Thursday 23 February 2012
Music Video - Final Cut
This is the final edit of my music video production. The original song was a minute longer but had to be cut in order to fit with the constraints of the video.
Thursday 16 February 2012
Walking As A Key Concept Of Rock Videos (And Goodwin's Theory)
After watching many music videos produced by what are general considers Rock artists and bands, a few common themes appeared throughout the majority. One of the most common occurences was a performance by the band, used to promote the band's image as well as being a convention of the genre's video productions, as stated by Goodwin's Theory. Another theme that frequently appears in Rock videos is the simplistic concept of walking. Despite not appearing to have any context on the surface, walking can actually be seen to connote progress.
As some Rock bands include political undertones within their song lyrics, the connotations of the music video and the lyrics combine to help bands promote a certain outlook. This is achieved by the manipulation of Goodwin's Theory, i.e. the relationship between lyrics and visuals. An example of this can be found in the Enter Shikari song, No Sleep Tonight. This video promotes the band members' political ideologies, as well as bringing into a perspective that the audience can relate to, by utilising several more conventions of the Rock genre. The video connotes fighting back against mainstream society doesn't work alone, but if a group comes together, while promoting a tribalistic sense within the Rock scene, it also implies that an opinion can be voiced. Other conventions used by the video, although not necessarily implied as importantly as the previous examples, include the "angry white youth", a very common convention in Rock videos, and the social value, that persistance is the best way to achieve things. In what could be seen as a natural progression of politically aware Rock videos, Here We Go Again by Shelter, an American Krishnacore band, combines the connotations of walking (progress) with a relatively spiritual video, shows how the lifestyle of the Straightedge movement within the Hardcore Punk scene, which often included politically-charged songs, can sidestep into a Krishna-conscious lifestyle.
However, the themes created by combining connotations of walking with other elements isn't exclusive to political and spiritual ideology. Emotionality is perhaps the most common theme amongst the Rock genre as a whole. The most basic representation of this can be found in the music video for October and April, by Finnish band The Rasmus, shows the conflict between good and evil, light and dark, and postivity and negativity, by use of a highly contrasting colour scheme. Throughout the video, lead singer, Lauri Ylönen, walks through a darkly lit street under black clouds, while the featured singer, Anette Olzon, walks in bright lighting and clear skies. When the two meet it is implied that the light side is triumphant, by ungulfing Lauri and taking him out of the darkness. The location of the video, apparently New York City, may also be an intertextual reference to the variety of views people have of the city.
The simplistic battle of good and evil within the self can be expanded by using a variety of different emotions, such as the energetic emotions of love, and anger, as seen in Broken by 12 Stones. It can also take a wholly opposite approach to life by highlighting the various negative aspects of life, including lonliness, hopelessness, and abandonment. This negativity is used within the video for Boulevard of Broken Dreams, by American Pop Punk outfit, Green Day. The start of the video is an intertextual reference to their previous video, Holiday, and signifies that even the greatest run will eventually end, and can sometimes be followed by a depression. This representation of emotion is achieved through the use of location, i.e. in the middle of nowhere, the lyrics, talk of being alone, and the gradual progression from the beginning of emotion to the end, shown via the band members' constant forward movement. It should also be noted that both Broken and Boulevard of Broken Dreams feature a band performance, in keeping with another convention of the Rock genre.
The music video for Bittersweet Symphony, by British band, The Verve, uses mise en scene that corresponds to contemporary British society to combine the connotations of progression with a variety of elements that the audience may be able to relate with. This, along with the already established conventions of persistance, allows the audience to relate to the character portrayed within the video. Frequent cuts to close-ups of the singer/character, as well as a cameo appearance by the entire band at the end of the video help contribute to the record label's desire to promote the band. The themes of Britishness and questionning mainstream society, which are created through a combination of connotations and representation, are yet again combined in Not The Only Person, by Indie Rock band, The Rumble Strips, to give the singer's views on modern society, specifically the culture clash between class, age, and/or ethnicity. It also connotes the singer's perception of money is trivial, and the tribal tendencies found in gang culture.
