Alex Sherratt A2 Media

Alex: (00:00) The establishing shot introduces our artist to our audience. We have used a medium shot of our artist walking from left to right and a shot reverse shot is used. This adheres to conventions as the audience are seeing the artist for the first time. This is a good promotional aspect.

Kenza: Jake shows his anger and frustration from the beginning, this works well as it becomes most of the narrative in the video by showing something has happened in his relationship. To stop it happening to other people, he tries to spread the love he wants to feel himself. This is the preferred reading

Alex: (00:05) We have broken conventions by including diegetic sound. This worked well and we used this as we felt it would create the atmosphere for our video. There is a shot reverse shot used to transition between the three opening shots. This shows the position of the artist walking towards a bench alone. This is a repeated motif through the video.

Kenza: (00:13) In this shot, tracking round his head is used of him putting headphones on. The music then is faded in. The headphones signify Jake Moss trying to block out the world. This shows the audience that he is upset and makes him more relatable as he appeals to our TA as the artist addresses social issues throughout the video. For example, teenage relationships.

Alex: We have adhered to conventions as a high angle shot is used. This shows that the pain of the breakup is taking over. All of these shots break conventions because he does not look into camera. We purposely did this to show that the artist is in a little world on his own.

Kenza: (00:16) Next we used a close up shot of Jake leaning against a wall. The wall shows the isolation of the artist and the still shots works well with the lyrics. The shot is smooth and is a convention as our artist is clear to the audience. The lyrics “I can feel the memory in my brain” work well with the shot because is it calm with no one around. This adheres to conventions of a new music video, according to Goodwin, as close ups promote the artist better.

Alex: (00:23) A medium shot of Jake is shown in a quick one second shot. He is singing into camera which is another convention of music videos according to Goodwin.

Kenza: (00:24) Again, another one second shot is used. This adheres to conventions because it keeps the video moving by cutting on the beat frequently. This is a convention of pop music videos and narrative is developed.

Alex: (00:27) We then used an over the shoulder shot of Jake looking in the mirror. This shows the audience that he is trying to understand the change his love interest has seen also linking to the lyrics “looking in the mirror, through yours eyes”.

Kenza: In this shot, we instructed the artist not to look into camera to break conventions because we wanted him to convey him talking to himself trying to understand.

Alex: (00:29) Jake can be seen with his hood up in this medium shot. His hood being up is another representation of him blocking out the world. Although this time they act as blinkers showing that he is not seeing clearly.

Kenza: (00:35) In this shot, we have used a medium long shot of Jake looking to the top right-hand corner of the shot. He is positioned centre frame which adheres well to conventions. We also added a vignette in this shot of his ex-girlfriend to show that she is the villain. This is part of Propps theory of heroes and villains. The lighting on the side of the vignette is duller to signify she has made him unhappy and this assumed villain.

Alex: (00:37) The next line of the song is “but that was then”. Jake walks out of the shot towards the camera.

Kenza: (00:38) A shot of a moving sky is placed in the instrumental part of the song. This is to show brightness in the song. The lighting is also bright as vibrancy is a convention of pop music videos.

Alex: (00:40) Jake moves from off camera to left of frame and walked to centre frame whilst singing into camera. This shows the journey from one location to another showing Jake moving on and trying to get over something in the past. We decided to use a Ken Burns on him in the middle of the shot to a medium shot. This is so the audience are drawn in to him meeting conventions as a promo video.

Kenza: (00:46) The camera moves with Jake in the next shot. The lighting in this shot has been lowered which connotes that the town is lonely and empty. This goes against Todorov’s Theory as the music video is mainly disequilibrium and turns into new equilibrium. The walking around the town shows he is in search of love and people.

Alex: (00:50) In this shot, we have used a close up of Jake. This breaks conventions because he is interacting with the audience by singing the line “so tell me when will you”. This is a postmodern idea as he askes the viewer this question and breaks the wall.

Kenza: (00:52) We used a medium shot next of Jake swinging round a lamp posts. This adheres to Goodwin’s theory because it there is a relationship between the visuals and lyrics. The lyrics sung are “Bring love, back around”.

Alex: (00:55) The video then cuts to a tracking shot of a sign stuck to a tree. The sign says, “Bring love back”. This corresponds with the lyrics and makes the video more interesting which adheres to Barthes semiotics theory.

