GC: Deconstructing a digipak

Skrillex - Scary Monsters and Nice Sprites

• The genre of electro/dubstep is easily recognizable because of the electric looking nature of the green shapes and lines behind the main logo. Also dubstep is comically associated with heavy drops that smash windows through pure bass power, so the smashed/messy look signifies this through the use of semiotics (Barthes, 1915). On top of this, the recognizable Skrillex logo is the main focus of the picture. Being one of the biggest electro/dubstep producers, this makes it even easier to tell the genre right away.
• The visual is centered to convey to the audience that the main focus of the song is dubstep/electro, so they know what they are going to get. The metallic texture of the logo reinforces the fact that dubstep is considered a heavy or hardcore genre as metal conveys something heavy or physically hard. The black background is used to make the rest of the logo stand out and reinforce the dark, or heavy tones associated with dubstep/electro, whilst the green glow behind signifies the electrical current used when making music digitally, like you do with dubstep/electro. Finally the red 'ill' stands out from the rest as it is part of Skrillex's star image. Anywhere those red shapes are seen, people can associate it with skrillex, which is why they are highlighted like this.
• 'Scary monsters and nice sprites', the title of this is linked to the conventional spooky or heavy tones associated with dubstep and electro. No other text such as ratings are used to reinforce the point that this single is all about the music, i.e. straight to the point. The only reference to popular culture is the artist's name which shows the main purpose of the cover is to promote the artist and his star image. This relates to Dyer's work, (Stars, 1979) which states that covers like this play the role of leaving the consumer the ultimately unsatisfied and left wanting more, thus making them buy the song. This is helped along through subsiduary media, with Skrillex's unique image which is part of his branding as a commodity. 
  
• This print is most likely to be consumed online rather than being bought in a retailer such as HMV, because although Skrillex is mainstream and popular within the dubstep and electro communities, mainstream pop listeners generally do not listen to his music, which is why most sales are online as mp3 downloads.

Group: What we learnt from our Brighton reccie compared to our AS reccies

Here are a few benfits the classs as a group felt we had gained:

• More experienced when setting up shots, more efficientHad planned shots used
• Trying to make shots more creative, rather than just taking the shot.
• Different angles used when filming something
• More considerate of the mise-en-scene in the shot i.e  framing
• Link between practice and actual brief
• Took much more footage  than needed
• Planning, using time effectively
• Urban locations give a range of shots
• More ambitious with shots

From our Brighton reccie, it was very beneficial for the group, the main reason that this was so helpful was because we decided that we would use Brighton as one as our locations in our final production, as we liked the contrast between the beach location, and the busy shopping lanes Brighton has. We thought it would be good to film our narrative there, as we could travel all around Brighton from the up-market areas, to the backstreets, which is exactly what we need to use in our narrative, and could be very effective when filming.

GC: Analysis of Music Videos

Modestep - Another Day (xKore remix)

 

Institution and audience

• This video would be consumed through focused rather than ambient viewing - as there is an interesting narrative to it. This video would not be played on music channels as it is not mainstream and neither is the artist. Instead it would be viewed over the web using media such as YouTube.
• This is an example of amplification, because the theme of 'another day' is carried throughout the video. Also some of the lyrics 'all your worries leave your mind', tie in with the title of the track to further amplify the audio through the visuals, and also in the way that the character becomes cooler after waking up everyday which reflects the title 'another day'. The video is also in a way commercial for the artist because the ending scene sees the main character joining Modestep playing on stage as way of promoting the artist. The only idea the video represents is that through determination you are able to become what you want which is presented by both the lyrics and the visuals.

Genre and Narrative

• There is a band image being constructed in the video as well as a social message. The bulk of the video contains the social message of never giving up and that you can achieve something if you try hard. The band image therefore ties in with this and constructs the band as one that has worked very hard, like the character in the video to achieve their status. Some of the visual techniques used to show this are the use of slow motion during key turning points in the character's journey. For example: where he throws milkshake over the bully after we see the bully throw milkshake over him on the first day. This use of slow motion helps attract the audience's attention to the key point in the narrative. Also the use of costume and make up helps to emphasize the point that the character is becoming cooler, as he starts to slick back his hair, starts wearing sunglasses, and his overall costume changes.

Media Language

• According the Dyer's work, (Stars, 1979), the band's star image is built as one of a person rather than a commodity. This is because we follow the story of one of the members and then see him perform on stage rather than just a stage performance for the whole video. The stars are most definitely seen as extraordinary though as they are framed on stage performing as opposed to in a public place, but retain their image of being ordinary through being dressed normally and being part of the boy's story. The audience is therefore positioned against the mainstream of fitting in as they see things from the point of view of the child getting bullied, rather than the mainstream of just fitting in. According to Bordwell and Thomson, (Narrative theory, 1997), audience positioning occurs to put the audience on one side of the story. This is certainly the case here.

