Treatment - The initial concept and narrative for my music video

“Oh No!” Marina and The Diamonds

THE OVERALL CONCEPT

The inclusive idea behind our video is to create and ironic juxtaposition of idealised fame and fortune with the hash reality of which life relays. The motifs of drugs, alcohol and money throughout or video shows materialistic obsession that ultimately drives people to commit their own self-destruction. We have chosen this song as it represents how the media has an overpowering and domineering hold over society today. The lyrics “I know exactly why I walk and talk like a machine” and “TV taught me how to feel, now real life has no appeal” expose how certain aspects of the 21^st century media spectrum determine and heavily influence how people act. The character of which the artist plays emulates the ideologies of a stereotypical fame seeking, money-thirsty young and egotistical woman which is asynchronous with the images and shot which we will include in our video. We feel that this will be effective as the lyrics are fairly controversial. The powerful repetition of the lyrics “I just wanna change” is ambiguous as it could represent society wanted to change from a capitalised lifestyle or the ideology of someone with a constant desire to perfect themselves.

OPENING NARRATIVE

The video begins with a clock fast forwarding showing a saturday night which establishes the scene. Then a birds eye view of artist in a 360 degree spin/ dramatic zoom from long shot, mid shot and close up of artist's face. The artist is laying on the floor singing the lyrics "Don't do love, don't do friends". The location is minimalistic to create a focus on the the artist. We are introduced into the artist's material world. All sound in the video is non-diegetic.

Then the camera moves from mid shot to low angle of the artist to convey her status whilst singing the lyrics"I'm only after success". We will use motifs such as her holding champagne glasses to convey ideologies of modernised glamour.

After this lyric there is a distinguishable beat that is repeated four times. On each beat we will include four different images in the style of black and white, paparazzi shots to create a montage of contrast to juxtapose the previous shots, and expose the reality of the process of her self-destruction.

"Don't need a relationship, I'll never soften my grip" is shown in a variety of shots i.e mid shot to extreme close up focusing on styling that conveys sexual empowerment and authority. Artist pushing male away and clenching fist.

The next shot is a repetition of her stubbing out a cigarette. This is an edit repeated to create a montage but also foreshadows the next lyric "Don't want cash, don't want card" which symbolises her stubbing out the remainders of her old life - the person she no longer wants to be.

"Want it fast, want it hard" introduces the setting of the back of a car to depict the journey home from a night out in the back of a cab to represent the pace of her life. The artist dances and lunges around in the back seat of the cab, there is then an extreme close up of the artist's lips to connote danger, and to also portray the artist as an object of sexual desire.

"Don't need money, don't need fame" shows the artist in long/mid shot throwing a handful of money in the air. The camera slowly zooms out and shows the money falling to the ground - representative of her fall from fame.

The chorus of the song "I just wanna make a change, I just wanna change, I just wanna change, I just wanna change, I just wanna change, I just wanna change" is a series of closeup and extreme closeups of eye makeup smeared, taking drugs, drinking alcohol and changing outfits to present the spontaneity of her life.

"I know exactly what I want and who I wanna be, I know exactly why I walk and talk like a machine. I'm now becoming my own self-fulfilled prophecy. Oh, Oh no! Oh no! Oh No-oh!" Back in the scenery of the cab followed by a closeup of her red lips.

In the next verse we have the artist laying on a bed in a high angle shot - simplicity. Simply showing the artist singing the lyrics.

In the next verse there is various shots of the artist being "consumed" by her clothes reinforcing the line "your possessions will posses you". There will also be various extreme close ups to create an essence of the artist talking directly to the audience highlighting the ideology of materialistic desire and consumerism.

There is then a repetition of zooms and extreme close-ups and high angle shots to reinforce her lowered status and authority.

Then the shot goes back to the scenery of the cab in previous verses.

"Oh, Oh no! Oh no! Oh No! Oh No-oh!" is again a close-up on the artist's red lips.

"I'm gonna live, I'm gonna fly. I'm gonna fail, I'm gonna die..." Is a series of shots in long shots and mid shots showing the artist dancing and performing for the rest of the song.

What I have Learnt from the Lipsync Exercise

From conducting my very first lipsync video I have come to learn various editing and shooting skills which will help me when creating, recording and editing my music video. The exercise has allowed me to film my very own sequences consisting of long shots, mid shots and closeups, and also cutaway sequences.

