Evaluation on Prezi
Thursday, 28 April 2011
Wednesday, 27 April 2011
Evaluation Question 4 - How did you use media technologies in the construction and research, planning and evaluation stages?
Evaluation Question 3 - Audience feedback
Evaluation Question 2 - How effective is the combination of the main product and the ancillary texts?
Evaluation Question 1 - In what way does your media product use, develop or challenge forms and conventions of real media products?
Tuesday, 26 April 2011
Monday, 18 April 2011
Ancillary Texts - Digipack
Creation Process
Friday, 15 April 2011
Thursday, 7 April 2011
Wednesday, 30 March 2011
Construction of Mise-en-scene and Camera work in Frankenstein Says
The mise-en-scene and camera work played a very important part in the Frankenstein Says music video that we created. Throughout the video the mise-en-scene showed many different elements that consisted within the story; these included elements such as the setting, the status of the different characters within the scene and the main visual elements such as the black and white format that the music video was filmed in to show the old fashioned style film that we wanted to portray from the original idea that was created.
The first shot that the audience see when the music video starts is a low angle shot of a castle. This immediately shows the audience the setting for the music video as well as the power that the castle has in the scene. The low angle shot is to show that the castle is portrayed as a scary setting that the audience should be afraid of. This idea came from a haunted house style theme that audiences may have seen in olden day films or in modern day horror films.
The panning shots of the pipes and still shots of other features such as the lighting box are used to set the scene of the music video by showing the dark, cold place as we decided to use a strong narrative at the start of the music video that was based around a comical version of the Frankenstein films.
The first shot that we see of the main character of Frankenstein’s Monster is a close up of the characters face. This was used as it immediately introduced the character to the audience and shows the characters emotions as he opens his eyes from being in an unconscious state. The shot immediately after this is a point of view shot looking up at Frankenstein (The Scientist). The mise-en-scene of this shot shows the audience that at this moment in the music video the monster is in a vulnerable sate and that Frankenstein is more powerful as he looks over the monster that he has created.
As Frankenstein’s Monster sits up the camera shot changes to a medium shot of the two characters that are currently placed in the scene. This was used so that the audience could get a full view of what was happening in the scene and could also get the first real look at the setting that surrounds the two characters of Frankenstein and his monster.
When the audience is introduced to the female character within the music video, she appears from a bolt of light. This was used to show that although in black and white the female character is shown as a bright and beautiful character that is also shown by the low angle shot that shows the audience immediately that she is a dominant character with a big role to play within the rest of the storyline in the music video.
The dancers that appear with scars and bruises in the music video are used to represent two things within the video. Firstly they appear to show Frankenstein’s Monsters confused state of mind after being rejected by the female character. Secondly they were used to show that the music video was created for the dance track of Simon Says so they are used to relate back to the original song that the music video has been created for. The audience see the dancers from many different camera angles that show there mise-en-scene within the music video. These include close up shots to introduce them when they first appear and long shots to show there united bond as a dance troop.
At the end of the music video Frankenstein is killed. The last shot is of him on the ground. To show this we used a high angle shot to show that Frankenstein who started off powerful was no longer power. This was also a nice ending as it juxtaposed the first shot of the music video.
Overall to main locations were used to show differing elements of mise-en-scene as the castle was shown as being dark and cold and the garden was shown as being bright and happy.
Friday, 25 March 2011
Representation of characters in the music video
Frankenstein’s Monster
- Frankenstein’s Monster is represented as having many different emotions throughout the course of the music video. He seems to start off as a scary character as he sits up in a robotic kind of way and pushes Frankenstein. This shows the audience the dangerous side of Frankenstein’s Monster. However when we are first introduced to the character he is seen as being quite vulnerable as Frankenstein leans over him in a dominant position. Another side that we see to the character is happiness or eagerness when he is trying to impress the female character. This is the representation that challenges the stereotype of the monster. Lastly we see sadness which again challenges the stereotypical view that is often shown as this shows the audience that the character of Frankenstein’s Monsters has human emotions. This shows overall that Frankenstein’s Monster has four different emotions as the music video that we have created progresses and they are Scary, Vulnerable, Happy and Sad.
- The character of Frankenstein is represented as being the traditional baddy in this music video. Although this isn’t really warranted the audience get this perception because of the start of the music video. The shot of Frankenstein in the castle showed him as a scary figure. This representation is also helped by the fact that he is holding the monster against his will in the castle at the start. In all films and television programs the stereotypical baddy always gets their comeuppance and in this music video it is know different with Frankenstein eventually being killed although the audience are unaware of who the murderer is at the end of the video.
