Friday 30 September 2011

Journal 30/09/11


Today we created a mood board for our chosen brief. We changed the band's name to 'Crimson' because we wanted something different but something that still fit in with our genre, we also chose a potential font for our band's name. We came up with some ideas for how we could shoot our music video:

  • Film lots of different people singing individual lines of the song, for example, rich people and poor people, "common people".
  • They could all end up at the same location where there will be like a paint/powder fight. This keeps the video light-hearted and fun like the song. 

This is our main idea for how we want our font to look to suit our genre and style.

Wednesday 28 September 2011

Adorno and Horkheimer The Culture Industry



Adorno and Horkheimer argued that the mass culture industry was similar to other industries and how they treated their 'products'. The industry treats people as commodities, for example, X Factor. X Factor is comparable to a machine and represents a machine of commodities, turning out 'products' to fit in with the continuous trends. It is seen as a capitalist institution as it is only there to make money and seeks to maintain the status quo. For example, JLS who started off as a group of RnB acapella singers, by the end of the programme their image had been transformed into a stereotypical boy band that sang only Pop songs. Adorno and Horkheimer stated that mass culture is diluting what real culture is with homogeneity of the 'status quo' of its mass audience. "Real talent" is being corrupted by X Factor so that they fit in what the Industry wants. Adorno and Horkheimer believed that the industry had also corrupted the minds of its audience and taught them to think that they should 'reject everything that isn't familiar', they believed that the mass industries don't just have control over the artist they have control over us. They believed that the industry standardised everything so there was no spontaneous production of music it was all the same, especially successful singles that were eventually called 'standards' as they were songs that were released repeatedly by different artists as the industry knew it would make them money. Adorno and Horkheimer also argued of pseudo individuality where artists claim to have individuality but when it comes down to it they are all the same, there isn't actually much that differentiates them from everyone else. When culture is subjected to corporate control then it loses its originality, as its sole purpose is for advertising.

 

Monday 26 September 2011

Research into the genre of 'Britpop'

Britpop is a subgenre of alternative rock that originated in the United Kingdom. Britpop emerged from the British independent music scene of the early 1990s and was characterised by bands influenced by British guitar pop music of the 1960s and 1970s. The movement developed as a reaction against various musical and cultural trends in the late 1980s and early 1990s, particularly the grunge phenomenon from the United States. In the wake of the musical invasion into the United Kingdom of American grunge bands, new British groups such as Suede and Blur launched the movement by positioning themselves as opposing musical forces, referencing British guitar music of the past and writing about uniquely British topics and concerns. These bands were soon joined by others including Oasis, Pulp, Supergrass, Sleeper and Elastica.
Britpop groups brought British alternative rock into the mainstream and formed the backbone of a larger British cultural movement called Cool Britannia. Although its more popular bands were able to spread their commercial success overseas, especially to the United States, the movement largely fell apart by the end of the decade.
Other examples of 'Britpop' bands:
Oasis, Blur, Supergrass, The Bluetones, Manic Street Preachers, Suede and more. 

Our chosen Music Video Brief

'You have been asked to devise and make a promotional music video for the new act detailed below. As a new act, the record label is keen that this first release appeal to a wide audience and establish an image that is both recognisably unique and appealing to their target audience. With this in mind, their first release will be a cover version and will be used as a platform for future original releases.'


TONIC 
Rob (25)
Sam (24)
James (25)
Nick (23)
They're middle class lads from Portsmouth, Sussex. They started the band when they were in school and after performing in local pubs and clubs for a few years were scouted by a local producer and eventually signed to Rough Trade.

Sound: 'funky pop with an indie undertone'
Music Ideology: 'it's not nuclear physics, it should be fun!'
Influences: Supergrass, Blur, Pulp, Queen
Likes: Gigging, jamming, music festivals, laughing, eating, drinking cider, mates
Dislikes: Frowning, people who take themselves too seriously, politics, dance music, musicians who mime, fakery

SONG CHOICE
Common People by Pulp

Our response to our song choice:
We weren't sure whether we wanted to choose the Britpop band 'Tonic' or the Pop band 'Good Girlz Bad', as we like both genres. Eventually we decided on 'Common People' because we both liked the song a lot and had some good ideas that we could do for the actual music video.