At one point in the lipsync video lighting proved to have a significant impact on the quality of the video footage, and ultimately effected how professional the video looked. I have learnt that in my real music video I will have to use appropriate setting with control of lighting, and mis en scene to produce the highest quality work. I also learnt through the process of editing that the narrative and music must work in conjunction with each other, therefore all cuts must be made to suit and fit the beat and lyrics of the track.

Star Image Analysis - Miley Cyrus

Collage of miley cyrus' star image

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The star which I have analysed for the element of star image is Miley Cyrus as she embodies the ideologies and desires of the modern day consumer and mainstream materialistic and aspirational audiences. At the beginning of Cyrus' career she embodied the title of a pop-princess and icon for children across the globe. Her hit series Hannah Montana was aired by the Disney Channel which provided a link to the most idolised, influential and lovable fictional characters known to children. Conclusively, Cyrus' audience was primarily young girls/teenage girls.

By adopting the alter ego of Hannah Montana, Cyrus was able to embody the stereotypical Americanised features of a youthful, healthy and beautiful young girl i.e.  long blonde hair, blue eyes and the voice of an angel. However this was soon to change. As Cyrus was about to embark on her new life as a young adult, the demands of modern day consumerism and mainstream perceptions of beauty, physicality and sexuality altered her star image dramatically. Cyrus no longer wanted to be viewed simply as the childhood sweetheart that is Hannah Montana, she wanted to be taken seriously and therefore aspired to broaden her demographic of audience through the manipulation of her genre of music, but ultimately her star image. 

Andrew Goodwin states that the audience knows it's own tastes in music, conclusively the audience are used to the genre of music produced by Cyrus' alter ego Hannah Montana. However the music industry has been able to work around this theory - the construction of Miley's new image is one of the ways in which they have able to alter the audience's taste in music. 

Cyrus has become a phenomenon of modern day consumerism and culture as her broadened demographic of audience feel a loose attachment to her and change their image in conjunction with the alteration of her image. 

Sexual connotations - delicacy of the bird feathers could connote the idea of the juxtaposing of Miley's more delicate, fragile and naive perception as pop princess Hannah Montana with the sexually more dominant and womanly Miley Cyrus. The fact that she is laying on peacock feathers could indicate that Cyrus, as an artist, has a degree of unseen vivacity and rarity that has not been exposed until now. 

Here the artist's hair is darker, her makeup is more seductive, dark and smoky which could indicate at Cyrus' desire to appeal to an older demographic of audience such as aspirational admirers and anti-authority rebels. The fact that the artist crawls on a mirrored floor could highlight that vanity is a central focus to the work of Cyrus. 

Cyrus now uses the conscious manipulation of her star image to make controversial political statements. The pole represents promiscuity and connotes fairly derogatory ideas. Cryus' new image has sparked a colossal debate about how suitable Miley's image is as according to Andrew Goodwin's theory star loyalty is key; therefore millions of young admirers across the globe will alter their own image and aesthetic to mirror their favourite artists. 

There is substantial difference in institutional contexts such as the branding of the star, synergy, marketing and also filming styles. The difference in filming styles is evident in the above music videos, one from the alter ego that is Hannah Montana and one from Miley Cyrus as an independent artist. The filming styles in Cyrus' new more modern music videos differ as they are more dark, with sharp cutting and edits to market her in a different, more diverse way to create controversy.

I will use this research to inform my production work in order to successfully portray the message of which our song conveys, and to ultimately depict the morals, values, ideologies and opinions of our artist and also meet the demands of the modern day culture of consumerism and materialistic desire.

Initial Treatment Ideas

The soundtrack we would like to use is called "Oh No!" By Marina and The Diamonds. We were inspired by the potential of the lyrics to convey the materialistic desires of the modern world and it's occupation with fame and fortune.

