OCR board
1. Advanced Production- due in 15th Dec- submitted January 2009.
2. Issues and debates examination.
Two questions on Film Genre and Broadcast News.
3. Critical Research Study.
Approach as coursework which is written up in examination.
You chose a topic, you research it and write up your findings.
Monday, 1 December 2008
Deadline Monday 15th December 2008
Bound in a folder this should include:
1. Title page including URL address of your blog and You Tube spots for your animatics and rushes.
2. Critical Evaluation Parts 1, 2 & 3.
3. Appendix that includes all your planning, storyboards, timelines etc, generic and audience research, clearly organised and numbered.
4. Bibliography- books and major URLs used.
5. Copy of your video and/or cd cover, burnt onto DVD, ( give Dawn plenty of notice on this).
You should also send me an electronic copy of your critical evaluation to shsgmedia@mac.com.
This is so I can email you over the holiday so you can have time to re do any problem parts.
The marks will be sent to the examining board on our return in January.
1. Title page including URL address of your blog and You Tube spots for your animatics and rushes.
2. Critical Evaluation Parts 1, 2 & 3.
3. Appendix that includes all your planning, storyboards, timelines etc, generic and audience research, clearly organised and numbered.
4. Bibliography- books and major URLs used.
5. Copy of your video and/or cd cover, burnt onto DVD, ( give Dawn plenty of notice on this).
You should also send me an electronic copy of your critical evaluation to shsgmedia@mac.com.
This is so I can email you over the holiday so you can have time to re do any problem parts.
The marks will be sent to the examining board on our return in January.
Another example of a student evaluation
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click here to view the post.
Teachers Mark scheme - this is what I will be using to mark your work!
Critical Evaluations should include:
o a systematic account of the stages of planning and production
o detailed reference to relevant real generic examples, indicating evidence of
independent research
o detailed reference to the relevant areas of institutional context and clear
understanding of where the candidate’s own production would sit within this
o detailed reference to audience feedback and use of theoretical framework in which to
place the production.
Students have to write more and have to give a greater sense of context, with attention to
audience, institution and comparison with real media output. There is also an expectation of
more explicit critical understanding, though they should beware of simply trotting out theories
in order to pick up marks. The most important use of ‘theory’ is to conceptualise what they
have produced.
Photographs taken by the candidates themselves, with proof supplied in the Critical
Evaluation appendix, in terms of the original pre-cropped or pre-manipulated
photographs. Original images must be wholly or originally produced. Any
manipulation of existing images cannot count as an original image.
46 Specification Content © OCR 2005
GCE Media (3860/7860)
ASSESSMENT CRITERIA CONTENT
Planning [30 marks]
Candidates are marked on evidence of the origination of the brief and of planning the
production, based upon teacher evidence and Part One of the Critical Evaluation. Planning
should include the organisation of time and equipment and where appropriate, the efficient
use of actors, settings and props. Where time-based media are used, prior scripting and/or
storyboarding is expected. For print and ICT based work, drafting is expected. In each case
teacher evidence must explicitly state how marks have been awarded for aspects of planning.
If a candidate has worked as part of a group, there must be clear evidence from the teacher of
the individual’s contribution to the planning of the work.
47Candidates need to decide on a target audience for the product and carry out some initial
research into that audience in the planning stage. They will also need to research existing
media practice and examples of comparable products in planning the production.
Storyboards/scripts/design plans and drafts will be required in the appendix of the Critical
Evaluation, as evidence of planning, but are not acceptable as a production in their own right,
as the production must be a complete artefact.
Construction [60 marks]
Candidates are expected to use and/or subvert established forms and conventions to make
meaning. Understanding of formal aspects of textual production needs to be demonstrated,
with attention to detail. There needs to be a clear sense in the product itself that it has
targeted a particular audience and met the original brief. A clear demonstration of the skills
needed in the particular technologies used to produce the text is expected.
If a candidate has worked as part of a group, there must be clear evidence from the teacher of
the individual’s contribution to the construction of the final production.
Critical Evaluation [30 marks]
The Critical Evaluation is designed to have a synoptic role in drawing upon the key concepts
encountered throughout the course and should cover the following areas:
Stages of the production, from original brief through planning to a technical account of
decisions and revisions made.
Analysis of the finished product in terms of how decisions about form and content have
affected meaning, how the text communicates through its forms and conventions Where
appropriate, explicit reference should be made to critical theory .
The production should be placed in the wider context of media institutions and audiences by
analysing the ways in which the text compares with real media output (including reference to
media institutions) and an evaluation of the relationship of product to audience (including
audience feedback).
76 Appendix A © OCR 2005
GCE Media (3860/7860)
3.2 Assessment Criteria Content
Planning [30 Marks]
Candidates will be marked on evidence of the origination of the brief and of planning the
production, based upon teacher evidence and Section One of the Critical Evaluation.
Planning should include the organisation of time and equipment and where appropriate, the
efficient use of actors, settings and props. Where time-based media are used, prior scripting
and/or storyboarding is expected. For print and ICT-based work, drafting is expected. In each
case teacher evidence must explicitly state how marks have been awarded for aspects of
planning.
If a candidate has worked as part of a group, there must be clear evidence of the individual’s
contribution to the planning of the work.
Candidates need to decide on a target audience for the product and carry out some initial
research in the planning stage. They also need to research existing media practice and
examples of comparable products in planning the project.
Storyboards/scripts/design plans and drafts are required in the appendix of the Critical
Evaluation, as evidence of planning, but are not acceptable as a production in their own right,
as the production must be a complete artefact.
Construction [60 Marks]
Candidates are expected to use and/or subvert established forms and conventions to make
meaning. Understanding of formal aspects of textual production need to be demonstrated,
with attention to detail. There needs to be a clear sense in the product itself that it has
targeted a particular audience and met the original brief. A clear demonstration of the skills
required in the particular technologies used to produce the text is expected.
If a candidate has worked as part of a group, there must be clear evidence of the individual’s
contribution to the planning of the work.
Critical Evaluation [30 Marks]
The Critical Evaluation is designed to have a synoptic role in drawing upon the key concepts
encountered throughout the course.
A recording of the stages of the production, from original brief through planning to a technical
account of decisions and revisions made.
Analysis of the finished product in terms of how decisions about form and content have
affected meaning and how the text communicates through its forms and conventions. Where
appropriate, explicit reference should be made to critical theory or contemporary
criticism/research encountered on the course.
The production should be placed in the wider context of media institutions and audiences by
analysing the ways in which the text compares with real media output (including reference to
media institutions) and an evaluation of the relationship of product to audience (including
audience feedback).
78 Appendix A © OCR 2005
GCE Media (3860/7860)
3.4 Assessment Criteria Level Descriptors for Unit 2733
The marking of Planning and of the Critical Evaluation are offered as generic mark schemes.
Individual criteria are indicated for each medium for the category of Construction. In arriving
at a level, teachers are advised to adopt a ‘best fit’ approach.
Planning
This category is to be marked on the basis of both teacher observation of the project and
material included in the candidate’s Critical Evaluation.
Level 1 0-11 marks
The production shows little evidence of planning from a brief (Assessment Objective Eight),
the work itself probably being incomplete. The candidate is unlikely to have undertaken much,
if any pre-planning research into similar products and a potential target audience. There is
minimal evidence of prior organisation of actors, settings, or props. Where time-based media
are used, there is little or no evidence of prior planning and for print or ICT-based work, there
is little or no evidence of drafting.
If the candidate has worked in a group, only a marginal contribution to the planning stage is
evident.
Level 2 12-15 marks
The production shows some evidence of planning from a brief (Assessment Objective
Eight), though it may not, for instance, have reached completion within the allocated time-
scale. The candidate has undertaken some minimal research into similar products or a
potential target audience. The use of actors, settings, props and technical resources is
evident in the work itself. Where time-based media are used, there is evidence of prior
planning, though this may not necessarily be in the form of storyboards or scripts. For print or
ICT-based work, there is likely to be some minimal evidence of drafting.
If the candidate has worked in a group, a satisfactory contribution to the planning stage is
evident.
Level 3 16-23 marks
The production is mainly well planned, with some evidence of organised use of time and
equipment. The candidate has devised an appropriate brief (Assessment Objective Eight)
as the starting point for limited research into similar products and a potential target audience.
The use of actors, settings, props and technical resources is mainly efficiently organised to
allow the project to progress. Where time-based media are used, there should still be some
evidence of prior scripting and/or storyboarding. For print or ICT-based work, there is some
evidence of drafting.
If the candidate has worked in a group, a strong contribution to the planning stage is
evident.
© OCR 2005 Appendix A 79
GCE Media (3860/7860)
Level 4 24-30 marks
The production is well planned, with evidence of organised use of time and equipment. The
candidate has devised an appropriate brief (Assessment Objective Eight) as the starting
point for research into similar products and a potential target audience. The use of actors,
settings, props and technical resources is efficiently organised to allow the project to progress.
Where time-based media are used, prior scripting and/or storyboarding is strongly evident.
For print or ICT-based work, drafting is evident.
If the candidate has worked in a group, an excellent contribution to the planning stage is
evident.
Critical Evaluation
In arriving at a level, teachers are advised to adopt a ‘best fit’ approach.
Candidates describe the production brief undertaken for AS and clearly indicate how the brief
chosen for A2 differs from it.
Level 1 0-11 marks
The candidate is likely to produce a blow-by-blow account of the production, with little
understanding of selection or relevance. There may be some minimal analysis of the finished
product. There may be an attempt to place the production in the wider context of media
institutions and audiences, though this will probably lack focus and probably lack relevance
(Assessment Objective Nine). Likely to be short.
Level 2 12-15 marks
The candidate gives an account of the production, with some reference to planning and some
to decision-making. There is some analysis of the finished product in terms of how decisions
about form and content, have affected meaning and how the text communicates through its
forms and conventions. .There is an attempt to place the production in a wider context
through some reference to real media output and some reference to audience feedback
(Assessment Objective Nine).
Level 3 16-23 marks
The candidate gives a mainly clear account of the stages of production, through researching
the brief and targeting an audience to a technical account of decisions and revisions made.
There is a largely complete analysis of the finished product in terms of how decisions about
form and content have affected meaning, how the text communicates through its forms and
conventions. Some reference is made to critical ideas encountered on the course. There is
an attempt to place the production in the wider context of media institutions and audiences
through some analysis of the ways in which the text compares with real media output and
some evidence of audience feedback (Assessment Objective Nine).
Level 4 24-30 marks
The candidate gives a clear and systematic account of the stages of production, through
researching the brief and targeting an audience to a technical account of decisions and
revisions made. There is a detailed and thorough analysis of the finished product in terms of
how decisions about form and content have affected meaning, how the text communicates
through its forms and conventions. Where appropriate, explicit reference is made to ideas
encountered on the course. The production is placed in the wider context of media institutions
and audiences by thorough analysis of the ways in which the text compares with real media
output (including reference to media institutions) and an evaluation of the relationship of
product to audience (including audience feedback) (Assessment Objective Nine).
3.5 Construction – Assessment of Technical Skills for Each
Medium
Where candidates have worked in groups, the teacher is asked to clearly indicate on the mark
sheets any differences in the contributions made by each individual to the group’s work.