Representation

• The dominant social group represented in the video is teens. The video portrays the struggles of teenage life - trying to fit in with the norm whilst keeping your parents happy. The teenagers are represented as both good and bad with characters like the bully and the main character. Adults are represented as practically useless throughout the video, with the main character waking up his dad using an electric guitar, and him also making the headmaster run out his office.
• So far as the ideological discourse of the video goes, men are definitely represented as dominant over females as iconography. Laura Mulvey, (The male gaze) would argue that this reinforces the patriarchal nature of society through close ups of female body parts (dismemberment), and teacher's uniforms being used to make the women appear more sexy and vulnerable. On top of this, two of the female adults are seen to being sexually dominated or taken advantage of by the main character with no real consequence which further reinforces the view of male dominance over not only women, but adults too. Teens are represented as much more powerful than adults as the only time an adults gets their way is when the dad throws the guitar out the window. Apart from that, the teen character is able to steal from shops, sexually dominate women, wake up his dad with an electric guitar, and make his headmaster go crazy. This pretty much sums up adults as powerless against teenagers. The dominant value being reinforced here is that society is dominated by men whilst women are still seen as sexual objects. However, a view that's being challenged here is the one that teenagers are more powerful than adults. This is certainly not the case in real life as there are all sorts of laws protecting teens from doing what adults can such as the legal smoking age and the fact a child cannot leave home until the age of sixteen. The band might do this to reinforce their image of being rebellious and in touch with their predominantly young audience. 

 LMFAO - Champagne Showers

 

Institution and Audience

• This video is very mainstream and would be viewed both on music channels and over web 2.0 through social networking sites and YouTube. It would be viewed ambivalently as there is no real narrative, it's all performance based. This means the audience will be aware of what is going on, i.e. the dancing and singing into the camera, (breaking the fourth wall), but will not be playing as close of attention as if it were a narrative.
• The video is an example of amplification. During the video dance moves mimicking the action of spraying champagne can be seen, as well as a scene where champagne is actually sprayed towards the end. Also, the words 'club' and 'party' are mentioned multiple times, hence the video is set in some sort of club or party.

Genre and Narrative

• This video seems to be purely commercial. Multiple times during the video, brand names are clearly highlighted by the camera for example: the close up of the badge on the car at the start; and the side-on shot of Jesus wearing Beats headphones. The constant filming of the 'La Freak' champagne is not actually a brand however. Also, every single character in the video bar one or two, seems to be reinforcing the LMFAO branding, by wearing the animal print/black leather costumes associated with the series of LMFAO videos. This is promotional towards both the star image of the two artists and the online clothing store in which consumers are able to purchase replica clothes from the videos, (partyrockclothing.com).

Media language

• There is no real message in the video. It seems the only purpose of the video is advertisement and helping to construct the star image of the artists. The band image being constructed is one that conveys lively, modern, and joyful senses, which  ties in with the mainstream image for the dance genre. This is achieved by bright, animal print clothing coupled with popular street dancing seen throughout the video. The key reference to popular culture is the name of the artists themselves - LMFAO, meaning Laughing My F*cking Ass Off, a common text abbreviation among teens. This then helps them reach out to their target audience with every music video released. Also popular brands among young people such as Beats headphones are present in the visuals which helps create the 'down with the kids' identity of the duo.

Representation

• Use of lighting with lots of lens flare makes the artists appear extraordinary as most of the time they seem to be back lit, coupled with the out of the ordinary costumes this reinforces that they are to be seen as commodities rather than normal people. The scene where they meet Jesus also backs up this point as the video sees them dancing with Jesus at the end as if they are on the same level as him - this helps sell themselves as products because their audience will want to become like them. Also, this ties in with Dyer's theory, (Stars), which states that ultimately the consumer is never satisfied and is left wanting more. This is certainly true in the case of this video because not only is this video the middle part of a series of three music videos by LMFAO, (Hence the introduction at the beginning), but the consumer then feels they must dress like the artists to become like them - which is the role that partyrockclothing.com plays in the sale of the artists as objects.
• Finally, the ideological discourse flows with the mainstream views - especially to the dance genre, (one example being the video for Fredde Le Grand - Put your hands up), of men being dominant over women. Although the video sees plenty of male and female backing dancers treated equally throughout, the group of five or six vampire girls are shown to make provocative movements such as stroking the artists. On top of this, a group of men, including LMFAO are framed squirting champagne over the vampire girls to ward them off. This could be interpreted as an action code that gives the impression of males physically oppressing women. This video is seen to challenge religious views and institutions, because Jesus appears as a bit of a joke through the video. Firstly he's seen advertising Beats headphones which is almost definitely against the Christian view, as Jesus was seen as a savior and historical figure, not a marketing object. Secondly he can be seen dancing in the end of the video, which is not with the conventional calm, wise view of Jesus either.

