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Tuesday, 26 December 2017
Storyboard Two: Narrative Performance
After creating the storyboard for the red thread, we created the narrative performance storyboard as a group. This meant we are all aware of the micro aspects of filming which will ensure we still have a great understanding of what we’re filming/ how were filming if someone can’t make one of the filming sessions.
Thursday, 21 December 2017
Ancillary Task: Lana Del Rey Digipack
As Lorde has never created a digipack, we cannot use her existing material as inspiration for our products. Therefore, I decided to look at Lana Del Rey’s existing material as she has the same target audience as Lorde, she is also female and creates content that conforms to the indie genre. Therefore, I decided to look at her digipacks.
The first digipack she created was for ‘Lust for Life’ the album. This album was released in July 2017. The digipack cover she created featured her iconic font saying ‘Lana Del Rey’ and the title of the album: ‘Just life’ with the parental advisory sticker in the corner. Although this sticker could be placed on the back of the album, it would appeal to her target audience of aspirers who aspire to be different and in some senses, rebel.
The key image featured on the cover of the digipack features her foregrounded against a car. The use of herself as the key image utilises celebrity endorsement to appeal to those who are also outside her target audience through her recognisable style and image (conforming to Dyer’s Star Theory). The white boarder around the image conforms to the 1950’2 retro styles that is consistently featured through her brand identity. This is continued in the iconic hairstyle and bold red lipstick she is wearing which again helps to appeal to her target audience; her iconic brand identity.
The theme of the front cover is continued through the rest of the digipack. The flower that can be seen in her hair on the front cover is further seen in the key images of the rest of the digipack. The white flower has connotations that can be linked to the songs and lyrics that are featured on the album; ‘White Mustang’ (song), ‘Wilting like a rose’ (lyric), ‘blooming’ (lyric). The use of a white filter on top of the images also continues the theme of the flower. This creates a consistency throughout her digipack.
Another feature of the digipack was the back cover that featured the names of the songs within the album. The red font that is consistent with her iconography in general and throughout the digipack is used to write the names of the songs. This challenges typical layout of the song titles of the digipack as they are typically written as one line per column. However, in this case, she has written them as a continuous line with dashes used to separate them. The key image is again consistent with the theme of the digipack, featuring the white flowers and the same location, costume and makeup is used as that of the key image on the front cover.
How can this help me?
Overall, analysing Lorde’s digipack has taught me that the consistency of a theme throughout the product is significant. It is also effective to have props/features in the key images (in this case the white flowers) that has a symbolic meaning related to the artist/their songs. This is especially important when you have an indie audience as they will gain psychological rewards when they realise the symbolic meaning; it confirms their knowledge of the artist and strengthens their loyalty.
The first digipack she created was for ‘Lust for Life’ the album. This album was released in July 2017. The digipack cover she created featured her iconic font saying ‘Lana Del Rey’ and the title of the album: ‘Just life’ with the parental advisory sticker in the corner. Although this sticker could be placed on the back of the album, it would appeal to her target audience of aspirers who aspire to be different and in some senses, rebel.
The key image featured on the cover of the digipack features her foregrounded against a car. The use of herself as the key image utilises celebrity endorsement to appeal to those who are also outside her target audience through her recognisable style and image (conforming to Dyer’s Star Theory). The white boarder around the image conforms to the 1950’2 retro styles that is consistently featured through her brand identity. This is continued in the iconic hairstyle and bold red lipstick she is wearing which again helps to appeal to her target audience; her iconic brand identity.
The theme of the front cover is continued through the rest of the digipack. The flower that can be seen in her hair on the front cover is further seen in the key images of the rest of the digipack. The white flower has connotations that can be linked to the songs and lyrics that are featured on the album; ‘White Mustang’ (song), ‘Wilting like a rose’ (lyric), ‘blooming’ (lyric). The use of a white filter on top of the images also continues the theme of the flower. This creates a consistency throughout her digipack.
