1. Roland Barthes theory in our video:
Dark clothes of the antagonist suggest a meaning in our mise-en-scene of suspicious activity which is in fact true as in the triller he murders a protagonist.
The bright lights of the building standing out in the dark symbolise that there is a positive message during the dark story.
2. How camerawork, mise-en-scene, editing and sound create meaning:
Long shots are used in the bike chase which creates a meaning that the antagonist wants to escape his crimes and leave his past behind.
Through the use of transitions during editing a jump shot was created to create a meaning that the chase was prolonged therefore suggesting to the audience that the protagonist strongly believed in justice and identifying him as the protagonist.
The low angle shot of the antagonist once they've killed one of the protagonists shows them as powerful and dominant and superior to many characters.
At the beginning of the thriller video a dark and gloomy soundtrack is used to create a feeling of suspense, this is done as it meets the conventions of a typical thriller video.
Showing posts with label andrew. Show all posts
Showing posts with label andrew. Show all posts
Friday, 6 May 2011
Tuesday, 3 May 2011
Audience
Our audience is young males who are interested in similar music to the track in our music video. These youths would be in their teens as they can relate to the band featured in our video the most, this is due to similarities in age, background, props and clothing featured in our mise en scene. We meet the expectations of our audience through meeting the conventions of a music video with music similar to ours. We do this by featuring the band to the audience, by seeing them performing, intertextuality with other bands and music related companies such as the NME magazine we showed in our music video therefore making music fans relate to our video more therefore increasing the likability of our video.
We believe our music video would receive a PG because our music video meets the criteria for tis certificate. In our disequilibriam we feature horror scenes which are not prolonged, these are fantasy scenes which are also accepted in a PG film. Also we feature no drug, sex, foul language or disrimination therefore making our music video suitable for all children above 8 years old.
We are trying to acieve a active reponse from our viewers, we would like them to discuss how we challenged traditional conventions of indierock videos such as how we placed our band in a daytime setting rather than a dark and gloomy one. This would result in our viewers discussing the music video and challenging it resulting in more people watching it through word of mouth advertisment. This would therefore sell our artist meeting our music video convnetions to a better degree. We also challenged Laura Mulveys theory of voyerusiem, we did not feature women in our video to provide visual pleasure to our male audience. Our reasons for this links with how we wanted an active response from viewers, viewers of the video would have a passive response if they were provided with female voyerism.
We are trying to acieve a active reponse from our viewers, we would like them to discuss how we challenged traditional conventions of indierock videos such as how we placed our band in a daytime setting rather than a dark and gloomy one. This would result in our viewers discussing the music video and challenging it resulting in more people watching it through word of mouth advertisment. This would therefore sell our artist meeting our music video convnetions to a better degree. We also challenged Laura Mulveys theory of voyerusiem, we did not feature women in our video to provide visual pleasure to our male audience. Our reasons for this links with how we wanted an active response from viewers, viewers of the video would have a passive response if they were provided with female voyerism.
Music Video Representation
Youth representation:
The props and colours that make up our mise-en-scene represents youth quite strongly.
Making it more relatable to the audience and so easier to relate to the band, increasing the like ability factor of our video.
We use high angle shots and showing our character in peril to represent youth as weak and helpless whilst due to their lack of experience in life.
Theorist (David Gauntlett) his theory of how identity isn't fixed and change due to the environment around them supports our video, as we see our character as a stereotypical youth just relaxing and not expressing much emotion, but once the band appear he becomes scared and in panic which is not how youth are generally represented in films.
Gender (male) representation:
Males are represented in two different views, protagonist and antagonist in our video.
Protagonist is shown in peril through emotion shots and their panicked movement and emotions.
Antagonist represented as the dominant set of characters through editing techniques which show them as supernatural and uncontrollable, e.g. when they repeatedly appear and then disappear in front of the character.
This shows males are represented as good and evil and are not typically on one side.
We challenge Laura Mulveys theory that women are used as objects to help strengthen the male gaze and increase the appeal of our video to viewers, as we don't use any females at all during our video even though we are appealing to a male audience.
