Our music video was of the acoustic genre. Artists such as the Plain White T’s and Newton Faulkner and James Morrison are acoustic artists. We used some of the conventions from their videos, challenged others and developed a lot of them too. We did this through the filming, the post production and the finishing touches to the music video, and in the designing, construction and finishing touches to the digipak.
Chris Cohen is a very simplistic artist. His songs are very monotonic and he only seems to sing about relationships. This is one strong convention of the acoustic genre, that all of the artists sing about a relationship being maintained, or a broken down one. This connotes a sense of pride or sadness, happiness or upset within the artist’s life and therefore makes the song and video more meaningful as a whole. I felt I should use this and reflect the same connotations into the music video for ‘If You Only Knew’. The lyrics for the song were very typical, and therefore we wanted to play on them. We took the opportunity to cut between the male and the female characters during the video, and to tell both sides of the story. This was a challenged convention, as normally, in most of the videos by acoustic artists such as the ones mentioned above, the story seems to be circulated around the male artist.
Telling the story was based on the photograph that was ripped at the beginning by the female in anger, and brought together at the end by both characters. Newton Faulkner’s video Dream Catch Me uses the photo as a basis for the storyline, and almost tells both sides of the story. We used the close ups of the female and male characters such as Faulkner does and developed them into the lip syncs from both characters. The video also uses close ups of the instruments and the photos. The photo is a big symbolic image in the video and without it the video probably wouldn’t make much sense.
Having the video in black and white was a choice we made as a group. The argument is in colour because it shows the couple together whereas the black and white layout for the rest of the video reflects the sadness that the couple are not together. I think the video also possesses a little bit of the male gaze. It is the female who comes back to the male, not the other way around. This could show that the female is weak and can’t survive without the male. The representation of the two characters is therefore biased, but I think it is naturally biased because of the nature of the genre.
Different to other acoustic videos, our narrative isn’t a linear narrative. We have a circular and convergent narrative. We start at the beginning but we keep coming back to the scene of the argument or flashbacks throughout the video. It is a convergent narrative because the two different stories of the male and female come together in the end. Typically, the videos that I have watched by the artists that are on Chris Cohen’s inspirations list are of a basic linear narrative from beginning to end. One video that is pretty much the same as our video has to be Plain White T’s – Hey There Delilah. It uses the close ups of the instruments and characters and also the typical break up story.
The continuity between the video, the digipak and the magazine advert I think is crucial. We are creating the promotional Chris Cohen package. For example, I own many James Morrison albums. All of them use the same font and the same style and the same idea. I used this convention and used the same font for all my lyrics, titles and comments in both my digipak and advert. I felt that using the stills from the music video in both too would link them together quite nicely. The black and white and the similarity between all 3 of the products emphasises the simplicity of the genre as well. Wacky colours would not suit the acoustic genre as it is just too simple. Some people associate colours with days, in the same way I associated the acoustic genre with black and white simple photography.
The conventions that I have used, challenged and developed have given me a greater understanding of genre and subgenre. Cohen’s music is very basic and similar. To create a promo package that has multiple platforms is difficult for such an artist, but I used the conventional ways that other artists have successfully used and put them towards my work. I feel that this has categorised my work and secured it within the genre it is intended.
Wednesday, 21 April 2010
Question 4: How did you use new media technologies in the construction and research, planning and evaluation stages?
During the construction and research, planning and evaluation stages of my final products, I used many technologies to achieve the overall finish. Firstly, our production group used the internet to find an unsigned artist, and to use their song. The internet proved very useful and was fast at giving us results in what we needed and listed in categories to make our search less stressful. We used the website Unsigned Band Web and this was very helpful also. I agree that we used this site as a last minute option, but the option was the only one available to us. The internet as a new media technology certainly proved itself useful at this point, and at a few other points during the stages. When Chris Cohen realised we had a music video on YouTube using his song, he used the internet and social networking site MySpace to spread the video link.
To film our music video, we used digital video cameras and a tripod. The cameras were very useful in that we could choose the settings for the shots; the contrast, the colour, the distance and the framework. I enjoyed working with the cameras because they were so easy to use, and quite self-explanatory. The post production was probably the most fascinating part. During the editing process we used Premiere Elements and this was incredible. You can use so many tools to improve a certain shot rather than having to re-film it, you can also change the speed of the shot; for example our argument scene at the beginning of our video was slowed right down to create a slow motion memory feeling.
With our digipaks and magazine adverts, we all used Photoshop. This proved entirely useful as well. I took photographs using digital stills cameras and my mobile phone and changed the colour to black and white. I also took stills from our music video on YouTube and put them in my CD cover. When in Photoshop, I could move the images about, change their contrast, add text to them, airbrush them and make them look more professional, and even control how much of an image I wanted, and crop the rest of it. I enjoyed using Photoshop as it really made a difficult job into a very simple design working time. In the beginning I was unsure about the whole idea of it, but I soon became accustomed.
Our whole work is put onto a blog to be assessed. We use the website Blogspot or Blogger. It is again so simple to use, and it’s easy to upload slideshows and PowerPoint’s too. A lot of my work is based around Blogger and its advantages are that it is easily accessible. I don’t need to give my teacher a hard copy of an essay or an evaluation; I can just simply send him a link to my blog. This way, I know that he has got it, rather than losing a paper copy. The disadvantages include the fact that a piece of work can’t be marked in much detail if it is on a blog. A teacher can’t pinpoint a sentence or paragraph or phrase in a blog post, they can only mark the text as a whole without detailed responses.
Media students are now becoming involved in the debate about Web 2.0 and ‘amateur producers’. Because we are producing work that is of a ‘professional’ standard (i.e. we have the technologies available to produce work of a high standard for our educational position), people in the media world with qualified media jobs are hitting out at us. Cheap distribution through sites like YouTube and Blogger is reducing the ‘street cred’ (if you like) of the media world. There are not very many jobs available in the media, and people feel that young and ‘amateur’ producers are exploiting this. In my personal opinion, we are not making films and videos to intentionally get a job within the media, we are doing it either for enjoyment, fulfilment, something to do or just because it’s what we enjoy.
To film our music video, we used digital video cameras and a tripod. The cameras were very useful in that we could choose the settings for the shots; the contrast, the colour, the distance and the framework. I enjoyed working with the cameras because they were so easy to use, and quite self-explanatory. The post production was probably the most fascinating part. During the editing process we used Premiere Elements and this was incredible. You can use so many tools to improve a certain shot rather than having to re-film it, you can also change the speed of the shot; for example our argument scene at the beginning of our video was slowed right down to create a slow motion memory feeling.
With our digipaks and magazine adverts, we all used Photoshop. This proved entirely useful as well. I took photographs using digital stills cameras and my mobile phone and changed the colour to black and white. I also took stills from our music video on YouTube and put them in my CD cover. When in Photoshop, I could move the images about, change their contrast, add text to them, airbrush them and make them look more professional, and even control how much of an image I wanted, and crop the rest of it. I enjoyed using Photoshop as it really made a difficult job into a very simple design working time. In the beginning I was unsure about the whole idea of it, but I soon became accustomed.
Our whole work is put onto a blog to be assessed. We use the website Blogspot or Blogger. It is again so simple to use, and it’s easy to upload slideshows and PowerPoint’s too. A lot of my work is based around Blogger and its advantages are that it is easily accessible. I don’t need to give my teacher a hard copy of an essay or an evaluation; I can just simply send him a link to my blog. This way, I know that he has got it, rather than losing a paper copy. The disadvantages include the fact that a piece of work can’t be marked in much detail if it is on a blog. A teacher can’t pinpoint a sentence or paragraph or phrase in a blog post, they can only mark the text as a whole without detailed responses.
Media students are now becoming involved in the debate about Web 2.0 and ‘amateur producers’. Because we are producing work that is of a ‘professional’ standard (i.e. we have the technologies available to produce work of a high standard for our educational position), people in the media world with qualified media jobs are hitting out at us. Cheap distribution through sites like YouTube and Blogger is reducing the ‘street cred’ (if you like) of the media world. There are not very many jobs available in the media, and people feel that young and ‘amateur’ producers are exploiting this. In my personal opinion, we are not making films and videos to intentionally get a job within the media, we are doing it either for enjoyment, fulfilment, something to do or just because it’s what we enjoy.
Monday, 29 March 2010
Question 2: How affective is the combination of your main and ancillary products?
For both my main and ancillary tasks, I thought I should create something simple as Chris Cohen is quite a simple artist. I decided to have the continuity between both the music video and the digipak and magazine advert; the use of black and white colour tones was the basis for this continuous simplicity.
At the beginning when we first chose the song ‘If You Only Knew’ from Chris Cohen’s selection of songs (www.unsignedbandweb.com), we needed to choose what our video would be like. Because the nature of the song was unhappy as it was a song about relationship break-ups, so the colour tone needed to suit the mood. My production group and I chose to use black and white throughout the video (apart from at the beginning) to show the distance between the male and female character and to show the sadness they were experiencing. This is carried on into the ancillary print productions which are both fully black and white with only a touch of colour; blue around the edges of the album title and colourful Spotify, HMV and iTunes logos on the advert.
