song in the middle of a video, and they will still understand what is going on and who the song is by.
A complex narrative with lots going on will confuse the audience and they may feel they cannot continue watching a video because they haven't watched it from the start, thus producer's will have lost an audience member who could have potentially bought the artist's music.
What can we take away from this task when planning our work?
When planning our music video production, it is important that we know how to cater for both an ambient and focused viewing audience.
Obviously a colourful and vibrant video will grab the attention of any audience, but this may be seen immediately as a ‘pop’ or ‘dance’ song, due to the conventions of bright colours and amplifying visuals and this is not always to everyone’s taste.
We must also create a video which is seen to be in keeping with music channels ‘exploratory’ persona, making a video which will ‘be better than the last’ thus, taking influences from previous successful ‘indie’ music videos.
The idea of postmodernism is also important as we must create a video which is new, exciting and interesting, creating new styles and motifs which can be associated with the artist, and using the idea of bricolage, making a video wherein we use a variety of styles already available and cross them over with our own individual style, hopefully creating a complex, layered and appealing music video which will grab all audiences attention straight away.
Wednesday, 9 September 2009
MS - What is the procedure for making a music video?
Posted by Mark
1.) The label, artists and management decide what to release as a single. The record company will give the artist or band an advance; which will cover most of the costs of releasing the single as well as the music video, which is ultimately funded by sales of the record. The record company will also employ a video commissioner.
2.) The video commissioner will make a short list of potential director. The commissioner will make a brief for the video including, the budget, the deadline and other information.
3.) The video commissioner will then send the brief out to the directors along with the track.
4.) The director will listen to the track and do some research on the artist or band, to see what he or she could have to work with. If the director is interested they will then draw out a proposal containing some of their ideas. The proposal could come in the form of a script or an animatic; and this will indicate the general idea the director has for the video.
5.) The video commissioner will then choose a director. They will usually hold a meeting, which could include the artist. In this meeting the directors’ ideas will be discussed further and a budget and deadlines will be agreed. The producer will draw up the budget, and the head of production will then approve it. Once a budget is agreed, a deal memo will be countersigned on director and budget.
6.) The director will then develop their idea with a storyboard and location photos, taking into account any comments or suggestions made by the artist or band, or the record company.
7.) The production unit will then have to be enlisted quickly as everything is now on a tight time scale. The video must be delivered by the deadline or know body will get paid. The production unit includes; production designer, director of photography, production manager, choreographer, production assistant, wardrobe personnel that will include make-up artists and stylists, and the additional crew members such as camera operators, electricians, runners, set constructions etc.
8.) The sets will then be built. A shot can take up to five days of preparation but just one or two days or actual filming.
9.) All personnel will be on site for the shoot (usually just one or two days). A shoot can take place over a very long day as after all they are on a tight time scale; a shoot could begin at 7am and finish at 1am the next day. It is the job of the director to make the video look as good as possible for the budget he or she has. There is reluctance from director to use digital video on anything other than micro-budget productions, record companies demand a product that will look good on TV and this is enough to justify film stock.
10.) Once the shoot is complete, the film is transferred to tape for editing. After the shoot the producer and production assistant spend a couple of days wrapping up the whole event. They also get invoices from unit members and cost so everyone gets paid.
11.) The editor will produce a rough cut, which usually takes about three days.
12.) The label, artist or band and manager view the rough-cut and provide feedback to the editor
13.) The changes are agreed and the editor makes the changes. Once the editing is complete any post-production special effects are added.
14.) The finished product is then passed on to the label for release to TV stations and airplay in advance of the single release. There is now a large market for music videos on TV however; MTV is still the main target for record labels.
15.) Finally once the video is complete it is ready for marketing, distributing and exhibiting. The music video itself can be a marketing device for the artist. It could get airplay on several different music channels as well as internet websites such as 'Youtube' so it is important that the video is right and gives off the correct image for the artist or band. Popular videos will obviously be played more frequently on music channels. The more the video is played the more well known the artist or band will become if they are not already, also the artist or band will make more money the more frequently the video is played as music channels will have to pay royalties to the artist or band to play their video. The finished music video will be distributed to different music channels once it is complete, but only to however is willing to pay for it. The music video is obviously being exhibited when it is being shown on music channels and internet sites.
NW What role does the digipak play in constructing brand/promoting artist?
In an age where the majority of communications, sharing information (and thus musical purchases) are made through the internet, artists have had to branch out and create high quality digitals to come with their hard copy CD in order to maintain audience interest in the ‘brand’ which is the band.