Question 1A:
POST PRODUCTION
During the AS course I was required to design and create a
magazine. The
magazine
I decided to create was an indie/alternative music magazine called Alternate
which was aimed at both females and males aged between 18-30. I used Photoshop
to edit the images for my magazine as there is a huge variety
of tools that you can use to make the images look more appealing and suitable
for the magazine. Photoshop is very widely used by successful magazines in the
industry therefore I felt that it was necessary to use it. I used tools such as
the Magic Tool, enhancing saturation and colour levels as well as playing
around with the Actions tools to create my desired look. I chose to remove the
background from my image for the front cover of the magazine so that it was
completely white, and enhanced the vibrancy to make my artist stand out amongst
the page. I also used the refining edge tool to make the image look soft and
professional. I also scanned in my handwriting and placed it on top of the
newly white background to make it fit within the genre and make it look like
the artists thoughts were exploding out of her.
I used InDesign to
create my magazine as it is a lot easier to use than Photoshop (which we used
for our GCSE magazines). InDesign enables you to view the document as a
magazine and you can use various different tools such as the Master page which
quickly and effectively adds the same text to all of the pages. This makes
adding page numbers and the website name of the magazine very easy and saved me
a lot of time which I can instead use to improve my magazine elsewhere.
Paragraph styles has also been very effective as it also saves time and matches
the fonts up when necessary. It was easy
for me to import all of the images which I wanted in the magazine by clicking
the “place” image where I was then able to scale the image to my desired size. In
addition to this, InDesign allowed me to add a range of text boxes so that it
was easy for me if I wanted to reposition the text. This also allowed me to set
out my magazine in a
professional manner through the use of three columns.
Moving onto the advanced portfolio, I had the challenge of
adapting to new programs such as Adobe Premiere Pro which is a video editing
software. I wasn’t very familiar with this program however when I got used to
it I was fine. I used this program to add all of my footage onto the timeline
as well as editing it. I also used Premiere
when adjusting the time of
the clips, slowing it down by about 20% to match the slow tone of the song. I
also needed to make sure the timing was accurate otherwise the lip syncing
would not match up. I made sure that
through the use of these professional tools, I was able to edit my video to
allow it to look as professional and realistic as possible. As well as making
sure the visuals matched up with the lyrics,
I had to make sure that the audience were pleased with what they were
seeing as well. I did this by increasing the brightness and contrast of the
clips, adding vintage and soft effects and positioning the artist in many
different positions on the screen to avoid the audience getting bored. I
changed the position of the artist and was even able to manipulate the type of
shot shown to the audience by using the scale tool, where I was able to zoom in
and out on the clip as it played.
Likewise with the AS course, I used Photoshop for my
ancillary tasks – the magazine advert and digipak. Using this program again
benefitted me greatly as I understood how to use it soundly. I was able to adjust the colours of the images to
make them appear brighter and less dull. I also drew the shape of a CD disc
onto the digipak to make it look more realistic. Furthermore, I also used InDesign
to create my evaluation magazine for the A2 course, which is similar to what I
created for the AS course evaluation. This magazine was able to include
Question 1 of the evaluation questions which included a range of text and
images. Again using InDesign allowed me to set out the evaluation exactly like
a magazine, using columns
and positioning my text around images.
Question 1B:
NARRATIVE
I am going to discuss theories of narrative
in relation to my advanced portfolio. The music video I created was “Young and
Beautiful” by Lana Del Rey, featured in the hit movie The Great Gatsby. I
focused on narrative to ensure my music video had a structured start, middle
and end.