The genre of Chris Cohen’s music is of the acoustic genre, which is very simplistic and minimalist. I decided to reflect this in my work and use simple colours and fonts throughout my post-production and print work. I based this all on close ups of the guitar and wanted to focus on the instrumentation and the photo of the couple. The black and white, again, shows the simplicity and upset within the genre and meaning of the song. Most acoustic songs are about relationships and therefore this works well. The pictures that I used for the album cover are, in the majority, stills from the music video. Apart from the front cover, all these pictures show the continuity between the two products. The picture on the magazine advert took some debate to choose, but I eventually went for the picture on the back cover of my digipak. It represents the artist and the instrument beautifully and really boasts the work of the artist. Because we didn’t have a physical artist, we used the character in the video as our artist, and added performance elements into the video.
The main and ancillary tasks are linked in so many ways and this reinforces the meaning and the solitude represented within the song ‘If You Only Knew’. If we were to use bright colours in the music video, it would make relating to either character more difficult for the target audience, and lose the focus that is pushed upon the relationship. I feel that the music video and print productions reflect the conventions of the acoustic genre. We included lip syncs, close ups of the instruments and of the facial expressions of the characters, and a happy ending. These all played a massive part in linking together the main and ancillary tasks.
The importance of the continuity between all of the products is that we are creating a promotional package that can consist of many platforms. For example, Radiohead produce albums and music videos just like we have, but also have other products under their belt such as Radiohead water bottles, rain macs, etc. If we were to continue on the same path and carry on with our promo package, we would create simple things for our extras:
- a Chris Cohen guitar pick
- a branded notebook
- a signed photograph of Chris Cohen
- a guitar
These are just some of the many things we could sell to increase the platforms that are included in the Chris Cohen promotional package. This could possibly increase the popularity of Cohen himself, and would therefore create a new basis for his music.
The main and ancillary tasks are linked in so many ways and this reinforces the meaning and the solitude represented within the song ‘If You Only Knew’. If we were to use bright colours in the music video, it would make relating to either character more difficult for the target audience, and lose the focus that is pushed upon the relationship. I feel that the music video and print productions reflect the conventions of the acoustic genre. We included lip syncs, close ups of the instruments and of the facial expressions of the characters, and a happy ending. These all played a massive part in linking together the main and ancillary tasks.
The importance of the continuity between all of the products is that we are creating a promotional package that can consist of many platforms. For example, Radiohead produce albums and music videos just like we have, but also have other products under their belt such as Radiohead water bottles, rain macs, etc. If we were to continue on the same path and carry on with our promo package, we would create simple things for our extras:
- a Chris Cohen guitar pick
- a branded notebook
- a signed photograph of Chris Cohen
- a guitar
These are just some of the many things we could sell to increase the platforms that are included in the Chris Cohen promotional package. This could possibly increase the popularity of Cohen himself, and would therefore create a new basis for his music.
Thursday, 25 March 2010
Tuesday, 23 March 2010
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Tuesday, 16 March 2010
EXCITING!!
Today in our media lesson, we checked Chris Cohen's (our artist) myspace blog and he hs written a comment and posted a link to our youtube roungh cut music video! This means he has watched it. I will youtube our final version and send him the link to that! :D :D :D :D
http://blogs.myspace.com/index.cfm?fuseaction=blog.view&friendId=489014703&blogId=527501584
http://blogs.myspace.com/index.cfm?fuseaction=blog.view&friendId=489014703&blogId=527501584
Wednesday, 10 March 2010
Media and Collective Identity notes
How do I create my identity?
• Clothes
• Job
• Appearance
• Friendship groups
• Sexuality
• Childhood background
• Education
• Wealth/status
• Religion
• Ethnicity
• Mother tongue
• Technology
• Video games
• Age
• Family
• Friends
• Social class
• Community
• School, clubs, groups, hobbies
• Social networking sites
How does the media communicate collective identity?
How do media texts arouse audiences’ sense of national pride or disgust, antagonism or ambivalence?
What makes you feel British?
• The Royal Family
• Tea
• Fish and chips
• Doc Martens
• Parka
• Big Ben
• Doctor Who
• London Eye
• Houses of Parliament
• Buckingham Palace
• England Flag (St George) and Union Jack
• Farmers
• Terrace houses
• Cobbled streets
• Red letterboxes
• Red telephone boxes
• Double Decker buses
• Baked beans
• Corrie and ‘Enders
• Guy Fawkes
• Punch and Judy
• Chicken Tikka Masala
• Queuing
• Full English breakfast (fry up)
• Shakespeare
• Baden-Powell
• Marmite
• The BBC
FOCUS ON THE ROOTS OF SOCIAL REALISM IN FILM AND TV
You can reference:
• News
• Magazines
• Newspapers
• Radio
• Television
• Internet
• Film
Students should create case studies on certain feature films or television drama. They can reference any aspect of the media – sports events are especially explicit displays of identity.
Radio 4 Today programme 1.2.10
A discussion about Andy Murray losing the Australian Open against Federer. The discussion centered on collective identity, for example, if Murray had won he would have been called a great British player. Because he has lost, he is called a great Scottish player.
• Clothes
• Job
• Appearance
• Friendship groups
• Sexuality
• Childhood background
• Education
• Wealth/status
• Religion
• Ethnicity
• Mother tongue
• Technology
• Video games
• Age
• Family
• Friends
• Social class
• Community
• School, clubs, groups, hobbies
• Social networking sites
How does the media communicate collective identity?
How do media texts arouse audiences’ sense of national pride or disgust, antagonism or ambivalence?
What makes you feel British?
• The Royal Family
• Tea
• Fish and chips
• Doc Martens
• Parka
• Big Ben
• Doctor Who
• London Eye
• Houses of Parliament
• Buckingham Palace
• England Flag (St George) and Union Jack
• Farmers
• Terrace houses
• Cobbled streets
• Red letterboxes
• Red telephone boxes
• Double Decker buses
• Baked beans
• Corrie and ‘Enders
• Guy Fawkes
• Punch and Judy
• Chicken Tikka Masala
• Queuing
• Full English breakfast (fry up)
• Shakespeare
• Baden-Powell
• Marmite
• The BBC
FOCUS ON THE ROOTS OF SOCIAL REALISM IN FILM AND TV
You can reference:
• News
• Magazines
• Newspapers
• Radio
• Television
• Internet
• Film
Students should create case studies on certain feature films or television drama. They can reference any aspect of the media – sports events are especially explicit displays of identity.
Radio 4 Today programme 1.2.10
A discussion about Andy Murray losing the Australian Open against Federer. The discussion centered on collective identity, for example, if Murray had won he would have been called a great British player. Because he has lost, he is called a great Scottish player.
Tuesday, 9 March 2010
Question 3 - What have you learned from your audience feedback?
For my audience feedback I decided to use the social networking site 'Facebook' as it is the one I use the most, and I felt I could get a sample group from there that is close to my target audience. My target audience consists of teenagers and young adults from the age of 15 to about 25. The music video and print productions will appeal to both males and females, however, I think the music video will appeal more to males as the male character appears more and the storyline is more focused around the male. Furthermore, the song is by a male so that may contribute too. I also believe the productions will appeal to: esteem seekers who are acquisitive and materialistic and aspire to what they see as symbols of success, including things and experiences; innovators that are self-confident risk-takers, seeking new and different things and set their own targets to achieve; and strivers that attach importance to image and status as a means of enabling acceptance by their peer group and at the same time hold onto traditional values. Most of our audience, therefore, will be members of the lower B, C1, C2 and the higher D. But mostly C and D as they are only probably in part-time or small jobs, the smallest of which could be a paper round.
If I was to generalise, the audience would have small part-time jobs like paper rounds or shop assistants. This is generalised and may not be necessarily true. Most of my focus group have small part-time jobs, but a couple have highly paid jobs. The audience that we expect to view our music video and buy our CD can be of any race or culture but the video cast consists of only a white male and a white female so therefore those of other than white British culture may not have anyone to relate to in it and may not wish to watch it at all. If we were to evaluate the strengths and weaknesses of our production, this would definitely be one of the weaknesses.
I ended up with a sample group of 11 people that I chose myself. These were the people that were either involved in a band, or knew what my work entailed. They were close to the demographic groups C1, C2, C3 and D. The important facts were that I had uploaded the JPEGs of my CD Cover and posted a link to my ancillary texts video and my final cut music video on YouTube. New technologies definitely helped me gain a wider understanding of what my target audience liked or disliked about my productions, and what they wanted to get from them.
My group consisted of 6 males and 5 females. They were aged between 15 being the youngest and 22 being the oldest, so overall were the perfect group for my target audience. I uploaded the pictures of my digipak and magazine advert to Facebook so that any members of my group could comment on them and specify what the liked or didn't like. I sent out a Facebook email to the whole of my focus group, and asked a couple of extra people that I had missed from the email but that I thought would be important in my overall conclusion. I had previously gained information from comments that people had left on my rough cut music video on YouTube. These were helpful and they also contributed to my final research findings that led me to the final version of everything. A lot of the points that my discussion group came up with were all similar to each other, and I realised that audiences do actually relate to the characters in the music video in the same way and have the same ideas.