Another feature of the digipack was the back cover that featured the names of the songs within the album. The red font that is consistent with her iconography in general and throughout the digipack is used to write the names of the songs. This challenges typical layout of the song titles of the digipack as they are typically written as one line per column. However, in this case, she has written them as a continuous line with dashes used to separate them. The key image is again consistent with the theme of the digipack, featuring the white flowers and the same location, costume and makeup is used as that of the key image on the front cover.
How can this help me?
Overall, analysing Lorde’s digipack has taught me that the consistency of a theme throughout the product is significant. It is also effective to have props/features in the key images (in this case the white flowers) that has a symbolic meaning related to the artist/their songs. This is especially important when you have an indie audience as they will gain psychological rewards when they realise the symbolic meaning; it confirms their knowledge of the artist and strengthens their loyalty.
Storyboard One: Red Thread Theory
To help me plan my filming, I decided to create a storyboard for the first section. This is the part of the narrative where the theory of the red string is established. I decided it would be useful to split the filming into three key stages: live performance, establishing the red thread and the rest of the narrative performance. This will allow us to make more precise storyboards. This will also be useful as we plan to film each section on separate days which will allow us to concentrate in more depth on each section.
Tuesday, 19 December 2017
Live To Narrative Performance Split
To help me understand what the average ratio of live performance to narrative performance is within indie music videos, I decided to analyse Lorde’s ‘Royals’. This will help me as she is the inspiration for our own artists and as the song we have chosen only has live performance, we can get guidance from this video instead.
The first ten seconds of the music video is ‘narrative performance’ with the camera showing an establishing shot of the location. This is key to the lyrics of the song (conforming to Goodwin’s theory that the visuals and lyrics have a connection). The is then followed by CGI, added in post-production, of a black screen with the words ‘LORDE Royals’. After this, the camera cuts, on the beat, to the ‘live performance’ of Lorde for two seconds however, lip syncing isn’t utilised. Instead Lorde is established by staring into the camera. It then cuts back to ‘narrative performance’, continuing to establish the location for three seconds. It is here when the camera cuts back to ‘live performance’ for three seconds.
This continues through the rest of the video. However, there is a trend. At the beginning of the video, the live performance is more even in ratio with the narrative performance. For example, for around the first minute, the split of narrative performance to live performance is 40:32 seconds. This allows the audience to become established with the location and characters as well as the artist.
However, in the middle of the song/music video, the narrative performance becomes much more frequent with the second minute of the narrative having a narrative to live performance split of 34:20 seconds. This is because as the song progresses, this is the moment where the narrative progresses at its greatest rate so the audience see more visuals to relate the story to the lyrics.
In the last minute, the narrative to live performance split changes again to 32:38 seconds. This is the only section of the music video where the amount of live performance exceeds the narrative performance. However, there is one consistent live performance clip within this section that extends over 27 seconds alone. In this moment there is a diminuendo, and the tempo slows down. Therefore, the artist is featured more in the live performance at this part as it is almost the rawest part of the song, allowing the opportunity for the audience to relate more to her. The visuals have been used to achieve this.
Overall in the music video there Is approximately a 116:85 second ratio of narrative to live performance. This tells me that the visuals are what drives the song in conjunction with the lyrics and audio (Goodwin’s theory).
How has this helped me?
As Lorde is the artist we have taken inspiration from, I now know that to conform to the codes and conventions of indie music videos, we should include more of the narrative performance within our music video that the live performance. However, I also realise that the split shouldn’t be consistent throughout the video eg. 4 seconds narrative intercut between every 4 seconds live performance. Instead, the split should be used to help create a deeper relationship with the audience and artist at certain points. This therefore creates a deeper meaning which is a code of the indie genre and the psychographics of our target audience we are trying to appeal to.