Dont do love, dont do freinds              Tearing pictures of her and boyfreind/pushing friends away -
I'm only after success                           self destruction.
Don't need a relationship
I'll never soften my grip                  Clenching fist or handfull of money

Don't want cash don't want card     Holding money/throwing it in the air/throwing credit cards
Want it fast, want it hard
Don't need money
Don't need fame                              Wearing a crown/taking pictures of herself in close up

I just wanna make a change              Idea of closeups and extreme closeups of the subject taking
I just wanna change                          drugs/repeatedly changing clothes to represent the
                                                          persona she is trying to create for herself.
I just wanna change                      
I just wanna change
I just wanna change
I just wanna change

I know exactly what I want and who I want to be        Looking to the stars/pictures of idols
I know exactly why I walk and talk like a machine      Fast edits/montage to create robotic effect on
I'm now becoming my own self-fulfilled prophecy      Movement
Oh, Oh no! Oh no! Oh no-oh!

One track mind, one track heart
If I fail, I'll fall apart                           Ambition to be perfect
Maybe it is all a test
Cause I feel like I'm the worst
So I always act like I'm the best
If you are not very careful
Your possessions will possess you       Clothing and possessions literally attacking her
TV taught me how to feel
Now real life has no appeal
It has no appeal
It has no appeal
It has no apeal
It has no appeal

Chorus

Chorus repeated

I'm gonna live, Im gonna fly         Coveys the two polar extremes - attitude and outlook on her own life
I'm gonna fail, Im gonna die
I'm gonna live, I'm gonna fly
I'm gonna fail, gonna die, die , die, die       Repetitions of shots/edits to create montage

Chorus

Chorus repeated

Lipsync Exercise

For our lipsync exercise we have chosen "Wannabe" by the Spice Girls as we feel the pace of the song is suitable as it is substantially upbeat and fairly easy to sing; we also know the words to this particular song very well. The pace of the song will also enable us to include a variety of sequences in our filming i.e. long, medium and close up shots, and also cutaway sequences.

Music Videos That Inspire Me

"Oh No!" by Marina and The Diamonds has provided me with inspiration due to the variety and vivacity of the frequent cuts and editing. The music video creates a montage of images in a comic book/pop art style. I also like the use of money falling down onto the artist to create imagery and meaning, but also works in conjunction with the lyrics of the song.




I have also gained inspiration from the "Hollywood" music video as it is also orientated with modern day consumerism and compulsive desire for wealth, fame and power which is the narrative I would like to portray through my music video - a young girl trapped in the world of modern media and consumerism, thirsty for hollywood fame and fortune.



"Broken Arrow" has inspired me through the use of lighting and colour. Throughout the video there is the constant idea with dark, representing hurt and the past, versus light which is representative of the present, future or the artist's fragile state.



"Waking up in Vegas" has provided me with inspiration through the light-hearted/humorous narrative, but also through the repetitive close ups of the artists face to convey emotion. I also love the use of costume in this video as it helps to create characterisation and tell separate narratives within the video. In my music video I want to portray this idea of separate narratives through the changing of the artist's costumes, but also to convey the artist's confusion.



I have also been inspired by the use of colour, costume, mis en scene and setting in "California Gurls".

Music Video Analysis

Music video analysis - Beyonce "why don't you love me"

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Analysis of Album Art

KATY PERRY CALIFORNIA GURLS 

• This album cover is for predominant pop artist Katy Perry’s single California Gurls. The album title works in conjunction with the selection of colours used for the background, the text and even the aesthetic of the artist. The bright colours with hues of lemon yellows and baby pinks and blues connote an air of fun and youthfulness or even childlike innocence and naivety. The image of the parasol in the background along with the lighting used to highlight the artists body indicate that the album cover represents the season of summer. This could suggest that in this song in particular the focal point is primarily fun and the pursuit of fun, but also the pursuit for the artist to return to a more enjoyable and light-hearted period in her life.

• The album cover is represented as or adopts the genre characteristics of a 1950s-esque pin up girl – an icon of the era encapsuling beauty, talent and fame into one. Through the artists aesthetic it is evident she is keen to portray herself as a woman of this nature. It also provides insight into her artistic interests, likes and dislikes, but also determines how her genre of music will be perceived by a consumer audience.

• The codes of which this image portrays are that of mainstream western culture and stereotypical perceptions of the female gender – the fact that they are represented as or symbolise objects of sexual desire for the egotistical modern day male and iconic for the aspirational and admiring female audience. It is a commentary on the reoccurring ideology of desire and of consumerism today.