I expected a lot more feedback from my focus group but only 4 out of the 11 replied. However, these comments proved helpful and I have just had to make do with them. I learnt that Facebook and other social networking sites were valuable in the research for my promo package. I felt relieved that I had such positive feedback; things like 'can't fault any of it, I love the simplicity' and 'the hand on the front cover draws the audience's attention to the CD'. For me, the best thing was that my target audience was in control of what they wanted to see on the digipak. If they didn't like it, they said what I should change. For example, the biography I had to change because one of my focus group members said it was too long. Therefore I have shortened it down.
Therefore I have learnt that the audience has such an impact on whether a music video/song/abum does well. If they do not like the appearance, they will not buy the product. I am happy that the continuity of my pieces is controlled and is consistent throughout. My focus group have led me in the direction of a better piece and, hopefully, a more successful piece.
If I was to generalise, the audience would have small part-time jobs like paper rounds or shop assistants. This is generalised and may not be necessarily true. Most of my focus group have small part-time jobs, but a couple have highly paid jobs. The audience that we expect to view our music video and buy our CD can be of any race or culture but the video cast consists of only a white male and a white female so therefore those of other than white British culture may not have anyone to relate to in it and may not wish to watch it at all. If we were to evaluate the strengths and weaknesses of our production, this would definitely be one of the weaknesses.
I ended up with a sample group of 11 people that I chose myself. These were the people that were either involved in a band, or knew what my work entailed. They were close to the demographic groups C1, C2, C3 and D. The important facts were that I had uploaded the JPEGs of my CD Cover and posted a link to my ancillary texts video and my final cut music video on YouTube. New technologies definitely helped me gain a wider understanding of what my target audience liked or disliked about my productions, and what they wanted to get from them.
My group consisted of 6 males and 5 females. They were aged between 15 being the youngest and 22 being the oldest, so overall were the perfect group for my target audience. I uploaded the pictures of my digipak and magazine advert to Facebook so that any members of my group could comment on them and specify what the liked or didn't like. I sent out a Facebook email to the whole of my focus group, and asked a couple of extra people that I had missed from the email but that I thought would be important in my overall conclusion. I had previously gained information from comments that people had left on my rough cut music video on YouTube. These were helpful and they also contributed to my final research findings that led me to the final version of everything. A lot of the points that my discussion group came up with were all similar to each other, and I realised that audiences do actually relate to the characters in the music video in the same way and have the same ideas.
I expected a lot more feedback from my focus group but only 4 out of the 11 replied. However, these comments proved helpful and I have just had to make do with them. I learnt that Facebook and other social networking sites were valuable in the research for my promo package. I felt relieved that I had such positive feedback; things like 'can't fault any of it, I love the simplicity' and 'the hand on the front cover draws the audience's attention to the CD'. For me, the best thing was that my target audience was in control of what they wanted to see on the digipak. If they didn't like it, they said what I should change. For example, the biography I had to change because one of my focus group members said it was too long. Therefore I have shortened it down.
Therefore I have learnt that the audience has such an impact on whether a music video/song/abum does well. If they do not like the appearance, they will not buy the product. I am happy that the continuity of my pieces is controlled and is consistent throughout. My focus group have led me in the direction of a better piece and, hopefully, a more successful piece.
Tuesday, 23 February 2010
To what extent is the way women are represented, in the music industry and music videos, genre-specific? MUSIC INDUSTRY INVESTIGATION - SUMMER 2009
I have chosen to research this particular area because I feel quite strongly, as I am sure that many women do, that there is unfair female representation within the music industry as a whole, and therefore feel obliged to undertake some research into why this is the case. The idea of genre came about after I had chosen the idea of researching women in the music industry. I starting researching videos to see the ways in which representation was unfair and realised it was, the majority of the time, unfair representation in RnB and rap videos. I thought this was also interesting and therefore decided to add that to the research I will produce. It has been interesting finding the extent of representation and how far artists or bands are prepared to go to promote themselves and their songs. It is very demeaning to females when we perhaps like a song that a particular artist produces, and then watch the video to find male dominance and the video being shown in a male’s perspective, the Male Gaze. It is relevant to society now because, even though women were seen as inferior to men throughout history, some feminist groups, and also the general public, still seem to find faults within society for the way women are treated. Furthermore, women are heavily stereotyped, so I felt it was important to do justice for women who want to break out of stereotypical ways and finally feel equal to men. Within this essay and PowerPoint presentation, I will explore the extent of unfair female representation, discuss factors such as the Male Gaze and ‘sexing up’ the music industry, reference such sites like The F Word, and also add in my own opinions and the opinions of others.
My research consisted of internet/remote research on feminist websites, articles about the music industry and women and also YouTube. I have spoken to a number of my friends within the sixth form that are also taking media studies to get their views on the representation on women. I have also been analysing videos, by watching music channels such as MTV and TMF, and also searching YouTube to find some interesting videos from different genres and comparing them. I have also been researching the internet for articles from magazines or newspapers that aid my research. It is interesting that men expose their opinions of the representation of women in their writing too. During the course of the summer holidays, I began my research at videos. I believed that if I could start anywhere, this would be the best starting point. And then, as I got more involved with the research, I began to ask friends their opinions on the matter, and soon it became clear I was going to enjoy this research. Looking back, I believe I could have done a lot more research around my chosen topic, but am satisfied with the research I have collected. I got given some useful websites to research and soon found myself exploring lots of articles about people’s views on the topic too. The entirety of the topic is vast, so I had to do a lot of deep research to find relevant secondary sources that I could reference and use within project. The majority of my research is qualitative; however, I could have used more quantitative research as well. A lot of my research is also subjective because it is opinionated, or an account/article from someone’s point of view, however this could therefore be seen as partly objective because it is considering gender history and women’s suffrage, for example. I found out what I wished to achieve, and therefore am content with my findings. However, I could have made a plan to research more in one aspect and maybe less in another, as my video analysis is quite limited. On the contrary, I am pleased with the way I carried out my research, and the extent of which my research covers the basis of the topic I chose. This has therefore contributed greatly to my belief in gender equality and assures everyone and anyone that feels the same way, that they are not the only ones that have supported or do support women’s rights. This topic relates quite well with the history of gender struggles and male dominance adding to the research’s objectivity.
First, I would like to begin with the feminist website ‘The F Word’. There are 68 articles that relate to women and the music industry; I would like to reference two. The first one is entitled ‘Sex and the Music Video’. Fay Bound Alberti finds that whatever video she watches, she can’t seem to hide away from ‘soft-core pornography’. She says, “Close-ups of breasts, bottoms, thighs, ever-rising bikini-lines assault the senses as the camera pans in for a gynecologically-inquisitive shot of those disembodied parts humping and pumping like a ’70s porn video.” She references videos such as Eric Prydz – Call on Me and artists such as Britney Spears and Nelly Furtado. She says that she believes most women in the music industry conform to the basic male fantasies, such as sex and wearing little or no clothes, and therefore fulfilling their (majority male) audience’s wishes. The unfair representation of women influences young girls to be like these women, influences the way young boys see women’s roles, and also demeans women and makes them sexualised for a male audience. Another article, entitled ‘Feminism and music – the same old stereotypes’ By Louise Livesey, is another very good article, explaining the problems with the representation of women. She says that music videos and the music industry generally have entered a phase of “male sexual titillation”. She references the importance of women’s involvement in the music industry and says that they aren’t just there to be used to hyper-sexualise the music industry, they are there because it’s their dream to be acting in a video/be a singing artist or band. Again, like the previous article, she says that the videos and artists influence young girls to be like their favourite pop group/singer. The lyrics ‘Don’t you wish your girlfriend was hot like me…’ reflect the way in which a girl of any age can be affected and changed by the music industry. Is this right, to be influencing girl’s lives and making boys see women as stereotypically ‘sexy’?
Here is a quote from AOL Music. They say:
“It’s hard to blame the Pussycat Dolls for marketing their hyper-sexuality. It’s the music industry as a whole that put all their eggs in the old ‘sex sells’ basket. In the last 15 years, rap videos have gone from the ‘hood to the strip club, while Britney Spears’ crotch is considered more newsworthy than her new record.”
AOL Music has suggested here that they are aware of the pressures put on women to perform in the music industry. They also reference the ‘rap’ genre, contemplating the fact that women are represented against their will in these videos. This supports the theory of the ‘Male Gaze’. This is where a music video or film production, a photograph or something produced, is by a man. Therefore, we perceive the video from the point of view of a male. There was an article, which I found on a feminist blog by ‘La Somnambule’ entitled ‘Where does the male gaze end?’. On the 21st May 2006, there was an article in the Observer about a photoshoot with Corinne Bailey Rae, a folk/soul singer. It supported the ideology of the male gaze and therefore is a big aid to my research. La Somnambule says; “Bailey Rae sits on the grass, legs crossed, dress rolled up, and arms hanging in her lap. The way her body is positioned creates a ‘V’ shape so that the eye of the observer is drawn towards her barely covered crotch. Again she is submissive and powerless, because of the angle the photograph is taken from.” This describes the main photo advertising the article. It says that the photo is childlike and coy, and therefore represents the male photographer’s views on women, and the way they act.