The technical skills’ criteria for Construction are provided for each medium below and are to
be used for the assessment of (Assessment Objective Eight). In arriving at a level, teachers
are advised to adopt a ‘best fit’ approach.
Film
Level 1
Work likely to be unfinished 0-30 marks
There is evidence of basic ability in the work of any of the following technical skills:
• the ability to hold a shot steady;
• framing a shot appropriately;
• using a variety of shot distances as appropriate;
• shooting material appropriate to the task set;
• selecting mise-en-scène;
• editing so that meaning is apparent to the viewer;
• using varied shot transitions, captions and other effects selectively and appropriately;
• using sound with images and editing appropriately.
Where a candidate has worked in a group, there is only minimal evidence of a contribution to
construction.
Level 2 31-38 marks
There is evidence of competence in some of the following technical skills:
• holding a shot steady, where appropriate;
• framing a shot, including and excluding elements as appropriate;
• using a variety of shot distances as appropriate;
• shooting material appropriate to the task set;
• selecting mise-en-scène including colour, figure, lighting, objects and setting;
• editing so that meaning is apparent to the viewer;
• using varied shot transitions, captions and other effects selectively and appropriately for
the task set;
• using sound with images and editing appropriately for the task set.
Where a candidate has worked in a group, a limited contribution to construction is evident.
Level 3 39-48 marks
The candidate is expected to demonstrate proficiency in most of the following technical skills:
• holding a shot steady, where appropriate;
• framing a shot , including and excluding elements as appropriate;
• using a variety of shot distances as appropriate;
• shooting material appropriate to the task set;
• selecting mise-en-scène including colour, figure, lighting, objects and setting;
• editing so that meaning is apparent to the viewer;
• using varied shot transitions, captions and other effects selectively and appropriately for
the task set;
• using sound with images and editing appropriately for the task set.
Where a candidate has worked in a group, a strong contribution to construction is evident.
Level 4 49-60 marks
The candidate is expected to demonstrate excellence in most of the following technical skills:
• holding a shot steady, where appropriate;
• framing a shot , including and excluding elements as appropriate;
• using a variety of shot distances as appropriate;
• shooting material appropriate to the task set;
• selecting mise-en-scène including colour, figure, lighting, objects and setting;
• editing so that meaning is apparent to the viewer;
• using varied shot transitions, captions and other effects selectively and appropriately;
• using sound with images and editing appropriately for the task.
Where a candidate has worked in a group, a major contribution to construction is evident
© OCR 2005 Appendix A 87
GCE Media (3860/7860)
ICT / New Media
Level 1
Work is likely to be unfinished 0-30 marks
There is evidence of basic ability in the work of any of the following technical skills:
• combining some or all of images, text, sound and video as appropriate for the task set;
• using ICT effectively to facilitate the combination of such material;
• producing material so that it communicates clearly to the ‘reader’;
• using the conventions of web publishing to enable the ‘reader’ to navigate the material
appropriately.
Where a candidate has worked in a group, there is only minimal evidence of a contribution to
construction.
Level 2 31-38 marks
There is evidence of competence in some of the following technical skills:
• combining some or all of images, text, sound and video as appropriate for the task set;
• using ICT effectively to facilitate the combination of such material;
• producing material so that it communicates clearly to the ‘reader’;
• using the conventions of web publishing to enable the ‘reader’ to navigate the material
appropriately.
Where a candidate has worked in a group, a limited contribution to construction is evident.
Level 3 39-48 marks
The candidate is expected to demonstrate proficiency in most of the following technical skills:
• combining some or all of images, text, sound and video as appropriate for the task set;
• using ICT effectively to facilitate the combination of such material;
• producing material so that it communicates clearly to the ‘reader’;
• using the conventions of web publishing to enable the ‘reader’ to navigate the material
appropriately.
Where a candidate has worked in a group, a strong contribution to construction is evident.
Level 4 49-60 marks
The candidate is expected to demonstrate excellence in most of the following technical skills:
• combining some or all of images, text, sound and video as appropriate for the task set;
• using ICT effectively to facilitate the combination of such material;
• producing material so that it communicates clearly to the ‘reader’;
• using the conventions of web publishing to enable the ‘reader’ to navigate the material
appropriately.
Where a candidate has worked in a group, a major contribution to construction is evident.
Cross-Media
88 Appendix A © OCR 2005
GCE Media (3860/7860)
Cross-Media
Level 1
Work is likely to be unfinished 0-30 marks
The candidate mainly demonstrates Level 1 technical skills criteria in the various media
employed in the production.
Where a candidate has worked in a group, there is only minimal evidence of a contribution to
construction.
Level 2 31-38 marks
The candidate mainly demonstrates Level 2 criteria in the various media employed in the
production.
Where a candidate has worked in a group, a limited contribution to construction is evident.
Level 3 39-48 marks
The candidate mainly demonstrates Level 3 criteria in the various media employed in the
production.
Where a candidate has worked in a group, a strong contribution to construction is evident.
Level 4 49-60 marks
The candidate is expected to consistently demonstrate Level 4 criteria in the various media
employed in the production.
Where a candidate has worked in a group, a major contribution to construction is evident.
Video
Level 1
Work is likely to be unfinished 0-30 marks
There is evidence of basic ability in the work of any of the following technical skills:
• the ability to hold a shot steady;
• framing a shot appropriately;
• using a variety of shot distances as appropriate;
• shooting material appropriate to the task set;
• selecting mise-en-scène;
• editing so that meaning is apparent to the viewer;
• using varied shot transitions, captions and other effects selectively and appropriately
• using sound with images and editing appropriately.
Where a candidate has worked in a group, there is only minimal evidence of a contribution to
construction.
© OCR 2005 Appendix A 89
GCE Media (3860/7860)
Level 2 31-38 marks
There is evidence of competence in some of the following technical skills:
• holding a shot steady, where appropriate;
• framing a shot, including and excluding elements as appropriate;
• using a variety of shot distances as appropriate;
• shooting material appropriate to the task set;
• selecting mise-en-scène including colour, figure, lighting, objects and setting;
• editing so that meaning is apparent to the viewer;
• using varied shot transitions, captions and other effects selectively and appropriately for
the task set;
• using sound with images and editing appropriately for the task set.
Where a candidate has worked in a group, a limited contribution to construction is evident.
Level 3 39-48 marks
The candidate is expected to demonstrate proficiency in most of the following technical skills:
• holding a shot steady, where appropriate;
• framing a shot, including and excluding elements as appropriate;
• using a variety of shot distances as appropriate;
• shooting material appropriate to the task set;
• selecting mise-en-scène including colour, figure, lighting, objects and setting;
• editing so that meaning is apparent to the viewer;
• using varied shot transitions, captions and other effects selectively and appropriately for
the task set;
• using sound with images and editing appropriately for the task set.
Where a candidate has worked in a group, a strong contribution to construction is evident.
Level 4 49-60 marks
The candidate is expected to demonstrate excellence in most of the following technical skills:
• holding a shot steady, where appropriate;
• framing a shot, including and excluding elements as appropriate;
• using a variety of shot distances as appropriate;
• shooting material appropriate to the task set;
• selecting mise-en-scène including colour, figure, lighting, objects and setting;
• editing so that meaning is apparent to the viewer;
• using varied shot transitions, captions and other effects selectively and appropriately;
• using sound with images and editing appropriately for the task.
Where a candidate has worked in a group, a major contribution to construction is evident.
o a systematic account of the stages of planning and production
o detailed reference to relevant real generic examples, indicating evidence of
independent research
o detailed reference to the relevant areas of institutional context and clear
understanding of where the candidate’s own production would sit within this
o detailed reference to audience feedback and use of theoretical framework in which to
place the production.
Students have to write more and have to give a greater sense of context, with attention to
audience, institution and comparison with real media output. There is also an expectation of
more explicit critical understanding, though they should beware of simply trotting out theories
in order to pick up marks. The most important use of ‘theory’ is to conceptualise what they
have produced.
Photographs taken by the candidates themselves, with proof supplied in the Critical
Evaluation appendix, in terms of the original pre-cropped or pre-manipulated
photographs. Original images must be wholly or originally produced. Any
manipulation of existing images cannot count as an original image.
46 Specification Content © OCR 2005
GCE Media (3860/7860)
ASSESSMENT CRITERIA CONTENT
Planning [30 marks]
Candidates are marked on evidence of the origination of the brief and of planning the
production, based upon teacher evidence and Part One of the Critical Evaluation. Planning
should include the organisation of time and equipment and where appropriate, the efficient
use of actors, settings and props. Where time-based media are used, prior scripting and/or
storyboarding is expected. For print and ICT based work, drafting is expected. In each case
teacher evidence must explicitly state how marks have been awarded for aspects of planning.
If a candidate has worked as part of a group, there must be clear evidence from the teacher of
the individual’s contribution to the planning of the work.
47Candidates need to decide on a target audience for the product and carry out some initial
research into that audience in the planning stage. They will also need to research existing
media practice and examples of comparable products in planning the production.
Storyboards/scripts/design plans and drafts will be required in the appendix of the Critical
Evaluation, as evidence of planning, but are not acceptable as a production in their own right,
as the production must be a complete artefact.
Construction [60 marks]
Candidates are expected to use and/or subvert established forms and conventions to make
meaning. Understanding of formal aspects of textual production needs to be demonstrated,
with attention to detail. There needs to be a clear sense in the product itself that it has
targeted a particular audience and met the original brief. A clear demonstration of the skills
needed in the particular technologies used to produce the text is expected.
If a candidate has worked as part of a group, there must be clear evidence from the teacher of
the individual’s contribution to the construction of the final production.
Critical Evaluation [30 marks]
The Critical Evaluation is designed to have a synoptic role in drawing upon the key concepts
encountered throughout the course and should cover the following areas:
Stages of the production, from original brief through planning to a technical account of
decisions and revisions made.
Analysis of the finished product in terms of how decisions about form and content have
affected meaning, how the text communicates through its forms and conventions Where
appropriate, explicit reference should be made to critical theory .
The production should be placed in the wider context of media institutions and audiences by
analysing the ways in which the text compares with real media output (including reference to
media institutions) and an evaluation of the relationship of product to audience (including
audience feedback).
76 Appendix A © OCR 2005
GCE Media (3860/7860)
3.2 Assessment Criteria Content
Planning [30 Marks]
Candidates will be marked on evidence of the origination of the brief and of planning the
production, based upon teacher evidence and Section One of the Critical Evaluation.
Planning should include the organisation of time and equipment and where appropriate, the
efficient use of actors, settings and props. Where time-based media are used, prior scripting
and/or storyboarding is expected. For print and ICT-based work, drafting is expected. In each
case teacher evidence must explicitly state how marks have been awarded for aspects of
planning.
If a candidate has worked as part of a group, there must be clear evidence of the individual’s
contribution to the planning of the work.
Candidates need to decide on a target audience for the product and carry out some initial
research in the planning stage. They also need to research existing media practice and
examples of comparable products in planning the project.
Storyboards/scripts/design plans and drafts are required in the appendix of the Critical
Evaluation, as evidence of planning, but are not acceptable as a production in their own right,
as the production must be a complete artefact.