In order to make my music video look as
professional and realistic as possible, I drew conventions from real media
texts to mine, in order to understand ways in which they conveyed certain
concepts to their audiences. I looked at Sinead O’Connor’s music video for
‘Nothing Compares To You’, where Sinead is seen behind a infinite black
background throughout the majority of the video, whilst being shot
predominately in a close up. I chose to mimic this and put my own twist on it
as I used a wider variety of shots, however likewise to Sinead’s song, I wanted
to create emotion within the video by having a slow pace and dark image. To
look at the video in depth, I compared it to Vernallis’ theory of how music
videos are constructed around four concepts – Narrative, Editing, Camera
Movement, and Diegesis. The video complies with bits of Vernallis’ theory of
however does also challenge it.
For my music video, I looked at Vernallis
also. Once analysing the lyrics of the song, I found that it was about a very beautiful
woman who is insecure about a man leaving her when she begins to age and her
looks begin to deteriorate, and she wants a man who will love her for the woman
she is. Therefore, I have decided to create a narrative and performance video
of the artist. Based on when the protagonist was younger, we will see her
singing to the camera, putting on her makeup and getting more comfortable in
her own skin as she progresses from a small studio to a big stage towards the
end. The protagonist will then look back on herself from when she is older,
happy with the person who she has become.
The narrative in my video will be
fragmented, keeping the structure of the video disjointed which supported
Vernallis’ theory that ‘the narrative is not always complete’. It also complies
with Vernallis’ theory that ‘there is not necessarily a balance between
narrative and performance’, as I plan to spend more time on the performance of
the artist, whilst the narrative is almost hidden and can only be noticed once
it has been stated – so I will still have an element of narrative. This is a
convention of pop and indie music videos, which I hope to stick to as I want
the audience to associate it with the correct genre.
I have also looked at a theorist called
Andrew Goodwin who believed there was a relationship between the music and
visuals. My music video will support this, as it is quite heavily performance
based I will make sure that the artist sings in time with the music whilst
illustrating what’s being sung on the screen. A lyric that I plan to use
includes “Hot summer days, rock and roll” where the protagonist signals the
rock sign with her hands.
On the other hand, although I do not plan
to include a strong narrative story line in my music video, the different shots
of the artist performing and the heavy reminiscing theme should still be able
to drive the music video forward. This supports Vernallis’ theory that
‘Something drives the video forward, but often it is not the narrative.’
Another theory that supports my music video
is Roland Barthes semantic code. I will be using some of the conventions of The
Great Gatsby such as the use of costume and hairstyle, however with a modern
twist. This means that there will be a deep meaning behind the decisions that
the protagonist chooses to take therefore the audience will be able to link the
protagonist with this.
My narrative will go against Todorov’s five
stage narrative structure. His first stage is ‘equilibrium’ which is
essentially where everything is good, however my music video starts with the protagonist
when she’s older, acting completely neutral, challenging what Todorov says. He
then goes on to say that there is a something happens that ‘disrupts the
equilibrium’. My music video will not involve any kind of
disruption, but a solution to the artist being neutral – she will gradually
progress throughout the video, and then look back at herself.
To conclude, I am able to create a music
video that is primarily performance based, however still involving elements of
narrative. My video supports most of Vernallis’ theory on narrative, as well as
Barthes, but goes against Todorov’s theory on narrative structure.
Question 2:
POSTMODERNITY
Postmodernity is a very complex theory. Modernity refers to
the modernist movement with everything we know today however postmodernity
means “coming after modernity”, and in fact contradicts itself. There are a few
characteristics of postmodernity, including pastiche, parody, intertextual
references and flattening of effect.
Two key examples of postmodern films are both Blade runner
and Pulp Fiction. These are very popular exams of postmodernism in the film
industry. Firstly Blade Runner is possibly the most popular postmodern film.