“I think it is both an interesting and a sad thing that some women don’t understand that there’s a link between them being portrayed like that and how men view women in general. I never saw the Madonna image as powerful – it just seemed like a woman running her hands over her breasts for the benefit of the male gaze”.
Corinne Bailey Rae.
http://www.youtube.com/watch?v=L_fCqg92qks
This is a video, and RnB/dance genre, by Eric Prydz. In the video there are a number of women in leotards dancing and doing ‘aerobics’. These are presented as more of a ‘sex move’ than an aerobic. This is equivalent to any type of ‘soft pronography’ and clearly targeted at a male audience. The women are hyper-sexualised, meaning to impose a sexual interpretation or perception on something or somebody. The embedding has been disabled by the user’s request; therefore I cannot put it onto my blog. Other artists that represent women as ‘sex objects’ and desires for men are; Snoop Dogg, Dr Dre, a lot of dance music and so one of my friends (Natasha Burton) told me; “Just go to the charts and every artist surely has some unfair representation of women!”
The implications for the music industry are now more important than ever before, especially with the growing idea of feminism spread throughout the internet. Surely now, the music industry is going to be influenced, and is clearly going to develop in the same way it is now. Unless anybody campaigns for change, which in my argument and other people’s feminist views is quite possible, the music industry will carry on demeaning women. If this continues to be the case, women are going to think less and less about the music industry and therefore the popularity of the music industry will decline. Women’s views of genres such as RnB, Dance and Rap will also fall and become based upon its unfair representation. To overcome this, the music industry needs to employ more female directors, photographers and choreographers to produce advertisements and promotions for an artist or song such as photoshoots, CD covers and music videos. This topic will soon take over the music industry and bring it into decline. ‘Fun feminism’ began with the Spice Girls and other artists, but since then, it has spiralled out of control and become almost a target to women. If something isn’t done to prevent this, then women are going to be taken aback by the representational issues, and young boys and girl’s views on women and the role of women are going to be totally biased.
For my media production, Emily, Ian and I have only 2 characters. The song is called ‘If You Only Knew’ by Chris Cohen (unsignedbandweb.com) as we had to change last minute due to an unreliable artist. In the video, there is a couple that have an argument. Taking account of my research, I suggested that the female become the strongest in the argument as she is the weakest towards the end. Throughout the video, the male and female characters are on par with each other as far as one isn’t stronger than the other. Then at the end, the female realises how much she misses the male character and goes back to him. After the research I have carried out, the ending represents the male gaze slightly as the women is seen as weak for going back to the male, rather than the male going back to the female. However, it is balanced with the female’s strength at the beginning of the narrative.
This research project has really highlighted, for me, the importance of representation, and how it can affect everyday life. Young people’s views are highly influenced by any media sources from magazines, films and children’s programmes, to musical performances, channels and videos. A lot of what young people base their views on is what they see in these media productions. Is it fair to stereotype women in a way that boys see them as the ‘housewife’ and the ‘sex object’? Is it right that young girls should aspire to be like their famous role models and become ‘size zero’ ‘super sexy’ and wear little or no clothes and tonnes of make up? No woman wants to be stereotyped and categorised, and we are therefore taking steps backwards towards society in history. Men are not superior to women, it is just a view that men had in historical periods. Surely we are supposed to be moving forwards, not backwards? Or is that just me?
Bibliography
• Google (www.google.com)
• YouTube (www.youtube.com)
• The F Word feminist website (www.thefword.org.uk)
• Suite 101 (http://musicindustry.suite101.com/article.cfm/women_in_music)
• La Somnambule’s blog (http://lasomnambule.blogspot.com/2006/05/where-does-male-gaze-end.html)
• AOL Music (www.aol.com)
• A feminist 101 Blog: ‘What is the Male Gaze?’ (http://finallyfeminism101.wordpress.com/2007/08/26/faq-what-is-the-%E2%80%9Cmale-gaze%E2%80%9D/)
My research consisted of internet/remote research on feminist websites, articles about the music industry and women and also YouTube. I have spoken to a number of my friends within the sixth form that are also taking media studies to get their views on the representation on women. I have also been analysing videos, by watching music channels such as MTV and TMF, and also searching YouTube to find some interesting videos from different genres and comparing them. I have also been researching the internet for articles from magazines or newspapers that aid my research. It is interesting that men expose their opinions of the representation of women in their writing too. During the course of the summer holidays, I began my research at videos. I believed that if I could start anywhere, this would be the best starting point. And then, as I got more involved with the research, I began to ask friends their opinions on the matter, and soon it became clear I was going to enjoy this research. Looking back, I believe I could have done a lot more research around my chosen topic, but am satisfied with the research I have collected. I got given some useful websites to research and soon found myself exploring lots of articles about people’s views on the topic too. The entirety of the topic is vast, so I had to do a lot of deep research to find relevant secondary sources that I could reference and use within project. The majority of my research is qualitative; however, I could have used more quantitative research as well. A lot of my research is also subjective because it is opinionated, or an account/article from someone’s point of view, however this could therefore be seen as partly objective because it is considering gender history and women’s suffrage, for example. I found out what I wished to achieve, and therefore am content with my findings. However, I could have made a plan to research more in one aspect and maybe less in another, as my video analysis is quite limited. On the contrary, I am pleased with the way I carried out my research, and the extent of which my research covers the basis of the topic I chose. This has therefore contributed greatly to my belief in gender equality and assures everyone and anyone that feels the same way, that they are not the only ones that have supported or do support women’s rights. This topic relates quite well with the history of gender struggles and male dominance adding to the research’s objectivity.
First, I would like to begin with the feminist website ‘The F Word’. There are 68 articles that relate to women and the music industry; I would like to reference two. The first one is entitled ‘Sex and the Music Video’. Fay Bound Alberti finds that whatever video she watches, she can’t seem to hide away from ‘soft-core pornography’. She says, “Close-ups of breasts, bottoms, thighs, ever-rising bikini-lines assault the senses as the camera pans in for a gynecologically-inquisitive shot of those disembodied parts humping and pumping like a ’70s porn video.” She references videos such as Eric Prydz – Call on Me and artists such as Britney Spears and Nelly Furtado. She says that she believes most women in the music industry conform to the basic male fantasies, such as sex and wearing little or no clothes, and therefore fulfilling their (majority male) audience’s wishes. The unfair representation of women influences young girls to be like these women, influences the way young boys see women’s roles, and also demeans women and makes them sexualised for a male audience. Another article, entitled ‘Feminism and music – the same old stereotypes’ By Louise Livesey, is another very good article, explaining the problems with the representation of women. She says that music videos and the music industry generally have entered a phase of “male sexual titillation”. She references the importance of women’s involvement in the music industry and says that they aren’t just there to be used to hyper-sexualise the music industry, they are there because it’s their dream to be acting in a video/be a singing artist or band. Again, like the previous article, she says that the videos and artists influence young girls to be like their favourite pop group/singer. The lyrics ‘Don’t you wish your girlfriend was hot like me…’ reflect the way in which a girl of any age can be affected and changed by the music industry. Is this right, to be influencing girl’s lives and making boys see women as stereotypically ‘sexy’?
Here is a quote from AOL Music. They say:
“It’s hard to blame the Pussycat Dolls for marketing their hyper-sexuality. It’s the music industry as a whole that put all their eggs in the old ‘sex sells’ basket. In the last 15 years, rap videos have gone from the ‘hood to the strip club, while Britney Spears’ crotch is considered more newsworthy than her new record.”
AOL Music has suggested here that they are aware of the pressures put on women to perform in the music industry. They also reference the ‘rap’ genre, contemplating the fact that women are represented against their will in these videos. This supports the theory of the ‘Male Gaze’. This is where a music video or film production, a photograph or something produced, is by a man. Therefore, we perceive the video from the point of view of a male. There was an article, which I found on a feminist blog by ‘La Somnambule’ entitled ‘Where does the male gaze end?’. On the 21st May 2006, there was an article in the Observer about a photoshoot with Corinne Bailey Rae, a folk/soul singer. It supported the ideology of the male gaze and therefore is a big aid to my research. La Somnambule says; “Bailey Rae sits on the grass, legs crossed, dress rolled up, and arms hanging in her lap. The way her body is positioned creates a ‘V’ shape so that the eye of the observer is drawn towards her barely covered crotch. Again she is submissive and powerless, because of the angle the photograph is taken from.” This describes the main photo advertising the article. It says that the photo is childlike and coy, and therefore represents the male photographer’s views on women, and the way they act.
“I think it is both an interesting and a sad thing that some women don’t understand that there’s a link between them being portrayed like that and how men view women in general. I never saw the Madonna image as powerful – it just seemed like a woman running her hands over her breasts for the benefit of the male gaze”.