Construction [60 Marks]
Candidates are expected to use and/or subvert established forms and conventions to make
meaning. Understanding of formal aspects of textual production need to be demonstrated,
with attention to detail. There needs to be a clear sense in the product itself that it has
targeted a particular audience and met the original brief. A clear demonstration of the skills
required in the particular technologies used to produce the text is expected.
If a candidate has worked as part of a group, there must be clear evidence of the individual’s
contribution to the planning of the work.
Critical Evaluation [30 Marks]
The Critical Evaluation is designed to have a synoptic role in drawing upon the key concepts
encountered throughout the course.
A recording of the stages of the production, from original brief through planning to a technical
account of decisions and revisions made.
Analysis of the finished product in terms of how decisions about form and content have
affected meaning and how the text communicates through its forms and conventions. Where
appropriate, explicit reference should be made to critical theory or contemporary
criticism/research encountered on the course.
The production should be placed in the wider context of media institutions and audiences by
analysing the ways in which the text compares with real media output (including reference to
media institutions) and an evaluation of the relationship of product to audience (including
audience feedback).
78 Appendix A © OCR 2005
GCE Media (3860/7860)
3.4 Assessment Criteria Level Descriptors for Unit 2733
The marking of Planning and of the Critical Evaluation are offered as generic mark schemes.
Individual criteria are indicated for each medium for the category of Construction. In arriving
at a level, teachers are advised to adopt a ‘best fit’ approach.
Planning
This category is to be marked on the basis of both teacher observation of the project and
material included in the candidate’s Critical Evaluation.
Level 1 0-11 marks
The production shows little evidence of planning from a brief (Assessment Objective Eight),
the work itself probably being incomplete. The candidate is unlikely to have undertaken much,
if any pre-planning research into similar products and a potential target audience. There is
minimal evidence of prior organisation of actors, settings, or props. Where time-based media
are used, there is little or no evidence of prior planning and for print or ICT-based work, there
is little or no evidence of drafting.
If the candidate has worked in a group, only a marginal contribution to the planning stage is
evident.
Level 2 12-15 marks
The production shows some evidence of planning from a brief (Assessment Objective
Eight), though it may not, for instance, have reached completion within the allocated time-
scale. The candidate has undertaken some minimal research into similar products or a
potential target audience. The use of actors, settings, props and technical resources is
evident in the work itself. Where time-based media are used, there is evidence of prior
planning, though this may not necessarily be in the form of storyboards or scripts. For print or
ICT-based work, there is likely to be some minimal evidence of drafting.
If the candidate has worked in a group, a satisfactory contribution to the planning stage is
evident.
Level 3 16-23 marks
The production is mainly well planned, with some evidence of organised use of time and
equipment. The candidate has devised an appropriate brief (Assessment Objective Eight)
as the starting point for limited research into similar products and a potential target audience.
The use of actors, settings, props and technical resources is mainly efficiently organised to
allow the project to progress. Where time-based media are used, there should still be some
evidence of prior scripting and/or storyboarding. For print or ICT-based work, there is some
evidence of drafting.
If the candidate has worked in a group, a strong contribution to the planning stage is
evident.
© OCR 2005 Appendix A 79
GCE Media (3860/7860)
Level 4 24-30 marks
The production is well planned, with evidence of organised use of time and equipment. The
candidate has devised an appropriate brief (Assessment Objective Eight) as the starting
point for research into similar products and a potential target audience. The use of actors,
settings, props and technical resources is efficiently organised to allow the project to progress.
Where time-based media are used, prior scripting and/or storyboarding is strongly evident.
For print or ICT-based work, drafting is evident.
If the candidate has worked in a group, an excellent contribution to the planning stage is
evident.
Critical Evaluation
In arriving at a level, teachers are advised to adopt a ‘best fit’ approach.
Candidates describe the production brief undertaken for AS and clearly indicate how the brief
chosen for A2 differs from it.
Level 1 0-11 marks
The candidate is likely to produce a blow-by-blow account of the production, with little
understanding of selection or relevance. There may be some minimal analysis of the finished
product. There may be an attempt to place the production in the wider context of media
institutions and audiences, though this will probably lack focus and probably lack relevance
(Assessment Objective Nine). Likely to be short.
Level 2 12-15 marks
The candidate gives an account of the production, with some reference to planning and some
to decision-making. There is some analysis of the finished product in terms of how decisions
about form and content, have affected meaning and how the text communicates through its
forms and conventions. .There is an attempt to place the production in a wider context
through some reference to real media output and some reference to audience feedback
(Assessment Objective Nine).
Level 3 16-23 marks
The candidate gives a mainly clear account of the stages of production, through researching
the brief and targeting an audience to a technical account of decisions and revisions made.
There is a largely complete analysis of the finished product in terms of how decisions about
form and content have affected meaning, how the text communicates through its forms and
conventions. Some reference is made to critical ideas encountered on the course. There is
an attempt to place the production in the wider context of media institutions and audiences
through some analysis of the ways in which the text compares with real media output and
some evidence of audience feedback (Assessment Objective Nine).
Level 4 24-30 marks
The candidate gives a clear and systematic account of the stages of production, through
researching the brief and targeting an audience to a technical account of decisions and
revisions made. There is a detailed and thorough analysis of the finished product in terms of
how decisions about form and content have affected meaning, how the text communicates
through its forms and conventions. Where appropriate, explicit reference is made to ideas
encountered on the course. The production is placed in the wider context of media institutions
and audiences by thorough analysis of the ways in which the text compares with real media
output (including reference to media institutions) and an evaluation of the relationship of
product to audience (including audience feedback) (Assessment Objective Nine).
3.5 Construction – Assessment of Technical Skills for Each
Medium
Where candidates have worked in groups, the teacher is asked to clearly indicate on the mark
sheets any differences in the contributions made by each individual to the group’s work.
The technical skills’ criteria for Construction are provided for each medium below and are to
be used for the assessment of (Assessment Objective Eight). In arriving at a level, teachers
are advised to adopt a ‘best fit’ approach.
Film
Level 1
Work likely to be unfinished 0-30 marks
There is evidence of basic ability in the work of any of the following technical skills:
• the ability to hold a shot steady;
• framing a shot appropriately;
• using a variety of shot distances as appropriate;
• shooting material appropriate to the task set;
• selecting mise-en-scène;
• editing so that meaning is apparent to the viewer;
• using varied shot transitions, captions and other effects selectively and appropriately;
• using sound with images and editing appropriately.
Where a candidate has worked in a group, there is only minimal evidence of a contribution to
construction.
Level 2 31-38 marks
There is evidence of competence in some of the following technical skills:
• holding a shot steady, where appropriate;
• framing a shot, including and excluding elements as appropriate;
• using a variety of shot distances as appropriate;
• shooting material appropriate to the task set;
• selecting mise-en-scène including colour, figure, lighting, objects and setting;
• editing so that meaning is apparent to the viewer;
• using varied shot transitions, captions and other effects selectively and appropriately for
the task set;
• using sound with images and editing appropriately for the task set.
Where a candidate has worked in a group, a limited contribution to construction is evident.
Level 3 39-48 marks
The candidate is expected to demonstrate proficiency in most of the following technical skills:
• holding a shot steady, where appropriate;
• framing a shot , including and excluding elements as appropriate;
• using a variety of shot distances as appropriate;
• shooting material appropriate to the task set;
• selecting mise-en-scène including colour, figure, lighting, objects and setting;
• editing so that meaning is apparent to the viewer;
• using varied shot transitions, captions and other effects selectively and appropriately for
the task set;
• using sound with images and editing appropriately for the task set.
Where a candidate has worked in a group, a strong contribution to construction is evident.
Level 4 49-60 marks
The candidate is expected to demonstrate excellence in most of the following technical skills:
• holding a shot steady, where appropriate;
• framing a shot , including and excluding elements as appropriate;
• using a variety of shot distances as appropriate;
• shooting material appropriate to the task set;
• selecting mise-en-scène including colour, figure, lighting, objects and setting;
• editing so that meaning is apparent to the viewer;
• using varied shot transitions, captions and other effects selectively and appropriately;
• using sound with images and editing appropriately for the task.
Where a candidate has worked in a group, a major contribution to construction is evident
© OCR 2005 Appendix A 87
GCE Media (3860/7860)
ICT / New Media
Level 1
Work is likely to be unfinished 0-30 marks
There is evidence of basic ability in the work of any of the following technical skills:
• combining some or all of images, text, sound and video as appropriate for the task set;
• using ICT effectively to facilitate the combination of such material;
• producing material so that it communicates clearly to the ‘reader’;
• using the conventions of web publishing to enable the ‘reader’ to navigate the material
appropriately.
Where a candidate has worked in a group, there is only minimal evidence of a contribution to
construction.
Level 2 31-38 marks
There is evidence of competence in some of the following technical skills:
• combining some or all of images, text, sound and video as appropriate for the task set;
• using ICT effectively to facilitate the combination of such material;
• producing material so that it communicates clearly to the ‘reader’;
• using the conventions of web publishing to enable the ‘reader’ to navigate the material
appropriately.
Where a candidate has worked in a group, a limited contribution to construction is evident.
Level 3 39-48 marks
The candidate is expected to demonstrate proficiency in most of the following technical skills:
• combining some or all of images, text, sound and video as appropriate for the task set;
• using ICT effectively to facilitate the combination of such material;
• producing material so that it communicates clearly to the ‘reader’;
• using the conventions of web publishing to enable the ‘reader’ to navigate the material
appropriately.
Where a candidate has worked in a group, a strong contribution to construction is evident.
Level 4 49-60 marks
The candidate is expected to demonstrate excellence in most of the following technical skills:
• combining some or all of images, text, sound and video as appropriate for the task set;
• using ICT effectively to facilitate the combination of such material;
• producing material so that it communicates clearly to the ‘reader’;
• using the conventions of web publishing to enable the ‘reader’ to navigate the material
appropriately.
Where a candidate has worked in a group, a major contribution to construction is evident.
Cross-Media
88 Appendix A © OCR 2005
GCE Media (3860/7860)
Cross-Media
Level 1
Work is likely to be unfinished 0-30 marks
The candidate mainly demonstrates Level 1 technical skills criteria in the various media
employed in the production.
Where a candidate has worked in a group, there is only minimal evidence of a contribution to
construction.
Level 2 31-38 marks
The candidate mainly demonstrates Level 2 criteria in the various media employed in the
production.
Where a candidate has worked in a group, a limited contribution to construction is evident.
Level 3 39-48 marks
The candidate mainly demonstrates Level 3 criteria in the various media employed in the
production.
Where a candidate has worked in a group, a strong contribution to construction is evident.
Level 4 49-60 marks
The candidate is expected to consistently demonstrate Level 4 criteria in the various media
employed in the production.
Where a candidate has worked in a group, a major contribution to construction is evident.
Video
Level 1
Work is likely to be unfinished 0-30 marks
There is evidence of basic ability in the work of any of the following technical skills:
• the ability to hold a shot steady;
• framing a shot appropriately;
• using a variety of shot distances as appropriate;
• shooting material appropriate to the task set;
• selecting mise-en-scène;
• editing so that meaning is apparent to the viewer;
• using varied shot transitions, captions and other effects selectively and appropriately
• using sound with images and editing appropriately.