Sunday 25 September 2011

Rough Trade

Come up with your own definition for INDEPENDENT MUSIC: 
It's generalised as bands who are classified as 'Indie'. Also, it's whoever has independence from a major record label company, who has their own time to write what they want and when they want and have a DIY approach to producing records. 

Why was the punk rock era seen as the birth of independent labels? 
Because that was around the time that Rough Trade began distributing records by independent bands that couldn't get signed by major record labels and eventually found out how to press their own records, therefore not needing a label. 

In what ways is Web 2.0 having the same effect on the music industry as independent labels did during the early punk era?
Some websites allow free downloads of their songs to give a taste of what would be to come, and others sell downloads meaning that less people would be wanting to buy records and CD's as they would rather listen to their iPod instead of a CD player etc. This is having the same effect on the music industry because independent labels would help unsigned bands press their own records so there would be no need for a major record label. This also happens with such websites as Youtube, as many producers will be missing out on profits because music videos can be viewed for free. 

Why would some bands choose to stay an independent label rather than signing to a major?
They may do this so that they stay true to their own ideology. Many fans believed bands to become "sell-outs" if they signed to a major record label.

Find the definition of Hegemony. How can this be applied to the independent vs. major war?
Definition: Leadership or dominance, especially by one country or social group over others. This can be applied by saying that major record labels have the dominance over independent labels.

Define the terms Capitalism and Commodity. Apply the terms within a description of the Rough Trade documentary
Capitalism: An economic and political system in which a country's trade and industry are controlled by private owners for profit, rather than by the state.
Commodity: something of use, advantage, or value.

Major vs. Minor

The Sony Corporation is a huge institution and it is divided up into several sectors, one of which is music. Sony's music wing is merged with Bertelsmann AG under the name of Sony BMG Music Entertainment.

Which subsidiary labels do Sony BMG own?
Arista Records & Nashville
BNA Records
Columbia Records
jRecords
Epic Records
Jive Records
Masterworks
Sony Music Latin
Legacy Recordings
Provident Label Group
Columbia Nashville
RCA Records
RCA Records Nashville
Verity Records
Roc Nation
American Recordings
Battery Records
Beach Street Records
Day 1
Essential Records
Flicker Records
LaFace Records
Polo Grounds
RCA Red Seal
RCA Victor
Sony Classical
Star Time International
Verity Gospel Music Group
Volcano Entertainment

    Previously affiliated labels

    • Def Jam Recordings (1985–1993) (now part of Universal Music Group under The Island Def Jam Motown Music Group)
    • Loud Records (1999–2002) (now part of Universal Music Group under SRC Records)
    • Chaos Recordings (1993–1995)
    • The Work Group (1995–2000)
    • Date Records
    • Alaska Music Publishing

    Friday 23 September 2011

    Rough Trade: 21st Century

    Rough Trade signed Duffy and have been together for four years, however, they didn't sign her straight away they put her on a 'development deal' so she could find herself as they didn't think she was quite ready yet. They believe that programmes such as 'X Factor' patronise those who have true talent and are independently singer/songwriters. Those on such shows are 'led by the hand and told to sing/write something in this style'. Rough Trade now gets artists that are inspired by their past. The only thing that is important to Rough Trade is their future.

    Rough Trade: 1990's

    Rough Trade incurred financial difficulties after making another disastrous decision to move to a much bigger building and were at a financial peak. Cash flow mismanagement ended them. They had debts and their assets were frozen. Major record labels branched out into the independent music scene by owning up to 40% of independent companies. Rough Trade ended up selling. Geoff Travis tried to revive Rough Trade by reinventing it in a new office with Jeanette Lee. They took on the task of managing 'Pulp' which was another level of mainstream success. They then delved into the music industry in New York and brought over a band called 'The Strokes' to distribute their singles but didn't sign them straightaway.