Female Character
- Like The Monster, the female character is represented as having different emotions throughout the music video. She seems to start of happy when she is picking oranges in the garden. At this point in the narrative she is represented as being kind, bright and an overall happy person. However this changes the first time she see Frankenstein’s monster as her facial expressions reveal to the audience that she does not like what she sees as she is quite a shallow person. However this changes again as she gets to know the monster and her beautiful, bright personality that was shown to the audience when she was first introduced comes out.
Thursday, 24 March 2011
Representation of people/groups.
Our second character is the doctor’s monster, we portrayed him as someone who other’s aren’t fond of (through the woman’s various reactions) and as someone who’s keen to please, and wants a partner, but is rejected. Most audiences can relate to this, or at least feel sympathy for him.
The third character in our video is the woman. Her role in the video is as the monster’s desired object, through her, we see the monster’s hope, and through her we feel sympathy for the monster and connect with him.
There is a reason to why we represented the group as we’ve done. When doing a narrative in a music video, you can only explore one character in enough depth for the audience to connect with him/her. We did this by having multiple characters and using the secondary characters to explore the main characters.
The song itself is popular within our target audience (15-25), but the video is unconventional. I think the audience will respond well to the video, because it has elements of modern day videos (dance routine, women sexually objectified, comedy), but we’ve portrayed these aspects in an old fashioned way (apart from the dance routine); this will appeal to those tired of watching four minute dance routines, and I think that is a large audience field for us to grab.
Monday, 21 March 2011
Shooting Schedule
September 2010
Date | Time | Duration |
Thurs 7/9/10 | 11:00 am | 3 hours |
Thurs 16/9/10 | 11:00 am | 3 hours |
Thurs 23/9/10 | 12:00 pm | 2 hours |
Mon 30/9/10 | 10:45 am | 1 hour |
October 2010
Date | Time | Duration |
Mon 4/10/10 | 11:00 am | 3 hours |
Thurs 7/10/10 | 11:00 am | 2 hours |
Thurs 14/10/10 | 10:00 am | 1 hour |
Friday 15/10/10 | 3:00 pm | 2hours |
November 2010
Date | Time | Duration |
Thurs 4/11/10 | 11:00 am | 2 hours |
Mon 15/11/10 | 3:00 pm | 3 hours |
Thursday, 17 March 2011
Casting, Props and Costume
Actors
Adam Brewer – Frankenstein
Ashston Hockham-Marshall – Monster
Hannah Smith- Monsters Romantic Interest
Decepticons – Dance Group
Extras
Sam Zekeria
Costume
Lab coat
Wig
Wedding Dress
Ripped clothing (Frankenstein monster)
Black and white ripped t-shirts (Decepticons)
Formal Jacket (Sam Zekeria)
Make up
Face paint (Black, Green, Grey and White)
Monday, 14 March 2011
Saturday, 26 February 2011
Friday, 25 February 2011
Conventions of music videos
Fast Edits – Edits are usually no more than a few seconds, adds to the pace and therefore keeps the audience engaged
Multiple Shots
Feature the lead singer or band – Members of the audience recognise the singers, adds to their star status
Relationship between the music/lyrics and the video or image
Dance Routine
Appropriate mise-en-scene for the genre of music
Cross-cutting between narrative and performance (of band of singer)
Frequent use of montage editing
Average length approx 3-4 minutes
Michel Gondry
Spike Jonze
David Fincher
Info on the director – their background and where they are today – examples of their films
Their style – how would you describe their style of filming
Their Music Videos – list what videos they have created and discuss their style
Screenshots from the music videos – annotated outlining their stylistic features
Info on the director – their background and where they are today – examples of their films
1) David Fincher was born on August 28, 1962
2) Fincher began making movies at age eight with an 8 mm camera
3) He was hired by Industrial Light & Magic in 1980
4) In 1984, he left ILM to direct a commercial for the American Cancer Society
5) This quickly brought Fincher to the attention of producers in Los Angeles
6) Though he would continue to direct spots for companies like Revlon, Converse, Nike, Pepsi, Sony, and Levi's, Fincher soon discovered music videos and went on to direct many promos