• The album title is a mix of bold lettering and fluid. Perhaps the bold font is used to make a statement whereas the fluid text used for the lettering of the word “gurls” is used to convey the delicate and pretty nature of the song and ultimately the artist herself.

• The artist is dressed in quite a revealing and provocative manner to highlight her feminine features and beauty. Her hair is consciously coloured blue to create the illusion of an astounding rarity and uniqueness of the artist.

Analysis of Album Art

RIHANNA RATED R

• This image is the alum cover for Rihanna's album Rated R. The title connotes the idea that the album is solely about the artist as her name begins with the letter "R" but also suggests relevance to the genre characteristics of a movie. 

• The image itself is in black and grey with stark and dark lighting which suggests an air of mystery and ambiguity, but also of darkness and sin. Rihanna's facial features are striking and elaborate to highlight her aesthetic as an artist but could also suggest that the genre of music which appears in this album will differ slightly from her usual light-hearted and and pop based productions. 

• The main focal point for this image is to create a diverse edge and statement about the artists' artistic influences, style and even personal interests. The image provokes the ideology that the semiotics derive from archaic horror movies from the 1920s, 30s and 40s; mirroring the effect of the painted movie posters for legendary works such as the Bride of Frankenstein and the Werewolf of London. 

• Rihanna's gloves resemble claws of a monster which conveys her animistic nature - referring back to the horror movie theme. A song on the album is in fact called The Madhouse which encompasses the them of a fictional world portrayed in a horror film. 

• Leather also connotes strength and edge, and the fact that Rihanna is wearing leather reinforces the idea that she as an artist is strong, imposing and dominant over 21st century consumerism and the media spectrum of modern day. 

• Rihanna's aesthetic deviates from traditional perceptions of beauty whereby something beautiful is transformed into something to be feared; this could convey Rihanna's principal interest when promoting her album - taking her traditional light-hearted pop music and diversifying it into a whole new genre of thought provoking edge and creativity.

• The font used for the album title resembles scratching or smearing.

Marketing Strategies Presentation

Marketing Strategies Molly & Yasmine

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Analysis of Music Video

Analysis of Gender Representation in Love the way you lie by Eminem ft Rihanna

Candlelight is a prominent element throughout Love the way you lie which connotes the idea that the burning flames are just as intense and volatile as the relationship that is the central focus to the song. Rihanna’s facial features are seen in a close up shot to provide emphasis of her reference to sexual desire and femininity to the audience. Her eyes are in dark shadow to add an element of forbidden ambiguity and mystery; her lips are highlighted with a sheen glossy texture to enrapture the audience’s attention. The most predominant features of the female face are emphasised in order to portray Rihanna as, simply, an object of sexual desire. The deep red colouring of her hair also works in conjunction with the connotations of the candlelight but could also suggest she obtains a certain uniqueness and rarity. In the opening sequence the depth of field can be analysed to see that Rihanna is in fact in focus where the candlelight in the background is blurred.

There is then a cut to Megan Fox in mid shot, where she is shown to be sitting in a cross legged position on the floor of a lounge area – presumably her house. The house is made dim to highlight the stream of light from the window and the flames she is cupping with her hands. The stream of light could represent how upon escape from the entrapment and closure of her dark and dim future with this man, whereas the fact that she is holding the fire with her bare hands suggests the cliché “if you play with fire, you’re going to get burnt” which could indicate that the relationship will also have an inevitable ending.

There is then a cut back to Rihanna in close up when there is also a match on action shot. There is a conscious repetition of cuts back and forth between Rihanna and Megan Fox. It could be interpreted that Rihanna is the spokesperson for the character of Megan Fox’s point of view or feelings about her dilapidated relationship. There is an emphasis on the word “you” in “love the way you lie” which establishes a sound bridge to the following narrative and the beginning of the song, which overlaps the delicate yet solemn music of the piano. The word “you” suggests that we, as an audience, are about to hear the point of view of the second person within this relationship.