The props and colours that make up our mise-en-scene represents youth quite strongly.
Making it more relatable to the audience and so easier to relate to the band, increasing the like ability factor of our video.
We use high angle shots and showing our character in peril to represent youth as weak and helpless whilst due to their lack of experience in life.
Theorist (David Gauntlett) his theory of how identity isn't fixed and change due to the environment around them supports our video, as we see our character as a stereotypical youth just relaxing and not expressing much emotion, but once the band appear he becomes scared and in panic which is not how youth are generally represented in films.
Gender (male) representation:
Males are represented in two different views, protagonist and antagonist in our video.
Protagonist is shown in peril through emotion shots and their panicked movement and emotions.
Antagonist represented as the dominant set of characters through editing techniques which show them as supernatural and uncontrollable, e.g. when they repeatedly appear and then disappear in front of the character.
This shows males are represented as good and evil and are not typically on one side.
We challenge Laura Mulveys theory that women are used as objects to help strengthen the male gaze and increase the appeal of our video to viewers, as we don't use any females at all during our video even though we are appealing to a male audience.
Sunday, 1 May 2011
Music video narrative analysis
Meaning is constructed to promote audience understanding:
In our video the main message from the lyrics was shown across in our video, making it easier for the audience to understand the meaning of the song and the message the band is trying to promote.
Our narrative is also very continous with no break aways from the action for performances of the band, therefore making it easier for the audience to follow and understand.
Narrative groups events into cause and effect, action and effect:
In our video we intentionally show emotion shots of the character due to the appearance and then disappearances of the band in certain areas, which is used to build up suspense and keep the audience interested so they can understand what effect the presence of the band can cause.
In our narrative the character actually does react in general way that most people would by trying to run away and escape from the band as ghosts, therefore making it easier for the audience to relate to the video and be more drawn into it.
Narrative organises time and space into compressed form:
Our video is not shot in real time however it does give the audience the audience that it is occuring over one small time period as we see the character running and being followed all within the same day without conditions changing, and so making it seem more realistic to the viewer and therefore making it look less like that space and time have been compressed.
Narrative story - refers to all events, explicitly presented or inferred:
Narrative plot - refers to everything audibly or visually present:
The voice of the narrative can vary. From whose perspective is the story being told? Whose story is being told?:
In our music video the narrative follows Tom the protagonist. We show this by featuring Tom as the only character in the equilibriam, in the disequilibriam the antagonists arrive and the narrative continues forward, however in this disequilibriam the narrative varies between each character in our music video, this relates to the music video conventions of selling the artist to the viewer. As it is Toms story being told once the new equilibriam arrives in the music video the band disappear leaving Tom once again on his own. This suggests to the audience that it was Toms story being told throughout the narrative. This is an example of how our music video met Tzvetan Todorovs narrative theory because we featured the three stages of his narrative theory.
Narrative is constructed through camerawork, lighting and mise-en-scene:
In our video the main message from the lyrics was shown across in our video, making it easier for the audience to understand the meaning of the song and the message the band is trying to promote.
Our narrative is also very continous with no break aways from the action for performances of the band, therefore making it easier for the audience to follow and understand.
Narrative groups events into cause and effect, action and effect:
In our video we intentionally show emotion shots of the character due to the appearance and then disappearances of the band in certain areas, which is used to build up suspense and keep the audience interested so they can understand what effect the presence of the band can cause.
In our narrative the character actually does react in general way that most people would by trying to run away and escape from the band as ghosts, therefore making it easier for the audience to relate to the video and be more drawn into it.
Narrative organises time and space into compressed form:
Our video is not shot in real time however it does give the audience the audience that it is occuring over one small time period as we see the character running and being followed all within the same day without conditions changing, and so making it seem more realistic to the viewer and therefore making it look less like that space and time have been compressed.
