Evaluation
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Wednesday 31 March 2010
Monday 29 March 2010
Saturday 20 March 2010
Final Music Video
Our Music Video: Final Cut
Below is the final cut of our music video which has been uploaded to Youtube:
Friday 19 March 2010
Identifying Narrative Conventions of Rock/ Indie Music Videos
Identifying Narrative Conventions of Rock/ Indie Music Videos
http://www.youtube.com/watch?v=LWhairF_DS8
This is the link to the music video for “Use Somebody” by the popular rock group Kings of Leon, who share a similarity with The New York Fund in terms of a country & western tone to their rock music. This music video is heavily focused on the band’s lifestyle and live performance abilities, with the narrative being devoted to footage of live performance and the band’s preparations beforehand. This lends much to representing the band as an ‘experience’ who the audience will want to see live, since bands today rely increasingly on revenue from gigs. Furthermore, the scenes of the band preparing for the gig, as they share jokes in the dressing room or are huddled together on stage, give the audience a snapshot of the personality of the band, allowing the audience to be closer to them. This allows the audience to better relate to the band, especially the scenes where they are seen hanging out at the pub, as they look like genuine, everyday situations which the audience are likely to do themselves, allowing them to build a stronger relationship with the band. This up-close and personal representation of the band represents them as easily likeable and is effective at increasing their popularity. This type of music video is very conventional in the rock genre, as bands often use it once they’re fairly established in order to advertise their popularity and prolificacy in terms of live performances. For example, many parallels can be drawn between this video and the music video for Guns and Roses’ “Paradise City”. Both videos are highly personal in nature, heavily performance-based in narrative and jump between black-and-white footage and colour footage to highlight the double-life of the bands (i.e. normal everyday life vs. life as performers).
http://www.youtube.com/watch?v=dvgZkm1xWPE
http://www.youtube.com/watch?v=uwrq2o6Woiw
The performance-based music video is the most conventional rock/ indie music video, meaning that an interesting narrative-based music video can often stand out. For example, The Arctic Monkeys have produced a number of memorable narrative-based music videos, with little or no performance element. Whilst performance-based music videos allow audiences to get closer to bands and increase the bands popularity in this way, narrative-base videos are sometimes bizarre, more memorable and can act as shock tactics to get bands noticed. For example, “Fluorescent Adolescent” by The Arctic Monkeys has a seemingly incomprehensible narrative that’s almost completely unrelated to the narrative of the song, but is incredibly memorable.
Radiohead’s “Just”, however, combines a conventional performance element with a storyline to create an effective hook which keeps the audience watching until the end. This is a highly effective method as the performance of the band creates appeal but the storyline beside it prevents it from being predictable.
http://www.youtube.com/watch?v=oIFLtNYI3LsIn conclusion, there are several types of narratives used in music videos, the most effective of which are those that successfully use generic conventions as well as develop them in order to keep genre dynamic
The Final Design For My Magazine Advert
The Final Design For My Magazine Advert
Below is the final design for my magazine advert, to appear in NME magazine:
Tuesday 9 March 2010
Final Submission of my Digipak
The Final Panels of my Digipak
Below is my final submission of the panels of my digipak.
The Front Cover:
Pages 1 and 2:
Pages 3 and 4:
Pages 5 and 6:
Pages 7 and 8:
Pages 9 and 10:
The back cover of the booklet:
The back cover of the album case:
Sunday 7 March 2010
Saturday 20 February 2010
Friday 12 February 2010
Monday 1 February 2010
Sunday 31 January 2010
Saturday 30 January 2010
Friday 29 January 2010
Wednesday 20 January 2010
Saturday 2 January 2010
Friday 1 January 2010
Further Revisions to Narrative and Discussion of Themes
Further Revisions to Narrative and Discussion of Themes
During continued filming and editing sessions, we have made small changes to the narrative of our music video. Initially, we had intended for our narrative to be linear, producing a straightforward narrative-based music video. However, due to a combination of teacher advice and collective dissatisfaction within the group, we felt that neither the footage we had (e.g. we didn't have enough close-up shots of the artist and many shots were repetitive) nor the initial intention for its use fulfilled our aims. Given the theme of lost love and romance in our song, we did not believe that a simple linear narrative did justice to the expression of these themes and emotions in the song. Consequently, through editing and re-shooting, we began moving away from this linear narrative and towards more of a concept-based narrative, using collection of scenarios intertwining to convey the emotions expressed in the song. By using cross-dissolve transitions we are connecting the various scenarios, which link together to create a dream-like sequence of past and present, as well as hints towards the future, concerning the couple starring in the video. We believe that by creating this dream-like atmosphere in the music video and a general “looseness” within the narrative (similar perhaps to narrative techniques used by Martin Scorsese in Mean Streets; 1973 and Taxi Driver; 1976 or Woody Allen in Annie Hall; 1977 - in which the narrative is used in a particularly relevant way to us as it is used to convey the 'merry-go-round' nature of relationships by intertwining the beginning, middle and end of the main storyline) we are with it able to incorporate themes and ideas of deep thought, reflection, contemplation and nostalgia which are no doubt present in the song as clearly implied by the consistent use of questioning (e.g. “Oh baby where did you go?”) and a wishful-thinking or almost pleading tone (e.g. “Oh baby we got so close...”). By doing this we are therefore in a sense following Goodwin’s theory of consistency between lyrics and visuals, although not in its strictest sense as we are creating a consistency between the themes in lyrics and themes in visuals rather than a direct link.
Also as a result of the type of narrative we are able to incorporate a theme of death (which we had previously intended) in a much less literal sense, rather using aspects of mise-en-scene (e.g. graveyard settings, use of sunsets, walking towards a light etc.) and editing techniques (e.g. cross-dissolve and dip-to-white transitions) in order to imply death in multiple philosophical senses; e.g. the death of a relationship, the death of “a part of you” etc, in a Bogart-esque “We’ll always have Casablanca” idea.
We are confident that these changes will result in a stronger and far more effective music video, representing the band as sensitive, serious and intelligent which is likely to appeal to our target audience as my audience research has shown that the vast majority of our target audience are potential undergraduates with interests in music, film and different cultures and so are likely to find intelligence, sensitivity and seriousness to be desirable traits.
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