Q1: In what ways does your media product use, develop or challenge forms and conventions of real media products?

Textual analysis studies of music videos enabled one to recognise the conventions of real media

products. One decided to study videos of the same acoustic genre to Emily Denton to ensure that I

was able to pinpoint key features of the music videos. This would then allow me to either adopt or

challenge such conventions, depending on what one felt was most suitable.

One aspect of my analyses was my focus on camera angles and shots. Crucially, I felt that it was

important to frame the shots in my music video correctly in order to establish ‘Emily’s’ identity as a

new artist. Laura Marling’s music video to ‘Rambling Man’ [insert images above on screen] utilised

many close up shots of her face to make her instantly recognisable as an artist and to allow her to

connect with the audience. Essentially, this is reflective of Goodwin’s observations that the Record

Label demands specific representations of the artist in order to build their identity as a star. So, I

chose to conform to this shot type as it meant that I could build ‘Emily’s’ star image motif, much like

the record label chose to do for Marling as she isn’t incredibly well known. Originally, I planned to

film the performance aspects of the music video outside; this would have given me the opportunity

to develop the director’s choice to have the wind blowing and create atmosphere. However, I

decided to challenge this as I believed that it would be possible for ‘Emily’ to make a stronger

connection with the audience if there wasn’t the distraction of the wind. [Insert close up shots of

Sophie from music video]. The close up shots ultimately allowed ‘Emily’ to look into the camera

lense and direct address was created. Essentially, the face is the most important bodily feature for

conveying emotion; thus ‘Emily’ was able to set the tone of the song through her expression.

Additionally, the close ups could also be seen in P!nk’s music video to ‘Perfect’. [Insert close up shots

of P!nk from music video]. The fact that P!nk is an established artist was indicative that close up

shots are a conventional feature of most genres in order for the record label to represent the artist’s

star image.

Gabrielle Aplin’s music video to ‘Power of Love’ was hugely influential in the editing choices that I

made for my music video, in particular the colour overlay. After analysing the opening thirty

seconds of the music video I noted [insert clips of the opening shots from Aplin’s music video] how

the blue-purple overlay gave a cold and isolated feel to the location of the music video, as well as

making it look more dramatic. I wanted to develop this convention in my own music video by

applying a similar video overlay to establish the mood of the music video. [Insert opening titles].

Moreover, the ‘Power of Love’ video had opening titles on the first few shots. One hadn’t pinpointed

this as a particular genre feature prior to analysing this video, therefore I wanted to consider

carefully whether I would use, develop or challenge this form from a real media product. One

decided to utilise this convention as I thought it was an effective way to open the music video. The

artist and their song title are clearly displayed, so the audience can instantly make the link between

the artist, the song and the music video. In addition to the colour overlay and title, [Insert clips of

lighting from Ben Howard’s music video – see below] I decided to develop lighting techniques that

the director for Ben Howard’s music video “Old Pine” used. Light reflections are used across the

screen to give a warm and glowing feel to the music video. [Insert performance clips where light was

utilised]. I wanted to use a similar light leak/reflection in my music video to create a warm

atmosphere which juxtaposes Heather’s narrative.

There were two particular close up shots in music videos that I studied which I wanted to develop in

my own work because I thought they were particularly effective in causing mystery for the audience.

Although Florence and the Machine and Aerosmith aren’t acoustic artists, I found their music videos

to be captivating and intriguing; especially in their use of varying shot types. [Insert two stills of hand

close ups]. The reason I wanted to develop this shot and use it for my own music video is because I

felt it suited my narrative and allowed me to draw the audience in throughout the music video to

ensure they watched until the end to find out who the hand belonged to. The composition of both

shots is similar, however the lighting in the first one is backlit, which means that it’s harder to tell if

it’s a female or male hand. To develop this shot I wanted to alter the lighting so I could make small

suggestions about whose hand it is throughout the music video.

However, I did want to challenge certain aspects of real media products in my music video, as I

didn’t feel they were appropriate for my target audience. One way in which I challenged typical

conventions was by juxtaposing Mulvey’s “male gaze” theory (1975). My textual analysis of Calvi’s

“Desire” video highlighted Mulvey’s findings [insert shots of Calvi] as she was represented as

attractive, passionate and edgy. Extreme close ups of her eyes and mouth – essential emotive facial

features – allude to the passion relating to the “desire”. The red lipstick used represented her in a

sexualised way as red has connotations of love and passion. Although Mulvey observed many media

products for her theory, I felt that it would be inappropriate for the young female audience that I am

targeting. Her theory declares that media products view characters from the perspective of

heterosexual males, however I wanted to challenge this point in an attempt to corroborate whether

this could be avoided. Thus, I ensured that Sophie looked feminine but not irrelevantly sexualised by

avoiding colours, props and costumes that would in any way be suggestive. [Insert still shots of

Sophie’s outfit with labels]. The black dress and eye makeup represents elegance and power,

empowering female representation in the media as opposed to demeaning it with sexualised

images. In many ways I was conforming to Butler’s theory that ‘Gender is what you do, not what you

are’. This is because I was representing ‘Emily’ as talented and powerful when she was playing the

guitar and singing.

[Insert stills from Calvi and P!nk’s music videos]. The notion of looking was highlighted in my textual

analysis of Calvi’s “Desire” and then reinforced in in P!nk’s “Perfect”. Goodwin underlines voyeurism

in his central principles on music video characteristics. Significantly, the use of direct gaze,

audiences, screens and mirrors allows the audience to reflect on their own lives through observing

other peoples (whether it be through a screen or direct gaze). Furthermore, the direct gaze is

intense, enabling the audience to possibly experience the artist or characters emotions more

thoroughly. I decided to continue the voyeuristic theme in my music video, as I liked how it made

the audience reflect on themselves. [Insert shots of the picture to video transitions]. When editing I

used a picture-to-video cross dissolve transition to take the audience back in time (essentially a

screen within a screen). Additionally, I filmed one shot where Heather was looking into the mirror,

gazing at herself. Heather’s self reflection could lead to the audience becoming more involved with

her narrative.

In many ways, my music video uses and develops genre conventions as I felt this was an effective

way to establish which genre it is (considering Emily is a new artist). However, I have chosen to

challenge Mulvey’s “male gaze” theory because I didn’t feel that this was appropriate for my

audience.