    Rough Trade: 1980's

    The contracts effected the development of Rough Trade because they were too simple, for example, two clauses were that they made records together until both or either disagree and that there was a 50/50 split of the sales. They didn't see their business as a commodity. The issues that occurred between the record label and distribution was that they had signed more commercial music and they felt that this was swaying from their ideology. Rough Trade should have made sure they had copyright but they didn't want to be a major company. Rough Trade began a distribution cartel but started to run out of money. They became competitors in the commercial world when they signed 'Stiff Little Fingers' and other bands such as 'Scritti Politti'. Rough Trade's biggest problem was holding on to a band once they had made it. The music trend that emerged at the end of the 1980's was Indie. There was a difference at this time between Rough Trade and other independent music labels because there was a rave scene that Rough Trade didn't delve into and it was becoming more popular than what Rough Trade had to distribute. 'The Smiths' joined Rough Trade as they didn't want to belong to a major company. Rough Trade became international and 'The Smiths' felt they were becoming part of a major commercial company and tried to sign to EMI but were binded by a contract to Rough Trade.

    Rough Trade: 1970's

    Rough Trade started on the 20th February 1976 during the IRA bombing campaign, by Geoff Travis. It started out as a record store on a high street. It was named after a canadian band and a graphic novel. They figured that they could change the world. Punk was the music trend that was popular with this company. It was punk's revolt against the mainstream music. However, they started with hippy music and later found reggae. They weren't trying to be powerful or upmarket as they hated the larger companies that consumed everything. Rough Trade's ethos at the time was that they provided diverse music and were into communism and marxism. Rough Trade used the technique of 'doing it yourself' to expand the independent music scene, for example explaining on records how to press your own record. This lead to Rough Trade's expansion because they began to press records for the independent music industry. The distribution department and record label received a success when they began to distribute records nationwide, and began a mail order scheme to other independent music stores that couldn't get hold of certain records.

    Tuesday 20 September 2011

    Analysis of 'E.T' by Katy Perry using Goodwin's theory


    Genre Characteristics
    Even though the genre of this is pop, Sigismondi helps to defie its genre with the strange scenes, for example, revealing her half goat legs at the end of the video when we would be expecting them to look human to show some flesh of a woman because it is hardly shown at all (some pop videos do try to sexualise their females to appeal to a wider audience). This video wouldn't appeal to everyone because it refers to a particular sub-culture and ideology rather than a popular music video. Also, it has put emphasis on Sigismondi's artistic qualities rather than just an informal craftsmanship of a video. It is also reflecting progressive developments as it is in the future/another world rather than keeping with the existing trends. However, the music helps it to stay as a pop music video because the beat encourages dancing. There are quite a few of Sigismondi's signature styles in this video, for example, the music video does feel like a short artistic film, she includes the 'jittery' motion of the camera, there are slow-motion shots which then speed up with inhuman speed. The video starts of dark with dirty metal pieces everywhere and litter, which although this is similar to other videos directed by Sigismondi, it is not typical of a pop video. There are violent scenes shown when animals attack each other, this is unusual for a pop video, which shows that Sigismondi wanted to defy that genre giving it a more sinister and mysterious feel to it. Katy's wardrobe changes a few times which generally happens in a pop video, but when she is falling through the planet's atmosphere her dress becomes white connoting to an angel. Once she has landed her dress becomes black like she has become a "fallen angel".


    Lyrics and Visuals
    In the video it starts off with some music from an older decade, "Where in this wonderful World, is there someone for me?" As this music is playing there is a dismal setting and just a robot lying there, hinting that this robot is possibly going to be Katy's love interest in the video. As Katy sings, "Wanna be a Victim," images flash up of foul play between animals which leads to a victim. Kanye West raps, "alien sex," and at this time the visuals flash animals mating.

    Music and Visuals
    The visuals show at the start a very desolate and deserted place full of litter and destruction, the music that plays over this is something from an older time like music that would have been played during the second World War.

    Demands of the Record Label
    Katy is in the video for most of the time with many close-up shots even though she is a well-established artist, however you get the feeling that you are meant to feel some intimacy towards her. Kanye West has featured parts and during that he has many close-ups as well.


    Notion of Looking
    After watching the video multiple times I still couldn't find any other notion of looking. This could possibly suggest that the director didn't want the viewer to feel a part of the video, like they could see what a character saw.


    Intertextual References
    The whole music video is like a science-fiction film. I also noticed that some of the added shots that contrasted with the video were of animals and nature, a shot that reminded me of the TV programme 'True Blood' and its title sequence where a fox is shown decaying in a very fast speed. 