Part of Goodwin's theory of music videos, the reference to the notion of looking, is achieved, through different methods, for example, telescopes in Iris by The Goo Goo Dolls, and the use of the cinema screen in Movies by Alien Ant Farm (which also makes heavy use of intertextual reference). Despite the multitude of ways in which the notion of looking can be referenced, a very popular choice is the objectification of women. An example of male bands using female sexuality to increase interest in their own music videos, as well as make themselves look more masculine, is the music video for The Drug In Me Is You, by Falling In Reverse. This video sees the singer, Ronnie, freguently surrounded by attractive and provocative women. This video, along with several other music videos by this band also make reference to Ronnie's previous experiences. However, while it is possible that Ronnie is trying to imply that his time in jail hasn't affected him, it can also be said that he is merely trying to make up for his emasculation.
Objectification and sexualisation of women isn't just used to make male artists seem successful, it is also used to promote female artists, in a similar how to how female artists of other genres are often promoted. The most obvious example of this can be found in the music videos for the Russian duo tATu. Perhaps the most effectively used detail in promotion of the duo was the pseudo-lesbian relationship between the members. This attracted a significant amount of controversy to the duo, partly due it's legitimacy, but also because of the racy implications. The pair tackle this latter issue in their video for All The Things She Said, taking the publicity gained from the controversy and using it to connote the notions of sadness and being trapped, while also using sexual objectification to promote the video. The connotations of walking away are also used to imply that the pair aren't phased by what people think of them. Although this is used fairly frequently in other genres, post notably Pop and Rap, it often takes a back seat to other aspects, particularly the emphasis on talent, in some Rock videos. An example of this is the video According To You, by Australian guitarist Orianthi. Several sections of the music videos have a close-up of Orianthi's guitar frets to show off her skills.
As a confirmation of walking as a convention of Rock music videos, there have also been several instances of the element being parodied. The basic concept of parodied in It Must Really Suck To Be Four Year Strong Right Now, by Four Year Strong, which plays on the conventions of alternative fashion, shown in the wide array of clothing worn by all those in the video, collective identity, i.e. the addition of new characters from the beginning, and even the "band performance", in front of the crowd towards the end of the video. The parodt is further exemplified in Join With Us, by British Soft Rock band, The Feeling. This video begins with several British cultural signifiers, specifically those heavily associated as stereotypes, most notably London businessmen at the beach, as well as the general expectations of rain. However, this soon changes as the band break free from these stereotype restraints, to have fun represented by a fun fair. The band then begin a performance, in keeping with one of Rock's genre conventions, as stated by Goodwin's Theory.
In keeping with the parody of Rock videos, American comedy rockers, Bloodhound Gang, take this to the extreme in most of their videos. The most famous example of this is the video for Bad Touch, which features the band members roaming, once again walking is used, albeit as a minor theme, around the streets of Paris in full-size mouse costumes. The lyrics of the song, combined with the general nature of the video strongly connote an immaturity that makes the band popular with male teenagers. However, the video also makes use of key concepts within the video, albeit often lampooning them. For example, stereotypical cultural signifiers of France, such as mimes, as well as genuine signifiers, specifically the Eiffel Tower, serve to contradict the tone of the song, due to Paris' romantic connatations compared with the misogyny often prevalent in the lyrics and video. The finale of the video also parrodies the genre characteristics of Rock, and popular music videos at the time, by including a dance routine. This makes up for the otherwise absence of a band performance, as well as reinforcing and contradicting the lightheartedness of the video at the same time. This is achieved through the perception that the dance routine is perhaps the most serious aspect of the video, but at the same time highlights everything about the video that is not.
As the connotations of walking, which I chose to have a strong role within my music video, can be combined with such a wide range of different themes, I had to decide which of these would best fit the song. I was instantly able to rule out parody, as I feel this would have been ineffective as a stand alone video. I also felt that it would be impossible to make too strong a reference to Britishness without it appearing forced. After toying with the idea of using political ideology, due to the language used in the lyrics, I decided to set the video around a young male who had recently ended a relationship. I chose to do this because it is something that the target audience may have experienced, and will therefore be able to relate to the main character, and also because the lyrics, when not taken literally, can be interpreted as the thoughts and feelings of the main character.