The first ten seconds of the music video is ‘narrative performance’ with the camera showing an establishing shot of the location. This is key to the lyrics of the song (conforming to Goodwin’s theory that the visuals and lyrics have a connection). The is then followed by CGI, added in post-production, of a black screen with the words ‘LORDE Royals’. After this, the camera cuts, on the beat, to the ‘live performance’ of Lorde for two seconds however, lip syncing isn’t utilised. Instead Lorde is established by staring into the camera. It then cuts back to ‘narrative performance’, continuing to establish the location for three seconds. It is here when the camera cuts back to ‘live performance’ for three seconds.
This continues through the rest of the video. However, there is a trend. At the beginning of the video, the live performance is more even in ratio with the narrative performance. For example, for around the first minute, the split of narrative performance to live performance is 40:32 seconds. This allows the audience to become established with the location and characters as well as the artist.
However, in the middle of the song/music video, the narrative performance becomes much more frequent with the second minute of the narrative having a narrative to live performance split of 34:20 seconds. This is because as the song progresses, this is the moment where the narrative progresses at its greatest rate so the audience see more visuals to relate the story to the lyrics.
In the last minute, the narrative to live performance split changes again to 32:38 seconds. This is the only section of the music video where the amount of live performance exceeds the narrative performance. However, there is one consistent live performance clip within this section that extends over 27 seconds alone. In this moment there is a diminuendo, and the tempo slows down. Therefore, the artist is featured more in the live performance at this part as it is almost the rawest part of the song, allowing the opportunity for the audience to relate more to her. The visuals have been used to achieve this.
Overall in the music video there Is approximately a 116:85 second ratio of narrative to live performance. This tells me that the visuals are what drives the song in conjunction with the lyrics and audio (Goodwin’s theory).
How has this helped me?
As Lorde is the artist we have taken inspiration from, I now know that to conform to the codes and conventions of indie music videos, we should include more of the narrative performance within our music video that the live performance. However, I also realise that the split shouldn’t be consistent throughout the video eg. 4 seconds narrative intercut between every 4 seconds live performance. Instead, the split should be used to help create a deeper relationship with the audience and artist at certain points. This therefore creates a deeper meaning which is a code of the indie genre and the psychographics of our target audience we are trying to appeal to.
Monday, 18 December 2017
Homosexuality Themes Analysis
To help me understand what themes are used around homosexuality within our music video, I decided to analyse some music videos that include homosexuality within them (within the indie genre). This will allow me to Recognise any reoccurrences.
After analysing Hayley Kiyoko’s ‘Cliff Edge’, ‘Girls like girls’ and Garden City Movement’s ‘Move On’, it became obvious there was a reoccurring colour scheme. Throughout all the videos they featured a pink colour palette at some point. This has connotations of femininity which conform t the fact the relationship is between two females. However, it also suggests it is natural as baby pink connotes babies. This could also be perceived to have the representational issue that it suggests the homosexual couple are uneducated and naive.
After analysing Hayley Kiyoko’s ‘Cliff Edge’, ‘Girls like girls’ and Garden City Movement’s ‘Move On’, it became obvious there was a reoccurring colour scheme. Throughout all the videos they featured a pink colour palette at some point. This has connotations of femininity which conform t the fact the relationship is between two females. However, it also suggests it is natural as baby pink connotes babies. This could also be perceived to have the representational issue that it suggests the homosexual couple are uneducated and naive.
However, in the music videos there is also another colour pallet that is prominent throughout. To create binary opposition, the colour palette of blue is used. This contrasts the feminine and masculine connotations. This can also create the binary opposition of boys vs girls due to the homosexual theme. Also, this is an issue as it symbolises segregation between females and males, or this could be perceived to be segregation of homosexual couples.
Homosexual characters:
After looking at the characters used in homosexual music videos, it became apparent that it is only gay and lesbian characters that are portrayed. Also, there is more frequent coverage of lesbian couples than gay couples. This could be due to the male gaze theory around lesbian couples and that females also relate more to females. There is a lack of bisexual characters within the music videos, instead, the characters are connoted to be hiding their feelings and eventually overcoming the fear of showing their sexuality.