Where a candidate has worked in a group, there is only minimal evidence of a contribution to
construction.
© OCR 2005 Appendix A 89
GCE Media (3860/7860)
Level 2 31-38 marks
There is evidence of competence in some of the following technical skills:
• holding a shot steady, where appropriate;
• framing a shot, including and excluding elements as appropriate;
• using a variety of shot distances as appropriate;
• shooting material appropriate to the task set;
• selecting mise-en-scène including colour, figure, lighting, objects and setting;
• editing so that meaning is apparent to the viewer;
• using varied shot transitions, captions and other effects selectively and appropriately for
the task set;
• using sound with images and editing appropriately for the task set.
Where a candidate has worked in a group, a limited contribution to construction is evident.
Level 3 39-48 marks
The candidate is expected to demonstrate proficiency in most of the following technical skills:
• holding a shot steady, where appropriate;
• framing a shot, including and excluding elements as appropriate;
• using a variety of shot distances as appropriate;
• shooting material appropriate to the task set;
• selecting mise-en-scène including colour, figure, lighting, objects and setting;
• editing so that meaning is apparent to the viewer;
• using varied shot transitions, captions and other effects selectively and appropriately for
the task set;
• using sound with images and editing appropriately for the task set.
Where a candidate has worked in a group, a strong contribution to construction is evident.
Level 4 49-60 marks
The candidate is expected to demonstrate excellence in most of the following technical skills:
• holding a shot steady, where appropriate;
• framing a shot, including and excluding elements as appropriate;
• using a variety of shot distances as appropriate;
• shooting material appropriate to the task set;
• selecting mise-en-scène including colour, figure, lighting, objects and setting;
• editing so that meaning is apparent to the viewer;
• using varied shot transitions, captions and other effects selectively and appropriately;
• using sound with images and editing appropriately for the task.
Where a candidate has worked in a group, a major contribution to construction is evident.
Music Video Style- a useful article- try and incorporate these terms into your evaluation.
A2 Media | Music Video Production
Music Video Style
•
Camerawork
As with any moving image text, how the camera is used and how images are sequenced will have a significant impact upon meaning. Camera movement, angle and shot distance all need to be analysed. Camera movement may accompany movement of performers (walking, dancing, etc) but it may also be used to create a more dynamic feel to stage performance, by for instance constantly circling the band as they perform on stage. The close up does predominate, as in most TV, partly because of the size of the screen and partly because of the desire to create a sense of intimacy for the viewer. It also emphasises half of the commodity on sale (not just the song, but the artist, and particularly the voice). John Stewart of Oil Factory told me that he sees the music video as essentially having the aesthetics of the TV commercial, with lots of close ups and lighting being used most prominently for the star’s face.
• Editing
Though the most common form of editing associated with the music promo is fast cut montage, rendering many of the images impossible to grasp on first viewing thus ensuring multiple viewing, there are videos which use slow pace and gentler transitions to establish mood. This is particularly apparent for the work of many female solo artists with a broad audience appeal, such as Dido. Often enhancing the editing are digital effects which play with the original images to offer different kinds of pleasure for the audience. This might take the form of split screens, colourisation and of course blockbuster film style CGI. • Star Image
As Richard Dyer has noted: “ a star is an image constructed from a range of materials” (Richard Dyer 1979). For pop music these materials include the songs (their lyrical themes and musical structures/genres), the record covers (singles and albums and the image of the star they present), media coverage (from interviews about career and private life through to tabloid gossip), live performance (the image through the stage show) and arguably most significantly the music videos, which may draw upon the image presented in each of the other aspects. Each video may also draw upon its predecessor both in reinforcing the star’s existing image and in taking the image on further, perhaps in new directions. Thus even more than Hollywood films may be seen as vehicles for their stars, music videos will act as a showcase for their talents and a significant part in the construction and maintenance of their image.
• Voyeurism
This idea comes from Freud, and has been much used in Media Studies, particularly in explaining the gendered pleasures of cinema. Broadly it refers to the idea of looking in order to gain sexual pleasure. It has been argued that the male viewer’s gaze at the screen is geared to notions of voyeurism in that it is a powerful controlling gaze at the objectified female on display. In music promos, as we have seen, the female on display has been a staple element through the Scopitones to Duran Duran and beyond. Goodwin argues that the female performer will frequently be objectied in this fashion, often through a combination of camerawork and editing with fragmented body shots emphasising a sexualised treatment of the star. In male performance videos too the idea of voyeuristic treatment of the female body is often apparent with the use of dancers as adornments flattering the male star ego. The idea becomes more complex when we see the male body on display and we might raise questions about how the female viewer is invited to respond. Equally, the apparently more powerful independent female artists of recent years, from Madonna onwards, have added to the complexity of the gaze by being at once sexually provocative and apparently in control. This offers interesting questions for discussion of the range of audience experiences of music video and the contradictory meanings they may evoke. The idea of voyeurism is also frequently evident in music video through a system of screens within screens- characters shown watching performers or others on television, via webcams, as images on a video camera screen or CCTV within the world of the narrative. Indeed the proliferation of such motifs has reached a point where it has become almost an obsession in music promos.
• Intertextuality
The music video is often described as ‘postmodern’, a slippery term which is sometimes used as a substitute for intertextuality. Broadly, if we see music promos as frequently drawing upon existing texts in order to spark recognition in the audience, we have a working definition of ‘intertextuality’. Not all audiences will necessarily spot the reference and this need not massively detract from their pleasure in the text itself, but it is often argued that greater pleasure will be derived by those who know the reference and are somehow flattered by this. It is perhaps not surprising that so many music videos draw upon cinema as a starting point, since their directors are often film school graduates looking to move on eventually to the film industry itself. From Madonna’s ‘Material Girl’ (Mary Lambert 1985, drawing on ‘Diamonds are a Girl’s Best Friend’) to 2Pac and Dr Dre’s ‘California Love’ (Hype Williams 1996, drawing on ‘Mad Max’) there are many examples of cinematic references which dominate music video. Television is often a point of reference too, as in The Beastie Boys’ spoof cop show titles sequence for Sabotage (Spike Jonze 1994) or REMs recent news show parody ‘Bad Day’ (Tim Hope 2003). John Stewart sees visual reference in music video coming from a range of sources, though the three most frequent are perhaps cinema, fashion and art photography. Fashion sometimes takes the form of specific catwalk references and sometimes even the use of supermodels, as by George Michael in both ‘Father Figure’(Morahan/Michael 1988) and ‘Freedom’ (Fincher 1990). Probably the most memorable example of reference to fashion photography is Robert Palmer’s ‘Addicted to Love’ (Donovan 1986), parodied many times for its use of mannequin style females in the band fronted by a besuited Palmer. Shania Twain copied it for her ‘Man I feel like a woman’ (Paul Boyd 1999) and Tamra Davis directed a $350 parody of it for Tone Loc’s ‘Wild Thing’ (1988). For the near future, John Stewart suspects that the influence of video games will predominate for the younger audience with the more plasticised look of characters emerging (as seen for example in Robbie Williams’ ‘Let Love be your Energy’ dir. Olly Reed 2001 and The Red Hot Chilli Peppers ‘Californication’ dir.Jonathan Dayton and Valerie Faris 2000) His description of the music video “incorporating, raiding and reconstructing” is essentially the essence of intertextuality, using something with which the audience may be familiar to generate both potentially nostalgic associations and new meanings. It is perhaps more explicitly evident in the music video than in any other media form, with the possible exception of advertising.
• Narrative and Performance
Narrative in songs is rarely complete, more often fragmentary, as in poetry. The same is true of music promos, which more often suggest storylines or offer complex fragments of them in non-linear order. In doing this the music video leaves the viewer with the desire to see it again if only to catch the bits missed on first viewing. As Steve Archer puts it: “Often, music videos will cut between a narrative and a performance of the song by the band. Additionally, a carefully choreographed dance might be a part of the artist’s performance or an extra aspect of the video designed to aid visualisation and the ‘repeatability’ factor. Sometimes, the artist (especially the singer) will be a part of the story, acting as narrator and participant at the same time. But it is the lip-synch close-up and the miming of playing instruments that remains at the heart of music videos, as if to assure us that the band really can kick it.” (Steve Archer 2004) The video allows the audience access to the performer in a much greater range of ways than a stage performance could. Eye contact and facial gestures via the close up, role playing through the narrative and mise-en-scene will present the artist in a number of ways which would not be possible in a live concert. The mise-en-scene may be used as a guarantee of what Simon Frith terms ‘authenticity’ as in the stage performance/use of a rehearsal room by a band whose musical virtuosity is their main selling point. It can be important to a narrative-based video to establish setting and relationship to existing film or televisual genres. Equally it may be used as part of the voyeuristic context by suggesting a setting associated with sexual allure, such as a sleazy nightclub or boudoir. Or finally, as John Stewart suggests, it may be used to emphasise an aspirational lifestyle for the audience, as in the current dominance of a futuristic look with emphasis on the latest gadgetry. Other commentators have divided music videos in terms of style, though often there will be crossover between these; apart from Performance and Narrative, it is possible to identify at least six: Gothic, Animated, Dreamscapes, Portraiture, Futuristic and Home Movie. Teaching Music Video' BFI 2004 Editor Vivienne Clark
Camerawork
As with any moving image text, how the camera is used and how images are sequenced will have a significant impact upon meaning. Camera movement, angle and shot distance all need to be analysed. Camera movement may accompany movement of performers (walking, dancing, etc) but it may also be used to create a more dynamic feel to stage performance, by for instance constantly circling the band as they perform on stage. The close up does predominate, as in most TV, partly because of the size of the screen and partly because of the desire to create a sense of intimacy for the viewer. It also emphasises half of the commodity on sale (not just the song, but the artist, and particularly the voice). John Stewart of Oil Factory told me that he sees the music video as essentially having the aesthetics of the TV commercial, with lots of close ups and lighting being used most prominently for the star’s face.
• Editing
Though the most common form of editing associated with the music promo is fast cut montage, rendering many of the images impossible to grasp on first viewing thus ensuring multiple viewing, there are videos which use slow pace and gentler transitions to establish mood. This is particularly apparent for the work of many female solo artists with a broad audience appeal, such as Dido. Often enhancing the editing are digital effects which play with the original images to offer different kinds of pleasure for the audience. This might take the form of split screens, colourisation and of course blockbuster film style CGI. • Star Image
As Richard Dyer has noted: “ a star is an image constructed from a range of materials” (Richard Dyer 1979). For pop music these materials include the songs (their lyrical themes and musical structures/genres), the record covers (singles and albums and the image of the star they present), media coverage (from interviews about career and private life through to tabloid gossip), live performance (the image through the stage show) and arguably most significantly the music videos, which may draw upon the image presented in each of the other aspects. Each video may also draw upon its predecessor both in reinforcing the star’s existing image and in taking the image on further, perhaps in new directions. Thus even more than Hollywood films may be seen as vehicles for their stars, music videos will act as a showcase for their talents and a significant part in the construction and maintenance of their image.
