Checklist

Your blog check list- all needs to be complete, ready for assessment.


Home page- details about you and your musical influences, music videos you like and studying media in general.
Questionnaire summary, about you.
Course information- what you have to complete in this A2 course
Photos of you working and any previous work you have done in preparation for this (hobby music videos, short films)


Primary Research- All your focus group, questionnaires and results pie charts and graphs, interviewing via facebook groups.


Secondary Research- Textual Analysis of music videos, Star Analysis task, Auther theory study, evaluation of music videos we have studied in class, Andrew Goodwin Theory, Tarantula exercise, brainstorming ideas. What bands/artists you would like to create a video and why?
History of music videos case study –(track the music video through the decades)
Marketing campaign study, looking at the marketing campaign of a band or singer
Own CD front cover design (photoshop)

Planning page
Concept layout
Decision making video and script
Lyrics annotation
Location details, address, recce including photos
Costume and make up (include photos) plan
Lighting design
Animatic storyboard video- with photos
Props list
Equipment list
Production filming schedule
Personnel involved (actors and crew)
Image, marketing, brand mood board



Minutes (can be completed as a video diary)

Make sure you have:
Date, Agenda, Action, Personnel, Outcome, Next action

Half term work

Your assignment for half term.

'Daily Video Digest'

You must choose one music video each day of the holidays to represent that specific day.

You must write:
- a synopsis of the video, who directed it and what are the codes and conventions?
- why that video represents your day
- what festures of Goodwins theory are in each video?
- what elements of each video are similar to your own ideas?

You must also do as much filming as possible as you will be getting a deadline list when you come back.

You must also keep up with meeting minutes and blogging about your progress and ideas.

Intertextuality

Here is what your recent blog post should be about:


Blog about another artist and how they have shown Intertextuality in their videos (see example essay we went through in class)


Look at example blog http://leilamedia.tumblr.com/page/3


What films/stories/other videos/images/ other media has inspired you and your own video? You must have some element of intertextuality

BLOG POST- INLCLUDE IMAGES AND STILLS-

Photos from today

Interesting

The music video may hardly be in top cultural form at the moment, with both the channels previously known as Music Television and Video Hits 1st becoming bigger misnomers by the day. But even if these previously monolithic video outlets don’t seem to care too much about spreading the gospel anymore, in actuality, possibilities for video watching are arguably greater than ever. Deluxe cable channels like MTV Jams and VH-1 Classic are living up to the 24-hour-a-day music promises previously made by their parent channels, and with larger and more diverse playlists than ever before. And far more miraculously, with the advent of YouTube, video freaks finally have the capabilities to view almost any video they want, whenever they want. Music video democracy is at an all-time high.

With that in mind, we here at Stylus have democratically selected our humble and largely unofficial picks for the 100 best videos ever made, and are presenting them here, fully equipped with YouTube links for your viewing pleasure. Our list spans over four decades of music videos, from Bob Dylan & D.A. Pennebacker’s arguable creation of the art form in 1965 right up to a barely month-old Hot Chip video by Garth Jennings. We’ll be unveiling 20 a day, so be sure to check back throughout the week to keep up. Relive some of your favorite music video memories, and hopefully make a few new ones as well, as we count down the greatest hits of the music video medium.

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020. Talking Heads – “Once in a Lifetime”
(Dir. David Byrne & Toni Basil, 1980)

When it comes to music video performance, David Byrne is something of a nerdy Robert DeNiro, and “Once in a Lifetime” is his Raging Bull. He huffs, he puffs, and he generally freaks the fuck out, looking about four times as ragged as Dustin Hoffman in Marathon Man (meaning he probably stayed up the last four nights straight before the shoot). Byrne is Jake LaMotta without an opponent, mentally and physically kicking his own ass as if the stress of the modern world had actually made him lose sense of his motor functions. And then comes the chorus, where Byrne surrenders completely, floating on a sea of blue screen and looking unsure as to whether he’s reached heaven or is merely stuck in limbo. Music video acting may have existed before “Once in a Lifetime,” but it’s Byrne that made it Strasberg worthy.
[Andrew Unterberger]