    Monday 19 September 2011

    Sigismondi's signature styles/ trademarks/ genre

    • Her trademark has been said to have been a 'jittery camera'. I do agree with this as there are many jerky movements as well as fast cuts and fast motion. Also, the camera is able to look like its creating a 'jittery' motion through the use of an old style effect probably done in post-production, but it does help to give the video an old/vintage film look.
    • She uses a fish-eye lens a lot of the time to create a strange effect and 'out of this world' feeling that she has in many of her videos. Her videos seem dark, mysterious and edgy.
    • There is often the feeling of spinning like the artist is on drugs for example, and we're being taken on a journey with them.
    • There are slow movements/slow motion mixed in with fast cuts and inhuman speed. The movements of the visuals are often synchronous to the beat of the song.
    • In a lot of the videos there are humans in contorted angles, very much like the films of 'The Grudge' and 'The Ring', and they sometimes have strange body parts that aren't human.
    • For a few of her videos, I noticed that she uses vignettes and often layers images so you see two sides of the story at the same time.
    • There were only a couple where she made the music videos feel almost like a comic book which seemed unusual compared to her other videos.
    • Sigismondi often makes her music videos into a piece of art, making it feel like a short 3 minute film.
    • She seems to stick to the same kind of genre, switching only between indie, rock, alternative and metal. However, she did sway when directing Katy Perry's and Christina Aguilera's songs as they are within the genre of pop. Saying this, she did make their videos edgier.
    Marilyn Manson - Tourniquet

    (Selected) History of work

    • 2011 "E.T.", Katy Perry
    • 2010 "Die By the Drop", The Dead Weather
    • 2009 "Let It Rain", Living Things
    • 2006 "Broken Boy Soldier", The Raconteurs
    • 2006 "Hurt", Christina Aguilera
    • 2006 "Red Flag", Billy Talent
    • 2006 "Supermassive Black Hole", Muse
    • 2006 "Bombs Below (version 2)", Living Things
    • 2005 "O' Sailor", Fiona Apple
    • 2005 "Bom Bom Bom", Living Things
    • 2005 "Blue Orchid", The White Stripes
    • 2004 "The End of The World", The Cure
    • 2004 "Talk Shows on Mute", Incubus
    • 2004 "I Owe...", Living Things
    • 2004 "Megalomaniac", Incubus
    • 2003 "Fighter", Christina Aguilera
    • 2003 "Bombs Below (version 1)", Living Things
    • 2003 "Anything", Martina Topley-Bird
    • 2003 "Obstacle 1", Interpol
    • 2003 "Untitled #1 (Vaka)", Sigur Rós
    • 2002 "John, 2/14", Shivaree
    • 2002 "She Said (version 2)", Jon Spencer Blues Explosion
    • 2002 "Black Amour", Barry Adamson
    • 2001 "In My Secret Life", Leonard Cohen
    • 2000 "4 Ton Mantis", Amon Tobin
    • 2000 "I've Seen It All" (interactive version), Björk
    • 1999 "Get Up", Amel Larrieux
    • 1998 "Can't Get Loose", Barry Adamson
    • 1998 "Most High", Robert Plant & Jimmy Page
    • 1998 "Sweet Surrender", Sarah McLachlan
    • 1998 "Anything But Down", Sheryl Crow
    • 1997 "(Can't You) Trip Like I Do", Filter & The Crystal Method
    • 1997 "Makes Me Wanna Die", Tricky
    • 1997 "Dead Man Walking", David Bowie
    • 1997 "Black Eye", Fluffy
    • 1996 "Little Wonder", David Bowie
    • 1996 "Tourniquet", Marilyn Manson
    • 1996 "Anna is a Speed Freak", Pure
    • 1996 "The Beautiful People", Marilyn Manson
    • 1996 "Four Leaf Clover", Catherine
    • 1995 "Blue", Harem Scarem
    • 1994 "The Birdman (version 1)", Our Lady Peace
    • 1993 "The River", The Tea Party
    • 1993 "Save Me", The Tea Party
    • 1993 "A Certain Slant of Light", The Tea Party
    (Above) Christina Aguilera - Fighter
    (Below) Katy Perry - E.T

    Work Sigismondi chose to represent herself on her Website

    Fiona Apple - O' Sailor


    Living Things - Bom Bom Bom


    The White Stripes - Blue Orchid


    The Cure - End of the World


    Sigur Ros - Untitled 1


    The Raconteurs - Broken Boy Soldier


    Martina Topley Bird - Anything


    Christina Aguilera - Hurt

    Information on the Music Video 'E.T'