The camera cuts back to a close up of Megan Fox asleep in bed with the male. The depth of field conveys Fox in the foreground as the main focal point whilst the male, situated directly behind her, is out of focus. The song begins the moment Fox opens her eyes which justifies a sense of awakening to the reality and severity of the situation she is in. This is followed by a cut to a mid shot of the artist, Eminem, standing amongst a field of wheat/long wispy grass which highlights the natural elements of growth away from the stunted and decaying relationship. The camera is positioned in a low angle shot in between the grass which establishes the idea that the audience are voyeurs. This is followed by a close up of Eminem from head to chest and then back to the couple in bed. There is a close up point of view shot of the couples’ arms where the name “Cindy” and below it a telephone number can be seen inscribed on the male’s hand.  Here the lyrics of the song match the reaction of Megan Fox’s character “I can only tell you what it feels like and right now there’s a steel knife in my windpipe. I can’t breathe but I still fight. As long as the wrong feels right, it’s like I’m in flight” These words insinuate that the female (Fox) is ultimately fooling herself to believe that her boyfriends behaviour is right; although deep inside her, she knows that it is wrong. It is almost as if she is spending hr life floating around aimlessly where she transgresses into a dreamlike state – pretending that what is in fact reality is not.

Eminem’s clenched hands match the frustration and violence of the couple fighting within the narrative. The words “huffing paint” add to the description of the toxic and suffocating atmosphere. The stream of softened sunlight is matched with the preceding shot of the sunlight peeing through the curtain in the couple’s bedroom. There is then a cut and the camera tracks backwards in close up of the couple. The female is fully clothed whilst the male is not which primarily serves the purpose of revealing his dominance and masculine power over her.  The words “Wait, where you going. I’m leaving you. No you ain’t, come back” is successfully mimicked by the actors to create a snapshot of reality and voyeurism in time.

“It’s so insane cause when its going good it’s going great. I’m Superman with the wind in his back. She’s Lois Lane” emulates on the idea that the male is superior as the superhero rescuing the helpless victim that is Megan Fox. It is also suggested that woman are not as significant as men as Lois Lane is a subordinate character in the Superman movie/comics. This is also reinforced by the fact that our perception of Rihanna is only of her facial beauty and feminism; whereas in the shots of Eminem we see all of his body exposed. Rihanna is also in a dark shot surrounded by dim and delicate candlelight refle4cting the vulnerable and confided nature of the female in the narrative, where Eminem is situated in the great outdoors where high angle shots, tracking and crane shots are used to depict the vastness of the atmosphere and his sense of freedom.

As the camera cuts back to the couple after Eminem sings the lyrics the following words can be hears “Who’s that dude? I don’t even know his name. I laid hands on her. I’ll never stoop so low again. I hues I don’t know my own strength”. The lyrics are matched by the actions of the male grasping Fox and falling into submission after the realisation of his actions has substantial impact ton him after he makes punches a hole in the wall. The lyrics accentuate that the character has transgressed into somebody that he cannot recognise himself. His respects for his partner, his values and morals have all been obliterated without a trace. The reoccurring element of intense sunlight throughout the narrative exhibits the passionate nature of the couple’s kiss as does Rihanna’s facial expression. Her hand movement also reflects the pleasure and degree of phallic imagery prominent in the matching action of the actors.

There is then a cut from Rihanna to Eminem and simultaneously back to the shot of the room where the male is seated in a contemplative position, the camera zooms in to highlight his face. The camera then cuts distinctively to a similar close up of Rihanna’s face. The camera cuts from the shot of her face to a flashback which is an establishing shot to convey the connection between the couple at their first meeting. This intense, new found love is justified by the lyrics “you ever loved somebody so much you can barely breathe when you’re with them, you meet and neither one of you even know what hit ‘em”. The nostalgic atmosphere at this point in the narrative switches to sheer frustration which is exposed by the expression on the actor’s faces and their stiff and crippling movements and body language.

“That was yesterday, yesterday is over, it’s a different say. Sounds like broken records playin’ over” Shows that the couple are trying too hard to live in the past. The words comment on the idea that you cannot cling onto something and try and fix it if it is already broken. You can attempt to repair what is left of it, but it will never be the same.

“You don’t get another chance. Life is no Nintendo game” juxtaposes reality with fantasy -  the idea that the relationship is not taken seriously by the male. “Now you get to watch her leave out the window, guess that’s why they call it window pane” suggests that the story of their relationship is being foretold by Eminem and Rihanna. However, it is indicated that male is more knowledgeable than female as Emi=en is more prominent than Rihanna during the foreshadowing of the narrative.