Corinne Bailey Rae.
http://www.youtube.com/watch?v=L_fCqg92qks
This is a video, and RnB/dance genre, by Eric Prydz. In the video there are a number of women in leotards dancing and doing ‘aerobics’. These are presented as more of a ‘sex move’ than an aerobic. This is equivalent to any type of ‘soft pronography’ and clearly targeted at a male audience. The women are hyper-sexualised, meaning to impose a sexual interpretation or perception on something or somebody. The embedding has been disabled by the user’s request; therefore I cannot put it onto my blog. Other artists that represent women as ‘sex objects’ and desires for men are; Snoop Dogg, Dr Dre, a lot of dance music and so one of my friends (Natasha Burton) told me; “Just go to the charts and every artist surely has some unfair representation of women!”
The implications for the music industry are now more important than ever before, especially with the growing idea of feminism spread throughout the internet. Surely now, the music industry is going to be influenced, and is clearly going to develop in the same way it is now. Unless anybody campaigns for change, which in my argument and other people’s feminist views is quite possible, the music industry will carry on demeaning women. If this continues to be the case, women are going to think less and less about the music industry and therefore the popularity of the music industry will decline. Women’s views of genres such as RnB, Dance and Rap will also fall and become based upon its unfair representation. To overcome this, the music industry needs to employ more female directors, photographers and choreographers to produce advertisements and promotions for an artist or song such as photoshoots, CD covers and music videos. This topic will soon take over the music industry and bring it into decline. ‘Fun feminism’ began with the Spice Girls and other artists, but since then, it has spiralled out of control and become almost a target to women. If something isn’t done to prevent this, then women are going to be taken aback by the representational issues, and young boys and girl’s views on women and the role of women are going to be totally biased.
For my media production, Emily, Ian and I have only 2 characters. The song is called ‘If You Only Knew’ by Chris Cohen (unsignedbandweb.com) as we had to change last minute due to an unreliable artist. In the video, there is a couple that have an argument. Taking account of my research, I suggested that the female become the strongest in the argument as she is the weakest towards the end. Throughout the video, the male and female characters are on par with each other as far as one isn’t stronger than the other. Then at the end, the female realises how much she misses the male character and goes back to him. After the research I have carried out, the ending represents the male gaze slightly as the women is seen as weak for going back to the male, rather than the male going back to the female. However, it is balanced with the female’s strength at the beginning of the narrative.
This research project has really highlighted, for me, the importance of representation, and how it can affect everyday life. Young people’s views are highly influenced by any media sources from magazines, films and children’s programmes, to musical performances, channels and videos. A lot of what young people base their views on is what they see in these media productions. Is it fair to stereotype women in a way that boys see them as the ‘housewife’ and the ‘sex object’? Is it right that young girls should aspire to be like their famous role models and become ‘size zero’ ‘super sexy’ and wear little or no clothes and tonnes of make up? No woman wants to be stereotyped and categorised, and we are therefore taking steps backwards towards society in history. Men are not superior to women, it is just a view that men had in historical periods. Surely we are supposed to be moving forwards, not backwards? Or is that just me?
Bibliography
• Google (www.google.com)
• YouTube (www.youtube.com)
• The F Word feminist website (www.thefword.org.uk)
• Suite 101 (http://musicindustry.suite101.com/article.cfm/women_in_music)
• La Somnambule’s blog (http://lasomnambule.blogspot.com/2006/05/where-does-male-gaze-end.html)
• AOL Music (www.aol.com)
• A feminist 101 Blog: ‘What is the Male Gaze?’ (http://finallyfeminism101.wordpress.com/2007/08/26/faq-what-is-the-%E2%80%9Cmale-gaze%E2%80%9D/)
Tuesday, 19 January 2010
CD cover ideas...
Front:
Fingers together in the shape of a photo, as if you are pretending your hand is a camera. This reinforces the photo imagery that features throughout the video. The words will be in the 'photo' and therefore, the photo is the main feature of the album.
Another idea is to have Chris Cohen's (Ian's) hand held out, so it's just the hand on the side on the front cover. The words will be in his palm showing his control over how his album is.
One final idea, is his hand in a high-five shape, and the words again on his palm, as if he is about to grab them. I think this is a good idea, because it's like him grabbing the guitar or the photo in the video.
Back:
The back cover of the CD is a screen shot from the music video of Ian playing the guitar. I decided to include this because the whole album is made up of acoustic/guitar songs. Also, Chris Cohen's guitar is the main feature in both the song AND the music video. This also links the music video to the CD. The tracks are listed in 'sized' order. This way the words look symmetrical or equal.
Fingers together in the shape of a photo, as if you are pretending your hand is a camera. This reinforces the photo imagery that features throughout the video. The words will be in the 'photo' and therefore, the photo is the main feature of the album.
Another idea is to have Chris Cohen's (Ian's) hand held out, so it's just the hand on the side on the front cover. The words will be in his palm showing his control over how his album is.
One final idea, is his hand in a high-five shape, and the words again on his palm, as if he is about to grab them. I think this is a good idea, because it's like him grabbing the guitar or the photo in the video.
Back:
The back cover of the CD is a screen shot from the music video of Ian playing the guitar. I decided to include this because the whole album is made up of acoustic/guitar songs. Also, Chris Cohen's guitar is the main feature in both the song AND the music video. This also links the music video to the CD. The tracks are listed in 'sized' order. This way the words look symmetrical or equal.
Tuesday, 8 December 2009
Laura Mulvey - The Male Gaze
The Male Gaze
Mulvey is best known for her essay, "Visual Pleasure and Narrative Cinema", written in 1973 and published in 1975 in the influential British film theory journal Screen. It later appeared in a collection of her essays entitled Visual and Other Pleasures, and numerous other anthologies. Her article was one of the first major essays that helped shift the orientation of film theory towards a psychoanalytic framework, influenced by the theories of Sigmund Freud and Jacques Lacan. Prior to Mulvey, film theorists such as Jean-Louis Baudry and Christian Metz had attempted to use psychoanalytic ideas in their theoretical accounts of the cinema, but Mulvey's contribution was to inaugurate the intersection of film theory, psychoanalysis, and feminism.
Mulvey's article engaged in no empirical research on film audiences. She instead stated that she intended to make a "political use" of Freud and Lacan, and then used some of their concepts to argue that the cinematic apparatus of classical Hollywood cinema inevitably put the spectator in a masculine subject position, with the figure of the woman on screen as the object of desire. In the era of classical Hollywood cinema, viewers were encouraged to identify with the protagonist of the film, who tended to be a man. Meanwhile, Hollywood female characters of the 1950s and 60s were, according to Mulvey, coded with "to-be-looked-at-ness." Mulvey suggests that there were two distinct modes of the male gaze of this era: "voyeuristic" (i.e. seeing women as 'whores') and "fetishistic" (i.e. seeing women as 'Madonnas').
Mulvey argued that the only way to annihilate the "patriarchal" Hollywood system was to radically challenge and re-shape the filmic strategies of classical Hollywood with alternative feminist methods. She called for a new feminist avant-garde filmmaking that would rupture the magic and pleasure of classical Hollywood filmmaking. She wrote, "It is said that analysing pleasure or beauty annihilates it. That is the intention of this article." Some feminists criticized "Visual Pleasure and Narrative Cinema," claiming that, while Mulvey believed that classical Hollywood cinema reflected and shaped the "patriarchal order," the perspective of her writing actually remained within that very heterosexual order. The article was thus said to have contradicted its "radical" claims, by actually being a covert perpetuation of heterosexual patriarchal order. This was because, in her article, Mulvey presupposes the spectator to be a heterosexual man. She was thus felt to be denying the existence of lesbian women, gay men, heterosexual women, and those outside of these identities.
"Visual Pleasure and Narrative Cinema" was the subject of much interdisciplinary discussion among film theorists that continued into the mid 1980s. Critics of the article objected to the fact that her argument implied the impossibility of genuine 'feminine' enjoyment of the classical Hollywood cinema, and to the fact that her argument did not seem to take into account spectatorships that were not organised along the normative lines of gender. For example, a metaphoric 'transvestism' might be possible when viewing a film – a male viewer might enjoy a 'feminine' point-of-view provided by a film, or vice versa; gay, lesbian and bisexual spectatorships might also be different. Her article also did not take into account the findings of the later wave of media audience studies on the complex nature of fan cultures and their interaction with stars. Gay male film theorists such as Richard Dyer have used Mulvey's work as a starting point to explore the complex projections that many gay men fix onto certain female stars (e.g. Liza Minnelli, Greta Garbo, and Judy Garland).
Feminist critic Gaylyn Studlar wrote extensively to contradict Mulvey's central thesis that the spectator is male and derives visual pleasure from a dominant, sadistic perspective. Studlar suggested rather that visual pleasure for all audiences is derived from a passive, masochistic perspective, where the audience seeks to be powerless and overwhelmed by the cinematic image. Mulvey later wrote that her article was meant to be a provocation or a manifesto, rather than a reasoned academic article that took all objections into account. She addressed many of her critics, and changed some of her opinions, in a follow-up article, "Afterthoughts on 'Visual Pleasure and Narrative Cinema'" (which also appears in the Visual and Other Pleasures collection).
Phallocentrism and patriarchy
Mulvey incorporates the Freudian idea of phallocentrism into "Visual Pleasure and Narrative Cinema". Specifically relating the phallocentric theory to film, Mulvey insists on the idea that film and cinematography are inadvertently structured upon the ideas and values of a patriarchy.