How has this helped me?
How has this helped me?
As we are planning to sue a colour palette within our music video, the consistent colour palette within music videos that include homosexuality has made it clearer which colour scheme we should use. For example, blue and pink would be good to use surrounding the character’s desires and personalities. We could use a pink colour palate for the artist as she ‘l artist (pink) as she ‘likes girls’ and is female herself, a blue colour palette around the male as he is heterosexual so to conform to the stereotypes would be to represent him as ‘manly’, and we could use a purple colour pallet around the bisexual character to show her desire for both boys (blue) and girls (pink).
Also, in terms of the types of characters used, we will be challenging the typical characters used in indie homosexual music videos as we will be including a bisexual character which hasn’t been featured as frequently. Although we are conforming to the codes and convention by having there be a lesbian couple in the beginning, the male is introduced to the main plot as opposed to the sub plot like in other videos.
Friday, 15 December 2017
Artist Name Decision
After deciding we wanted to include the theory of ‘the red thread of fate’ in our narrative and conducting research into it, we decided to start thinking about the name of our artist.
When we looked at the artists we had analysed that are also female indie singers, we realised there were some correlations. For example, most of the artists we had looked at have one word or two word names; Lorde, Birdy, Amy Winehouse and Adele. Also, the two artists we focused on the most (Lana Del Rey and Lorde) both had names beginning with ‘L’. Therefore, considering our inspiration and the original song is sung by Lorde, we decided to try and come up with a single name beginning with 'L'.
When we were looking into name options, we decided to have a look at ‘the red thread of fate’ theory again as this will be an important symbolic code within our narrative. This will be important as the indie target audience enjoy complex narratives in which they make inferences for themselves. When we looked at the theory again we found out that the name of the God in charge of the ‘red thread of fate’ is believed to be ‘the old matchmaker God; Lunar’. This god is also in charge of marriages.
As a group, we decided we liked the name ‘lunar’ as it has may links to the codes and conventions of the indie genre as well as to the artist we have chosen and in particular, the song.
For example, the song we have chosen: ‘Sober’ has connotation of being ‘high’. ‘Lunar’ means ‘resembling the moon’ of which can also be used as a symbol of physically being ‘high’. Not only this, but Lorde previously has used a theme of supernatural within her style and music videos, which again can be associated with the moon.
Also, because there is a link between the name ‘Lunar’ and the theory we will incorporate into our narrative, the target audience who have psychographics of enjoying complex narratives and things with deeper meaning (Barthes’ theory) will enjoy making the link between the two. This will give them the psychological reward of knowing they discovered it for themselves.
However, after looking at the name ‘Lunar’ we decided that it wasn’t a word that would leave an instant impact on someone who had seen it. Therefore, we decided to look into different ways we could spell it. In the end we decided on ‘Lüna’. This way of spelling it appear to be more unique and conforms to the indie genre more through it being different.
When we looked at the artists we had analysed that are also female indie singers, we realised there were some correlations. For example, most of the artists we had looked at have one word or two word names; Lorde, Birdy, Amy Winehouse and Adele. Also, the two artists we focused on the most (Lana Del Rey and Lorde) both had names beginning with ‘L’. Therefore, considering our inspiration and the original song is sung by Lorde, we decided to try and come up with a single name beginning with 'L'.
When we were looking into name options, we decided to have a look at ‘the red thread of fate’ theory again as this will be an important symbolic code within our narrative. This will be important as the indie target audience enjoy complex narratives in which they make inferences for themselves. When we looked at the theory again we found out that the name of the God in charge of the ‘red thread of fate’ is believed to be ‘the old matchmaker God; Lunar’. This god is also in charge of marriages.