7) Fincher has also worked on many feature films including Alien 3 (1992) Se7en (1995)The Game (1997)Fight Club (1999)Panic Room (2002)
Zodiac (2007)The Curious Case of Benjamin Button (2008)The Social Network (2010)
Their style – how would you describe their style of filming
Fincher is known for his dark and stylish thriller movies which reflects some of the films that he has directed such as Se7en,
The Game, Fight Club and Zodiac
Their Music Videos – list what videos they have created and discuss their style
"Dance This World Away", Rick Springfield (1984)
"Celebrate Youth", Rick Springfield (1984)
"Bop Til You Drop", Rick Springfield (1984)
"Shame", The Motels (1985)
"Shock", The Motels (1985)
"All The Love", The Outfield (1986)
"Every Time You Cry", The Outfield (1986)
"One Simple Thing", Stabilizers (1986)
"She Comes On", Wire Train (1987)
"Should She Cry", Wire Train (1987)
"Endless Nights", Eddie Money (1987)
"Downtown Train", Patty Smyth (1987)
"I Don't Mind At All", Bourgeois Tagg (1987)
"Notorious", Loverboy (1987)
"Love Will Rise Again", Loverboy (1987)
"Johnny B", The Hooters (1987)
"Storybook Story", Mark Knopfler (1987)
"Can I Hold You", Colin Hay (1987)
"No Surrender", The Outfield (1987
"Say You Will", Foreigner (1987)
"Don't Tell Me The Time", The Motels (1987)
"Tell It To the Moon", The Motels (1988)
"Heart of Gold", Johnny Hates Jazz (1988)
"Englishman in New York", Sting (1988)
"Shattered Dreams" (second version),
Johnny Hates Jazz (1988)
"Get Rhythm", Ry Cooder (1988)
"Most of All", Jody Watley (1988)
"Roll With It", Steve Winwood (1988)
"(It's Just) The Way That You Love Me" (version 1988), Paula Abdul (1988)
"Holding On", Steve Winwood (1988)
"Heart", Neneh Cherry (1989)
"Bamboleo" (second version), Gypsy Kings (1989)
"Straight Up", Paula Abdul (1989)
"Most Of All", Jody Watley (1989)
"Real Love", Jody Watley (1989)
"Bamboleo" (third version), Gypsy Kings (1989)
"She's a Mystery to Me", Roy Orbison (1989)
"Forever Your Girl", Paula Abdul (1989)
"Express Yourself", Madonna (1989)
"The End of the Innocence", Don Henley (1989)
"Cold Hearted", Paula Abdul (1989)
"(It's Just) The Way That You Love Me" (version 1989), Paula Abdul (1988)
"Oh Father", Madonna (1989)
"Janie's Got a Gun", Aerosmith (1989)
"Vogue", Madonna (1990)
"Cradle of Love", Billy Idol (1990)
"L.A. Woman", Billy Idol (1990)
"Freedom '90", George Michael (1990)
"Bad Girl", Madonna (1993)
"Who Is It?", Michael Jackson (1993)
"Love Is Strong", The Rolling Stones (1994)
"6th Avenue Heartache", The Wallflowers (1996)
"Judith", A Perfect Circle (2000)
"Only", Nine Inch Nails (2005)
Notable Names – Michael Jackson, The Rolling Stones, Aerosmith, Madonna, George Michael and Paula Abdul
· Feature the lead singer or band members – so the audience recognise the singers, adds to their star status.
· Fast cuts – edits are usually no more than a few seconds, adds to the pace and keeps the audience engaged (MTV generation) short attention spans.
· Relationship between the music (lyrics and the video/images.
· Dance routines
· Appropriate mise-en-scene for the genre of music.
· Genre signifiers, which the audience decode.
· Cross cutting between narrative + performance (of band or singers)
· Frequent use of montage editing
· Average length approx 3-4 mins
Intertextuality: Intertextuality is the shaping of texts' meanings by other texts. It can refer to an author’s borrowing and transformation of a prior text or to a reader’s referencing of one text in reading another.
One of the pleasures that audiences experience in the consumption of media texts is the joy of recognition. One form of this pleasure comes in recognising the reference in one media text to other media texts. This process of referencing is called intertextuality.
Hall's Theory of encoding and decoding is a theory of Reception Theory developed by Stuart Hall.
According to the theory, audiences can have three different reactions to a media text, whether it is a film, documentary or newspaper:
Dominant, or Preferred, Reading - how the director/creator wants the audience to view the media text;
Opposition Reading - when the audience rejects the preferred reading, and creates their own meaning of the text;
Negotiated Reading - a compromise between the dominant and opposition readings, where the audience accepts parts of the director's views, but has their own views on parts as well.