Within her essay, Mulvey discusses several different types of spectatorship that occur while viewing a film. Viewing a film involves subconsciously engaging in the understanding of male and female roles. The "three different looks", as they are referred to, explain just exactly how films are viewed in relation to phallocentrism. The first "look" refers to the camera as it records the actual events of the film. The second "look" describes the nearly voyeuristic act of the audience as one engages in watching the film itself. Lastly, the third "look" refers to the characters that interact with one another throughout the film.
The main idea that seems to bring these actions together is that "looking" is generally seen as an active male role while the passive role of being looked at is immediately adopted as a female characteristic. It is under the construction of patriarchy that Mulvey argues that women in film are tied to desire and that female characters hold an "appearance coded for strong visual and erotic impact". The female actor is never meant to represent a character that directly affects the outcome of a plot or keep the story line going, but is inserted into the film as a way of supporting the male role and "bearing the burden of sexual objectification" that he cannot.
Mulvey is best known for her essay, "Visual Pleasure and Narrative Cinema", written in 1973 and published in 1975 in the influential British film theory journal Screen. It later appeared in a collection of her essays entitled Visual and Other Pleasures, and numerous other anthologies. Her article was one of the first major essays that helped shift the orientation of film theory towards a psychoanalytic framework, influenced by the theories of Sigmund Freud and Jacques Lacan. Prior to Mulvey, film theorists such as Jean-Louis Baudry and Christian Metz had attempted to use psychoanalytic ideas in their theoretical accounts of the cinema, but Mulvey's contribution was to inaugurate the intersection of film theory, psychoanalysis, and feminism.
Mulvey's article engaged in no empirical research on film audiences. She instead stated that she intended to make a "political use" of Freud and Lacan, and then used some of their concepts to argue that the cinematic apparatus of classical Hollywood cinema inevitably put the spectator in a masculine subject position, with the figure of the woman on screen as the object of desire. In the era of classical Hollywood cinema, viewers were encouraged to identify with the protagonist of the film, who tended to be a man. Meanwhile, Hollywood female characters of the 1950s and 60s were, according to Mulvey, coded with "to-be-looked-at-ness." Mulvey suggests that there were two distinct modes of the male gaze of this era: "voyeuristic" (i.e. seeing women as 'whores') and "fetishistic" (i.e. seeing women as 'Madonnas').
Mulvey argued that the only way to annihilate the "patriarchal" Hollywood system was to radically challenge and re-shape the filmic strategies of classical Hollywood with alternative feminist methods. She called for a new feminist avant-garde filmmaking that would rupture the magic and pleasure of classical Hollywood filmmaking. She wrote, "It is said that analysing pleasure or beauty annihilates it. That is the intention of this article." Some feminists criticized "Visual Pleasure and Narrative Cinema," claiming that, while Mulvey believed that classical Hollywood cinema reflected and shaped the "patriarchal order," the perspective of her writing actually remained within that very heterosexual order. The article was thus said to have contradicted its "radical" claims, by actually being a covert perpetuation of heterosexual patriarchal order. This was because, in her article, Mulvey presupposes the spectator to be a heterosexual man. She was thus felt to be denying the existence of lesbian women, gay men, heterosexual women, and those outside of these identities.
"Visual Pleasure and Narrative Cinema" was the subject of much interdisciplinary discussion among film theorists that continued into the mid 1980s. Critics of the article objected to the fact that her argument implied the impossibility of genuine 'feminine' enjoyment of the classical Hollywood cinema, and to the fact that her argument did not seem to take into account spectatorships that were not organised along the normative lines of gender. For example, a metaphoric 'transvestism' might be possible when viewing a film – a male viewer might enjoy a 'feminine' point-of-view provided by a film, or vice versa; gay, lesbian and bisexual spectatorships might also be different. Her article also did not take into account the findings of the later wave of media audience studies on the complex nature of fan cultures and their interaction with stars. Gay male film theorists such as Richard Dyer have used Mulvey's work as a starting point to explore the complex projections that many gay men fix onto certain female stars (e.g. Liza Minnelli, Greta Garbo, and Judy Garland).
Feminist critic Gaylyn Studlar wrote extensively to contradict Mulvey's central thesis that the spectator is male and derives visual pleasure from a dominant, sadistic perspective. Studlar suggested rather that visual pleasure for all audiences is derived from a passive, masochistic perspective, where the audience seeks to be powerless and overwhelmed by the cinematic image. Mulvey later wrote that her article was meant to be a provocation or a manifesto, rather than a reasoned academic article that took all objections into account. She addressed many of her critics, and changed some of her opinions, in a follow-up article, "Afterthoughts on 'Visual Pleasure and Narrative Cinema'" (which also appears in the Visual and Other Pleasures collection).
Phallocentrism and patriarchy
Mulvey incorporates the Freudian idea of phallocentrism into "Visual Pleasure and Narrative Cinema". Specifically relating the phallocentric theory to film, Mulvey insists on the idea that film and cinematography are inadvertently structured upon the ideas and values of a patriarchy.
Within her essay, Mulvey discusses several different types of spectatorship that occur while viewing a film. Viewing a film involves subconsciously engaging in the understanding of male and female roles. The "three different looks", as they are referred to, explain just exactly how films are viewed in relation to phallocentrism. The first "look" refers to the camera as it records the actual events of the film. The second "look" describes the nearly voyeuristic act of the audience as one engages in watching the film itself. Lastly, the third "look" refers to the characters that interact with one another throughout the film.
The main idea that seems to bring these actions together is that "looking" is generally seen as an active male role while the passive role of being looked at is immediately adopted as a female characteristic. It is under the construction of patriarchy that Mulvey argues that women in film are tied to desire and that female characters hold an "appearance coded for strong visual and erotic impact". The female actor is never meant to represent a character that directly affects the outcome of a plot or keep the story line going, but is inserted into the film as a way of supporting the male role and "bearing the burden of sexual objectification" that he cannot.
Tuesday, 1 December 2009
How are contemporary media changing the 'music video'?
This is the powerpoint that Emily and I did on guidance day a while back. :)
Rough Cut Music Video
This is the rough cut of our music video If You Only Knew by Chris Cohen. We have yet to put in the transitions between the shots. Also, to point out, there is a white canvas shot that lasts for about 4 or 5 seconds which will be a flashback. We have decided to use the white canvas background so that the flashback looks dreamy as if the female character is recalling it. Please watch and make comments on what we could change, what you think is bad and what you think is absolutely amazing! :) Thank you!
Wednesday, 7 October 2009
Shooting maps
These are the seven main shots within the music video. We have put them into shooting maps to illustrate the layout of the location and camera location when we come to shoot. There is a key on the first shooting map.
Shot 27: Long shot of the two characters walking up to the house from over the road.
Shot 38: Tracking shot following the male character towards the window.
Shot 42. Final shot of the two characters in an embrace. Medium parallel shot.
Shot 1: Argument at the beginning (establishing shot).
Shot 10: Medium shot of male strumming guitar.
Shot 17: Long shot from behind the female as she stares out of the window.
Shot 29: Close ups of the face of the female smiling. (can apply to all CU of a face).
Shot 27: Long shot of the two characters walking up to the house from over the road.Shot 38: Tracking shot following the male character towards the window.
Shot 42. Final shot of the two characters in an embrace. Medium parallel shot.
Tuesday, 6 October 2009
Props
We will need 3 main props for our production. These are...
A pen for the male character to write with when he is composing the song.
A notepad, not as cheesy as this one, for the male character to write the lyrics of his song onto.
A guitar for the male character to play throughout the music video.
And also photographs of the couple and family. The family photos we may use as extras. The photo of the couple together on the bedroom wall, and also the photo that is ripped at the beginning. We have a photographer to do these photographs for us.
Music Video Treatment
Chris Cohen presents “If you only knew” in an alternative rock genre of music, comparing himself to such bands as Coldplay and The Fray. Therefore we intend to plan our music video around themes and ideas used within music videos of this genre and to challenge them also. One way we will seek to be successful in our intentions for example is how the majority of alternative rock music videos do feature the musicians/artists involved, either in a storyline manner or collectively within the band image of singing and playing their instruments in a chosen setting. So the way we will be challenging this theme is enlisting alternative personnel to perform as the chosen characters in the video, yet still including the theme of a musical instrument being played and lyrics being sung with the mouth synchronisation. We do realise that this does decrease exposure of our chosen artist within the video itself; however this can be counteracted later on in the promotional package for our artist, by displaying him in the digipak cover and producing a biography of him.