Rudimental - Not giving in

Institution and audience

• This video would be consumed both on music channels and online through services like YouTube. Although it is mainstream enough to appear on music channels, the main bulk of views would come through web 2.0 because it's not as mainstream as ohter videos that appear on music channels. Also the group has a big online profile which would be another reason for the online views outweighing the music channel consumption.
• The video would most definitely be viewed in a focused manner, because the narrative actually relates to a real life series of events. Also the pre-music part of the video helps to engross the audience into focusing on the rest of the video.

Genre and Narrative

• The video is an example of amplification of the lyrics because they contain lines such as 'Oh, I'm not giving in' and 'I'm gonna be stronger'. This relates to the first part of the video where the boys witness domestic violence and seem trapped and depressed in the house, before getting out and having fun. Apart from that, the rest of the video seems a bit more disjunctive to the lyrics as the boys take seperate paths which doesn't relate back to the lyrics at all.
• The video does not appear commercial in any way. Little to no brands are seen during the course of the video. the point of the video lies purely in telling the story and getting the meaning across to the audience - this is seen in the pre-music section that involves domestic violence. The audio even stops at one point in the middle of the video to highlight a key point in the narrative. This proves that the main aim of the director was to tell the story behind the video rather than create a star image. Also no shots of the band are seen which although it could be argued that this slots in to Dyer's work (Stars), of the audience left wanting more , it does not as the band are not present in the visuals in the first place to 'lure in' the audience so to speak.

 Media Language

• The purpose of this video is to promote and raise awareness of the story being told  in the video. This is clearly evident as the visuals take precedence over the actual track. For example: the pre-music build up at the beggining which lasts for 45 seconds and the scene in the middle of the video where the music actually stops to highlight a key turning point in the narrative. The group is never present in the video, but they are associated as 'good hearted' so to speak as the audience are put on the same side as the characters in the video who use the music to get through home troubles and have fun. This links to Dyer's work (Stars), which says the artist is present but not present at the same time. So whilst the music video is disjunctive, a star image of the group is still being constructed subconsiously.

Representation

• The ideological discourse in the video challenges current ideologies such as the age one, of which the mainstream ideology is that adults yeild power over children. This is certianly not the case in this video because the children are seen stealing and escaping the adult shopkeeper. Also they steal a wallet from a passer by and later on in the video they both join and are accepted by groups with adults in (a gang and a dance troop).This is showing that kids and adults are possibly on an equal level, whereas in reality adults maintain power over children. The narrative also reinforces the belief that money doesn't buy happiness or friendship. One of the shots earlier on in the video is an extreme long shot which peds up to show a city with skyscrapers behind the slums. The framing is used to contrast the two locations and show the slums as poor and derelict. Later on in the video the boys are smiling and really enjoying themselves despite their poverty. Also we are reminded by this in the closing shot of the video when we see the two brothers with their arms around eachother whilst still in the slums.

Group: Institutional context of the music industry

Who owns record labels?

Major labels since 2012:

1.    Universal Music Group 

2.    Sony Music Entertainment 

3.    Warner Music Group 

How are musicians promoted?

Musicians promote themselves through music videos and their music.
New types of deals are being made with artists called "multiple rights" or "360" deals with artists. These types of pacts give labels rights and percentages to artist's touring, merchandising, and endorsements. In exchange for these rights, labels usually give higher advancement payments to artists, have more patience with artist development, and higher percentages in CD sales. These 360 style deals are most effective when the artist is established and has a loyal fan base. For that reason, labels now have to be more relaxed with the development of artists because longevity is the key to these types of pacts. Several artists such as Paramore, Maino, and even Madonna have signed such types of deals.

How effective are music videos for promoting an artist?

A music video or song video is a short film integrating a song and imagery, produced for promotional or artistic purposes. Modern music videos are primarily made and used as a marketing device intended to promote the sale of music recordings
Music videos are significant because they promote the artist and are used as a form of advertisement, as well as show the creativity of the artist and the director, to represent the song how they wish to freely.

What is involved in a record deal?

A record deal is an agreement between a record label and a recording artist where the artist makes a record (or series of records) for the label to sell and promote. Artists under contract are normally only allowed to record for that label exclusively.

Who is responsible for branding/marketing decisions?

Marketing managers with record labels are responsible for promotional activity. They direct all marketing activity for the labels products and services. With a large label, they may be partly responsible for this under a marketing director. With a smaller label they may have other roles and have full responsibility for all the marketing of the label.

What is the production process for a music video?

Stage1. Pre-Production

This involves planning your aims and key messages specific to your target audience. This involves lots of interaction between the client and the production company. The final step is to produce a treatment or storyboard for the client to approve.