• Voyeurism
This idea comes from Freud, and has been much used in Media Studies, particularly in explaining the gendered pleasures of cinema. Broadly it refers to the idea of looking in order to gain sexual pleasure. It has been argued that the male viewer’s gaze at the screen is geared to notions of voyeurism in that it is a powerful controlling gaze at the objectified female on display. In music promos, as we have seen, the female on display has been a staple element through the Scopitones to Duran Duran and beyond. Goodwin argues that the female performer will frequently be objectied in this fashion, often through a combination of camerawork and editing with fragmented body shots emphasising a sexualised treatment of the star. In male performance videos too the idea of voyeuristic treatment of the female body is often apparent with the use of dancers as adornments flattering the male star ego. The idea becomes more complex when we see the male body on display and we might raise questions about how the female viewer is invited to respond. Equally, the apparently more powerful independent female artists of recent years, from Madonna onwards, have added to the complexity of the gaze by being at once sexually provocative and apparently in control. This offers interesting questions for discussion of the range of audience experiences of music video and the contradictory meanings they may evoke. The idea of voyeurism is also frequently evident in music video through a system of screens within screens- characters shown watching performers or others on television, via webcams, as images on a video camera screen or CCTV within the world of the narrative. Indeed the proliferation of such motifs has reached a point where it has become almost an obsession in music promos.
• Intertextuality
The music video is often described as ‘postmodern’, a slippery term which is sometimes used as a substitute for intertextuality. Broadly, if we see music promos as frequently drawing upon existing texts in order to spark recognition in the audience, we have a working definition of ‘intertextuality’. Not all audiences will necessarily spot the reference and this need not massively detract from their pleasure in the text itself, but it is often argued that greater pleasure will be derived by those who know the reference and are somehow flattered by this. It is perhaps not surprising that so many music videos draw upon cinema as a starting point, since their directors are often film school graduates looking to move on eventually to the film industry itself. From Madonna’s ‘Material Girl’ (Mary Lambert 1985, drawing on ‘Diamonds are a Girl’s Best Friend’) to 2Pac and Dr Dre’s ‘California Love’ (Hype Williams 1996, drawing on ‘Mad Max’) there are many examples of cinematic references which dominate music video. Television is often a point of reference too, as in The Beastie Boys’ spoof cop show titles sequence for Sabotage (Spike Jonze 1994) or REMs recent news show parody ‘Bad Day’ (Tim Hope 2003). John Stewart sees visual reference in music video coming from a range of sources, though the three most frequent are perhaps cinema, fashion and art photography. Fashion sometimes takes the form of specific catwalk references and sometimes even the use of supermodels, as by George Michael in both ‘Father Figure’(Morahan/Michael 1988) and ‘Freedom’ (Fincher 1990). Probably the most memorable example of reference to fashion photography is Robert Palmer’s ‘Addicted to Love’ (Donovan 1986), parodied many times for its use of mannequin style females in the band fronted by a besuited Palmer. Shania Twain copied it for her ‘Man I feel like a woman’ (Paul Boyd 1999) and Tamra Davis directed a $350 parody of it for Tone Loc’s ‘Wild Thing’ (1988). For the near future, John Stewart suspects that the influence of video games will predominate for the younger audience with the more plasticised look of characters emerging (as seen for example in Robbie Williams’ ‘Let Love be your Energy’ dir. Olly Reed 2001 and The Red Hot Chilli Peppers ‘Californication’ dir.Jonathan Dayton and Valerie Faris 2000) His description of the music video “incorporating, raiding and reconstructing” is essentially the essence of intertextuality, using something with which the audience may be familiar to generate both potentially nostalgic associations and new meanings. It is perhaps more explicitly evident in the music video than in any other media form, with the possible exception of advertising.
• Narrative and Performance
Narrative in songs is rarely complete, more often fragmentary, as in poetry. The same is true of music promos, which more often suggest storylines or offer complex fragments of them in non-linear order. In doing this the music video leaves the viewer with the desire to see it again if only to catch the bits missed on first viewing. As Steve Archer puts it: “Often, music videos will cut between a narrative and a performance of the song by the band. Additionally, a carefully choreographed dance might be a part of the artist’s performance or an extra aspect of the video designed to aid visualisation and the ‘repeatability’ factor. Sometimes, the artist (especially the singer) will be a part of the story, acting as narrator and participant at the same time. But it is the lip-synch close-up and the miming of playing instruments that remains at the heart of music videos, as if to assure us that the band really can kick it.” (Steve Archer 2004) The video allows the audience access to the performer in a much greater range of ways than a stage performance could. Eye contact and facial gestures via the close up, role playing through the narrative and mise-en-scene will present the artist in a number of ways which would not be possible in a live concert. The mise-en-scene may be used as a guarantee of what Simon Frith terms ‘authenticity’ as in the stage performance/use of a rehearsal room by a band whose musical virtuosity is their main selling point. It can be important to a narrative-based video to establish setting and relationship to existing film or televisual genres. Equally it may be used as part of the voyeuristic context by suggesting a setting associated with sexual allure, such as a sleazy nightclub or boudoir. Or finally, as John Stewart suggests, it may be used to emphasise an aspirational lifestyle for the audience, as in the current dominance of a futuristic look with emphasis on the latest gadgetry. Other commentators have divided music videos in terms of style, though often there will be crossover between these; apart from Performance and Narrative, it is possible to identify at least six: Gothic, Animated, Dreamscapes, Portraiture, Futuristic and Home Movie. Teaching Music Video' BFI 2004 Editor Vivienne Clark
Example of critical evaluation. Read but don't plagarise!
Introduction
As part of the AS level media course the course work I completed was 'print'- the front cover, contents page and main double paged article for a Sunday Supplement. The A2 product completed was a pop video. As part of a group of three I directed, shot footage for and edited the piece.
Part One
Initially, once deciding on a song for the pop video promotion we sketched a number of possible ideas and concepts connecting to the music. The song, 'Clubbed to Death' by Rob.D combined both a contemporary, rhythmic, strong bassed dance theme with an enveloping of a classical element. It was decided by record label - Multiply- to have the song released on black label record, a method to test the song's success'. The song would be given out on a limited amount of (black label) [Often used by up and coming dj's, unsure of how their song will do] records, the record company distributing only to djs in large or underground clubs. Based on its success of black label sales and the large amount of requests for the song in these clubs, it was decided by the record label to have it released as an official single, breaking the official charts being the next main objective. The single had a subsequent high rate of airplay on radio stations such as the alternative Xfm ( London), Friday, Saturday and Sunday nights on the national Radio 1 and Kissfm ( London). This guaranteed it a future public release to the general public.
Looking at various artists similar to Rob D in the music industry aided our research into the market our product shall be aimed at. 18-30 year olds with an interest in the club scene, or generally interested in alternative dance music (which is very popular at present with artists such as Jakarta staying at number 2 in the official top 40 singles chart for three weeks) would be an ideal audience to consider when designing and casting for the promotional video. Jakarta, however, has the advantage of the song's link to academy award winning film, 'American Beauty', for the piece that is remixed on the track features in the film. Luckily, having the video aimed at the mass market of those between the age of 18-30 means less of a limitation on our approach and a wider response who will buy the single from having watched and enjoyed the video and its song.
A pop video was needed in order to aid the single's publicity, most of all to make a bold statement alongside this contemporary, hard hitting, dramatic piece of music that is 'Clubbed to Death'. 'Clubbed To Death's success has a sole dependence on how the target audience receives the song, how much airplay the song will receive and whether or not the pop video (as main promoter of the song) will get much play on target satellite and terrestrial channels. Tying in a social message to the pop video was an initial idea that we stuck by. '.. .artists do not invent nature but merely hold it up to a mirror'. [Oliver Stone in Screen Violence, ibid, 1996, p237] The fact that such messages are hardly ever approached by dance videos in particular is advantageous in terms of the video standing out from others and appealing to the target audience.
Primarily, our ideas were to either have the video based around a state of ecstasy and bliss or shear hopelessness and despair. These themes connecting to the themes that Rob D appeared to portray in the song. The d.j wanted recognition for his song as opposed to his face. We cast two actors in their mid twenties [An element to allow audience association with the characters to capture the targeted audience] to 'face' the scripted arguments and violent scenes for the video. Our main objective was to have the video concentrate on two individuals who led the narrative based. By placing the main protagonist in a number of landscapes and using diverse camera angles/ positions and movements in these environments we intended on producing a video that defied usual pop video conventions. We aimed to bring the audience in, share the protagonist's pain, frustration, loneliness and her freedom [Although a restricted, eventual shattered bliss. ]
Once planning was underway our production team would regularly meet to discuss concepts and imagery for the video. Days of exploring possible locations were particularly beneficial as we too had a camera on hand to experiment with various shots and concepts, always considering how it could be placed in the video. Barren council estates, places of ruin [Namely Battersea Power station] and large empty, desolate areas were influential in our thoughts and ideas [We were soon able to channel our ideas down from the broad array of themes such as drugs, violence, claustrophobia, vulnerability, solitude and escapism.]. The situation was to be a dingy, tight scene of domestic violence and melancholic distress combined with an escapist route to rapture and euphoria.
Many storyboards were made, aiding our concentration on certain themes and issues, we had to abide by the 3 minute 40 second guideline the song secured. By editing the storyboard footage we introduced more concepts such as the tunnel section in the song [A montaged sequence of various tunnel- like environments, enforcing ideas of claustrophobia, a searching for an exit and need for hope and the light], which not only provided some variety to the video concepts but was also an aesthetically interesting camera movement to involve for the audience. An act in full consideration and satisfaction of audience wants, but also a sequence that connects successfully to the music. Such shots were achieved on shoot days organised amongst our production team before the assigned on-location shoot day.
Many primary ideas were used in the final piece. For example, dissolving a darkened drain into the dilated pupil of our protagonist. An ambitious concept though one we successfully achieved once we had shot and edited the piece. However, there were some ideas that had to be rejected. Our envisaged scenes of the camera at the end of a syringe going into a drug abusers arm, the use of the escapist route through drugs with the protagonist having the camera attached to her arm- portraying a state of deliriousness. These ideas were unachievable because of inability to provide the resources needed to perform such a task. Films such as the hard hitting, gritty 'Trainspotting' and 'Basket ball Diaries' and documentaries all inspired certain concepts. The crafty, slick camera angles of 'Lock, Stock and Two Smoking Barrels' also provided some influence for ideas. All of these movies were particularly successful, so using them as an inspiration for our pop video would aid the wanted success to help sales of the single. Analysis of pop videos and its industry proved to be of some influence though we investigated more into ways that our pop video could defy what the industry has already churned out. Although there were a few ideas that were rejected, the movies did plant an interest with domestic violence and gritty, shocking ways of dealing with it.
Once the on location shoot day was over editing the footage started. Editing was one of the most difficult stages of production. [A process that also proved quite rewarding as we jigsawed the fragments together ]Careful consideration went into the cutting of shots to the beat of the music, the placing of vital concepts and their sequences in the correct places and the juxtaposing of elements such as the harsh reality of our protagonist with her escaping, yearning imagination
In conclusion, the pop video should boost the sales of 'Clubbed to Death'. A punchy, fast paced pop video- adding to the kick of the song. An element that would grab the full attention of the audiences (of clubbers) who started off the song's success in the clubs. The single should succumb to the predicted high sales that 'Multiply' had aimed for, provided that the targeted market receive the product well.