Narrative story - refers to all events, explicitly presented or inferred:
Narrative plot - refers to everything audibly or visually present:
The voice of the narrative can vary. From whose perspective is the story being told? Whose story is being told?:
In our music video the narrative follows Tom the protagonist. We show this by featuring Tom as the only character in the equilibriam, in the disequilibriam the antagonists arrive and the narrative continues forward, however in this disequilibriam the narrative varies between each character in our music video, this relates to the music video conventions of selling the artist to the viewer. As it is Toms story being told once the new equilibriam arrives in the music video the band disappear leaving Tom once again on his own. This suggests to the audience that it was Toms story being told throughout the narrative. This is an example of how our music video met Tzvetan Todorovs narrative theory because we featured the three stages of his narrative theory.
Narrative is constructed through camerawork, lighting and mise-en-scene:
Tuesday, 26 April 2011
Music Video Genre Analysis
Genre is a set of characteristics recognised by the audience:
In our case this involved meeting and developing conventions of music videos, with similar or completely different music styles.
We believed that genres exist and that conventions are in place to define a certain genre, therefore we disagree with Robert Stams theory about genre.
A relationship between audience and producer minimises risk of financial failure:
We placed in intertextual references to other successful bands e.g. Led Zepellin and Foo Fighters, this allowed us to appeal to our audience, increasing the like ability of our product and so reduces the risk of not making enough money from our video.
There are set are a set of rules and vocabulary:
Lead singer has more screen time compared to rest of the band which makes him identifiable to fans. Band are seen performing the song to give audience an idea of their live performance. Band wear clothes similar to that of other bands of the same musical genre making them more relatable to the audience.
There is familiar and unexpected as well:
There is a basic narrative featured in our music video which challenges the existing conventions of the music video genre, as most music videos of a similar music genre do not contain any narrative at all.
We used intertextuality in the bands clothing which challenges other conventions as most artists are more focused on promoting their own clothing and style instead.
Meeting expectations of the audience:
During our video the message from the lyrics of is shown during the action of our music video, which meets the audience expectations as they expect to see a clear message and understanding from the artist.
You can also clearly see the band performing which meets the audience expectations as they expect to be visually entertained as well as auditory.
Genre offers comforting reassurance and closing down of complexities of life:
Our music video does not offer this at all, mostly thanks to the narrative which makes it relatable to a large amount of the audience and so therefore makes it think that it could happen to them, although this may potentially make it better as it would be more long lasting in memory of the viewer and so making it harder to forget.
Genres work through important cultural myths and fears by repetition, innovation and resolution:
In our music video the cultural fear of ghosts and haunting and during our video we see the character being haunted many times throughout, however our video challenges this to some degree as there is no actual threatening or scary movements that you would normally associate these fears with. For the resolution the band as ghosts simply dissapear as if on a cliffhanger leaving the audience wanting to know more.
Genre is defined by the effect it has or by its content:
I think it would be more suitable to class our music video by its content rather than its effect, because in a music video I believe the music is more important than visuals and so the viewer may be more effected by that than the visuals. Also the content of music videos can vary even between music of the same genre and so defining it content and make it much easier to identify individual songs and artists. For our video the content was kind of like a thriller, however the bright light and colours and the fact that their wasno actual deaths or conflict involved, meant that the video did not really meet the conventions of a typical thriller.
Genre offers comforting reassurance and closing down of complexities of life:
Our music video does not offer this at all, mostly thanks to the narrative which makes it relatable to a large amount of the audience and so therefore makes it think that it could happen to them, although this may potentially make it better as it would be more long lasting in memory of the viewer and so making it harder to forget.
Genres work through important cultural myths and fears by repetition, innovation and resolution:
In our music video the cultural fear of ghosts and haunting and during our video we see the character being haunted many times throughout, however our video challenges this to some degree as there is no actual threatening or scary movements that you would normally associate these fears with. For the resolution the band as ghosts simply dissapear as if on a cliffhanger leaving the audience wanting to know more.
