1B key concepts mindmap

GENRE
- Performance based music video which is typical of the alternative/pop genre. 
- Conforms to Goodwin's theory as I follow the characteristics of the alternative/Pop genre. There is a relationship between the lyrics and the visuals of the song, allowing the audience to follow the video and understand what is going on. 
- Genre of pop is generally happy and upbeat however my music video is slow and sombre. Quite similar to the alternative genre however it is a mix of the two together. 
- Gow (1992) suggested that the "predominance of performance indicates that music video defines itself chiefly by images of artists singing and playing songs."

NARRATIVE
- Refers to a story that is told in chronological order, as the woman featured in the video is looking back on her youthful days with it ending back to her towards the end of the video. 
- Beginning to end. 
- Cause and effect. 
- Linear narrative. 
- Heavy performance based. 

REPRESENTATION
- Artist is represented as the typical 'whore' character by Laura Mulvey. 
- Many close up shots of the artists face and body to sexualise the artist. 
- Shots of the artist putting on makeup to appear beautiful and feminine. Putting on heavy lipstick and mascara to enhance her appearance which is clear to the audience which links in with the lyrics of the song as she's trying to appear more "Young and Beautiful".
- Also many costume changes - variety of dresses, jumpsuit etc. 
- Contradicts Saussure's theory of brightness and colour through location and clothing. The artist is in a black studio room to compliment the sombre tones of the music as it is quite slow and sincere. However, the artist does progress towards the end of the video where she is much older, but is at home where there are bright lights and she's wearing bright colours, suggesting she's now happy and cheerful as opposed to previously.  

AUDIENCE
- Goodwin's theory of star power; all attention is focused on my artist through a wide variety of close up, mid shots and long shots with her giving direct mode of address towards the audience which portrays her power. 
- Goodwin stated that meaning is embedded into the music video through codes and conventions with 5 main aspects needing to be considered in order to be successful. Complex meaning is given to the audience through the noticeable link between the visuals and lyrics of the song so that the audience understand the meaning of the song and what is happening. 
- Saussure states that within a music video there are many signs which communicate meaning and suggests that no object is without a meaning. Individual differences depending on who is watching the music video as they can interpret it differently due to their individual experiences, making the signs in the music video polysemic. 

MEDIA LANGUAGE
-  Roland Barthes noted, Saussure's model of the sign focused on denotation at the expense of connotation. 
- Signifiers such as the makeup, the red dress, the black dress and the golden jewellery and diamonds all have signified signs of wealth, beauty and power.
- Many visual progressions including how she starts in a small black studio to a big stage and how she is young in the beginning and then much older towards the ending. 
- I used Adobe Premiere Pro and After Effects to create a vintage touch, as the song is quite old and classic with an elegant touch. I also made all of the clips softer to match with the song and make the artist seem more flawless. Enhancing the colours also made the reds and gold’s stand out – both of which are quite powerful colours which connotation wealth power and beauty.

Genre exam question

Genre

I am going to discuss theories of genre in relation to my advanced portfolio. I plan to create a music video for Marina and The Diamond’s pop song ‘Primadonna’.

My music video is made up of many different genres; the first being performance. Gow (1992) suggests "the predominance of performance indicates that music video defines itself chiefly by images of artists singing and playing songs". The lip-syncing in time to the song reminds the audience that the track is still the most significant element.

My video is also conceptual. It relies on poetic form, primarily metaphor. Conceptual videos do not tell a story in linear fashion, but rather create a mood, a feeling to be evoked in the experience of viewing (Firth, 1988). This type of genre of video contains the possibility for multiple meanings as the metaphor is interpreted by the viewer: I will be hinting at my theme of Goldilocks as opposed to making it completely clear to the audience as I want them to pick the metaphor up.

Another theory for genre in relation to my coursework is Goodwin. He stated that music videos demonstrate genre characteristics (e.g. stage performance in rock video, dance routine for boy/girl pop band). My music video will contain many different characteristics of the pop genre; for example the heavy use of the green screen to use a wide variety of backgrounds – generally bright colours such as green, yellow, orange, blue and pink as these colours relate to the pop genre. I will also include plenty of different costumes; Marilyn Monroe, Audrey Hepburn, James Dean and James Bond.This makes the video stand out more and helpos the audience to associate and understand what the music video is about. It also appeals to youth (the target audience), as it appears upbeat and lively, which is something young people are attracted to and can understand the meaning of the song. The protagonist will also be jumping around the screen through the different uses of shots being chopped together – long shot, close ups etc. The demands of the record label will include the need for lots of close ups of the artist and the artist may develop motifs which recur across their work (a visual style) (Marxist perspective). These characteristics are often associated with the pop genre.

 

Goodwin also said that there is a relationship between lyrics and visuals (either illustrative, amplifying, contradicting). 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 “Would you get down on your knees for me?” and “I’m sad to the core, core, core.” This helps people to remember the lyrics, as they can see it. That makes the person remember the song and, possibly, want to buy it. There will also be a relationship between music and visuals (also either illustrative, amplifying, contradicting) as the message behind the song is that the ‘primadonna’ will always get what she wants, therefore the music paired with the visuals in the music video is significant because it demonstrates what the meaning behind the song is. I will include rapid cuts in my music video to intersperse images in time with the music. This means it is edited in time to the beat, which is more aesthetically pleasing and suits the theme of the song.

Narrative exam question

“Media texts rely on cultural experiences in order for audiences to easily make sense of narratives.” Explain how you used conventional and / or experimental narrative approaches in one of your production pieces.

I am going to discuss theories of narrative in relation to my advanced portfolio. I plan to create a music video for Marina and The Diamond’spopsong ‘Primadonna’.

I am going to draw conventions from real media texted to mine, in order to understand ways in which they conveyed certain concepts to their audiences. I have looked at Alex Winston’s music video for ‘Velvet Elvis’, where the girl refers to her boyfriend as her velvet Elvis; this song is literally about a velvet Elvis. This is an old fad; it was a framed painting of Elvis painted on black velvet. She's literally singing about a picture of Elvis that she is in love with, and seems to believe is real/alive ("Kill the bitch that bats at eye at Elvis"). 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. I really liked the way the video was fragmented, but still had a sense of flow and the shots that were used which I plan to incorporate into my own music video.

Whilst I createmy version of ‘Primadonna’, I will look at Vernallis also. Once analysing the lyrics of the song, I found that it was about a very temperamental woman with an inflated view of her own talent and importance; it’s about asserting dominance and living a certain lifestyle. Therefore, I have decided to create a narrative and performance video of the artist. Based on Goldilocks, the protagonist will pick a persona,  a man and an accessory until she finds what is ‘just right’ -  creating the modern Goldilocks in comparison to the traditional version where she chooses between chairs, beds and bowls. I will also be featuring intertextual references to huge celebrities from around the 1950s’ – Marilyn Monroe, Audrey Hepburn, James Dean and James Bond.

The narrative in my video will befragmented, 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 music videos, which Ihope to stick to as I wantthe 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 “Would you get down on your knees for me?” and “I’m sad to the core, core, core.”

On the other hand, although Ido not planto includea strong narrative story line in my music video, the different shots of the artist performing and the heavy Goldilocks themeshould 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. As I will be using the conventions of the original Goldilocks in order to create the modern one,  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 Goldilocks.

 

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 artist being completely neutral and not knowing who she is, 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 find herself and become the ultimate primadonna.

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.

 

Key Concepts 1B