Word Count: 1, 179.
Part 2
'The music video serves to the image of an artist or band to maintain the visibility of performers in the absence of personal appearances''.
We sought to create a video on a par with the dramatic song, this being a visual impact serving the image of the song, resulting in a promotion for the track as opposed to the artist, Rob D who would prefer to remain low profile.
'The process of music making and selling can't be separated, and the rise of video promotion makes it clear that the relationship has always worked in reverse too- record sellers are also concerned with production. They produce the images (styles, personalities, visual appeal) to match the sounds'. [Stuart Price, Hodder and Stoughton, 1997]
This is a matter that was taken carefully into consideration when drawing up our main objectives for designing the promotional video. To have domestic violence as a main issue in the video was a factor that was not to create a moral panic [Simon Frith, 'Youth. Leisure, and the politics of rock 'n' roll'] but plant an awareness (for the audience) of the distressing issues occurring behind closed doors. A serious issue not often approached in artist's promotional videos. An approach that is unconventional to the usually light-hearted and jocular d.j pop video. For this reason it should receive more airplay and general interest from people who are awoken by a bold narrative that is presented in this video.
The objective of the video to promote a social understanding meant that the audience the video is aimed at is an active audience who are ready to question the text, as opposed to the passive audience (which most present products are aimed at- an audience willing to absorb the material, not questioning the text). The theme of domestic violence provides the narrative element of the video. The active audience identifies with the protagonist. This woman is the victim of a partner's abuse and violence;
her physical endurance and suffering take place in their four-walled, compact flat. The black and white, grained effect for the flat footage sets the mood for her melancholic life, particularly so when it is juxtaposed with shots of her in a cornfield, or in an empty field or with wild horses. Reality conflicts with the ideal dream; a concept portrayed with structure and narrative. The protagonist is hit and falls to the ground. The chain of events that follow are that which had led up to her being hit. These black and white images are part of a rhythmic montage [One of the five streams of montage founded by theorist Tudor commenting on Eisenstein's 'Montage'] with images of freedom, escapism and relief flashing in the opening sequence in relation to the heavy bass music. [Essentially in the pop video we are making a political and social statement This is an approach similar to the use of montage that Tudor researched and found useful for political propaganda activities. As opposed to the conventional pop video that almost never uses intellectual or overtonal montages.]
In relation to the challenging issue of domestic violence there is some use of horrific and haunting images to convey melancholic messages. For example, corpses and children in barren landscapes. One image was projected across the protagonist's desperate and gaunt face, of tulips with barbed wire- a juxtaposition posing the gentle with the harsh- a halting of beauty and any potential blossoming. The portrayal of our protagonist's searching and yearning mind juxtaposed with her trapped reality is an impending of the images splashed across her face. This image is continuously re-visited. The sun rising represents the glimmer of hope, though its abrupt suppression using a dissolve, from which the risen sun consequents to the girl's eye, back in the flat and dismally in the black and white grain. Even the lively colour has been banished.
The editing is conventional- when the bass plays, the shots are cut to the beat. When classical music is more prominent in the piece the shots are more gradually cut and dissolved. The editing is also connected to the message, fast paced at the dramatic sequence when the protagonist is being hit. The cuts are rapid and jerked during the argument and smooth during the images of escapism and freedom from her reality. The convention of using the dissolve to connect the subject matters is one that is used by many pop videos at present. For example, the connection is made between the image of the girl stood over a sink full of dirty dishes, her face bruised and gaunt and when she stares, emotionless (bearing and extra-diegetic gaze) at the mirror. The camera moves at a speed that connects well with the music (which has increased in pace). It stops in a dark, dirty cup which dissolves in to the first of the tunnels in the sequence. The urban and the rural settings vary in speed and colour. Each of the tunnels meanders into another, again at cuts and dissolves reflective of the musical beat. Her mind is no longer an image of calm and peace but of manic seclusion.
Camera angles, positions and movements are explored in the pop video far more than conventional videos in the music industry. For example, one shot of the girl [Used in conclusion to the black and white council flat sequence and to begin an overtonal montage of winding tunnel shots], a reflection of her in a collapsed state where the camera slowly zooms out to reveal the reflection on an old television screen, is symbolic of her repression and loneliness. Her violent partner and her own weariness trap the girl and she has given up on herself. The use of a sequence of point of view shots to present a searching mind, running and alone- although lifeless and motionless in reality her mind searches for an escape, it's chaotic and there is no way out for her . The audience is then hit with the graffitied words, 'When times are shit, don't give up hope'. Although the audience are faced with the question is there really any hope? Particularly after they have experienced this girl's world. A cyclical journey of harsh reality and the yearning, escaping mind (an approach not often uptaken by the conventional aesthetically pleasing, image based pop video. Ending this polysemic notion of messages is an evaluating harsh, brutal reality. The protagonist still suffers physically (as portrayed in the flat) and now mentally (portrayed in the tunnel sequence).
Promoting the dramatic song and producing a pop video that equals in this impact was fulfilled. Whether or not it will successfully promote the artist and song is yet to be known. Using a number of images brimming with social arguments, violence and suppression, we created a polysemic video that defies the usual conventions of the pop video. This defiance was as a result of narrative and its cyclical journey. We used the simple of convention of creating a black and white, gritted indoors (in the melancholic, claustrophobic flat) and the colourful outdoors in the yearning, hoping of the protagonist's mind. The pop video constantly returns to the black and white images in the flat- either of aggression, horror or sadness allowing an ambiguous open end; although there is a return to the black and white flat, the audience are left with just the image of her in a state of happiness- on a broken television screen.
Through this defiant genre of pop video it ought to be successful and therefore gain the profit that the record label aims for with an original promotion. However, considering its survival in the media and the pop video's dependency on airplay on channels such as MTV, etc there is a possibility that it could fail when placed in the industry.
Word Count: 1,134
Part three
The main motive behind the production of our pop video is to make profit. However, the ideology is alternative. It was a co modification of a sub culture- we wanted to achieve a dramatic social statement and have this ideology propagated to our target audience.
'Jakatta' is the name of an artist producing a similar genre of music (to our artist Rob D) and signed to the dance record company. Ministry of Sound's 'Rulin'. Rulin often release their artist's track on black label and, depending on this success, open the track to the public. ' Jakarta' (the American dj 's title) is similar to Rob D in that he too samples pieces (classical and more) eventually creating a dance track. Jakatta would be a direct competitor of Rob D due to their similar styles, similar record labels and target audience.
The pop video for Jakarta's song, 'American Dream' uses a female protagonist. She is, however, in a nightclub amongst other clubbers. The pop video automatically refers to the target audience, whom would mainly be club goers. There is a gratification of consumers associating and identifying themselves with the enjoyment of those within the text. Jakarta's advantage (regarding more methods of promotion) lies in the fact that Ministry of Sound, the owners of his record label, also own the music magazine and clubs nationwide. These elements aid and ease his promotion and overall publicity. Rob D, the artist of 'Clubbed to Death' and member of the dance label 'Multiply' relies on a solid pop video to successfully promote his track. The record label aims for profit after having organised production of the track and the pop video. We used domestic violence as a main narrative issue. An issue not usually addressed in pop videos, especially the dance videos aimed at audiences of 18-30, when the rate of marital violence among those under 30 years of age is more than double the rate for the next older age group (31-50). The protagonist who falls victim to this violence experiences a mental release and state of escapism. As a result of this narrative approach, the audience consuming the piece would (through diversion) escape and become part of our video- releasing them from everyday pressures. Through the pop video's bold confronting of domestic violence and a female protagonist's victimised suffering, we enforced a personal relationship between the empathising audience and our victim.[ According to The Uniform Crime Report of The Federal Bureau of Investigation, 30% of women killed in the United States die at the hands of a partner. In 1990, more than 1200 women were killed by their partners.] A sense of personal identity for members of the audience was achieved, exploring their personal problems having viewed the pop video's polysemic approach. Most importantly our pop video provides surveillance, a fresh, bold awakening for the audience as to what is going on in the world, behind closed doors. [Such an approach can be described as the Uses and Gratifications theory]
The journey that the audience experiences during our unconventional pop video, results in self-actualisation for audience members [An element at the top of Maslow's hierarchy of needs.]. There is a realisation of self-potential for the audience, having compared their own life to that of the female protagonist in the video. This approach is also used in the promotional video for The Prodigy's 'Breathe'; an impactful video from the alternative dance act, it deals with elements of madness and claustrophobia using cramped and dark mise-en-scene and shocking subjects. Played on MTV and The Box music channels in the run up to its release in around 1998 it became a top 5 hit. Now there are channels such as MTV dance, KISS and Q that, too, would be suitable for the genre of music that 'Clubbed to Death' falls under, on which pop video can be viewed by target audiences.
'These examples of the totally contradictory readings of the same programme item provide us with the clearest examples of the way in which the 'meaning' of a programme as a 'message' depends upon the interpretive code which the audience brings to the decoding of the situation' (Morley).
Our pop video is essentially about suffering and a subsequent release and escape. This theme is approached boldly, with the use of many symbols to represent escape and suffering. Morley's theory can be applied, therefore to the pop video, for it is these shots that can be translated in a number of ways by the audience. The use of narrative is an unconventional approach for a promotional pop video, particularly when each element of the real and surreal contradict one another [Though the used convention of having the walled reality as black and white and having the escape in colour would have allowed the audience to clearly identify what the protagonist deals with and what she yearns for in her mind]. To maintain audience satisfaction we involved what may be described as 'aesthetically pleasing' aspects. Intertwining the unconventional social statement with the conventional need for eye satisfaction. For example, editing the camera angles, etc to the beat of the music.
Due to our concentration on wanting to get the 'Messages' across, the pop video does not result in a product that can be defined as 'aesthetically pleasing'. There were some shots that were very beautiful and satisfying to an audience's eye, for example the sunrise. However, this shot was meant to express this message of trapped escapism, hence, the subsequent dissolve into the black and white, gritted close up of the protagonist's eye- now in the flat. This juxtaposition of two shots, each conveying contradicting messages, often occurred in the pop video. Montaged sequences were also used to transmit messages. This approach can be compared to that of a similar sequence in 'The Basketball Diaries'. A 'First Independent' release, it is a young movie with dark messages of violence and drugs. It too has a main protagonist who suffers the most, in this sequence he recalls the first time he took heroin. 'It was like a long heat wave through my body. Any aches or pain, sadness or guilty feeling was completely flushed out' he voices over the recollection. The images are of him, running in slow motion through bright, colourful fields. A haunting panpipe plays, the camera fluidly running with him, the audience, therefore sharing this sensation.
The sensation experienced by audiences watching the sampled sequence from 'The Basketball Diaries' is too felt by the audience viewing the promotional video for 'Clubbed to Death'. Although the dream like sequences could be described as calm and 'palatable' it is not a 'sugaring of the pill of reason'. The audience endures some suffering through empathy for our female protagonist and subsequently shares her elation and sensation when in the openness and natural environment.