Kenza: (00:57) A montage of shots with the effect “romantic” on them. This is to show the audience that Jake is dreaming of being around lots of people. These quick shots cut on the beat. This adheres to conventions because pop music videos always include more than one artist. Repeated shots of people, Jake swinging round a lamppost and the sign on a tree is used. We also included a reverse shot of the lamppost shot. This could have been better if we used a tripod for a steadier shot.

Alex: (01:05) In the next shot, our artist is stood in a large field alone. This connotes what he had. A fade and swipe is used when he swipes the camera away. This again adheres to Goodwin’s theory because “till it’s gone” are the lyrics as he swipes the camera away. He also changes costumes when the camera comes back. Throughout research, we noticed that this was a common convention. This worked really well as we used a cross dissolve/fade to make the transition between each costume smoother.

Kenza: (01:15) Again, we used an over the shoulder shot of Jake looking in the mirror. He is wearing a different costume. However, this time he is looking in the mirror because he doesn’t know who he is anymore without love in society.

Alex: (01:17) The next shot is of Jake sat on his bed, looking at his phone. This shot is to show that there is no one to talk to and he is completely isolated in his room. We did this as this address’s different social issues in society today.

Kenza: (1:18) Over the shot of a burning fire we have included a shot of his phone. This relates to the lyrics “this feels like hell”. We have reduced the opacity of the phone to show the fire. This signifies the burning of relationships.

Alex: (1:19) In this shot our artist is singing into camera. This is a recurring convention for us as it is important for our artist to connect with our audience. We purposely directed him to sing into camera as he looks down and innocently wishing to get back with his love interest in the video.

Kenza: (1:23) We used a high angle shot of our artist. He isn’t looking into camera because he is looking to the past and singing “but that was then”

Alex: (1:25) A following shot of the phone and fire signifies he was down and everything was bad.

Kenza: (1:27) In the next shot our artist is seen sat on a window sill. He is waiting for love, which is shown in the next shot.

Alex: (1:28) We have used a shot of hands in the shape of a heart with a low opacity over the sky. This shows that love is just an imagination as he looks at the sky waiting for love.

Kenza: (1.29) The camera zooms out and shows Jake looking down and upset.

Alex: (1:35) The slow pan and darker effect really develops the meaning behind the lyrics in this shot. "it feels dead in this town"

Kenza: (1:39) The high angle shot of Jake stood against the wall emphasises the narrative of him being alone on a journey trying to bring love back to the world.

Alex: (1:42) An over the shoulder shot shows Jake swinging round a pole. This was to relate to the narrative and create a sort of play on words as he has to come "Back Around" the pole.

Kenza: (1:43) A fade is used revealing a medium shot of Jake swinging around a pole in a different location.

Alex: (1:45) The medium close up and "romantic" effect in this shot is successful in working with the narrative of Jake trying to get people to bring love back to the world. Members of the public are also holding a sign that says "BRING LOVE BACK AROUND". As the shot it played the sign is perfectly in sink with the lyrics. Ultimately working with Goodwin's theory as lyrics and visuals match.

Kenza: A shot of members of the public in a medium close up holding a sign is shown. These fast shots of members of the public emphasises different people around the world helping the narrative. A short montage of shots is played showing multiple members of the public holding signs saying "BRING LOVE BACK AROUND". This is conventional as POP music videos include more than one person. All Shots have a romantic effect on them and are a medium close up. They develop the narrative of Jake trying to bring love back to the world.

Alex: (1:46) a medium shot shows Jake with his arms out wide, singing into camera. This works with POP conventions as he is happy and singing into camera.

Kenza: (1:47) Another short montage of shots shows multiple members of the public holding signs saying "BRING LOVE BACK AROUND". This is conventional as POP music videos include more than one person. All Shots have a romantic effect on them and are a medium close up. They develop the narrative of Jake trying to bring love back to the world.

Alex: (1:48) Jake is stood centre frame in a field pointing towards the camera while singing "your love". This shot is portrayed to the viewer very well successfully saying he needs the viewers "love". POP conventions are met here as many products with this genre have hidden meanings related to the viewer.

Kenza: (1:49) A member of the public is stood holding a sign saying "BRING LOVE BACK AROUND". Like the montage it works with typical POP conventions.

Alex: (1:50) A quick shot shows the sign stuck onto a sign post. This works with POP conventions and was inspired by the Black Eye Peas "Where is the love".

Kenza: (1:50) Jake is seen in a medium shot being lively and singing into camera. Developing the performance based aspects of the video.

Alex: (1:51) This shot is similar to the previous shot as they both had the same influence and meaning.

Kenza: (1:52) A medium shot shows all of the girls in the montages together holding the sign in the middle. This is conventional as in POP music videos, there is usually groups of teens together.