019. Juvenile – “Get Ya Hustle On”
(Dir. Ben Mor, 2006)

In the BBC’s miniseries Traffik, Fazal, a helpless Opium grower in rural Pakistan says to an British diplomatic visitor, “We just grow opium, it’s Europe that’s got the heroin problem.” Post-Katrina New Orleans and Juvenile paints a similar picture: a cheap, fractured suburban stone angel with a somber on-screen dedication gives way to the totems of gangsta life (SUV, limo, big house) smashed up and strewn between ditches, rivers, and fresh gulches. Horses pull the carcasses of dead, lost cars. Three young boys slowly peruse the wreckage and pull paper masks of Cheney, Nagin, and Bush with the message “HELP IS COMING” scrawled on the inside. Juve rattles off amoral survival instinct before plummeting the song into its most communal moment: a circle of dispossessed D-boys offering a dark, searing vision of post-Katrina reality, pantomiming crack preparation while singing what sounds like a feed-your-family nursery rhyme, “we take the Pyrex and we rock with it, roll with it!”
[Evan McGarvey]



018. Smashing Pumpkins – “1979”
(Dir. Jonathan Dayton & Valerie Farris, 1996)

I was about ten years old when I first saw the video for “1979,” and I fully expected it to be a forecast of what the next ten years of my life were going to be like. Or, at least, I hoped as much. I couldn’t wait to skid my car in circles around parking lots, or to bowl with liquor bottles and soda 2-liters, or to throw all my friends’ patio furniture into their swimming pool (which I actually goaded a couple of my friends into doing once), or to go to the top of a big cliff overlooking my town and just flip them the big one. I doubt anyone ever has one night as ideal as this during their teenage years, but I only hope that when I think back on being eighteen a few decades from now, my memories will congeal into a Greatest Hits package like this. Billy Corgan can even ride in the back seat.
[Andrew Unterberger]



017. R.E.M. – “Losing My Religion”
(Dir. Tarsim, 1991)

Fans cited Caravaggio and Gabriel Garcia Marquez as referents in this beloved video, but, really, its most striking image is Michael Stipe, before canonization as Saint Hip of Baldness, doing the safety dance or something (hint: it involved twitching his elbows). Bill Berry glowers like he’s Charlie Watts and Stipe is Mick Jagger. A pink-mouthed youth, too pretty for rough trade, does a convincing Sebastian, although he looks annoyed rather than agonized by the arrows sticking out of him. As a visual representation of the most teasingly ambiguous hit song ever to hit the top five, it’s garish, a tenth-grader’s idea of surrealism; as a means of selling R.E.M. as four ugly men of mystery to a mass audience ready to welcome them, it was a gesture of consummate shrewdness.
[Alfred Soto]



016. The Chemical Brothers – “Star Guitar’
(Dir. Michel Gondry, 2002)

Director Michel Gondry took one of the oldest music clichés and wrote a symphony. He works with the gimmick of syncing supposedly candid moments of street life and the countryside to the music’s beat, but he makes it all look like a complete innovation. At first, it appears that nothing is going on. Through a moving train’s window, we first see a railroad crossing glide by right on the song’s beat, and then an identical one appears, and another as the rhythm quickens—an industrial European landscape becoming a musical instrument. Daylight suddenly fades into night and back to the sun again when a melody floats from the TV, a pedestrian walks by after each verse is sung, the window view flickers in perfect time to the Brothers’ chopped beats. The entire video plays tricks with the mind and reveals a new sight with every viewing. Well done.
[Cameron MacDonald]



015. Peter Gabriel – “Sledgehammer”
(Dir. Stephen R. Johnson, 1986)

Simply put, a work of absolute, cheeky genius. There’s a sense of childlike playfulness throughout, from the opening shots of blood pumping along to the music (What part of the body is that? Hmm.) to the literal manifestations of the countless sexual metaphors. Makes me laugh every time, especially during the lines “You could have a steam train / If you’d just lay down your tracks,” and “Show me round your fruit cage / Cause I will be your honeybee.” The impressive claymation and pixelation techniques gel perfectly with the playful atmosphere of the song while also expanding the boundaries of what a music video could be. I sometimes wonder if this video would air on MTV if it premiered nowadays, what with moral conservatism running rampant. Oh Peter Gabriel, we thought you were such a nice boy!
[Jeff Shreve]