The subject of domestic violence is one of great importance in modern day society. It is an issue never usually dealt with nor confronted in conventional pop videos, yet on average each year, women experience 572,032 violent victimisations at the hands of an intimate [(Ronet Bachamn Ph.D; U.S. Department of Justice Bureau of Justice Statistics, "Violence Against Women: A National Crime Victimisation Survey Report," January 1994, p.6).] If the song is successful and requests for the pop video's viewing prove to be of a high rate then this results in a profit-making institutional-consumption paradigm. This will be an accomplishment for we will have fulfilled one of the main objectives behind the promotional video- to successfully promote the song, consequently gaining profit. Of real achievement is the product itself, it is a polysemic presentation of alternative ideology. It alternatively contains a narrative but unconventionally this narrative is led by the addressing of a bold topic of domestic violence and its entrapment behind closed doors.
Word Count: 1,130
As part of the AS level media course the course work I completed was 'print'- the front cover, contents page and main double paged article for a Sunday Supplement. The A2 product completed was a pop video. As part of a group of three I directed, shot footage for and edited the piece.
Part One
Initially, once deciding on a song for the pop video promotion we sketched a number of possible ideas and concepts connecting to the music. The song, 'Clubbed to Death' by Rob.D combined both a contemporary, rhythmic, strong bassed dance theme with an enveloping of a classical element. It was decided by record label - Multiply- to have the song released on black label record, a method to test the song's success'. The song would be given out on a limited amount of (black label) [Often used by up and coming dj's, unsure of how their song will do] records, the record company distributing only to djs in large or underground clubs. Based on its success of black label sales and the large amount of requests for the song in these clubs, it was decided by the record label to have it released as an official single, breaking the official charts being the next main objective. The single had a subsequent high rate of airplay on radio stations such as the alternative Xfm ( London), Friday, Saturday and Sunday nights on the national Radio 1 and Kissfm ( London). This guaranteed it a future public release to the general public.
Looking at various artists similar to Rob D in the music industry aided our research into the market our product shall be aimed at. 18-30 year olds with an interest in the club scene, or generally interested in alternative dance music (which is very popular at present with artists such as Jakarta staying at number 2 in the official top 40 singles chart for three weeks) would be an ideal audience to consider when designing and casting for the promotional video. Jakarta, however, has the advantage of the song's link to academy award winning film, 'American Beauty', for the piece that is remixed on the track features in the film. Luckily, having the video aimed at the mass market of those between the age of 18-30 means less of a limitation on our approach and a wider response who will buy the single from having watched and enjoyed the video and its song.
A pop video was needed in order to aid the single's publicity, most of all to make a bold statement alongside this contemporary, hard hitting, dramatic piece of music that is 'Clubbed to Death'. 'Clubbed To Death's success has a sole dependence on how the target audience receives the song, how much airplay the song will receive and whether or not the pop video (as main promoter of the song) will get much play on target satellite and terrestrial channels. Tying in a social message to the pop video was an initial idea that we stuck by. '.. .artists do not invent nature but merely hold it up to a mirror'. [Oliver Stone in Screen Violence, ibid, 1996, p237] The fact that such messages are hardly ever approached by dance videos in particular is advantageous in terms of the video standing out from others and appealing to the target audience.
Primarily, our ideas were to either have the video based around a state of ecstasy and bliss or shear hopelessness and despair. These themes connecting to the themes that Rob D appeared to portray in the song. The d.j wanted recognition for his song as opposed to his face. We cast two actors in their mid twenties [An element to allow audience association with the characters to capture the targeted audience] to 'face' the scripted arguments and violent scenes for the video. Our main objective was to have the video concentrate on two individuals who led the narrative based. By placing the main protagonist in a number of landscapes and using diverse camera angles/ positions and movements in these environments we intended on producing a video that defied usual pop video conventions. We aimed to bring the audience in, share the protagonist's pain, frustration, loneliness and her freedom [Although a restricted, eventual shattered bliss. ]
Once planning was underway our production team would regularly meet to discuss concepts and imagery for the video. Days of exploring possible locations were particularly beneficial as we too had a camera on hand to experiment with various shots and concepts, always considering how it could be placed in the video. Barren council estates, places of ruin [Namely Battersea Power station] and large empty, desolate areas were influential in our thoughts and ideas [We were soon able to channel our ideas down from the broad array of themes such as drugs, violence, claustrophobia, vulnerability, solitude and escapism.]. The situation was to be a dingy, tight scene of domestic violence and melancholic distress combined with an escapist route to rapture and euphoria.
Many storyboards were made, aiding our concentration on certain themes and issues, we had to abide by the 3 minute 40 second guideline the song secured. By editing the storyboard footage we introduced more concepts such as the tunnel section in the song [A montaged sequence of various tunnel- like environments, enforcing ideas of claustrophobia, a searching for an exit and need for hope and the light], which not only provided some variety to the video concepts but was also an aesthetically interesting camera movement to involve for the audience. An act in full consideration and satisfaction of audience wants, but also a sequence that connects successfully to the music. Such shots were achieved on shoot days organised amongst our production team before the assigned on-location shoot day.
Many primary ideas were used in the final piece. For example, dissolving a darkened drain into the dilated pupil of our protagonist. An ambitious concept though one we successfully achieved once we had shot and edited the piece. However, there were some ideas that had to be rejected. Our envisaged scenes of the camera at the end of a syringe going into a drug abusers arm, the use of the escapist route through drugs with the protagonist having the camera attached to her arm- portraying a state of deliriousness. These ideas were unachievable because of inability to provide the resources needed to perform such a task. Films such as the hard hitting, gritty 'Trainspotting' and 'Basket ball Diaries' and documentaries all inspired certain concepts. The crafty, slick camera angles of 'Lock, Stock and Two Smoking Barrels' also provided some influence for ideas. All of these movies were particularly successful, so using them as an inspiration for our pop video would aid the wanted success to help sales of the single. Analysis of pop videos and its industry proved to be of some influence though we investigated more into ways that our pop video could defy what the industry has already churned out. Although there were a few ideas that were rejected, the movies did plant an interest with domestic violence and gritty, shocking ways of dealing with it.
Once the on location shoot day was over editing the footage started. Editing was one of the most difficult stages of production. [A process that also proved quite rewarding as we jigsawed the fragments together ]Careful consideration went into the cutting of shots to the beat of the music, the placing of vital concepts and their sequences in the correct places and the juxtaposing of elements such as the harsh reality of our protagonist with her escaping, yearning imagination
In conclusion, the pop video should boost the sales of 'Clubbed to Death'. A punchy, fast paced pop video- adding to the kick of the song. An element that would grab the full attention of the audiences (of clubbers) who started off the song's success in the clubs. The single should succumb to the predicted high sales that 'Multiply' had aimed for, provided that the targeted market receive the product well.
Word Count: 1, 179.
Part 2
'The music video serves to the image of an artist or band to maintain the visibility of performers in the absence of personal appearances''.
We sought to create a video on a par with the dramatic song, this being a visual impact serving the image of the song, resulting in a promotion for the track as opposed to the artist, Rob D who would prefer to remain low profile.
'The process of music making and selling can't be separated, and the rise of video promotion makes it clear that the relationship has always worked in reverse too- record sellers are also concerned with production. They produce the images (styles, personalities, visual appeal) to match the sounds'. [Stuart Price, Hodder and Stoughton, 1997]
This is a matter that was taken carefully into consideration when drawing up our main objectives for designing the promotional video. To have domestic violence as a main issue in the video was a factor that was not to create a moral panic [Simon Frith, 'Youth. Leisure, and the politics of rock 'n' roll'] but plant an awareness (for the audience) of the distressing issues occurring behind closed doors. A serious issue not often approached in artist's promotional videos. An approach that is unconventional to the usually light-hearted and jocular d.j pop video. For this reason it should receive more airplay and general interest from people who are awoken by a bold narrative that is presented in this video.
The objective of the video to promote a social understanding meant that the audience the video is aimed at is an active audience who are ready to question the text, as opposed to the passive audience (which most present products are aimed at- an audience willing to absorb the material, not questioning the text). The theme of domestic violence provides the narrative element of the video. The active audience identifies with the protagonist. This woman is the victim of a partner's abuse and violence;
her physical endurance and suffering take place in their four-walled, compact flat. The black and white, grained effect for the flat footage sets the mood for her melancholic life, particularly so when it is juxtaposed with shots of her in a cornfield, or in an empty field or with wild horses. Reality conflicts with the ideal dream; a concept portrayed with structure and narrative. The protagonist is hit and falls to the ground. The chain of events that follow are that which had led up to her being hit. These black and white images are part of a rhythmic montage [One of the five streams of montage founded by theorist Tudor commenting on Eisenstein's 'Montage'] with images of freedom, escapism and relief flashing in the opening sequence in relation to the heavy bass music. [Essentially in the pop video we are making a political and social statement This is an approach similar to the use of montage that Tudor researched and found useful for political propaganda activities. As opposed to the conventional pop video that almost never uses intellectual or overtonal montages.]
In relation to the challenging issue of domestic violence there is some use of horrific and haunting images to convey melancholic messages. For example, corpses and children in barren landscapes. One image was projected across the protagonist's desperate and gaunt face, of tulips with barbed wire- a juxtaposition posing the gentle with the harsh- a halting of beauty and any potential blossoming. The portrayal of our protagonist's searching and yearning mind juxtaposed with her trapped reality is an impending of the images splashed across her face. This image is continuously re-visited. The sun rising represents the glimmer of hope, though its abrupt suppression using a dissolve, from which the risen sun consequents to the girl's eye, back in the flat and dismally in the black and white grain. Even the lively colour has been banished.
The editing is conventional- when the bass plays, the shots are cut to the beat. When classical music is more prominent in the piece the shots are more gradually cut and dissolved. The editing is also connected to the message, fast paced at the dramatic sequence when the protagonist is being hit. The cuts are rapid and jerked during the argument and smooth during the images of escapism and freedom from her reality. The convention of using the dissolve to connect the subject matters is one that is used by many pop videos at present. For example, the connection is made between the image of the girl stood over a sink full of dirty dishes, her face bruised and gaunt and when she stares, emotionless (bearing and extra-diegetic gaze) at the mirror. The camera moves at a speed that connects well with the music (which has increased in pace). It stops in a dark, dirty cup which dissolves in to the first of the tunnels in the sequence. The urban and the rural settings vary in speed and colour. Each of the tunnels meanders into another, again at cuts and dissolves reflective of the musical beat. Her mind is no longer an image of calm and peace but of manic seclusion.
Camera angles, positions and movements are explored in the pop video far more than conventional videos in the music industry. For example, one shot of the girl [Used in conclusion to the black and white council flat sequence and to begin an overtonal montage of winding tunnel shots], a reflection of her in a collapsed state where the camera slowly zooms out to reveal the reflection on an old television screen, is symbolic of her repression and loneliness. Her violent partner and her own weariness trap the girl and she has given up on herself. The use of a sequence of point of view shots to present a searching mind, running and alone- although lifeless and motionless in reality her mind searches for an escape, it's chaotic and there is no way out for her . The audience is then hit with the graffitied words, 'When times are shit, don't give up hope'. Although the audience are faced with the question is there really any hope? Particularly after they have experienced this girl's world. A cyclical journey of harsh reality and the yearning, escaping mind (an approach not often uptaken by the conventional aesthetically pleasing, image based pop video. Ending this polysemic notion of messages is an evaluating harsh, brutal reality. The protagonist still suffers physically (as portrayed in the flat) and now mentally (portrayed in the tunnel sequence).
