REPRESENTATION

( I D E O LO G Y )

INTERTEXTUALITY

• The American Dream (1930) is an aspect closely referenced within my product. This is an ideal by which equality of opportunity is available to anyone, allowing for the highest goals and aspirations to be achieved. This is presented in my video through the inclusion of heavenly locations and activities subjected towards the interests of my target audience. This includes the sports car, the smoke grenades and the beachy, summer locations.

Intertextuality equates for a huge total of representation presented within the media. This is said by Julia Kristeva to be ‘the shaping of texts meaning by another text’, which can be applied to my video:

ROGER RABBIT –SLEEPING WITH SIRENS

• A major inspiration for reference within my product; themes, stylistic/ editorial features and shared ideologies are correlated between media outcomes:

• The washed out warm filters are often used within my video to create the impression of an old, faded image. Glitchy transitions are also used between shots to induce the idea of imperfectness, yet satisfaction and harmony, collaboratively enabling recognition of a certain retro theme. This indirectly links to the American Dream, referencing a concept from the 1930’s, and contrasting this with our modern day, post-modern society.

• Location is also noticeably similar to create this concept of an idyllic scene. The use of a fire is also correlated between products, symbolising sensations of summer, content and establishing good atmosphere.

From My VideoFrom Sleeping With Sirens’

Video

SUNSET –KID INK• Sunset by Kid Ink features

similar iconography, however is filmed subjected around California specifically. A sports car is used here, also reflecting upon the American Dream, displaying an idyllic lifestyle.

• Continuity editing is used to match the beat of the song to the imagery, creating this visual representation and recognisable link, targeted for achievement in my product.

COLLIDE –LEONA LEWIS FT. AVICII• Collide by Leona Lewis features similar imagery yet

again, with the addition of cross fade transitional effects as seen throughout my product. This was directly inspired by her video aiming to create smooth visual change between shots improving visual impact.

• This represents the relaxed nature of the scene, reflecting upon the artists insight, personal views and success.

FEMALE PORTRAYAL IN THE MEDIA• Following much in depth study of representation in pop music videos, an obvious

trend can be noticed amongst a large proportion of existing products. This generally works on the concept of woman, and often the themes of love and sex. Voyeurism is one of the main concepts here, illustrating the objectification of woman for ‘the male gaze’ (A theory suggested by Laura Mulvey, 1975).

• This theme is not obviously present within my video, following an unconventional approach to the creation of any generic pop music video such as M.I.L.F by Fergie, and Wrecking Ball by Miley Cyrus. This was a deliberate production choice to avoid confliction in message; meaning derived through signifiers builds ideas of personal strength, individuality and self-respect. Featuring imagery of the artist in an indecent way would contradict intentional interpretation.

• However, my product still supports the theory of John Berger who describes it as "ways of seeing", where "men act and women appear". He also said "Men look at woman. Woman watch themselves being looked at" and "are aware of being seen by a male spectator", however, in my video it is for a different, unconventional reason, and to instead bring about the realisation of woman’s rights and equality.

APPLICATION OF THIS• This is most indecent the artist is

presented throughout the whole music video’s entirety. Which, when compared with existing products, this representation doesn’t seem even half bad.

• The outfit simply follows trends in youth fashion where no explicit imagery is present. Any other interpretations reflect upon the ideologies of the audience and our current day society, serving as a reminder that voyeurism is still a present aspect in the fashion industry and the media in general.

‘THELMA AND LOUISE’ (1991)• For this reason, feminist road movie ‘Thelma and Louise’ produced in

1991 is a key intertextual reference, symbolising unconventional views at the time of release, being one of the most revolutionary feminist films. The fact that this media text takes place on the road in a convertible sports car reflects directly upon mise-en-scene choices in my own video where a convertible car features. This is especially unconventional for a female artist, drawing attention to the inequality in treatment and expectations of people dependent upon their genre.

EMOTIVE QUALITIES• In addition to this, woman’s stereotypical emotive qualities are often

expressed in the media, displaying a certain vulnerability. Over the years, this conventional representative theme is being opposed by institutions due to the ever-increasing power and confidence of woman.

• In our current day, this is especially proved by the fact that some of the lead figures within the pop scene and charts are woman, such as Beyoncé and Rhianna. For this reason, my artist AI Chika, follows this same lead.