Evaluation question one: In what ways does your media product use, develop or challenge forms and conventions of real media products

Our Final product was not only influenced by one source, rather it came from a variety, all of which had a effect on the final outcome.

Ayo
Fallin'

XL Recordings

Our music video above certainly challenges conventional music video techniques, aspects and forms. However it also adheres too many of the conventions associated with music videos.


To be honest at the beginning of the music video production process we never really had a clear direction, rather it was quite blurred. This was mainly because the ideas we planned would not necessarily go will with the Original track. Therefore we ultimately decided to change the song we using at the last minute from the original version to the remixed version of the song "The Wilhelm Scream” by James Blake.

Both versions of the track are displayed below:

“James Blake – The Wilhelm Scream” – Original 




“James Blake – The Wilhelm Scream” – Remix 




This song below "Rihanna - We Found Love Featuring Calvin Harris" was our main influence on our music video in terms of intertextuality.


The song by Rihanna – we found love Featuring Calvin Harris 

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Andrew Goodwin once said that – “music videos are built around songs – and often songs do not pose traditional narrative structures”.

In other words he may well mean that they do not follow the structure of:

·      Normality

·      Problem

·      Resolution

Me and my group aimed to challenge traditional music video conventions, mentioned by Andrew Goodwin. This idea had mainly evolved from the music video by “Rihanna – We found Love Featuring Calvin Harris”. We challenged the traditional music video conventions such as non-linear narrative and to have a major storyline.

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Then again we have also implemented many of the forms of conventions discussed by media theorists; Andrew Goodwin and Carole Vernallis.

Andrew Goodwin Once Said – “The performer often looks directly at the camera”.

Throughout our music video we have implemented this strategy. I believe it is very effective because it is a form of direct address. Direct address is when the performer breaks the fourth wall. This I believe is very effect in attracting the audience. This is because direct address makes a connection between the artist and the performer. In other words it involves the viewer at home with the performance.

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We implemented some aspects of discontinuity because it is seen a form of convention.

Carole Vernallis once said – “the usual rules on continuity are broken in order to draw attention to what is on screen”

Below are examples on discontinuity between two shots

Example 1 - Jump Cut

Example 2 - Shots in Reverse - start from 2.40

We have implemented many aspects of discontinuity into our music video. We have used these in order to move the camera in time with the beat. This is another form of convention. Carole Vernallis once said  "The camera may move in time with the music"

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Here are screenshots showing how we embedded intertextuality from the “Rihanna – We Found Love Featuring Calvin Harris” in into our music video.

Example 1) The intertextuality is not so clear here between the two videos. This is because we were advised by our teachers not too illustrate any drug taking. However we thought it would be interesting to implement some use of drugs and alcohol just by using them as part of the mise – en – scene. This is because I believe that drugs and alcohol play a big role in some mens lives, particularly   associated with someone sleeping around, as the character ‘Ayo’ is seen to do with two different girls.

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Example 2) The intertextuality is clear in the way we attempted to 
recreate the atmosphere similar to one of the party scene on the music video “We Found Love”.

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Example 3) In our video we attempted to create the intimacy between the two main protagonists with a physical embrace.

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Example 4) The intertextuality is very clear between the videos. A scene in the park of the main characters may be seen as eye opening, as it is very adventurous. In both shots you can see that it is the girl who is drinking. This certainly plays some significance in modern life, as the man tend to get drunk with the girls, as a means of opening up and being who they are. In others Alcohol may remove the shyness which most man have with girls.

 

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 Another example of the use of intertextuality in our music video is certainly the use of a motif. This is a form and convention in which is implemented in many of today’s video productions.  

 

Mark Ronson & The Business Int'l's "The Bike Song" implements the technique of a clear motif throughout the whole video. In this case it was the use of Japanese fonts. Japanese fonts are also something which we used within out production as well. It was also a theme that i incorporated into my ancillary products. Examples of this can be found below in the following pictures.

Above are two outtakes from the respective videos. Intertextuality of forms and conventions of real media products and our production are clear.

Above show’s our use of the Japanese motif in our ancillary products. In the making of a digipak it is common that the conventions and forms you incorporated into your music video and themes will be intertextualised into your ancillary work. However it is also important to remember that this is only one song from the album, so it should not entirely be based on the music video.

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My digipak and advert are very conventional in the way that they have been linked visually. They both use the same image. The image that I used on the front cover of the digipak is the main picture used in the advert. This was influenced by the “Pigeon Detective – wait for me”.   

I also used a star rating of Newspapers and music magazines for my advert. This is seen as conventional for advertisements of the Dub-pop genre and many other genres.