The narrative presents a couple (male and female) that have had an argument (which the end of the argument is shown as the intro of the song) which shows a photo of both characters together torn in half (dividing the characters in the photo and in the later narrative), this is where the equilibrium is disrupted, fall to the ground leading to the female characters exit from the scene. This will cover the intro consisting on instrumentation lasting 8 seconds. A long shot will be the first shot that is scene establishing the two characters engaged in argument before the female character rips up the photo in her hand. A tracking CU shot will track the pieces fall onto the floor (ideally both halves of the photo facing upwards to shot the audience that the two characters are “torn apart”). A medium shot of the male character bending down to the floor to pick up the half of the photo that displays the female character, before walking out of the room in a different direction, which will be shot with the male character walking towards then past the camera which will also show the female character exiting in a different direction in the background behind him. The first two verses and the first chorus of the song are perceived from the male characters perspective. Verse 1 lasts 15 seconds, which will see both characters retreating to their own homes upset and in regret of what has happened (the argument). Both characters are from here on (until the final chorus and outro) alone in their respective houses and begin to reminisce past times how they have spent their time together in their relationship. Verse 1 will begin with a long shot of the male character entering his house through the front door, followed by a CU shot of the banister on the stairs that the male character will place his keys (camera will remain static as he walks towards the banister, place the keys and walk on. The camera will be focused on the keys yet movement of the male character will still be seen. The possibility of a long shot at low angle would track the male character as he puts his jacket on the back of a chair (medium shot) and then as he walks across the lounge area to a leather seat where he will sit. A medium shot will follow to see the male character sit down in the chair and pause for a moment (possible idea of him putting his head in his hands or pausing to look at the half of the photo he took with him). A bird’s eye shot would show the half of the photo being placed on a small table to the side of him for later referral as he will continue to use this photo as inspiration for words he will write on a notepad and lyrics he will sing. A shot of the guitar as the male character grabs it and places it on his lap ready to play (I will later reference this idea from City and Colour – Comin’ Home).Verse 2 will last 16 seconds, and will begin with the male character singing the line “You feel like home”, where the camera will be focused on him picking up a notepad and pen using a high angle shot. This is followed by an over the shoulder shot of him writing on this notepad. “I feel a burning fire for you, I feel it in my bones” follows with the reference to City and Colour – Comin’ Home as we will shoot the male character playing his guitar in the same style, a medium shot of him playing the guitar and the CU of him strumming.
Instrumental will last 15 seconds A panning shot of him writing words on a notepad placed on his lap (lyrics in the way that match the track and as if the male character is composing a song to explain how he feels about the other character). We will use an over the shoulder high angle shot of him writing the word “Understand” on the notepad.Chorus 1 will last 30 seconds and will feature an ECU of the male character’s mouth singing “If you only knew”, cut away to the female character standing at a window in her house during the line “You might understand” followed by a zoom towards her. To follow on just like the first line in this chorus, the female character will lip sync “You might understand” to the music as a response to the male character in the first line of the chorus. Then we will cut away to the male character sitting in the black leather chair at his house looking at the photo (without guitar and notepad). This will be followed by a low angle shot of the female character walking into her bedroom (as if she is walking into the shot), then back to the male character again still looking at the photo (medium shot).Instrumental will last 16 seconds before preceding to verses 3 and 4 and the second chorus, which are all perceived from the female characters point of view. Verse 3 will last 16 seconds. This will see her lonely in her house without the male character, finding a jacket or jumper of some sort at the end of her bed (this is set in her bedroom) he gave her when she was cold when they were together one night (this will cue a cut to reminisce the event in question), a scene will be re-acted from the past as the female character is thinking about it, which will show both characters together, and the male character wrapping a jacket/top around the female character as she is cold (either sitting together or walking down a road, leading to second reminisce of male character taking her home?). This will be shot with a tracking shot, following the female character as she finds the item of clothing, a medium shot as she glances upwards towards a photo above her bed, the same shot will zoom into the photo and a scene will be played out whereby both characters are walking together (the female shivering as she is cold, and the male character will put his item of clothing around her to keep her warm (this done over the line “On a cold dark winters night”).
An instrumental will last 5 seconds moving to a long shot as the characters approach the female characters house, and an over the shoulder shot as the male character places a hand on the female’s shoulder.Verse 4 will last 15 seconds. This will start by showing the same over the shoulder shot of the male character putting his hand on her shoulder, but proceed to kiss her on the cheek, the camera then moving to a close up shot of the female character smiling. This will cue the end of this reminisce and the camera will zoom out of the photo on the wall and pan around to show her smile slightly then looking sad and moving out of the shot. We will from here cut to her finding the remaining half of the photo displaying the male character, this will be shot by a low angle shot of her feet as she approaches the half of the picture (also within the camera shot), bend down to pick it up, cut to an over shoulder shot as she looks at it, provoking her to write a message on the reverse of the photo (which will be shown via superimposition as we will show the male and female characters writing on the back of their halves of the photo in sync in the same shot) before leaving her house to visit the male character as his house. This will also cover the instrumental that follows verse 4, that will last 7 seconds.
Chorus 2 will last 29 seconds to find the female character arrive at the male characters house. We will show a CU of the male character singing “You might understand”, which will be followed by a medium to long shot of the male character sitting in the black leather chair and the female character appearing in view at the door behind him. She will knock on the window/door and push her half of the photo up against the door (CU from inside the house) leading to the male character turning around to see her in the door (long shot); he will proceed to stand up, place his guitar up against the black leather chair (his half of the photo in his hand) and walk towards her at the door (tracking shot) leading to the camera cutting back to the door as he walks into the shot to approach the female character (parallel medium shot). Here we will open the door slightly to allow ourselves to pan around the characters standing at the door for our next shot. We will go from here to an over the shoulder shot from the female’s point of view to see the male pressing his half of the photo up against the door.It is here that the message that she wrote on the back of the photo comes apparent; it will read similarly to the lyrics being sung at that point “You might understand”, the message she wrote on the photo will read “Do you understand?”Outro will last 15 seconds. In response to the female character’s writing on the back of her photo “Do you understand?” It will become apparent that the responding message from the male character will read “I understand”.
At this point, the camera will show the two halves of the photo being pressed against the wall from two angles, starting from an over the shoulder shot from the female character panning back round to an over the shoulder shot from the male’s point of view where the camera will stay still. This allows us to show the audience the messages together and picture of both characters being rejoined. These shots will be shown as the lyrics “My puzzles been complete”. The male character will let the female character into his house (opening the door) and into his arms as the song sings “If you only knew” medium parallel shot.The mise en scene provides a sense of loneliness, regret and happiness. Loneliness and regret is prescribed in the way that both characters are broken up at the beginning of the video and are from that point in the present narrative shown as apart, with the storyline sees the characters both engaging in thinking about the other character and happier times when they are together. This reminiscing and the ending to the video, which sees the two characters resolve their differences and “get back together”, provoking happiness. Regret is presented through the actions that each characters carry out when they are alone in their houses which leads to change in opinion and resolution in the end. Most importantly, these actions are, for the female character, photos and items of clothing that she encounters, reminding her of the male character. These reminders will importantly inspire her to track down the male character and resolve their issues at the end of the video. In regards to the male character, he will express regret through writing key words that will match the lyrics of the song, and singing key lyrics in the same fashion.In terms of colour in the video, from when the characters in the present narrative are shown to be apart (after the photo was ripped in half), the video will be edited to black and white, to impose the feeling of loneliness in their lives without the other character, and to link in with the theme of the lyrics of how much the characters mean to each other and “add colour” to each others lives. For this reason, when the narrative cuts to times when they are together, including the reminiscing and the ending as the female character enters the male characters house, will be shot in colour.Lighting in our music video will be dark to follow our theme of lack of enthusiasm between the characters following their argument. The theme would be seen as negative by the audience and the dark lighting would help to reflect this. In contrast, when the video is shot in colour, the lighting will be brighter to change the theme to a more positive and happier mood when the characters were together in their relationship (happier times).
Track structure
Intro 8 seconds
Verse 1 15 seconds
Instrumental 6 seconds
Verse 2 16 seconds
Instrumental 15 seconds
Chorus 1 30 seconds
Instrumental 16 seconds
Verse 3 16 seconds
Instrumental 5 seconds
Verse 4 15 seconds
Instrumental 7 seconds
Chorus 2 29 seconds
Instrumental 21 seconds
Outro 15 seconds
Total duration 3:38
AmendmentsThe original track of this song lasted over 4 minutes, which is too long to match our set brief for the project for the track to last between 2-4 minutes. Therefore we had to cut two of the verses out, meaning the total duration of the track is now 3:38, which does comply with the set brief.