Despite the most prolific genre convention of Rock music videos being a band performance, I chose to avoid that and go for less common genre characteristics, such as the use of black and white film, which is a nod to early Rock videos. While this didn't help me challenge the genre, I was able to steer away from the cookie cutter style video that some rock bands produce. A relationship between lyrics and visuals is used during the flashbacks, as the lyrics make reference to memories. The relationship between the music and visuals is much stronger, as I made freqent use of editing to the beat. I chose not to use many close ups of the main character, as he is not percieved as singing the song outloud, which may have confused the audience. Instead, it can be assumed that the singing and music is all in head, or as non-diegetic sound. The notion that the music is not heard by the main character implies that the audience is really watching a film, which is the only real reference to the notion of looking throughout. While the black and white imagery is a reference to older Rock music videos, it can also be seen as an intertextual reference to the film, Control, based on the adult life of Joy Division singer, Ian Curtis.
This combination of genre conventions and Goodwin's Theory allow the audience to become immersed within the music video, and connect with the main character. By connecting to the main character, they also form a connection with the music, which will hopefully convince them to purchase future songs released by my choen band.
As some Rock bands include political undertones within their song lyrics, the connotations of the music video and the lyrics combine to help bands promote a certain outlook. This is achieved by the manipulation of Goodwin's Theory, i.e. the relationship between lyrics and visuals. An example of this can be found in the Enter Shikari song, No Sleep Tonight. This video promotes the band members' political ideologies, as well as bringing into a perspective that the audience can relate to, by utilising several more conventions of the Rock genre. The video connotes fighting back against mainstream society doesn't work alone, but if a group comes together, while promoting a tribalistic sense within the Rock scene, it also implies that an opinion can be voiced. Other conventions used by the video, although not necessarily implied as importantly as the previous examples, include the "angry white youth", a very common convention in Rock videos, and the social value, that persistance is the best way to achieve things. In what could be seen as a natural progression of politically aware Rock videos, Here We Go Again by Shelter, an American Krishnacore band, combines the connotations of walking (progress) with a relatively spiritual video, shows how the lifestyle of the Straightedge movement within the Hardcore Punk scene, which often included politically-charged songs, can sidestep into a Krishna-conscious lifestyle.
However, the themes created by combining connotations of walking with other elements isn't exclusive to political and spiritual ideology. Emotionality is perhaps the most common theme amongst the Rock genre as a whole. The most basic representation of this can be found in the music video for October and April, by Finnish band The Rasmus, shows the conflict between good and evil, light and dark, and postivity and negativity, by use of a highly contrasting colour scheme. Throughout the video, lead singer, Lauri Ylönen, walks through a darkly lit street under black clouds, while the featured singer, Anette Olzon, walks in bright lighting and clear skies. When the two meet it is implied that the light side is triumphant, by ungulfing Lauri and taking him out of the darkness. The location of the video, apparently New York City, may also be an intertextual reference to the variety of views people have of the city.
The simplistic battle of good and evil within the self can be expanded by using a variety of different emotions, such as the energetic emotions of love, and anger, as seen in Broken by 12 Stones. It can also take a wholly opposite approach to life by highlighting the various negative aspects of life, including lonliness, hopelessness, and abandonment. This negativity is used within the video for Boulevard of Broken Dreams, by American Pop Punk outfit, Green Day. The start of the video is an intertextual reference to their previous video, Holiday, and signifies that even the greatest run will eventually end, and can sometimes be followed by a depression. This representation of emotion is achieved through the use of location, i.e. in the middle of nowhere, the lyrics, talk of being alone, and the gradual progression from the beginning of emotion to the end, shown via the band members' constant forward movement. It should also be noted that both Broken and Boulevard of Broken Dreams feature a band performance, in keeping with another convention of the Rock genre.