Genre is defined by the effect it has or by its content:
I think it would be more suitable to class our music video by its content rather than its effect, because in a music video I believe the music is more important than visuals and so the viewer may be more effected by that than the visuals. Also the content of music videos can vary even between music of the same genre and so defining it content and make it much easier to identify individual songs and artists. For our video the content was kind of like a thriller, however the bright light and colours and the fact that their wasno actual deaths or conflict involved, meant that the video did not really meet the conventions of a typical thriller.
Tuesday, 5 April 2011
Theorists and theories analysis of music video and thriller
Music Video Theorist Analysis:
Roland Barthes - Semiotics
Our music video uses Roland Barthes of semiotics, the props involved e.g. Led Zeppellin poster, digital radio, NME magazine have pluralistic meanings in the sense that they represent examples good music trying to give the audience an impression that our music was of the same level. Also this relates to the genre of our media project which is a music video.
Vladimir Propp - Character Theory
Our video challenged Vladimir Propp's theories as it only featured one hero and multiple villains, this was done to achieve a simple narrative to the viewers so that more attention to the music and the conventions featured in our music video e.g. featuring the whole band sharing an equal amount of screen time giving the audience a clear view of each member.
We also decided not to feature any other characters from his character theory due to the length of our media product as we felt it would get confusing with the limited amount of time that the viewer had to relate to the amount of characters.
Our narrative supports his narrative theory to a large extent, we follow six of his seven narrative in order, but there was no recognition stage at the end of our video because due to the narrative of our video this is not needed, as narrative only affects one character and no one else knows about it.
Tzetan Todorov - Narrative Theory
We support Todorov's narrative theory as our media project features an equilibrium (before the band arrive, character reading), dis-equilibrium (Band arrive and chase character), new equilibrium (band disappear leaving character alone).
David Gauntlett - Collective Identity + Media Effect
A variety of products feature in our product which represent a variety of collective identities which the audience could easily identify with e.g. Led Zepellin, Foo Fighters, therefore our video could different collective identities together.
Laura Mulvey - Over exposure of women
Our music video completely challenges laura mulvey's theory as our music video is aimed at males but contains no females, and also contains no sexual reference so there was no reference of women and men being used for visual pleasure.
However our feature does contain a male protagonist which laura mulvey says it quite common in media projects, we used a male protagonist for similar reasons to what mulvey says the majority use their protagonist for, these reasons were that our male audience can relate to the character's feeling, actions and emotions during our video.
Roland Barthes - Semiotics
Our music video uses Roland Barthes of semiotics, the props involved e.g. Led Zeppellin poster, digital radio, NME magazine have pluralistic meanings in the sense that they represent examples good music trying to give the audience an impression that our music was of the same level. Also this relates to the genre of our media project which is a music video.
Vladimir Propp - Character Theory
Our video challenged Vladimir Propp's theories as it only featured one hero and multiple villains, this was done to achieve a simple narrative to the viewers so that more attention to the music and the conventions featured in our music video e.g. featuring the whole band sharing an equal amount of screen time giving the audience a clear view of each member.
We also decided not to feature any other characters from his character theory due to the length of our media product as we felt it would get confusing with the limited amount of time that the viewer had to relate to the amount of characters.
Our narrative supports his narrative theory to a large extent, we follow six of his seven narrative in order, but there was no recognition stage at the end of our video because due to the narrative of our video this is not needed, as narrative only affects one character and no one else knows about it.
Tzetan Todorov - Narrative Theory
We support Todorov's narrative theory as our media project features an equilibrium (before the band arrive, character reading), dis-equilibrium (Band arrive and chase character), new equilibrium (band disappear leaving character alone).
David Gauntlett - Collective Identity + Media Effect
A variety of products feature in our product which represent a variety of collective identities which the audience could easily identify with e.g. Led Zepellin, Foo Fighters, therefore our video could different collective identities together.
Laura Mulvey - Over exposure of women
Our music video completely challenges laura mulvey's theory as our music video is aimed at males but contains no females, and also contains no sexual reference so there was no reference of women and men being used for visual pleasure.