As a group, we decided we liked the name ‘lunar’ as it has may links to the codes and conventions of the indie genre as well as to the artist we have chosen and in particular, the song.
For example, the song we have chosen: ‘Sober’ has connotation of being ‘high’. ‘Lunar’ means ‘resembling the moon’ of which can also be used as a symbol of physically being ‘high’. Not only this, but Lorde previously has used a theme of supernatural within her style and music videos, which again can be associated with the moon.
Also, because there is a link between the name ‘Lunar’ and the theory we will incorporate into our narrative, the target audience who have psychographics of enjoying complex narratives and things with deeper meaning (Barthes’ theory) will enjoy making the link between the two. This will give them the psychological reward of knowing they discovered it for themselves.
However, after looking at the name ‘Lunar’ we decided that it wasn’t a word that would leave an instant impact on someone who had seen it. Therefore, we decided to look into different ways we could spell it. In the end we decided on ‘Lüna’. This way of spelling it appear to be more unique and conforms to the indie genre more through it being different.
Tuesday, 12 December 2017
Lorde Sober Live Performance Analysis
To help me understand how to construct an effective live performance, I decided to analyse the live cover performance of Lorde 'Sober'- our chosen song. This will help me decide which themes will be appropriate to recreate and what tones I want to create.
Makeup and Costume:
In the music video, Lorde is wearing the costume of a white
dress. The white dress contrasts the low key lighting creating binary opposition
of light v dark which conforms to Levi Straus’ theory. The fact she is also
represented as being ‘light’ creates the connotation that she is pure and good.
This can also have symbolic meaning of her being represented as an ‘angel’ and
she is being trapped by the darkness. This
can also conform to Deborah Holdsteins theory that the artists are always used
as political mediators and messengers as angels are often seen as messengers. This
allows the audience to connect with her as she is seen as a symbol of peace and
a ‘mother figure’ to guide them in times of need. The natural makeup (from what
the audience can see due to the lighting) again adds to the innocence and
purity theme. Overall the makeup and costume conforms to Lordes brand identity
as she can again be perceived to be almost ‘supernatural’ and very eccentric.
She is challenging the stereotypical costume of indie videos.
Props:
The only prop used throughout the video are candles. There
are multiple candles from the establishing shot to the final shot. The candles
have the symbolic connotations of hope, light and purity again. This can also
be linked with the semiotic codes of the lyrics which suggest she is trapped
with something or someone ‘tying yourself to me’. The candle is seen as being
the light in the darkness that consumes the majority of each frame throughout
the video. It is also significant of the close up of the close up of Lordes
face silhouetted in the foreground of the frame with shallow focus showing the
candles in the background. This can suggest that Lorde is the one preventing
herself from ‘reaching the light in the darkness’ as the is creating a physical
barrier towards the light. This is consistent with the lyrics as throughout she
talks of a conflict between loving something/someone and knowing it isn’t right
for her. The also creates the enigma code that the rest of the lyrics will
discuss her trying to overcome this obstacle.
The use of the instruments shown throughout the video
conforms to the codes and conventions of live performances. This can show how
raw and sincere Lorde is being and can increase the audiences respect for her
as a singer as they believe that they are witnessing her talent first hand.
The setting of a church has been used. This is connoted by
the candles, having religious connotations and the arches and pillars. This
creates the tone that Lorde is having a conflict. This is backed up by the
binary opposition, her being a physical block for the light and her being
represented as an angel (all previously discussed). Therefore, the whole song
can be seen as being her ‘confession’ and begging for help as she is trying to
explain her internal conflict. This also creates a positive ideology that it is
okay to ask for help. Also when her audience see her opening up, the can relate
and therefore feel they can do the same.
Camera movements:
Throughout the video, a lot of close ups are used on Lorde.