The music video for Bittersweet Symphony, by British band, The Verve, uses mise en scene that corresponds to contemporary British society to combine the connotations of progression with a variety of elements that the audience may be able to relate with. This, along with the already established conventions of persistance, allows the audience to relate to the character portrayed within the video. Frequent cuts to close-ups of the singer/character, as well as a cameo appearance by the entire band at the end of the video help contribute to the record label's desire to promote the band. The themes of Britishness and questionning mainstream society, which are created through a combination of connotations and representation, are yet again combined in Not The Only Person, by Indie Rock band, The Rumble Strips, to give the singer's views on modern society, specifically the culture clash between class, age, and/or ethnicity. It also connotes the singer's perception of money is trivial, and the tribal tendencies found in gang culture.
Part of Goodwin's theory of music videos, the reference to the notion of looking, is achieved, through different methods, for example, telescopes in Iris by The Goo Goo Dolls, and the use of the cinema screen in Movies by Alien Ant Farm (which also makes heavy use of intertextual reference). Despite the multitude of ways in which the notion of looking can be referenced, a very popular choice is the objectification of women. An example of male bands using female sexuality to increase interest in their own music videos, as well as make themselves look more masculine, is the music video for The Drug In Me Is You, by Falling In Reverse. This video sees the singer, Ronnie, freguently surrounded by attractive and provocative women. This video, along with several other music videos by this band also make reference to Ronnie's previous experiences. However, while it is possible that Ronnie is trying to imply that his time in jail hasn't affected him, it can also be said that he is merely trying to make up for his emasculation.
Objectification and sexualisation of women isn't just used to make male artists seem successful, it is also used to promote female artists, in a similar how to how female artists of other genres are often promoted. The most obvious example of this can be found in the music videos for the Russian duo tATu. Perhaps the most effectively used detail in promotion of the duo was the pseudo-lesbian relationship between the members. This attracted a significant amount of controversy to the duo, partly due it's legitimacy, but also because of the racy implications. The pair tackle this latter issue in their video for All The Things She Said, taking the publicity gained from the controversy and using it to connote the notions of sadness and being trapped, while also using sexual objectification to promote the video. The connotations of walking away are also used to imply that the pair aren't phased by what people think of them. Although this is used fairly frequently in other genres, post notably Pop and Rap, it often takes a back seat to other aspects, particularly the emphasis on talent, in some Rock videos. An example of this is the video According To You, by Australian guitarist Orianthi. Several sections of the music videos have a close-up of Orianthi's guitar frets to show off her skills.
As a confirmation of walking as a convention of Rock music videos, there have also been several instances of the element being parodied. The basic concept of parodied in It Must Really Suck To Be Four Year Strong Right Now, by Four Year Strong, which plays on the conventions of alternative fashion, shown in the wide array of clothing worn by all those in the video, collective identity, i.e. the addition of new characters from the beginning, and even the "band performance", in front of the crowd towards the end of the video. The parodt is further exemplified in Join With Us, by British Soft Rock band, The Feeling. This video begins with several British cultural signifiers, specifically those heavily associated as stereotypes, most notably London businessmen at the beach, as well as the general expectations of rain. However, this soon changes as the band break free from these stereotype restraints, to have fun represented by a fun fair. The band then begin a performance, in keeping with one of Rock's genre conventions, as stated by Goodwin's Theory.
In keeping with the parody of Rock videos, American comedy rockers, Bloodhound Gang, take this to the extreme in most of their videos. The most famous example of this is the video for Bad Touch, which features the band members roaming, once again walking is used, albeit as a minor theme, around the streets of Paris in full-size mouse costumes. The lyrics of the song, combined with the general nature of the video strongly connote an immaturity that makes the band popular with male teenagers. However, the video also makes use of key concepts within the video, albeit often lampooning them. For example, stereotypical cultural signifiers of France, such as mimes, as well as genuine signifiers, specifically the Eiffel Tower, serve to contradict the tone of the song, due to Paris' romantic connatations compared with the misogyny often prevalent in the lyrics and video. The finale of the video also parrodies the genre characteristics of Rock, and popular music videos at the time, by including a dance routine. This makes up for the otherwise absence of a band performance, as well as reinforcing and contradicting the lightheartedness of the video at the same time. This is achieved through the perception that the dance routine is perhaps the most serious aspect of the video, but at the same time highlights everything about the video that is not.
