In which ways does your media product use, develop, or challenge

forms and conventions of real media products?

Synaesthesia

• In order to find out peoples thoughts of our song choice we decided to do a synaesthesia task whereby, we asked Year 9 students to listen to Pompeii by Bastille and to tell us what comes to mind. When Coco and I compared our images to theirs we had similar images and emotions towards the song. This confirmed our view on the correct song choice to pick. Hence, our target audience being teens.

Mode of address

Pompeii is a song that can be seen as an uplifting song, or an emotional song whereby, you notice that the song is referring to the disaster that happened in Pompeii. A lot of people don’t realise this and just listen to it like any other song. The way we portrayed it was in a neat, tidy outdoor location whereby the audience can connect with the song and the outdoor scenery. Secondly, we were able to view the song as being quite ‘streety’ too. Because of this, we went to Shoreditch (East London) and did filming there in more casual clothing. This gave the music video two different views which both work with our song choice and our mise en scene.

Types Of Signs

In our Music Video we had an indexical sign with the graffiti on the wall representing the ‘streety’ feel and look. Rafi our actor, was wearing jeans, purple hoody, and a flat-cap which was symbolic for the location and setting we used whilst filming in Shoreditch.Likewise, in Hampstead our setting was clean, modern and smart. Rafi was dressed smartly to represent the location in the way we wanted it to come across to our audience.

Laura Mulvey – Theory

• According to feedback, Rafi is said to be good looking man. He is used in our Music video to draw attention from the audience. Young females may think he is good looking and therefore want to watch the video purely for that reason. This is known as the Female Gaze, where women may see it as a visual pleasure. The female gaze is not restricted to just viewing good looking men, but more importantly about the expectations of how the audience relates to the music video.

Intertextuality - Pastiche

• There is no reference to pastiche or parody in our music video as there is no imitation of the original and we weren’t trying to imitate the style of the original. Moreover, there is no parody as there is no comical element to our music video. Additionally, our music video is multi-layered. This is because we have two very different locations with different scenery therefore, our music video can be interpreted to have a variety of meanings.

Andrew Goodwin – Typical elementsAndrew Goodwin speculates on some of the images associated with music videos. I have referred to his semiological breakdown. He states how listeners see images when music is heard. This concept I have already spoken about and researched for myself. It is the synaesthesia concept. He has a further concept where there is a relationship between lyrics and visuals and the lyrics are represented with images. This has been included in our music video. An example of this is when the lyrics quote “but if you close your eyes”. Our actor – Rafi, closes his eyes, with his hands out to the side and face up to the sky, which shows and suggests meaning to those words as he is emphasising them with actions and movement. Something that Goodwin doesn’t talk about is that the music video cuts are in time with a new part of the song, so that it doesn’t get too boring for the audience and that the choice of clips can be varied. We also put in a few shots of Rafi standing still at different angles, staring at the camera whilst the song is on-going. Coco and I felt that it was appropriate and not necessary to have constant lip syncing.

Sergei Eisentein• Eisenstein was among the first to explore the

use of montage, which is a specific use of film editing. It involves a series of short shots which are edited into a sequence to condense space, time, and information. Eisenstein argued that montage was the essence of the cinema. In our music video, we have used Eisenstein's theory as we have a series of short shots which are all edited into a sequence to condense time.

Richard Dyer

• In our music video, there are elements of energy and intensity. The energy is noticeable during the chorus of the song. This is when Rafi tries to get people to understand the meaning from the song. He’s quite energetic as he raises his arms, which shows a lot of meaning in the video. At times the intensity levels are high, this is specifically at times when we try to get the audience involved in the song, and making them understand the lyrics too.