However our feature does contain a male protagonist which laura mulvey says it quite common in media projects, we used a male protagonist for similar reasons to what mulvey says the majority use their protagonist for, these reasons were that our male audience can relate to the character's feeling, actions and emotions during our video.
Friday, 1 April 2011
Vladimir Propp Theories
Propps Character Theory:
The Villain (struggles against the hero)
The Donor (prepares hero or gives hero some magical component)
The (magical) helper (helps hero in quest)
The princess (marries hero, often sought for in narrative)
Her father
The dispatcher (character who makes the lack know and sends hero off)
The hero or villain, reacts to donor weds princess.
The False Hero (disrupts hero's success by making false claims)
Star wars character theory:
The Hero: Luke Skywalker
The Villain: Darth Vader
The Donor: Obi-Wan Kenobi
Magical Helper: Yoda
The Princess: Princess Leia
The Dispatcher: Obi-Wan
The Helper: Han Solo
Princess Father: Darth Vader
The False Hero: (Lando Calrissian)
Star Wars follows propps theory in many ways, however tit does challenge it in some areas e.g. princess's father doesn't really exist.
Lando as false hero -
http://www.youtube.com/watch?v=g8tGOjW10ls&feature=BF&list=PL4C0078DC433DFFB6&index=21
Play at 5:00
Harry Potter character theory:
Villian: Voldemort
Donor: Dumbledore
Dispatcher: Hagrid
False Villain: Snape (challenges false hero theory)
The Helper: Ron + Hermione (Gender stereotypes as they help in different ways)
The Princess: Ginney Weasley
Princess Father: Author Weasley
Propps Narrative Theory:
Preparation
Transference
The Villain (struggles against the hero)
The Donor (prepares hero or gives hero some magical component)
The (magical) helper (helps hero in quest)
The princess (marries hero, often sought for in narrative)
Her father
The dispatcher (character who makes the lack know and sends hero off)
The hero or villain, reacts to donor weds princess.
The False Hero (disrupts hero's success by making false claims)
Star wars character theory:
The Hero: Luke Skywalker
The Villain: Darth Vader
The Donor: Obi-Wan Kenobi
Magical Helper: Yoda
The Princess: Princess Leia
The Dispatcher: Obi-Wan
The Helper: Han Solo
Princess Father: Darth Vader
The False Hero: (Lando Calrissian)
Star Wars follows propps theory in many ways, however tit does challenge it in some areas e.g. princess's father doesn't really exist.
Lando as false hero -
http://www.youtube.com/watch?v=g8tGOjW10ls&feature=BF&list=PL4C0078DC433DFFB6&index=21
Play at 5:00
Harry Potter character theory:
Villian: Voldemort
Donor: Dumbledore
Dispatcher: Hagrid
False Villain: Snape (challenges false hero theory)
The Helper: Ron + Hermione (Gender stereotypes as they help in different ways)
The Princess: Ginney Weasley
Princess Father: Author Weasley
Propps Narrative Theory:
Preparation
A community/kingdom/family is in an ordered state of being
A member of the community/kingdom/family leaves home
A warning is given to the leaders of the community or a rule is imposed on the hero
The warning is discounted/ the rule is broken
The villain attempts to discover something about the victim of the broken rule
The villain tries to deceive the victim to gain advantage
The victim unwittingly helps the villain
Complication
A state of disorder
The villain harms a member of the community/kingdom/family
One of the members of the community/kingdom/family desires something
The hero is sent to get what is desired
The hero plans action against the villain
Transference
The hero leaves home
The hero is tested or attacked/ he meets the test and is given a magical gift or helper
The hero reacts to the donor
The hero arrives at the place he can fulfil his quest
Struggle
There is a struggle between the hero and the villain
|The hero is branded
The villain is overcome
The state of disorder is settled
Return
The hero returns
The hero is pursued
The hero escapes or is rescued
The hero arrives home and is not recognised
A false hero claims rewards
A task is set for the hero
The task is accomplished
Recognition
The hero is recognised
The false hero or villain is unmasked
The false hero is punished
The hero attains the reward (princess/ kingdom)
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