    • The song peaked at number one in the United States, Canada, New Zealand and Poland as well as within the top five in Australia, Ireland and the United Kingdom and the top twenty in ten other European countries. "E.T" received mostly positive reviews from music critics who complimented Perry's vocals throughout the song, noting that the song was different for Perry, having a darker, deeper, and more mature tone.
    • The solo version of the song charted at number forty-two on the Billboard Hot 100 following its release as a promotional single, selling 64,000 digital copies.
    • Following its single release featuring West, the song re-entered the Billboard Hot 100 on March 5, 2011 at number twenty-eight with 110,000 copies sold. "E.T." topped the chart in its seventh week on April 9, 2011, giving Perry her fifth number-one and West his fourth. It ended the six-week run of Lady Gaga's "Born this way" and made Teenage Dream the ninth album in history to yield four number-one singles.
    • As of September 2011, "E.T." has sold over 4,682,000 digital copies in the US alone and is the highest selling track for the first half of 2011. This is Perry's Fifth and West's second song to reach the 4 million range which, for Perry is more than any other female artist in digital history.
    • In an interview with NRJ's French radio show Le 6/9 on March 10, 2011, Perry revealed she was satisfied with her decision to collaborate with Sigismondi, after having previewed a 30-second clip.

    Sunday 18 September 2011

    Analysis of 'Telephone' by Lady Gaga ft. Beyonce using Goodwin's theory

    Genre Characteristics
    The first image we get is of a fence and barbed wire indicating a prison of some kind which isn't in the usual pop video. Lady Gaga's video also defies the genre with the violence, the constant swearing and the nudity (half-naked women in prison cells). There is also a whole scene of Lady Gaga and Beyonce murdering a group of people in a diner with poison. However, the video does have an emphasis on craftmanship rather than formal "artistic" qualities, like that of another genre video i.e. Britpop, alternative, rock etc. The video also has an emphasis on recording, production and technology rather than live performance like many alternative bands do in their music videos. Gaga's video can be compared to other pop music videos as much pop music is intended to encourage dancing, or it uses dance-oriented beats or rhythms, which is what her video does as it includes a lot of dancing that can be copied by viewers. 
    Lyrics and Visuals
    The lyrics start with, "Hello, hello baby you called I can't hear a thing..." just as Lady Gaga answers the phone in prison with a crowd behind her who are making a lot of noise and she puts her finger in her ear. 
    Music and Visuals
    When the music became jerky in places, almost robotic, so did either Lady Gaga or Beyonce. Only one of the body parts would move as if it was multiple pictures and they were moving in each one but for example, only their head moved when everything else stayed the same.
    Demands of the record label
    Lady Gaga was in nearly every shot even though she was already an established artist at the time. Beyonce isn't in it half as much as Lady Gaga because she is only featuring in the song. Also, there were many close-up shots of Lady Gaga even though the song was fast paced meaning we didn't need to feel intimate with her. 
    Notion of looking
    There was often the shot of looking through a CCTV camera in the prison at Lady Gaga arriving and dancing showing the viewer what the security would see. We also see shots of Lady Gaga through the prison bars.
    Intertextual References
    The titles at the start of the music video are like that of a film, expecially with the font and words like 'starring', there are also credits at the end like you would see at the end of the film. There were rumours in the news at the start of Lady Gaga's career that she was actually a man and in this video the security guards chuck her in her prison cell and take off her clothes, when they leave they say, "Told you she didn't have a d**k". A couple of times Lady Gaga holds a mobile phone which on the screen has the logo of virgin mobile on it. There is also a shot of the security guard logging into a dating website. Lady Gaga is shown with Diet Coke cans styled into her hair. They make a reference to the film 'Kill Bill' with the 'Pussy Wagon' that they drive in. Lady Gaga also takes pictures of Beyonce driving using a polaroid camera.