This can create a physically closeness of the audience and Lorde which can
suggest how intimate this moment is for her; her emotions and thoughts are
genuine. This can also help the audience create a relationship with Lorde as
they believe she trusts them and is comfortable with them. There are also a lot
of close ups used of the instruments being played, which again, conforms to the
codes and conventions of live performances. This conforms to Goodwin’s theory
that there is a relationship between the visuals and sound, as the relevant
instrument is shown as it is heard. This helps to emphasise certain sound
effects to make it seem more dramatic and dimensional which the indie genre
would enjoy.
Many of the shots are hand held shots. This creates a sense
to the viewer that they are in the room watching Lorde and it is a viewpoint of
someone in the room. This allows them to feel closer to Lorde and empathise
with her more.
How has this helped me?
After watching the live performance of the song we have chosen to create a music video for, I now have a better understanding of what is included in a live performance. As our research suggested, our target audience enjoy a mixture of live performance and narrative in a music video, we will have to recreate something similar to this. After watching this video, I am again made aware that the artist has to be represented in consistency with their brand image. Also, that the lighting, tone and miss en scene should have a relationship with the tone etc of the lyrics, conforming majorly to Goodwin's Star Theory.
Tuesday, 5 December 2017
Lip Sync Analysis
Throughout my music video, I plan to incorporate both live performance and a narrative performance, of which I will intercut into each other. As I want to include a live performance and I plan to use the cover or Lorde’s song as the audio, the actress/actor I decide to use will have to lip sync to the song. Therefore, I decided to analyse lip syncing in Lorde’s existing music videos.
Throughout Lorde’s ‘Green Light’, the live performance and narrative performance is intercut throughout. In the live performance, Lorde is shown, through close ups, to be singing directly into the camera. However, because the audio was added in post-production, lip syncing must have been utilised during the filming stage. Lorde appears to be singing the song diegetically as the lip syncing is accurate. To make it appear that she is singing diegetically, the lip syncing is in perfect time to the audio. Also, the fact she is ‘singing’ directly into the camera can distract the audience’s attention from her mouth as the intense glare at the camera deviates their attention to her eyes. The fact Lorde’s head doesn’t stay still and she instead looks around can also help to disguise any slight mistakes made within the lip syncing as the movement detracts from that.
How will this help me?
I now know that when filming my own live performance, to create a successful lip sync, the actor/actress I feature will have to learn the lyrics effectively in order for the lip-sync to be accurate. Also, to help me disguise any potential slight mistakes, I should ensure there is movement within the frame or another key feature which can deviate the audience focus. I could also ensure I record many takes of the song so I can select the most accurate clip and use that one. Or I could ensure I film different verses or choruses in different takes so the actor/actress can focus on a smaller part of the lyrics so there is a higher chance the lip syncing of every verse/chorus will be accurate.
Throughout Lorde’s ‘Green Light’, the live performance and narrative performance is intercut throughout. In the live performance, Lorde is shown, through close ups, to be singing directly into the camera. However, because the audio was added in post-production, lip syncing must have been utilised during the filming stage. Lorde appears to be singing the song diegetically as the lip syncing is accurate. To make it appear that she is singing diegetically, the lip syncing is in perfect time to the audio. Also, the fact she is ‘singing’ directly into the camera can distract the audience’s attention from her mouth as the intense glare at the camera deviates their attention to her eyes. The fact Lorde’s head doesn’t stay still and she instead looks around can also help to disguise any slight mistakes made within the lip syncing as the movement detracts from that.
How will this help me?
I now know that when filming my own live performance, to create a successful lip sync, the actor/actress I feature will have to learn the lyrics effectively in order for the lip-sync to be accurate. Also, to help me disguise any potential slight mistakes, I should ensure there is movement within the frame or another key feature which can deviate the audience focus. I could also ensure I record many takes of the song so I can select the most accurate clip and use that one. Or I could ensure I film different verses or choruses in different takes so the actor/actress can focus on a smaller part of the lyrics so there is a higher chance the lip syncing of every verse/chorus will be accurate.
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