Ridley Scott's 1982 film is about a future dystopia where
"replicates" have been invented and are deemed dangerous enough to
hunt down when they escape. The film highlights to be playing with time (the
various types of clothes) and culture and genre by mixing them all together to
create the world of the film. "The postmodern look of Blade Runner is therefore
the result of recycling, fusion of levels, discontinuous signifiers, explosion
of boundaries, and erosion. The disconnected temporality of the replicants and
the pastiche of the city are all an effect of a postmodern, post-industrial
condition: wearing out, waste." Moving on pulp fiction is another popular
example of a postmodernist film. The film tells the interweaving stories of
gangsters, a boxer, and robbers. The film breaks down chronological time and
demonstrates a particular fascination with intertextuality: bringing in texts
from both traditionally "high" and "low" realms of art. By
focusing on intertextuality and the subjectivity of time, Pulp Fiction
demonstrates the postmodern obsession with signs and subjective perspective as
the exclusive location of anything resembling meaning.
My first case study is The Lego Movie (2014) which was
directed by Phil Lord and Christopher Miller, produced by Warner Bros. Lego is
a very popular franchise therefore it’s known to be a postmodern film without
even trying.
The Lego movie is set in an animated world and isthe heroic journey of regular-guy Emmett and
his quest to stop Lord Business from destroying the world with his super weapon
The Kragle. On the other
hand, the boy is set in reality attempting to play with his dads Lego while his
dad wants to maintain complete and absolute order, not giving in to the
creativity of Lego. There are layers of reality, and only the main hero is able
to see both completely. Built within this multiple-layered-reality are iconic
figures like Batman and Star Wars characters, as well as eclectic combinations
such as Unikitty.
Pastiche is highlighted to us throughout the film. It is never taken too
seriously and the script reads like it has been written by a young child,
allowing the audience to relax and enjoy
watching the film. Moreover
intertextuality is displayed bringing characters in drawing iconic
personalities that we already now. A prime example of this in the film is the
character Batman as we do not need any explanation of who Batman is and why he
does certain this as we already know this from previous experience. Flattening
of affect is suggested through the character Emmit where he lives in a world of
popular music, formulaic television, and people who always follow the
instructions. At first it seems like an evil corporate plot, but when we pull
back and see the father-son relationship in the framing narrative, we realise that this isn't exactly the
case. This is because the Lego franchise creates many different characters for
their toys for children to play with such as Batman.
My other case study is the music video “California Gurls” by
Katy Perry ft. Snoop Dogg. The video begins with an image of a board game.
This, as well as the pink, candy floss clouds suggests an element of
hyperreality. There is a play of words – ‘Candyfornia’ instead of ‘California’.
The whole video seems to imitate the classic film ‘The
Wizard of Oz’ (1939), through the use of pastiche, with Katy taking on the role
of Dorothy as she saves three candy characters (who are replacing the
characters of the tin man, the lion and the scarecrow as she skips across a
candy lane (the yellow brick road). The video is heavily based on candy and all
things sweet. The audience are then introduced to featured artist, Snoop Dogg,
who is dressed as ‘Sugar Daddy’ in a sweet patterned suit. Through
mise-en-scene, his clothing can be intertextually linked to Gene Wilder’s
costume as Will Wonka in Willy Wonka & The Chocolate Factory (1971).