    Analysis of 'Coffee and TV' by Blur using Goodwin's theory

    Genre Characteristics
    The Genre of this music video would be classed as 'Britpop'. The video is set in London and the suburban area around it, for example we can tell this from the glimpse of the milk carton standing on a red letter post-box. A music critic named Jon Savage said that Britpop was, "an outer-suburban, middle-class fantasy of central London streetlife, with exclusively metropolitan models," this does relate to Blur's music video as it seems like this milk carton has come from a suburban middle-class family to find their 'missing' son in a scary large place full of dangerous streets.

    Lyrics and Visuals
    The lyrics say "Take me away from this big bad world..." just as the milk carton is about to get run over by a motorbike, who then stops and gives him a ride into the busy streetlife of the city.

    Music and Visuals
    The music gets darker whilst in the alley as the visuals get darker and more frightening for the milk carton. The music has mellow sounds and the visuals are also very slow-paced. The beat of the music does relate to the mood of the family at the start of the video. The sound turns happy but harmonic when the milk carton goes to 'heaven'.

    Demands of the record label
    The band are only seen when the milk carton finds them towards the end of the video, suggests that they do not need to be in it the whole way through because they are a well-established band.

    Notion of looking
    You see another way of looking at the band as the milk carton is up against the window watching them through it, the viewer sees what the carton sees. We also see the missing person's face on a carton and a framed picture of him in his house before we actually see him on the screen.

    Intertextual References
    During the scene in the alley the milk carton sees a glowing green object in the rubbish that could be referring to the science-fiction genre in films.

    Friday 16 September 2011

    Analysis of '99 Problems' by Jay-Z using Goodwin's theory

    Genre Characteristics
    Their costumes kept with the characteristics of the hip-hop genre music video as they all had the "gangsta" street look which helped to show that they were from a rougher neighbourhood. They also were seen getting in trouble with the police and were involved in criminal activity; exactly what is typically found in a the hip-hop genre, for example, scenes of dog fighting in a underground club (gambling illegally is thought to be typical for this genre). There were people doing hip-hop and street dance adding to what makes the music video fit in with the genre it is trying to portray. The video lacked representations of wealth, for example, cars were normal, clothing was scruffy, the image of 'bling' appeared minimal, it seemed like Jay-Z didn't have all the riches but was looking at it, possibly connoting that he is either going to steal or will one day have them from his own earning. There were some images of sexualised women, for example, gold bikinis, many looked like prostitutes) but not as many as you might expect there to be for a hip-hop music video. The setting is stereotypical for the hip-hop genre, it's urban in Brooklyn, New York, in a run-down neighbourhood. The video had many representations of a "gangsta" lifestyle i.e. images of underground, rough-looking clubs, and the shooting at the end of the video, it reflects the image of 'gangsta cool'. There were stereotypical race representations, for example, there was a white man in a suit, the policemen shown were white whereas the black people were shown as jailbirds and on the streets involved in crimes.

    Lyrics and Visuals
    The song is about being a "gangsta" and having that kind of lifestyle, this is exactly what the video images illustrate. There is a synchronous relationship, throughout the song the images reflect the lyrics, sometimes generally and sometimes more specifically/literally, for example, 'God' showed the image of a crucifix, 'bitch' showed an image of women/dog etc. The story about getting pulled over by the police is literally illustrated through the visuals, it has a very narrative style. The visuals show some of the "99 Problems", the pinnacle being him getting shot. Other examples of the synchronous relationship include; 'From the Hood', Jay-Z pulls his hood down, 'Paparazzi', the cameras flash but at images of criminal identity not celebrities.
    Music and Visuals
    The camera movements are jerky and constant which matches the rise and fall of the beat. The cuts are in sync with the bass, especially at the beginning. There are lots of cuts and many different images which make it hard to see everything on the first viewing, this is similar to the song which is also dense with themes/imagery/narratives.

    Demands of the Record Label
    There are lots of low angle and close-up shots of Jay-Z which makes him appear powerful, a desirable image to promote within the hip-hop industry. There are fewer shots of him than you might expect, it seems like he's being modest or that he's the 'top dog'/elusive on the streets. Also, it reflects facts that he is a well established artist and doesn't need his face all over the video. 
    Notions of looking
    They look at the police through the wing mirror, this could possibly connote that they do have something to hide, probably something illegal, and are very suspicious characters. There are various shots of women which are very sexualised, this is common in hip-hop videos, for example a woman walking and the shot is just of her bare legs wearing knee-high leather boots hinting at prostitution. There are shots where it looks through the bars into the prison, connoting that the criminal activity he is involved in may have him ending up there. There was a video of Jay-Z showing outside the subway station, which contradicts his life in the 'hood' as it makes him seem famous and that there is no need for him to be still involved with his life there. There was an x-ray vision shot through the boot of Jay-Z's car which had an illegal dog in a cage in, this allowed the viewer to feel a closer connection to the video as they knew what the secret was before the police.