014. Beastie Boys – “Sabotage”
(Dir. Spike Jonze, 1994)

Spike Jonze’s talent for restaging the pop-culture crap of his childhood found its best expression in this video, in which the Beastie Boys make like Starsky and Hutch. Their Method seriousness would give Owen Wilson pause. Their hairpieces would be the envy of Robert Blake. Jonze’s frantic editing—you didn’t find that on “Beretta”—mistakenly creates the impression that “Sabotage” has a monster groove. In actuality, it’s closer to the Average White Band than Bad Brains, and I doubt the Beasties would get offended by that.
[Alfred Soto]



013. Bob Dylan – “Subterranean Homesick Blues”
(Dir. D.A. Pennebaker, 1967)

The hands down winner on this list for “artist who had the least fun making their video” (could Dylan look more bored?), and also probably a shoo-in in our “Least Precedented,” “Cheapest to Shoot,” and “Most Parodied” categories. This remains one of the simplest, strangest, and most indelible moments of Dylan’s career. He’s standing stage right, and his cue cards are as mixed and varied as his live renditions of the song. Allen Ginsberg seems to be having a blast, following his poet boy-toy around London. But this, as opposed to most of Dylan’s acting in the mid-60’s, was myth-making of the most passive order. Dylan was flippant, annoyed, even aggressive, and the scene seems glibly unscripted, even if you know that it was filmed three different times.
[Andrew Gaerig]



012. Pulp – “Bad Cover Version”
(Dir. Jarvis Cocker & Martin Wallace, 2002)

From Macca to Missy to Meatloaf, from Cher to Cobain to Cocker (!), celebrity impersonators get their comeuppance for one of Pulp's final singles. The song, of course, is about the lover that you jump to that's ever so slightly reminiscent of the one you've just lost. The video is one long sight gag riffing on celeb charity songs and the awkward and/or endearing quirks those crazy-famous mofos have, but the subtext is Pulp's own bizarre brush with the public eye—first we have a Cocker imitator and then Jarvis with a wig playing Brian May in the closing moments. What does it all mean? How the Hell should I know—how in the world did Pulp ever get big to begin with?
[Mallory O’Donnell]



011. Fiona Apple – “Criminal”
(Dir. Mark Romanek, 1997)

Questions. It’s all you have after seeing the Mark Romanek directed video for Fiona Apple’s “Criminal.” Just who is the criminal here? Why is everyone half naked? Why does she have red eyes—are we taking pictures too? Why am I completely repulsed and strangely attracted to this person that hides in a closet and seems to have an eating disorder? What are those people doing swimming in that dolphin tank? Why are those stuffed animals staring at me? Whose foot is she trying to eat? Why is she in my parent’s rec room? What’s up with that TV that appears out of the floor? Who put oranges in the bathtub? What’s up with the car’s engine? Why does she squeeze that bottle with the soap? Oh. Ohhh.
[Todd Burns]



010. Dr. Dre f/ Snoop Dogg – “Nuthin’ But a “G” Thang”
(Dir. Andre Young, 1993)

In late 1992, Dr. Dre & Snoop Doggy Dogg (as he shall forever be known by me) unleashed the “Nuthin’ But a ‘G’ Thang” video, and before you could say “one, two, three an’ to the four,” rap was forever changed. “Nuthin’ But a ‘G’ Thang” invited kids previously terrified by Gangsta Rap to the after-party for the first time, where they could just chill till the next episode. It wasn’t good time-y, but good times were certainly had—who wouldn’t want to chill with Dre and Snoop for a barbeque, go cruising down Crenshaw in a drop-top and spray the snotty girl at the party with some shook up St. Ides? But Dre saves the best shot for last, as an obviously inebriated Snoop Dogg gets dropped off and stumbles back to his house, the newly risen sun shining bright into the camera, and you know it’s just a matter of hours before they get up and do it all over again.
[Andrew Unterberger]



009. Daft Punk – “Around the World”
(Dir. Michel Gondry, 1997)

In a genre strewn with videos that sought to recreate Microsoft Screen Savers, Daft Punk’s decision to hire prominent music video directors for the singles of their seminal Homework album was sort of a revolution in and of itself. Following up Spike Jonze’s dog-with-a-boombox treatment of “Da Funk,” the two French robots tapped Michel Gondry. His idea? A cornucopia of Halloween costumes, each signifying one of the five elements of the song: drum machine (mummies), vocoder (robots), guitar (skeletons), bass (those weird tall guys with small heads), and synth (what Gondry termed “disco girls”), all dancing in front of the blinking disco lights set up by Gondry’s brother—a long-time collaborator. Gondry calls it one of his favorite videos that he has done. It’s also one of dance music’s most epochal.
[Todd Burns]