Audiences will immediately identify the similarities of their sweet patterned
clothes and brown cane, associating Snoop Dogg with the hyperreal sweet land. By placing him over the game board, and close
up shots of him putting Katy Perry into the game, which creates a God-like
status. This hyperreal candy land is based in Hollywood which is an
intertextual reference. This also references the board game ‘Candy Land’, with
much of the set decorated with cupcakes, ice creams, cotton candy, and
lollipops. There is also a lot of teddy bears and dream-like scenarios; Katy is
seen to be conforming to Laura Mulvey’s theory of the Male Gaze as she is
seductively eating candy floss, lying bare on a pink cloud and using direct
address to the camera by giving eye contact. The lighting is very bright and
everything is colourful to make the video seem like a fantasy. Katy wears a lot
of eccentric outfits, such as a corset and tutu with a lot of sweets stuck to
it as she wonders around a forest of candy. She’s wearing a purple wig which makes
her seem very childish in a teenage dream. We can also see Katy waving to
over-sized gummy bears who appear to be alive which uses personification. An
element of parody is seen in the music video, as the references to Willy Wonka
is reinforced as Snoop Dogg is followed by these gummy bear workers. This is an
intertextual reference to Willy Wonka as his workers are ‘Oompa Loompas’ so the
audience can relate to the bears and gain an understanding of what their
purpose is. We can see that Snoop Dogg is rolling sugar dice; controlling Katy
on a board game which signifies that the video is not real. Other props involve
Katy’s friend floating in a bubble gum balloon and Katy saving her with her
stiletto heel – which is clearly very unrealistic. The candy canes at one point
turn into snakes which symbolizes that even a dream has it’s faults. Katy then
proceeds to climb the candy cane and is floating in a candy floss cloud. Whilst
in the cloud, Katy is nude which signifies her growth within the video, in contrast
to her previous child-like behaviour. At another point, Katy crosses another
candy cane over a very dark ‘town’ which is actually chocolate. The gingerbread
man is saved by being given a heart by Katy to make him happy – similar to the
Tin Man in The Wizard of Oz who doesn’t have a heart. Half way through the
song, Katy switches outfits into denim daisy dukes and a bralet which is like
cupcakes and cream; the lyrics match the visuals of the music video. The next
person she saves is stuck in a sweet wrapper. They then proceed to find a
castle which is like Emerald City and she then stays in this wonderland. The
director uses pastiche to self-consciously imitate the ‘fembot’ scene from film
‘Austin Powers: International Man of Mystery’ (1997). This is reinforced
through the use of mise-en-scene where the Katy’s hair is styled in a similar
way and she fires whipped cream at the gummy bears from her chest. She quickly
defeats the army after which the stunned king throws down his staff and
surrenders. The video ends with "Sugar Daddy" buried up to his neck
in the sand by the women, nonetheless admiring their beauty and wishing that
women everywhere could be California girls. Various California landmarks appear
in the video, such as the Hollywood Walk of Fame, the Hollywood Sign and some
West Coast beaches which were all made out of confectionery.
Lastly, another postmodern medium I will be discussing is
video game. A well-known example of postmodern video game is Grand Theft Auto
which immerses the player in a convincing, intricate and believable-world, but
that the reality it represents is the stuff of films and other media. Another
example is The Sims is a strategic, life simulation video game series developed
by Maxis and later by The
Sims Studio, and published by Electronic Arts. It is one of the most successful
video games series of all time. The player creates virtual people called “Sims”
and
places them in houses and helps direct their moods and
satisfy their desires.
Hyper-reality is seen throughout the Sims where you can
create characters
however you want to. You can recreate your image as
something completely
different and plan their life for them. Baudrillard argued
that a simulacrum is not
a copy of the real, but becomes a truth in its own right.
This is the case in the
Sim's with the language that they use -
Simlish. It's not a copy of any language
but has its own meaning in the game. There is no proper
translation for the
language and to us sounds like random noises and sounds.
This is the creators
trying to imitate what it's like when we hear an unknown
language that we don't
speak or understand, as to us it then becomes a range of
noises and sounds. In
addition to this !he Sims uses intertextuality to make the
game seem more
realistic and therefore includes features from reality that
we can associate with.
!hey do this very subtly through the use of different
television shows available
for the Sims to watch and also the music they can listen to.
They change the
language to Simlish but they are still the same TV shows and
songs we listen to
and would recognise. They also have new expansion packs to
add to the game
and well known celebrities such as Katy Perry, which shows how
she is still recognised in the game for her talent. As well
as the features which we
see in the game The Sims have created a large number of
different games. One
prime example of this is the Katy
Perry edition. In this game we see that the sim
being used to play is Katy
Perry and the whole game features her, her music and
custom features all to do with Katy, including all of the props noted when
discussing the Katy Perry music video above!
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