Stage2. Production

This is the actual making of the video and involves less interaction between the client and the production company. This then allows for the use of professional expertise and equipment to be used.

Stage3. Post-Production

This involves editing the video and allows the client and the producer to interact in order to achieve the overall look wanted from the client. Linear and non-linear editing is used to add effects and polish up the final product. Then with client approval the video is finalised and produced in the format required.

What role does the music press play in promoting artists in a digital media age? Are they still relevant? Give specific examples from the UK press.

As far as mainstream music goes when it comes to buying an album or single these days, it is easy to access the song(s) online to have a listen for yourself before you buy. Compared to a decade or so ago when technology such as YouTube, or Spotify were hard to access or non-existent. This for a start means that the consumer has become less reliant on reviews to in a sense ‘choose their music for them’, as instead they are able to access the track themselves to review it as opposed to relying on other’s opinions. This then sort of rules out the need for music press as the consumer is able to decide for themself. On top of this, music is more easily available to the consumer through not only legal digital downloads but pirated music goods too. The rise in piracy and digital downloads through software such as iTunes means that people are buying more and more music without having to leave the house. This has led to the purchase of say an album less of an ‘occasion’ than it was a few years ago meaning that people are much more willing to try listening to new music despite bad reviews because they can always delete it or buy another one quickly. This point is proven by the review of Mumford & Sons album ‘Sigh no more’. It received a 2.1/10 score on Pitchfork.com, but despite this, the album entered the UK Albums Chart at No. 11 on 11 October and peaked at No. 2 on 20 February 2011.

So far as the customer goes, bad music press reviews do not really matter. However the question then falls to whether reviews matter to people within the music industry – record labels, concert scouts etc.

GC: Sliding doors research

• Although the film uses the same actor throughout for both sides of the story, the change in costume, make up/hair, grain of voice, and location all make it easy to tell apart both sides of the narrative.  On top of this the length of the shots from each perspective are not very long so as to keep the audience aware of the two sides of the story. However, there are certain aspects which link both sides together like both of the characters passing each other in the street or in a café. Another technique used is similar framing is present when the two narratives become similar to one another, although this can only be seen near the start and the end. All these techniques would be a useful technique to use in our own production to avoid confusion between the two narratives.

GC: Locations, costumes

• The overall idea behind the video is to amplify the concept of the title - Strangers. This involves two main characters, one doing good deeds and one doing bad things. The link is that they both meet at the start and the end of the track and affect eachother's lives subconconciusly inbetween their meetings. The twist in the narritive is that the protagonist will be dressed how the viewer would stereotype a chav or hoodie etc. - in a tracksuit. Therefore the antagonist will be in what the viewer would first assume to be the clothing of a protagonist - a suit or similar smart/casual wear.

• The locations would be urban areas; a street corner, a small newsagents, and a back alley. We would need to pick a location with some people in to make it more realistic like the pantiles

GC: Concept development - Lyrics

Nothing more than strangers Passing by out on the street Memories are fading though It's only been a week All the little things are gone The things we used to be Nobody could take us down There was only you and me The first verse would involve establishing shots of the location with titles i.e. Strangers by seven lions etc. Also we would see the initial few shots of the characters walking down a pavement towards eachother before they meet. They would then bump into eachother by accident as they rounded a corner and have a chat with both getting on really well, then walk away from eachother. And without you I can't be You're the universe to me You're the air in my lungs You're the fields where I run You're the sky where I'm floating The second verse would see both of them passing by a homeless man (same camera angle and location), the antagonist would walk past, whereas the protagonist would give him money and buy him food etc. It's you, you, you It's you, woah The first drop would see the antagonist do something more serious like kicking over a bin (in slow motion). We would then see the protagonist clearing up the mess. And without you I can't be You're the universe to me You're the air in my lungs You're the fields where I run You're the sky where I'm floatingIt's you, you, you It's you, woah Throughout the instrumental the antagonist would do more anti social deeds, such as subtley robbing a shop with the protagonist offering to pay the shopkeeper for the lost items, or littering on the ground with the protaonist picking it up.   Don't want to be a stranger Want to be the one you need I can be your world, your life Your lover, all for free All the little things come back The things we used to be Nobody can take us down there It's only you and me The antagonist would steal a handbag or something similar and then run away creating a chase scene between him and the protagonist who would not recognise the antagonist as he has a coat or jacket on he stole from a park bench earlier on during the instrumental. And without you I can't be You're the universe to me You're the air in my lungs You're the fields where I run You're the sky where I'm floating The last scene would see the antagonist commiting a mugging or stabbing down a back alley. The protagonist would arrive on the scene, about to call the police and see the antagonist about to run off. The two of them would then look at eachother as they recognised one another as the protagonist would lower the phone and lets the antagonist get away.