008. Jay-Z – “99 Problems”
(Dir. Mark Romanek, 2004)

There’s so much wound into such a brief space here that it practically has to be cut down frame by frame to be analyzed. The most startling and memorable—the costumed dancer in the tunnel, the man holding the urn among the coffins—are further underscored by the jarring contrast between the jumpy, canted action shots and the smooth close-ups on people’s faces. The rest of the world might take umbrage at the New-York-is-all universality of human experience on display, but the only reason that Spike Lee-style NY-centricity fits at all is because it unquestionably suits Jay-Z. If Public Enemy was the ideal soundtrack for the colorful but angry “Do the Right Thing,” then Black Album-era Jay-Z is the music that could match The 25th Hour—dark, fuming, fearless, and held back only by its inability to single out a clear enemy from a crowd of people whose problems all seem too numerous to count.
[Erick Bieritz]



007. Bjork – “All Is Full of Love”
(Dir. Chris Cunningham, 1999)

Its sound, its process, its arrangements, everything about Homogenic suggests its music should be cold and detached, emotionally devoid. And yet … and yet, as we’ve all surely come to experience, it is without question one of the most affecting albums you or I may ever hear. So for all that is made of the truly incredible and fruitful collaborative relationship between Bjork and Michel Gondry, it is Chris Cunningham, with his clip for “All Is Full of Love,” who visually perfectly captures Homogenic’s deceptive essence. With robots borne straight from Asimov’s own waking dreams, Cunningham, using little more than shadows and shades of whites and blacks and silvers, crafts an authentic and pure sensuality where none should conceivably exist. What results is one of the most visually stunning and deeply affecting music videos you or I may ever see.
[Barry Schwartz]



006. The Replacements – “Bastards of Young”
(Dir. Unknown, 1985)

To a certain mindset, this is the Best Video Of All Time: One simple shot of an speaker, slowly pulling out to show the rest of the stereo and a bit of a rundown living room. Eventually someone comes in, sits down and smokes a cigarette, but the camera stays where it was—we barely see the guy. The sheer perversity of the video's lethargy in the face of the power of the music, its refusal to engage in the fledgling tropes of the medium, is still compelling today. Although it was created out of a disdain for MTV that seems woefully old fashioned now, it was also one of the first clips to show us that you didn't have to stick to the band playing, or even to anything involving the song, to make for riveting viewing.
[Ian Mathers]



005. Radiohead – “Just”
(Dir. Jamie Thraves, 1995)

To this day, some 11 years after it first appeared, you can go to any Radiohead message board, chat room or forum in the known universe, and somewhere, likely on the first page, will be that one question that has vexed so many—“What does the guy say at the end of the ‘Just’ video?” It is our generation’s version of “I buried Paul,” but for all director Jamie Thraves or anyone in the band has ever revealed, he may as well be saying “cranberry sauce” too. Whenever he’s been asked what few words compel the video’s hero to disconnect from the surrounding world and plop himself down on the pavement, Thom Yorke insists he’ll never tell. Most likely Yorke doesn’t know the phrase himself, as the ensuing decade has seen Radiohead striving with their music to solve just that kind of riddle themselves.
[Josh Love]



004. A-Ha – “Take on Me”
(Dir. Steve Barron, 1985)

Iconic. It's really the only sure way to describe the video for "Take on Me," one of the earliest examples of how an MTV clip propelled a song from being nothing to enumerating everything. It's also the first time I ever saw a video that depicted an actual story, or at least that curtailed montage techniques together to form some kind of narrative, albeit one of a fantastically Swedish bent. From the eyebrows-appealingly-raised initiation to the Pinocchio hammering-on-the-door-of-life finale, it also marks the debut of a love affair brought from contemplation to consummation in three minutes and 45 seconds time. The life-into-animation-into-life analogy and windswept 80's pencil drawings may have aged, but the neo-classical sentiments enshrined in "Take on Me" remain as a virtual bible of the video age.
[Mallory O’Donnell]