Alex: (1:53) A medium shot shows Jake stood in a field. On the left of him there are shadows and on the right is the bright sunlight shining onto the grass. This shot successfully portrays the left as the side with no love and the right side as being full of love. This matches props theory of "the hero and villain".

Kenza: (1:54) The girls are seen in slow motion jumping into the air in a happy joyful manor. This shot is conventional as it shows everyone being happy.

Alex: (1:55) This shot shows Jake back in the field singing into camera holding his arms out and smiling. This matches conventions of the POP genre as he is singing into camera and smiling.

Kenza: (1:56) Continuity editing is used here as the girls are seen coming back down from when they jumped in the previous shot. This shot is also slowed down to work even better with the editing format.

Alex: (1:57) In this shot we broke conventions as he isn't singing into camera or looking at the camera. A jump cut is used into an over the shoulder shot showing Jake walking up a hill then turning around and smiling. His happiness in the shot tells the viewer that he is starting to bring love back in a positive way.

Kenza: (1:59) A tracking shot follows Jake up the hill. We decided to break POP conventions in this shot as you cannot see his face. He then begins to run.

Alex: (2:02) A close up of a hand is shown as the lyrics "Who can I touch" come up. This is a direct link with the lyrics. This shot works with Barthes theory of "signs and signifies".

Kenza: (2:03) Jake is seen further up the hill. Running into the sunlight. This shot really emphasises his disparity of wanting to bring love back.

Alex: (2:04) Another close up is used of members of the public holding hands with the sun behind them. In this shot, lyrics and visuals closely match as it says "Who can I love?". This works with Barthes theory and adheres to the typical POP conventions as people are showing love to one another.

Kenza: (2:06) Continuity editing is used again showing Jake further up the hill in a longshot.

Alex: (2:07) Hands in the shape of a love heart are shown in a close up, with the sun directly in the centre of the hands. This adheres to conventions of a POP music video as the symbolism is very clear. This also, like some of the other shots, suit Barthes theory.

Kenza: (2:08) Jake is stood centre frame singing into camera "ain't nobody", as he sings this he lifts his arms up as if to say 'what can I do'. This portrays to the viewer that he needs their help, providing a clear audience interaction.

Alex: (2:09) The shot tracks backwards quickly cutting to Jake in a pink T-Shirt. This breaks conventions as Jake is in a stereotypical girls colours top. As Jake points to the camera it moves up and down. This again breaks conventions as it is not stable. We chose to do this as our TA really liked the quick camera movements.

Kenza: (2:10) The shot quickly cuts to Jake in the same position but back into the black hoodie.

Alex: (2:11) The close up of the hand is then repeated due to the repeated lyrics. This adheres to the POP conventions.

Kenza: (2:13) Jake is stood centre frame in an alley way. A medium shot shows him singing into camera.

Alex: (2:14) The close up of members of the public holding hands is repeated due to the repeated lyrics. This adheres to the POP conventions.

Kenza: (2:15) Continuity editing joins together all the shots of Jake In the alley way singing into camera. The editing really works with conventions of POP as many other POP music videos do the same thing.

Alex: (2:16) Repeated shots are used throughout this section of the video due to repeated lyrics. Especially the motif of hands in the shape of a heart. This links to the Manchester One Love concert using intertextuality.

Kenza: (2:22) A Medium shot shows Jake back in the field singing into camera. There is a slight zoom to the shot. This adheres to POP conventions.

Alex: (2:23) A darker effect and slow motion is used in this shot that shows a medium close up of Jake in a town centre swinging around a pole not looking at the camera. This show contrasts against POP conventions.

Kenza: (2:26) The shot then cuts to him back in the field singing and dancing into camera. Instead of cutting on the beat we decided to slightly zoom in and out changing the way the shot is every time. This contrasts against POP conventions but was very successful in our final video.

Alex (2:34) A stable pan reveals a town with no one in it. The lyrics and visuals match well within this shot as it says "dead in this town" there in no one around. This adheres to Goodwin's theory of using relationships between lyrics and visuals.

Kenza: (2:35) A medium long shot shows Jake in a field. The shot slowly zooms in as he sings into camera. This develops/adheres to the conventions of the performance shot.

Alex: (2:40) A MCU shows Jake twirling his hand. This adheres to performance comventions. This move also links to Goodwins theory as the motion portrays coming "Back Around".