The narrative presents a couple (male and female) that have had an argument (which the end of the argument is shown as the intro of the song) which shows a photo of both characters together torn in half (dividing the characters in the photo and in the later narrative), this is where the equilibrium is disrupted, fall to the ground leading to the female characters exit from the scene. This will cover the intro consisting on instrumentation lasting 8 seconds. A long shot will be the first shot that is scene establishing the two characters engaged in argument before the female character rips up the photo in her hand. A tracking CU shot will track the pieces fall onto the floor (ideally both halves of the photo facing upwards to shot the audience that the two characters are “torn apart”). A medium shot of the male character bending down to the floor to pick up the half of the photo that displays the female character, before walking out of the room in a different direction, which will be shot with the male character walking towards then past the camera which will also show the female character exiting in a different direction in the background behind him. The first two verses and the first chorus of the song are perceived from the male characters perspective. Verse 1 lasts 15 seconds, which will see both characters retreating to their own homes upset and in regret of what has happened (the argument). Both characters are from here on (until the final chorus and outro) alone in their respective houses and begin to reminisce past times how they have spent their time together in their relationship. Verse 1 will begin with a long shot of the male character entering his house through the front door, followed by a CU shot of the banister on the stairs that the male character will place his keys (camera will remain static as he walks towards the banister, place the keys and walk on. The camera will be focused on the keys yet movement of the male character will still be seen. The possibility of a long shot at low angle would track the male character as he puts his jacket on the back of a chair (medium shot) and then as he walks across the lounge area to a leather seat where he will sit. A medium shot will follow to see the male character sit down in the chair and pause for a moment (possible idea of him putting his head in his hands or pausing to look at the half of the photo he took with him). A bird’s eye shot would show the half of the photo being placed on a small table to the side of him for later referral as he will continue to use this photo as inspiration for words he will write on a notepad and lyrics he will sing. A shot of the guitar as the male character grabs it and places it on his lap ready to play (I will later reference this idea from City and Colour – Comin’ Home).Verse 2 will last 16 seconds, and will begin with the male character singing the line “You feel like home”, where the camera will be focused on him picking up a notepad and pen using a high angle shot. This is followed by an over the shoulder shot of him writing on this notepad. “I feel a burning fire for you, I feel it in my bones” follows with the reference to City and Colour – Comin’ Home as we will shoot the male character playing his guitar in the same style, a medium shot of him playing the guitar and the CU of him strumming.
Instrumental will last 15 seconds A panning shot of him writing words on a notepad placed on his lap (lyrics in the way that match the track and as if the male character is composing a song to explain how he feels about the other character). We will use an over the shoulder high angle shot of him writing the word “Understand” on the notepad.Chorus 1 will last 30 seconds and will feature an ECU of the male character’s mouth singing “If you only knew”, cut away to the female character standing at a window in her house during the line “You might understand” followed by a zoom towards her. To follow on just like the first line in this chorus, the female character will lip sync “You might understand” to the music as a response to the male character in the first line of the chorus. Then we will cut away to the male character sitting in the black leather chair at his house looking at the photo (without guitar and notepad). This will be followed by a low angle shot of the female character walking into her bedroom (as if she is walking into the shot), then back to the male character again still looking at the photo (medium shot).Instrumental will last 16 seconds before preceding to verses 3 and 4 and the second chorus, which are all perceived from the female characters point of view. Verse 3 will last 16 seconds. This will see her lonely in her house without the male character, finding a jacket or jumper of some sort at the end of her bed (this is set in her bedroom) he gave her when she was cold when they were together one night (this will cue a cut to reminisce the event in question), a scene will be re-acted from the past as the female character is thinking about it, which will show both characters together, and the male character wrapping a jacket/top around the female character as she is cold (either sitting together or walking down a road, leading to second reminisce of male character taking her home?). This will be shot with a tracking shot, following the female character as she finds the item of clothing, a medium shot as she glances upwards towards a photo above her bed, the same shot will zoom into the photo and a scene will be played out whereby both characters are walking together (the female shivering as she is cold, and the male character will put his item of clothing around her to keep her warm (this done over the line “On a cold dark winters night”).
An instrumental will last 5 seconds moving to a long shot as the characters approach the female characters house, and an over the shoulder shot as the male character places a hand on the female’s shoulder.Verse 4 will last 15 seconds. This will start by showing the same over the shoulder shot of the male character putting his hand on her shoulder, but proceed to kiss her on the cheek, the camera then moving to a close up shot of the female character smiling. This will cue the end of this reminisce and the camera will zoom out of the photo on the wall and pan around to show her smile slightly then looking sad and moving out of the shot. We will from here cut to her finding the remaining half of the photo displaying the male character, this will be shot by a low angle shot of her feet as she approaches the half of the picture (also within the camera shot), bend down to pick it up, cut to an over shoulder shot as she looks at it, provoking her to write a message on the reverse of the photo (which will be shown via superimposition as we will show the male and female characters writing on the back of their halves of the photo in sync in the same shot) before leaving her house to visit the male character as his house. This will also cover the instrumental that follows verse 4, that will last 7 seconds.
Chorus 2 will last 29 seconds to find the female character arrive at the male characters house. We will show a CU of the male character singing “You might understand”, which will be followed by a medium to long shot of the male character sitting in the black leather chair and the female character appearing in view at the door behind him. She will knock on the window/door and push her half of the photo up against the door (CU from inside the house) leading to the male character turning around to see her in the door (long shot); he will proceed to stand up, place his guitar up against the black leather chair (his half of the photo in his hand) and walk towards her at the door (tracking shot) leading to the camera cutting back to the door as he walks into the shot to approach the female character (parallel medium shot). Here we will open the door slightly to allow ourselves to pan around the characters standing at the door for our next shot. We will go from here to an over the shoulder shot from the female’s point of view to see the male pressing his half of the photo up against the door.It is here that the message that she wrote on the back of the photo comes apparent; it will read similarly to the lyrics being sung at that point “You might understand”, the message she wrote on the photo will read “Do you understand?”Outro will last 15 seconds. In response to the female character’s writing on the back of her photo “Do you understand?” It will become apparent that the responding message from the male character will read “I understand”.
At this point, the camera will show the two halves of the photo being pressed against the wall from two angles, starting from an over the shoulder shot from the female character panning back round to an over the shoulder shot from the male’s point of view where the camera will stay still. This allows us to show the audience the messages together and picture of both characters being rejoined. These shots will be shown as the lyrics “My puzzles been complete”. The male character will let the female character into his house (opening the door) and into his arms as the song sings “If you only knew” medium parallel shot.The mise en scene provides a sense of loneliness, regret and happiness. Loneliness and regret is prescribed in the way that both characters are broken up at the beginning of the video and are from that point in the present narrative shown as apart, with the storyline sees the characters both engaging in thinking about the other character and happier times when they are together. This reminiscing and the ending to the video, which sees the two characters resolve their differences and “get back together”, provoking happiness. Regret is presented through the actions that each characters carry out when they are alone in their houses which leads to change in opinion and resolution in the end. Most importantly, these actions are, for the female character, photos and items of clothing that she encounters, reminding her of the male character. These reminders will importantly inspire her to track down the male character and resolve their issues at the end of the video. In regards to the male character, he will express regret through writing key words that will match the lyrics of the song, and singing key lyrics in the same fashion.In terms of colour in the video, from when the characters in the present narrative are shown to be apart (after the photo was ripped in half), the video will be edited to black and white, to impose the feeling of loneliness in their lives without the other character, and to link in with the theme of the lyrics of how much the characters mean to each other and “add colour” to each others lives. For this reason, when the narrative cuts to times when they are together, including the reminiscing and the ending as the female character enters the male characters house, will be shot in colour.Lighting in our music video will be dark to follow our theme of lack of enthusiasm between the characters following their argument. The theme would be seen as negative by the audience and the dark lighting would help to reflect this. In contrast, when the video is shot in colour, the lighting will be brighter to change the theme to a more positive and happier mood when the characters were together in their relationship (happier times).
Track structure
Intro 8 seconds
Verse 1 15 seconds
Instrumental 6 seconds
Verse 2 16 seconds
Instrumental 15 seconds
Chorus 1 30 seconds
Instrumental 16 seconds
Verse 3 16 seconds
Instrumental 5 seconds
Verse 4 15 seconds
Instrumental 7 seconds
Chorus 2 29 seconds
Instrumental 21 seconds
Outro 15 seconds
Total duration 3:38
AmendmentsThe original track of this song lasted over 4 minutes, which is too long to match our set brief for the project for the track to last between 2-4 minutes. Therefore we had to cut two of the verses out, meaning the total duration of the track is now 3:38, which does comply with the set brief.
Sunday, 4 October 2009
Location 2 (Amy's house)
We will be using my house predominantly for three points of the music video. Here are the photos of these places.
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This is the picture of the shot we will use for the flashback which starts in the instrumental before the 4th verse and after the 3rd. The characters will emerge from behind the car. (I will get my mum to move the car out of shot!)
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Picture 1:
This is the picture of the shot we will use for the flashback which starts in the instrumental before the 4th verse and after the 3rd. The characters will emerge from behind the car. (I will get my mum to move the car out of shot!)
Picture 2:
This is the view from the guy's OTS shot when he touches his girlfriend's face. We might also use this as a long shot from behind of the two character's approaching the house.
Picture 3:
This is the shot where the female character walks out of the house on her way to the male's house to see him and press the photos together. For this shot, the camera man/woman will be perching on the staircase as the femal character goes from the kitchen (left) out of the front door.
Picture 4:
This is where the female character stands and looks out of the window. This shot is from the wrong angle, but the camera will be facing the window and next to the chairs in the picture.
Picture 5:
This is where the female character walks in to find the half of the photo with the male's face on it. She picks this up and walks out of the room.
Picture 6:
This is a shot from the door into the living room/lounge. Here, the argument at the beginning of the video will take place. The guy will storm off through the door behind where this photo was taken (see previous picture).
Picture 7:
This is my bedroom. Here is where the photo will be placed on the wall in the top left of this photo. We will zoom into the photo which will lead onto the flashback (see photo 1).
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