003. Joy Divison – “Atmosphere”
(Dir. Anton Corbijn, 1988)

It’s a funeral of mourning and slapstick. Children or midgets dressed in Druid robes conduct the ceremony on a beach, and waddle around carrying a church steeple and iconic photographs of St. Ian Curtis. The first impression is that director Anton Corbjin made a tasteless tribute to Joy Division’s late singer and drifter of Britain’s post-industrial wasteland. Yet, the band’s brooding, hymnal melodies and tribal, danse macabre rhythms still takes hold of the viewer, and the visuals soon make sense. Corbjin lets the music flow with the gritty, decayed black and white cinematography, and he only displays the band and Curtis in still photographs, as if Joy Division is just a fading memory. Corbijn beautifully captures the moment when you lose a loved one, and you walk outside to see everything around you in stinging detail. Unforgettable.
[Cameron MacDonald]



002. Johnny Cash – “Hurt”
(Dir. Mark Romanek, 2003)

“You stay the hell away from me, you hear?” Even before American Recordings proved it beyond all doubt, JC' was a man with two careers in parallel: one bringing the poignancy, the other novelty tunes like “One Piece at a Time,” and that one where he does an impression of a guy being hung. So how better to close his career than by dovetailing the two: a novelty cover version paired with a video featuring poignancy laid on so thick as to crush your heart through sheer persistence. Cash as Jesus, Cash as the pouting rebel, Cash the American, Cash as America personified, Cash the husband, Cash the man in black, Cash the guy who sold records in their droves, Cash the lonely, scared, dying old man. It's hard to imagine there could have been a better way to close the piano lid on his career.
[Dom Passantino]



001. U.N.K.L.E. f/ Thom Yorke – “Rabbit in Your Headlights”
(Dir. Jonathan Glazer, 1998)

The first time I saw “Rabbit in Your Headlights” was during the full light of day, with friends, only paying half attention—I believe we laughed as the decrepit, muttering vagrant walking through an underpass was creamed by passing cars only to stumble to his feet again. The second time I saw the video it was late and I was alone; as it started I settled in for some prime comedy. But this time, actually watching the man's progress, it wasn't funny. It was sad and powerful and strangely damning; like Philip K. Dick's invented religion of Mercerism, it's hard to escape the impression that the muttering man is suffering for our catharsis. And then there's the end of the video, the part no-one forgets. As with the rest of “Rabbit in Your Headlights” it's utterly cryptic and undeniably powerful, stretching towards transcendence in a beautifully shot shower of broken glass and metal like some kind of weird apotheosis. It's almost impossible to say what it means, but it's equally hard to find someone who can watch it, really watch it, and remain unmoved.
[Ian Mathers]

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By: Stylus Staff
Published on: 2006-07-21
Comments (19)


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Animatics

Introduce your animatic stroyboard about how to created the product, explain the process you went through.

The upload the final video.

Storyboard information

Your storyboard post shoud include:

Information about what is a stroyboard and why it's important for music video production, for example;

The storyboard is a visual draft of a story; in this case, the story is set to music. The music dictates the visuals used in the video, thereby telling the story; or else the music supports the visuals, which means the story is already told and the music supplements the story.

Either way, the storyboard provides a sketch of the flow of the audio and video. Storyboards are not set in stone and can be revised as needed. Here are a few guidelines to get you on your way to creating a storyboard for a music video.

Then a checklist of how to create your storyboard;

1. Print the lyrics of the song to understand what is being said
2 Listen to the music to determine the tempo, beats and rhythm.
3 Have plenty of copies of the blank storyboard form
4 Listen to the music again to document time codes, in minutes and seconds, for changes in the music, changes in rhythm and/or the playing of minor instruments.
5 Sketch a scene on the storyboard according to a change in the music.
6 Review the storyboard with the music to ensure the visuals and music relay the intended message.
7 Draw arrows from one scene to the next and write the type of transition you will use between each scene.
8 Present the storyboard to a third party for feedback

Minutes

Please remember to make your meeting minutes as detailed as possible as use this proforma to help you. You need to include all of this information.

1. Date
2. Agenda
3. Action
4. Personnel
5. Outcome and next action

This week

Your deadline for your storyboard is the end of the week.

BLOG HELP

BLOG IDEAS


You will be marked on the following areas:


Research into similar products and a potential target audience.


Organisation of actors, locations, costumes and props.


Work on shotlists, layout, drafting, scripting and storyboarding.


Time management.


Care in presentation of the research and planning.


Skill in the use of digital technology or ICT in the presentation.


Communication skills.





Blog Tasks - Planning and Research


You should ensure that your blog has varied and thorough posts that include images or videos that reflect your research and ideas.