Kenza: (2:41) Repeated shots of members of the public holding signs saying "Bring Love Back Around". This was intentional as the lyrics were repeated. Repeated shots are also commonly used in POP music videos. We felt adhering to this conventions would target our audience better.

Alex: (2:42) Jake is in an open field singing and dancing directly into camera. This idea came from a research post we did on Sam Smith's "Too Good At Goodbyes". In the video he is sat on a wall in a field singing into camera. In the background there is a clear divide between the sunlight and darkness. We tried to recreate our own version of this in an attempt to adhere to POP conventions.

Kenza: (2:43) Repeated shots are shown again of members of the public holding signs.

Alex: (2:44) Jake is located in a Rural Location shown in a medium shot. He is centre frame and singing into camera. As he is centre frame and alone it manipulates conventions. Synergy links his jacket with the greenery around him.

Kenza: (2:45) Repeated shots are shown again of members of the public holding signs.

Alex: (2:46) A MCU of Jake in the Rural location is played. He is singing into camera. As he sings he twirls his hand. This was intended to link the performance shots earlier where he was in the town singing and dancing into camera.

Kenza: (2:47) Repeated shots are shown due to repeated connotations.

Alex: (2:48) A quick shot of Jake twirling his hand develops the performance aspect of the music video.

Kenza: (2:49) We used this shot in order to link the members of the public together. This puts emphasis on the narrative of our music video.

Alex: (2:51) The girls from the public jump into the air. We did this to symbolise how happy they are now all together and loved.

Kenza: (2:52) We decided to use Ken burns in this shot to adhere to Goodwin’s theory of close ups establish an artist therefore, by doing this Jake engages with the audience to a higher degree.

Alex: (2:54) This shot of Jake singing into camera was used to adhere to conventions of POP music videos and engage with the audience.

Kenza: (2:57) The average shot length increases with this shot as is shows Jake in a long shot in the rural location again, singing into camera.

Alex: (2:58) This shot is of hands forming the shape of a heart on the lyrics "Bring Love Back Around", we did this to adhere to Goodwin's theory of "visuals and lyrics having a relationship". In addition, we also intended to adhere to Barthes theory of "Signs and signifiers" as the heart is a symbolic sign referring to love.

Kenza: (2:59) The final shot in our music video needed to be memorable as many music videos have a memorable ending. We wanted to portray the ending as our star achieving his aim of bringing love back around.

Conventions Of Ancillaries from AlexanderSherrattASmedia

In addition to the target audience research listed above we also asked members of the lower sixth form media group to answer some questions regarding our Rough Cut's and final videos. These questions were:

Do you understand the narrative of the music video?
Do you think the video is clearly of the pop genre?
Did you notice the costume changes? Which costume do you prefer/ remember/ like the best?
Do you think the locations are effective? Which location do you feel worked well with the song? Was there a location you didn’t like or understand?
Do you think visuals and lyrics matched?
What was your favourite shot and why?
Which shots didn’t you like? Didn’t understand?
What representations have been created?
Does this music video launch the male singer as a new star? Would this video make you look online for more information about him? Do you like him?

A majority of the answers we received were positive throughout. Although, a few opposed some of the ideas and shots we has come up with. Fortunately this gave us a clear understanding on what we had to change. Straight away we planned the actions we could make to ensure the oppositional reading was looked into. For example, in an oppositional comment they said that they felt it was "too green". In order to lower the amount of green we used ken burns more often or cropped a few images, cutting out the background.

So we had a way to look back at our planned actions we posted it on our blogs. This was what was planned.

Action 1: check the timeline for any shots that may make the narrative confusing. Possibly conduct a smaller focus group. Ensure that I ask why. Many said "the signs" helped so we may be able to insert a close up of a sign elsewhere.
Action 2: crop one or two of the nature shots so the frame is more dominantly the star image. see if we have any other shots of him in an urban location.
Action 3: Put effects onto shots where relevant.
Action 4: find more town shots
Action 5: No action needed as we will be detaching and deleting the sound
Action 6: No action needed
Action 7: could change running in field to heart action as its symbolic. Also check opening.
Action 8: No action needed
Action 9: Add a few more close ups either by cropping, Ken Burns etc.

Completing these actions gave our video a push, enabling us to meet what our target audience wanted.

We were pleased with the decisions made as they added aspects our target audience suggested. Cropping some of the shots improved the overall style and appearance of our music video in a good way. After some of these actions further away shots were changed to medium close ups and other close ups. When performing a final target audience research on our final music video the town shots were spoken about regularly. This proves that the action we chose worked successfully in targeting our Target Audience.