    Intertextual References
    He gets shot at the end of the song multiple times and the way he fell links to any kind of action film. It's shot in only black and white which could be a reference to other gangster movies. Rick Rubin appears in the video who is actually a music producer and has helped to produce Jay-Z's music videos.


    Wednesday 14 September 2011

    Floria Sigismondi: Why I Chose Her...

    I chose Floria Sigismondi because she directed the music video for Katy Perry's E.T featuring Kanye West. I loved the song, Katy Perry is one of my favourite artists and I like her genre of music. I thought the music video was very strange but it seemed synchronous to the lyrics, and was really interesting to watch. I also like the genre of science-fiction which also lead me to love this music video and research into Floria's background. Katy's song 'E.T' inspired me to study this director. Also, I was pleasantly surprised when I found out that she had directed 'Supermassive Black Hole' by Muse as I love the band and the song, as well as 'Fighter' by Christina Aguilera as although I didn't like nor dislike the song the music video for it has always stuck in my mind.

    Case Study of a Music Video Director

    FLORIA SIGISMONDI

    The multi-disciplinary work of Floria Sigismondi encompasses film, video, photography and installations. Incorporating early film and painterly aesthetics Floria creates a hyper-surrealism based on the figure, using images derived from hallucinatory dream-states. Her videos mix seamlessly with her photography series, and her photographic images translate naturally into mixed-media forms. Floria's images exist in a theatre setting that is both narrative and starkly visual, revealing the poetic and sometimes macabre world. 
    Floria explores the effects of science on our contemporary experience of the body and describes an undefined possibility for the future; with our current advances in biotechnology, it poses a possibility that is frightening, complex, mysterious and compelling.
    Floria Sigismondi was born in Pescara, Italy to opera singer parents. When she was two, her family emigrated to Canada and settled in Ontario. 
    Musical artists Floria has worked with include The White Stripes, David Bowie, The Cure, Leonard Cohen, Sigur Ros, Marilyn Manson, Bjork, Katy Perry and others.


     

    Friday 9 September 2011

    Codes and Conventions Lesson notes

    - Bessie Smith 1920's is a good example for one of the first to use a music video to show their single http://www.youtube.com/watch?v=8Who6fTHJ34

    - Bob Dylan's Subterranean Homesick Blues 1965 is considered to be one of the first modern music videos http://www.youtube.com/watch?v=d_ujAXxNxU0

    - In 1970, the Record Industry discovers TV shows as a great opportunity to promote their artists. They focus on producing short 'promos'.

    - Queen's Bohemian Rhapsody 1975 is considered to be one of the first to use advanced visual effects http://www.youtube.com/watch?v=fJ9rUzIMcZQ&ob=av3n

    Technical Codes
    • Camerawork: How images are sequenced will have a significant impact on meaning, i.e close-up shots predominate and create a sense of intimacy for the viewer.
    • Editing: fast cut montages are used for multiple viewing. Others use slow pace etc. to establish mood.
    Green/Blue Screen = Chroma-key

    Wiley - Money in my pocket. The music video was very different and would have enticed viewers with its sense of reality. http://www.youtube.com/watch?v=s6bNKS8QAjM

    Andrew Goodwin wrote in 'Dancing in the Distraction Factory':
    1. Music videos demonstrate genre characteristics.
    2. There is a relationship between lyrics and visuals.
    3. There is a relationship between music and visuals.
    4. The demands of the record label will include the need for lots of close ups of the artist and the artist may develop motifs which recur across their work.
    5. There is frequently reference to notion of looking and particularly voyeuristic treatment of the female body.
    6. There is often intertextual references.

    Intertextuality:
    - TV shows i.e. Simpsons with reference to politics, film and stars
    - Non-fiction i.e. soap storylines as 'News'
    Questions to consider:
    How is the artist being represented?
    What evidence is there of input from the record label?