Here are some topics that you should ensure are included on your Blog:


Star Analysis - You should each have analysed a star and how their videos sell them to the target audience, you can look at several videos or videos that span their career.


Auteur Theory - the theory and research on one music video director.


Goodwin’s Theory of Analysis - Ensure all 6 points are clear on your blog. Relate this to videos you study and your own ideas.


DVD Cover and Magazine Advert Analysis - Real examples, your photoshop practice and ideas for you final products.


Timeline, Storyboards, Shotlists and Call Sheets - upload images to the blog with a description of what they are and how they will help you.


Mise-en-scene - Research on your genre and plans for your own ideas


Analysis of past students work - analyse using the marking criteria and/or Goodwin’s points.


Location Reports - street map images or still photo images, information about the location and why it is suitable (Group 48 on the 2009/2010 Archive has good examples).


Target Audience Research - You could do a mind map or a questionnaire. (discuss all three products not just your video)


Lyrics Analysis - ensure the lyrics for your song are on the blog, analyse mood and representation of the artist etc.


Editing Techniques - Find examples of similar editing styles or transitions that you plan to use.


Mood Board - create a mood board for you overall inspiration.


Amateur vs Professional - Analyse the differences between a student and real artist music video.


Contact the original artist - Show that you have attempted to seek permission from the artist to use their song (e.g. via Facebook)


Test Footage - experiment with shot types and editing techniques and upload these to the blog

Well done on a good start Year 13, please update your blogs regularly with everything we ask you to do, then you won't get behind. There are some people's blogs with NO POSTS. If this continues to happen you will be a Cause for Concern.

You should have 'Minutes' on your blog too, which are quick notes about what you have done/discussed about your video that day with your group and what still needs to be done.

Keep up the good work.

Runaway, Kanye West, analysis

http://www.guardian.co.uk/music/musicblog/2010/oct/25/kanye-west-runawa

Summer Homework

Hi everyone,

Well done for most of your hard work this term.

You all should have a copy of this but if you don't here is a checklist of what you should have completed on your blog. You will recieve your assessment grades on your blogs within the week. If there is incomplete work there then you will get a U.

1. Make sure you have the following on your blogs:
- Secondary research:
- My research project researching two videos from 4 different genres- analysing content, editing and production. (video format should be on blogs, if there’s a problem see me)
- Miss Macedo’s marketing case studies
- Decade review= review the conventions of music videos from each decade from 60s-10s
- Star Analysis- track an icon and how their career has been tracked through
- Andrew Goodwin’s theory and your ideas for Pendulum Tarantula presentation
- Class notes about ‘Secrets of a Pop Song’ documentary

http://www.bbc.co.uk/iplayer/episode/b012mmpb/Secrets_of_the_Pop_Song_Breakthrough_Single/

Primary Research
- Questionnaire and results asking at least 10 people about their opinions on music videos
- Focus group (either video or questionnaire) pitching your initial ideas.

Also start to collect anything you find interesting and worthwhile from the web or other media you think could be linked to analysing or creating a music video, for example an interesting review or a good website. Add to your blog.

BLOG OF THE WEEK COMPETITION

Hi

There will be a BLOG OF THE WEEK COMPETITION beginning this Friday 8th July 2011..PRIZES TO BE WON...

WATCH THIS SPACE

Star Analysis task

‘A given music video may actually have elements of more than one category. Goodwin (1992), in describing Madonna's videos, suggests that the essential narrative component of a music video is found in its ability to frame the star, "star-in-text," as all Madonna's videos seem to do. A story exists solely for its ability to create, or in Madonna's case recreate, the star's persona. This blending of elements can also enable a type of music such as rap to have cross-over appeal to a wider audience.’

 

 

•You have to choose one ‘star’- it can be a band and chart their career and musical history/how we know them through their music videos.

•You should each have analysed a star and how their videos sell them to the target audience, you can look at several videos or videos that span their career.

•Use the example we went through together in class.

•This must be finished for homework and posted on blog, you can do this straight on to your blog here.

