Thursday, 27 October 2016
Production Diary Five
Over the three Intertextuality Analysis research I conducted; Taylor Swift - Love Story, Wiz Khalifa - See You Again ft. Charlie Puth and Skrillex & Rick Ross - Purple Lamborghini. I managed to discover the influence and impact a music video has on the audience if it incorporates the motion pictures of a film. It creates a concept that conveys a visually engaging music video, attracting the audience as it constructs synergy. On the other hand, not only does the merging of two media platforms form imagery, it acts as a promotional element. Further generating success and publicity for both the film and the artist/song.
Intertextuality Analysis: Taylor Swift - Love Story
'Love Story"' is a song by the artist Taylor Swift of which was released in 2009, the lyrics and visuals for the song were encouraged by the classic film 'Romeo & Juliet'. Thus making the aim of the music video to be a modernised version of the story, this is achieved through the lyrics of the song. This particular intertextuality is homage as it refers to the original yet it isnt a parody instead it shows respect towards the play.
The intertextual link is to Romeo & Juliet, of which is evident through the mise-en-scene. Taylow Swift, who portrays Juliet, is shown here waiting on her balcony in her gown as she waits for Romeo. Suggesting she is the damsel in distress waiting for her hero.
The setting of the music video is displayed through this scene, as it portrays the formal dancing within the ballroom.
In conclusion, the purpose of Taylor Swift selecting this intertextuality, is to portray a tragic love story of which the audience could recognise. Not only this but it intertwines with her lyrics as they show clear links to love yet with the help of the intertextual connection, it allows Taylor to portray her message efficiently.
The intertextual link is to Romeo & Juliet, of which is evident through the mise-en-scene. Taylow Swift, who portrays Juliet, is shown here waiting on her balcony in her gown as she waits for Romeo. Suggesting she is the damsel in distress waiting for her hero.
The setting of the music video is displayed through this scene, as it portrays the formal dancing within the ballroom.In conclusion, the purpose of Taylor Swift selecting this intertextuality, is to portray a tragic love story of which the audience could recognise. Not only this but it intertwines with her lyrics as they show clear links to love yet with the help of the intertextual connection, it allows Taylor to portray her message efficiently.
Intertextuality Analysis: Wiz Khalifa - See You Again ft. Charlie Puth
'See You Again' was a soundtrack designed for the film 'Fast and Furious 7's ending, as it shows the departure of the two protagonists taking their separate paths. However it also entangles into the death of Paul Walker, who starred in the film as Brian O'Conner, as the the music lyrically satisfies both scenario's.
By the music video continuously previewing extracts from each 'Fast and Furious' film, ranging from 1-7, for the audience to recognise - it begins to create links with the film itself. Establishing recognition between the two.
Furthermore the music video features various muscles cars, of which are one of many main focuses towards the 'Fast and Furious' franchise. Creating more connections between the two media platforms for the audience to recognise.
By the music video continuously previewing extracts from each 'Fast and Furious' film, ranging from 1-7, for the audience to recognise - it begins to create links with the film itself. Establishing recognition between the two.
Furthermore the music video features various muscles cars, of which are one of many main focuses towards the 'Fast and Furious' franchise. Creating more connections between the two media platforms for the audience to recognise.
Overall the music video features both artists, Wiz Khalifa and Charlie Puth, but only features scenes from the movie franchise of the 'Fast and Furious' characters instead of the actors themselves. Therefore the music video consistently switches between the scene extracts and the artists, as they sing/rap, allowing the audience to follow the story-line of the song.
Intertextuality Analysis: Skrillex & Rick Ross - Purple Lamborghini
'Purple Lamborghini' is a film derived soundtrack, for 'Suicide Squad'. As much so is 'Heathens' and 'Sucker For Pain'. However unlike it's audio, the music video 'Purple Lamborghini' wasn't released until after the film itself had been distributed. This was because the music video was rumoured to feature Jared Leto's Joker, therefore they didn't want the audience to see the Joker's representation before the film.
Being the music video named 'Purple Lamborghini' it links to the Joker and only the Joker, within 'Suicide Squad', as he himself is seen to own and drive a purple Lamborghini.
Although the music video doesn't feature his purple Lamborghini, it instead bases it around the Joker's persona and presents him in the same way the film does - hence why the music video hadn't been released until after the film.
Following on, these four screenshots, taken from the music video, encapsulates the Jokers personality of being mischievous to be conventional and generic of the DC Comics character 'The Joker', that we as an audience hope to witness and enjoy watching.
Overall the music video shows the audience a various mix of scenes involving both the artists, Skrillex and Rick Ross, and Jared Leto's Joker. More so the Joker is involved towards the beginning of the music video to give the audience an establishing context of what the music video is trying to portray yet it gradually passes its main focus over to Rick Ross, being the artist who raps the song, for recognition.
Being the music video named 'Purple Lamborghini' it links to the Joker and only the Joker, within 'Suicide Squad', as he himself is seen to own and drive a purple Lamborghini.
Although the music video doesn't feature his purple Lamborghini, it instead bases it around the Joker's persona and presents him in the same way the film does - hence why the music video hadn't been released until after the film.
Following on, these four screenshots, taken from the music video, encapsulates the Jokers personality of being mischievous to be conventional and generic of the DC Comics character 'The Joker', that we as an audience hope to witness and enjoy watching.