As the video progresses more of Rihanna’s provocative aesthetic is uncovered in parallel to the development of the narrative. Eminem and Rihanna are united in front of the burning house which connotes that they are voyeurs into the couple’s relationship and telling the audience the story of their relationship in a logical order. Rihanna faxes the camera in long shot for the first time although Eminem has his back to the camera. It is revealed by the costume that Rihanna and Eminem wear that they are dressed very similarly to the actors in the narrative. Rihanna is pictures in shorts and a top where Eminem contrastively wears a vest top and jeans. This almost implies that women have to make a degree of effort to be viewed at their best where men are allowed to take a more passive outlook and attitude towards their appearance.

The camera then tracks the couple through their house showing each room intern. The dramatic effect of the track is to convey the male’s destructive nature rippling through the house to pursue the female. The house is then seen to be engulfed in ferocious flames with the male and female in focus within the foreground of the mid shot. The fact that the house is burning demonstrates the idea that the destruction is foretold by the lyrics of the song “if she ever tries to fuc**** leave again I’mma tie her to the bed and set the house on fire”. Upon considering the context of the word “she” it is clear that the female gender is insignificant. The fact that the male strives to tie her to the bed and set fire to the house simulacrums the female as an inanimate object of desire. The aggressive denotations of the lexis suggest the males’ domineering and frightful and therefore the most powerful.

Artist Research - Cheryl Cole

ARTIST RESEARCH

Cheryl Cole is a British singer, songwriter model and TV personality, and through an extremely effective viral marketing and advertising campaign is known to be one of the most prominent and celebrated artists of the modern era.

The ways that Cheryl Cole markets herself to her demographic of audience:

• Primarily through girl band Girls Aloud whom of which were first formed in 2002 through the reality TV programme Popstars: The Rivals. Girls Aloud had 20 consecutive UK top ten singles, two UK number one albums, nominations for 5 BRIT awards and were awarded the honour of best single in 2009 for The Promise
• Concerts and supporting other well established artists in concert such as Will.I.Am and the Black Eyed Peas
• Touring and performing at notorious festivals across the UK
• Songwriting for herself and other artists
• An array of professional and successful music videos
• Eye catching album cover artistry
• Fan subscription/official websites
• Meet and greets with fans
• Charity work
• Starring in reality TV programmes such as The X Factor on the judging panel
• Social networking websites
• Advertisements - the new face of L'Oreal
• Modelling
• Fashion icon - appeared among the covers of the most prestigious fashion magazine such as Vogue, Elle and Harper's Bizarre
• Biography Through My Eyes
• Radio interviews and exclusive previews of songs
• Allowed to have one off television exclusive on ITV - Cheryl Cole's Night In

Cheryl was also awarded the following:

• In 2007 Most fanciable female - Virgin Media Awards
• In 2008 Sexiest female and best reality TV judge  - Heat Magazine Awards
• Favourite TV personality - Glamour Women of The Year Awards
• Number one sexiest woman in the world - FHM men's magazine

How effective is Cheryl Cole's use of the Internet to market herself?

Cheryl Cole uses the Internet as a source of providing an effective relationship with her fans but also to establish a pedestal for her viral marketing campaign. Her first method of marketing herself as an artist is through her official website www.cherylcole.com . This website is a subscription only website which is key to her marketing technique; as only subscribers can access the websites content it ultimately leads to more subscribers, therefore more fans. The website shows uploads of exclusive photographs, press releases, communication between Cheryl and her fans, and also links to various social networking websites. This conveys that Cheryl has a very broad demographic of audience and in parallel a broad viral marketing campaign. All information regarding Cheryl's new material is uploaded onto the website to ensure prospectable consumers have all the necessary information in order to purchase Cheryl's music and branded products.

Cheryl also makes use of social networking websites Facebook, Myspace and Twitter. Cheryl's Facebook page displays advertisements for Cheryl Cole products, exclusive photos, interactional devices for fans to communicate with Cheryl, press photos and snips and also a calender of events of which Cheryl will be attending or performing at. The facebook page also has the function of notifying fans when any performance or appearance is cancelled in order to maintain a strong and loyal relationship. On the artist's Myspace profile there is also links to Twitter, YouTube and Bebo, but also to her official merchandise store. Myspace has the function to provide streams of music to the users of myspace and also videos in order to promote upcoming singles that will soon be available to download.