    The Beatles Case Study

     
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    1957-1962

    “The story began in Harold Macmillan’s “never had it so good” ’50s Britain. It should be fiction: four teenagers with no more than eight O’Levels between them, running and biking and busing and busking all over Liverpool in search of new chords and old guitars and half-decent drum kit and any gig at all."
    We didn’t dream it... though it came out of John’s dream of the “man on a flaming pie” who said “You are Beatles with an ‘A’”. It did all happen. The whole wonderful thing did happen, a long time ago, on the Mersey, on the Elbe, by the Thames and the Hudson River.

    1963
    They leave their Cavern Club and within months they take the ascendancy in the British pop world, and start to live the life of Riley in London. They play the Palladium, the Royal Albert Hall, The Royal Variety Show, sing Moonlight Bay with Morecombe and Wise, give a spare hit to the Rolling Stones, play hundreds of concerts in Britain, nip over to Sweden, invent Beatlemania, record I Want to Hold Your Hand (their 4th British number one in a year) and, as if in a dream – while their conquering Paris – the record goes to Number One in America three weeks before the Ed Sullivan Show in New York.

    1964
    They play for no more than half an hour per concert. A Hard Days Night has guaranteed them star status in the cinema and they laughed their way through Help! in Technicolour. Paul dreams that he has written Yesterday – and has. They are the first band to play a baseball stadium, Shea in New York, breaking records for crowd fever, numbers and good cheer. Oh, and they go to Buckingham Palace to receive medals from the Queen and, by now, more or less accept it as their due.

    1968
    The Beatles started their own company, Apple Corps with five creative divisions – records, films etc – and then went public with an offer that anyone with an artistic need could come to them and get help.
    The promise was that all sincere supplicants would be given encouragement, succour, a contract and maybe an envelope full of money. At the same time, the Beatles flew to foothills of the Himalayas to learn meditation. There, between sessions with the Maharishi, they wrote songs for what would become The ‘White’ Album.
    When recording started, the songs had come in such profusion that, famously, The White Album had thirty of them – enough for two high-class musicals. They sped from one track to another, content that the unity of the album would transcend the disparity in the style and content of the tracks.

    1969
    In the inevitable breaking down of old liaisons, there was room for growth. John met and married Yoko; Paul met and married Linda. George matured far beyond his years, settled into his spiritual space and expressed himself writing classic songs; Ringo was now writing his own numbers and was widely acknowledged as a supreme drummer and a very good actor.

    They not only changed what rock 'n roll music was about but also help change what society was going through in the insane sixties. The Beatles first really came about in 1955 when Paul McCartney joined up with John Lennon's band, The Quarrymen. Lennon played lead guitar, McCartney was on rhythm guitar with Stu Sutcliffe on bass and several fill-in drummers. A short time later thirteen year old George Harrison joined them and took over the lead guitar job from Lennon. Peter Best became their regular drummer in 1960. Also around this time they changed the band's name to "The Silver Beatles", then shortly after that to just "The Beatles". They first made their mark playing clubs night after night in Hamburg, Germany. In 1961 Sutcliffe left the band and McCartney took over the bass duties.

    Their first single, "Love Me Do"/"P.S. I Love You," was recorded in September, 1962. The song was written by Lennon/McCartney, something almost unheard of in rock at the time. Up till then most rock bands only did cover songs. The song barely made the British top 20. The Beatles phenomenon didn't truly kick in until "Please Please Me" hit number one on the British charts in early 1963.

    The Beatles sound did change somewhat in the mid sixties, around the time of Rubber Soul's release. Their "good boy" image, pressed upon them by Epstein, was now also a thing of the past. Drug intake by the band members, which was always a part of their lives, was no longer covered up, in fact, it would start to show up more so than in the past in their song's lyrics. In 1967, the album some claim to be rock's best ever, Sgt. Peppers Lonely Heart Club Band, was released. But not all good things would take place that year. Epstein would die of a drug overdose


    There was of course several sides to the Beatles. They not only changed how music was written, put out and sounded, but helped to lead the baby boomers to social change and rebellion against the establishment. They may not have started the hippie moment, but they did help made it popular. They also were amongst the first to publicly speak out about their drug use and question the stiff, unjust drug laws. They would in turn pay the price for those views with their own drug arrests.