Overall the music video shows the audience a various mix of scenes involving both the artists, Skrillex and Rick Ross, and Jared Leto's Joker. More so the Joker is involved towards the beginning of the music video to give the audience an establishing context of what the music video is trying to portray yet it gradually passes its main focus over to Rick Ross, being the artist who raps the song, for recognition.
Friday, 14 October 2016
Production Diary 4
From researching into both Laura Mulvey's and Andrew Goodwin's Theory, I have managed to gain a strong understanding of the two. By looking into the Laura Mulvey Theory, it has enlightened me and shown the significance of how heterosexual men perceive women to be of a sexual object/appeal. Whereas from Andrew Goodwins Theory, it has amplified how five key aspects are used in association with each other in order to produce a narrative for the audience. As a group we will be taking both concepts into consideration when producing our music video as they can help to magnify our message across to the audience.
Reception Theory Analysis
Miley Cyrus - Wrecking Ball
Dominant Reading:
The Dominant Reading of Wrecking Ball by Miley Cyrus is that the artist has recently experienced a separation with their partner, resulting into numerous emotional and/or physical pain. The artist physical pain is shown through the use of a 'Wrecking Ball' and 'Sledgehammer' to destroy the inner walls surrounding her. Thereby the walls, alongside her tears falling down her face, represent the artists mental pain; she's crumbling.
Negotiated Reading:
Even more so, by considering the Dominant Reading, the Negotiated Reading produces a meaning of feminine power. Although everything around the artist is falling down, she is able to maintain her appearance; proving sexual powers make women strong.
Oppositional Reading:
On the other hand, the Oppositional Reading describes the artist to be unnecessarily provocative as shown through her minimal to no use of clothing yet also at the same time it implicates the use of violence acts as a way to heal pain. Thus encouraging this ideology, considering people follow in her footsteps as an idol.
Dominant Reading:
The Dominant Reading of Wrecking Ball by Miley Cyrus is that the artist has recently experienced a separation with their partner, resulting into numerous emotional and/or physical pain. The artist physical pain is shown through the use of a 'Wrecking Ball' and 'Sledgehammer' to destroy the inner walls surrounding her. Thereby the walls, alongside her tears falling down her face, represent the artists mental pain; she's crumbling.
Negotiated Reading:
Even more so, by considering the Dominant Reading, the Negotiated Reading produces a meaning of feminine power. Although everything around the artist is falling down, she is able to maintain her appearance; proving sexual powers make women strong.
Oppositional Reading:
On the other hand, the Oppositional Reading describes the artist to be unnecessarily provocative as shown through her minimal to no use of clothing yet also at the same time it implicates the use of violence acts as a way to heal pain. Thus encouraging this ideology, considering people follow in her footsteps as an idol.
Vladimir Propps 'Music Video' Theory
Vladimir Propp focused on looking at narrative folk tales. He noticed that the folk tales were all very similar and they followed a structure. This is where he formed his theory about characters and actions as narrative functions. He formed the theory that characters all have a distinctive narrative function.
Vladimir Propp states that characters take up roles in their narratives. He identifies seven different characters necessary to make up a narrative.
Therefore, his theory being more suited to films rather than a music video due to the designated character choice. However, there are certain aspects of Propp’s theory in specific music videos. An example music video of where Vladimir Propp’s theory has been embedded is Demi Lovato – Confident. The protagonist/artist in the video is seen to be the Princess who is in danger and needs help, therefore outlining a clear villain role in the music video as the protagonist is captured.
Vladimir Propp states that characters take up roles in their narratives. He identifies seven different characters necessary to make up a narrative.
- The Hero
- The Villain
- The Donor
- The Dispatcher
- The False Hero
- The Helper
- The Princess
Therefore, his theory being more suited to films rather than a music video due to the designated character choice. However, there are certain aspects of Propp’s theory in specific music videos. An example music video of where Vladimir Propp’s theory has been embedded is Demi Lovato – Confident. The protagonist/artist in the video is seen to be the Princess who is in danger and needs help, therefore outlining a clear villain role in the music video as the protagonist is captured.
Wednesday, 12 October 2016
Production Diary 3
A series of eight questions were asked to a number of people (fifteen), each question taking a toll into how our music video will be influenced. Through this recent questionnaire it allowed us to gather the current trends of this year, this was important as it puts us in a position to identify specific conventions for our production and therefore appealing to the current audience.
Focus Group - Question & Answers
Here is the information i gathered from our focus group after showing them our test footage; involving previously prepared questions.
From our test footage, what impact do you think our camera techniques will have on our music video?
The idea of using Close-Ups, alongside Over the Shoulder shots, allows the video to be more personal but also creates a star image for our artist as the our target demographic is able to identify the protagonist easily. By using Long-Shots it creates a wider view, not only does it involve the artist but it also allows the audience to see any known landmarks. However if we was to incorporate a 360 degree shot, this would create a wider view of the location and allow the audience to see the different cultural aspects from a different perspective.
Iconography, shows conventions of the genre but also provides the audience with a known location setting, potentially creating a wider audience. Internationally people will know these landmarks.
Can you see any Pop genre, codes and conventions?
From viewing out test footage, our focus group identified that the lip syncing is conventional, in addition they indicated that our artists outfit is very fashionable.
Do you believe our artists name, Marcus Matthews, is generic of the Pop genre?
The idea of having the initials 'MM' implicates a name easy to remember and pronounce due to its alliteration, yet it provides the demographic with a catchy name.
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