Promoting the dramatic song and producing a pop video that equals in this impact was fulfilled. Whether or not it will successfully promote the artist and song is yet to be known. Using a number of images brimming with social arguments, violence and suppression, we created a polysemic video that defies the usual conventions of the pop video. This defiance was as a result of narrative and its cyclical journey. We used the simple of convention of creating a black and white, gritted indoors (in the melancholic, claustrophobic flat) and the colourful outdoors in the yearning, hoping of the protagonist's mind. The pop video constantly returns to the black and white images in the flat- either of aggression, horror or sadness allowing an ambiguous open end; although there is a return to the black and white flat, the audience are left with just the image of her in a state of happiness- on a broken television screen.
Through this defiant genre of pop video it ought to be successful and therefore gain the profit that the record label aims for with an original promotion. However, considering its survival in the media and the pop video's dependency on airplay on channels such as MTV, etc there is a possibility that it could fail when placed in the industry.
Word Count: 1,134
Part three
The main motive behind the production of our pop video is to make profit. However, the ideology is alternative. It was a co modification of a sub culture- we wanted to achieve a dramatic social statement and have this ideology propagated to our target audience.
'Jakatta' is the name of an artist producing a similar genre of music (to our artist Rob D) and signed to the dance record company. Ministry of Sound's 'Rulin'. Rulin often release their artist's track on black label and, depending on this success, open the track to the public. ' Jakarta' (the American dj 's title) is similar to Rob D in that he too samples pieces (classical and more) eventually creating a dance track. Jakatta would be a direct competitor of Rob D due to their similar styles, similar record labels and target audience.
The pop video for Jakarta's song, 'American Dream' uses a female protagonist. She is, however, in a nightclub amongst other clubbers. The pop video automatically refers to the target audience, whom would mainly be club goers. There is a gratification of consumers associating and identifying themselves with the enjoyment of those within the text. Jakarta's advantage (regarding more methods of promotion) lies in the fact that Ministry of Sound, the owners of his record label, also own the music magazine and clubs nationwide. These elements aid and ease his promotion and overall publicity. Rob D, the artist of 'Clubbed to Death' and member of the dance label 'Multiply' relies on a solid pop video to successfully promote his track. The record label aims for profit after having organised production of the track and the pop video. We used domestic violence as a main narrative issue. An issue not usually addressed in pop videos, especially the dance videos aimed at audiences of 18-30, when the rate of marital violence among those under 30 years of age is more than double the rate for the next older age group (31-50). The protagonist who falls victim to this violence experiences a mental release and state of escapism. As a result of this narrative approach, the audience consuming the piece would (through diversion) escape and become part of our video- releasing them from everyday pressures. Through the pop video's bold confronting of domestic violence and a female protagonist's victimised suffering, we enforced a personal relationship between the empathising audience and our victim.[ According to The Uniform Crime Report of The Federal Bureau of Investigation, 30% of women killed in the United States die at the hands of a partner. In 1990, more than 1200 women were killed by their partners.] A sense of personal identity for members of the audience was achieved, exploring their personal problems having viewed the pop video's polysemic approach. Most importantly our pop video provides surveillance, a fresh, bold awakening for the audience as to what is going on in the world, behind closed doors. [Such an approach can be described as the Uses and Gratifications theory]
The journey that the audience experiences during our unconventional pop video, results in self-actualisation for audience members [An element at the top of Maslow's hierarchy of needs.]. There is a realisation of self-potential for the audience, having compared their own life to that of the female protagonist in the video. This approach is also used in the promotional video for The Prodigy's 'Breathe'; an impactful video from the alternative dance act, it deals with elements of madness and claustrophobia using cramped and dark mise-en-scene and shocking subjects. Played on MTV and The Box music channels in the run up to its release in around 1998 it became a top 5 hit. Now there are channels such as MTV dance, KISS and Q that, too, would be suitable for the genre of music that 'Clubbed to Death' falls under, on which pop video can be viewed by target audiences.
'These examples of the totally contradictory readings of the same programme item provide us with the clearest examples of the way in which the 'meaning' of a programme as a 'message' depends upon the interpretive code which the audience brings to the decoding of the situation' (Morley).
Our pop video is essentially about suffering and a subsequent release and escape. This theme is approached boldly, with the use of many symbols to represent escape and suffering. Morley's theory can be applied, therefore to the pop video, for it is these shots that can be translated in a number of ways by the audience. The use of narrative is an unconventional approach for a promotional pop video, particularly when each element of the real and surreal contradict one another [Though the used convention of having the walled reality as black and white and having the escape in colour would have allowed the audience to clearly identify what the protagonist deals with and what she yearns for in her mind]. To maintain audience satisfaction we involved what may be described as 'aesthetically pleasing' aspects. Intertwining the unconventional social statement with the conventional need for eye satisfaction. For example, editing the camera angles, etc to the beat of the music.
Due to our concentration on wanting to get the 'Messages' across, the pop video does not result in a product that can be defined as 'aesthetically pleasing'. There were some shots that were very beautiful and satisfying to an audience's eye, for example the sunrise. However, this shot was meant to express this message of trapped escapism, hence, the subsequent dissolve into the black and white, gritted close up of the protagonist's eye- now in the flat. This juxtaposition of two shots, each conveying contradicting messages, often occurred in the pop video. Montaged sequences were also used to transmit messages. This approach can be compared to that of a similar sequence in 'The Basketball Diaries'. A 'First Independent' release, it is a young movie with dark messages of violence and drugs. It too has a main protagonist who suffers the most, in this sequence he recalls the first time he took heroin. 'It was like a long heat wave through my body. Any aches or pain, sadness or guilty feeling was completely flushed out' he voices over the recollection. The images are of him, running in slow motion through bright, colourful fields. A haunting panpipe plays, the camera fluidly running with him, the audience, therefore sharing this sensation.
The sensation experienced by audiences watching the sampled sequence from 'The Basketball Diaries' is too felt by the audience viewing the promotional video for 'Clubbed to Death'. Although the dream like sequences could be described as calm and 'palatable' it is not a 'sugaring of the pill of reason'. The audience endures some suffering through empathy for our female protagonist and subsequently shares her elation and sensation when in the openness and natural environment.
The subject of domestic violence is one of great importance in modern day society. It is an issue never usually dealt with nor confronted in conventional pop videos, yet on average each year, women experience 572,032 violent victimisations at the hands of an intimate [(Ronet Bachamn Ph.D; U.S. Department of Justice Bureau of Justice Statistics, "Violence Against Women: A National Crime Victimisation Survey Report," January 1994, p.6).] If the song is successful and requests for the pop video's viewing prove to be of a high rate then this results in a profit-making institutional-consumption paradigm. This will be an accomplishment for we will have fulfilled one of the main objectives behind the promotional video- to successfully promote the song, consequently gaining profit. Of real achievement is the product itself, it is a polysemic presentation of alternative ideology. It alternatively contains a narrative but unconventionally this narrative is led by the addressing of a bold topic of domestic violence and its entrapment behind closed doors.
Word Count: 1,130
Sunday, 12 October 2008
Critical Evaluation- due after half term
This is due in after half term. You should have finished all your research by now so if you are sitting round twiddling your thumbs you could start on this:
advanced production: critical evaluation
The critical evaluation is a 3000 word essay on the process of researching, planning, constructing, analysing, contextualising and sharing your music video!
At the start of your essay write a couple of sentences explaining what you did for coursework last year so the moderator can check you have worked in different media over the two years.
The essay should be formally presented and should be divided into three parts:
Researching, planning and construction (1000 words)
This section is focused on the process you have gone through. It should make clear how you arrived at your decisions and should reflect a logical process. For the research section, discuss what you looked at and where you saw it, formulating as you go along the conventions of music videos. Your planning should arise from the inspiration you have found in your research. Where did you ideas come from? What do you consider to be your target audience?When writing about construction it is important to discuss any changes you felt necessary once the project had been started. Changing your ideas is fine, so long as your choices are justified. You should also refer to the technical process of editing the video (but not in laborious detail!).
Analysis (1000 words)
In this section you should offer what amounts to a textual analysis of your music video, thinking carefully about how meaning is created. It is similar to the action film and sitcom work you did last year in that you are focusing on all aspects of the production to consider the meaning audiences will take from the music video. Don’t write about every shot, but do aim to thoroughly write about the finished product. Where necessary you should refer to theories you have encountered. These should not be put in for the sake of it; only refer to ones that have genuinely been important in either the construction or the reception of your film. Likely theoretical ideas will be: representation, stardom, genre, narrative and intertextuality.
Your video in context (1000 words)
In this final section you should write about the place of your video in the media world when compared to similar output. What are music videos for (thinking about for artists, directors and audiences) and where do they appear? How does your music video fit into the existing music video world?
You should also consider how your music video is received by the audience. Show it to people and ask them what they think. If you’re feeling committed, you could do a questionnaire. You should then address the issues raised: did people understand your narrative, did they like your performance sections, would they like to watch it again? What you ask of them will be determined by the music video you have created.
advanced production: critical evaluation
The critical evaluation is a 3000 word essay on the process of researching, planning, constructing, analysing, contextualising and sharing your music video!
At the start of your essay write a couple of sentences explaining what you did for coursework last year so the moderator can check you have worked in different media over the two years.
The essay should be formally presented and should be divided into three parts:
Researching, planning and construction (1000 words)
This section is focused on the process you have gone through. It should make clear how you arrived at your decisions and should reflect a logical process. For the research section, discuss what you looked at and where you saw it, formulating as you go along the conventions of music videos. Your planning should arise from the inspiration you have found in your research. Where did you ideas come from? What do you consider to be your target audience?When writing about construction it is important to discuss any changes you felt necessary once the project had been started. Changing your ideas is fine, so long as your choices are justified. You should also refer to the technical process of editing the video (but not in laborious detail!).
Analysis (1000 words)
In this section you should offer what amounts to a textual analysis of your music video, thinking carefully about how meaning is created. It is similar to the action film and sitcom work you did last year in that you are focusing on all aspects of the production to consider the meaning audiences will take from the music video. Don’t write about every shot, but do aim to thoroughly write about the finished product. Where necessary you should refer to theories you have encountered. These should not be put in for the sake of it; only refer to ones that have genuinely been important in either the construction or the reception of your film. Likely theoretical ideas will be: representation, stardom, genre, narrative and intertextuality.
Your video in context (1000 words)
In this final section you should write about the place of your video in the media world when compared to similar output. What are music videos for (thinking about for artists, directors and audiences) and where do they appear? How does your music video fit into the existing music video world?
You should also consider how your music video is received by the audience. Show it to people and ask them what they think. If you’re feeling committed, you could do a questionnaire. You should then address the issues raised: did people understand your narrative, did they like your performance sections, would they like to watch it again? What you ask of them will be determined by the music video you have created.
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