As the connotations of walking, which I chose to have a strong role within my music video, can be combined with such a wide range of different themes, I had to decide which of these would best fit the song. I was instantly able to rule out parody, as I feel this would have been ineffective as a stand alone video. I also felt that it would be impossible to make too strong a reference to Britishness without it appearing forced. After toying with the idea of using political ideology, due to the language used in the lyrics, I decided to set the video around a young male who had recently ended a relationship. I chose to do this because it is something that the target audience may have experienced, and will therefore be able to relate to the main character, and also because the lyrics, when not taken literally, can be interpreted as the thoughts and feelings of the main character.
Despite the most prolific genre convention of Rock music videos being a band performance, I chose to avoid that and go for less common genre characteristics, such as the use of black and white film, which is a nod to early Rock videos. While this didn't help me challenge the genre, I was able to steer away from the cookie cutter style video that some rock bands produce. A relationship between lyrics and visuals is used during the flashbacks, as the lyrics make reference to memories. The relationship between the music and visuals is much stronger, as I made freqent use of editing to the beat. I chose not to use many close ups of the main character, as he is not percieved as singing the song outloud, which may have confused the audience. Instead, it can be assumed that the singing and music is all in head, or as non-diegetic sound. The notion that the music is not heard by the main character implies that the audience is really watching a film, which is the only real reference to the notion of looking throughout. While the black and white imagery is a reference to older Rock music videos, it can also be seen as an intertextual reference to the film, Control, based on the adult life of Joy Division singer, Ian Curtis.
This combination of genre conventions and Goodwin's Theory allow the audience to become immersed within the music video, and connect with the main character. By connecting to the main character, they also form a connection with the music, which will hopefully convince them to purchase future songs released by my choen band.
Sunday 12 February 2012
First Panel - Former Decision
This if the final edit of my digipak's first panel. The reference to Team Rocket, of Pokemon, is still recognisable, although not as obvious as originally planned. This is because I feel that the background of light grey works better with the logo colour of red than a plain white background, as would have been used had the influence of Team Rocket been a primary feature in the artwork. Instead, there is more emphasis on it being an original logo to give it's relationship to the band more strength.
This panel also shows my chosen name for the digipak. It's title, "The Battle of Life" is in reference to a lesser known work of the 19th Century English writer, Charles Dickens. This reference shall be explored in more detail when the digipak's full playlist is posted, in conjunction with my final digipak image.
Wednesday 1 February 2012
First Panel Influence/Intertextual Reference
I have chosen to base my band's logo, and the most prominent feature on the front cover of my digipak, to reference Team Rocket, the fictional criminal organisation from hit TV anime, Pokemon. I have chosen to do this as a significant part of my target audience, namely males aged 18-25, will have likely grown up watching Pokemon, and may recognise, consciously or otherwise, the influence I had in creating the logo.
First Panel Research
As the above album covers show, a common theme among rock albums is to use either a band logo, or an album specific logo on the front cover. This allows easy identification of the album, which makes purchasing that specific album a much simpler process. However, the first two images, which are album specific did not previously have any association with the band. Therefore, only those with a prior knowledge of the album cover would be able to identify it. This weakness in advertisement can be overcome by using a generalised band logo, such as the one on used on the third image, by American Post-Grunge band, Breaking Benjamin. This recurring logo motif, which is present on all four of the band's albums, serves to remind fans of previous albums that this is their new album.
Because this is the first cover art being used to promote my band's digipak, I will be using a generalised band logo rather than an album specific one, which I shall create using image-manipulation software, most likely photoshop. This logo, which initially takes up a significant portion of the front cover, as Breaking Benjamin's does, can be reduced in size as the band gains more name recognition.
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