Purpose of a music video

 

T

HE

P

URPOSE OF A

M

USIC

V

IDEO

 

A music video is a short film or video that accompanies a complete piece of music/song. Modernmusic videos are primarily made and used as a [marketing] device intended to promote the sale of music recordings. Although the origins of music videos go back much further, they came into theirown in the 1980s, when MTV based their format around the medium, and later with the launch of VH1. The term "music video" first came into popular usage in the early 1980s. Prior to that time,these works were described by various terms including "filmed insert", "promotional (promo) film","promotional (promo) clip" or "film clip" (Wikipedia)

Timeline

A History of Modern Music: the timeline

In a seven-part series, Guardian and Observer critics chart the history of modern music, tackling a different genre each day and picking 50 key moments. Use this interactive guide to travel through time and see their selections.

http://www.guardian.co.uk/music/interactive/2011/jun/11/history-modern-music-timeline

Textual Analysis of music videos (your short film)

Click on this link and use these questions to make your short film on 
analysing music videos


http://www.scribd.com/doc/16322790/QUESTIONS-FOR-CLOSE-TEXTUAL-ANALYSIS

Useful blog site

http://getaheadocrmedia.blogspot.com/2010/10/what-does-digipack-look-like.html

G324 Advanced Portfolio in Media

G324 Advanced Portfolio in Media

The production element and presentation of research, planning and evaluation may be individual or group work . If you work in a group, the evidence for assessment may be presented collectively but we will still assess you on an individual basis for your contribution to aspects of the work, from planning, research and production to evaluation.

B R I E F

For this brief, you will need to produce:

a media portfolio, comprising a main and ancillary texts;
a presentation of your research, planning and evaluation in electronic format(s)
The portfolio will be produced through a combination of two or more of the following media

• Video
• Print
• Web-based
• Audio
• Games Software

M A R K S

As at AS this unit it marked out of 100.

• Planning and Research (20)
• Construction (60)
• Evaluation (20)

Your Record Label Project

Here are the details:

Record Label business  project- due for Thursday 17^th March- assessed.

CREATE YOUR OWN RECORD LABEL

On your own, in pairs or groups of 4 maximum

REMEMBER TO STICK TO THE 3 C’S= CREATIVE, CURRENT, CRITERIA. 

Your creation will be shown to another record label from the other class where they will mark your work and then decide whether they want to merge with your label (Horizontal Integration) to maximise roster, profits and expand the company through synergy.

The task

You must all take equal responsibility

Create and launch your own record label, you will need:

• A name
• A brand/identity
• Ethos/genre
• Demographic
• Details of how the company operates
• Job roles
• Production, distribution exhibition

The record label needs to do two things:

Ø      One: Write record and plan a release for a new single which INCLUDES AT LEAST ONE SAMPLE. The single can be instrumental or with vocals. This will be your debut release for your label so you need to consider:

v     Target Audience

v     Sales/opportunities for promotion

v     Release details

v     Legal and ethical issues (copyright, royalties, distribution)

Ø      Two: is to source, sign and promote an unsigned artist or band (real). You will need to consider:

v     Where you find the artist- online? At gig? Know them?

v     What the Artist and Repertoire manager at the record label has to do to sign the artist?

v     Brief showcase of the artist/band

v     Why this artist/band is suitable for your new record company

You should also present facts/statistics/a recent example to show:

ü      How your record label will deal with issues raised in today’s music industry.

ü      How your record label will deal with cross media convergence and synergy in production, distribution and marketing (i.e. collaborate with other companies such as TV and radio)

ü      How the technologies that have been introduced in recent years affect the levels of production, distribution, marketing and exchange;

ü      The issues raised in the targeting of national and local audiences (specifically, British) by international or global institutions;

ü      The ways in which YOUR own experiences of media consumption illustrate wider patterns and trends of audience behaviour(WHAT YOU ARE BUYING, LISTENING TO, CHANGES IN MUSIC)

Deadline

Just a reminder that the deadline for the half term assessment is Thursday 3rd March

LATEST

Well done for those that have joined so far, only about another 35 to join us.

The first thing that will be useful for you all to have is the exam information so here it is:

The exam is two hours.


G322: Key Media Concepts (TV Drama)
This paper covers the two areas of Textual Analysis and Representation alongside Institutions and
Audiences. In Section A, candidates answer questions on an unseen moving image extract that is
then linked to some aspect of the representation within the sequence. In Section B, candidates
study a specific media industry from a choice of: film, music, newspapers, radio, magazines or
video games. This unit is externally examined.


Next post will be KEY MEDIA TERMINOLOGY- YOUR AS MEDIA DICTIONARY for the exam

WELCOME!

 New term, new blog for my Media AS level group! Welcome!