In what ways does your media product use, develop or challenge forms and conventions of real media products? – This task requires you to compare the outcomes of your research of similar media products with the outcome of your group’s finished production. Hanan Mohamed

Goodwin key music video conventions

FOLK ROCK

Using Your Research Findings – note/ bullet point typical generic conventions

Your Production – Use, Develop or Challenge

Genre characteristics (e.g. stage performance in metal video, dance routine for boy/girl band)-

The band/artist is usually shown performing within the video, with shots of their instruments if they play any or simply their face if they sing only. They are also usually performing alone, or simply the band cut in with scenes elsewhere e.g. a narrative cut in with the performance. Their isolation is often to highlight their music’s importance rather than screaming fans, and to indicate the artist is introspective and mature. (See Mumford & Sons: Little Lion Man, Iron & Wine: Boy With A Coin, Laura Marling: Rambling Man).

This is usually done in a location full of nature – somewhere rural, full of fields, by a river, on a beach

USED - Our band is shown playing in front of trees surrounded by fields and open space, which is in the theme of nature.SCREENSHOT

by the sea (Laura Marling: Rambling Man), by a swamp, a forest (Iron & Wine: Boy With A Coin) etc.

Relationship between lyrics and visuals (either illustrative, amplifying, contradicting

The lyrics of folk rock songs tend to be fairly abstract most of the time, however the visuals are usually illustrative for the chorus or a particular verse, but most of the song will use the visuals to amplify the lyrics meaning.

Bon Iver: Calgary’s visuals are at first illustrative it says ‘don’t you cherish me to sleep’ and it shows a woman on a bed sleeping who defies being mollycoddled by being cherished and wakes up. ‘Hair, old, long along/Your neck onto your shoulder blades’ is sung as we see her lifting her head to show her hair is long, as the camera moves to show her neck and then her shoulder. The visuals begin to amplify in the next verse as ‘hip, under nothing’ is heard as she falls through the bed and lands standing in a lake. This is amplifying because instead of merely having her fall off of the bed, it shows

USED - ILLUSTRATIVE

her very foundations are not what she thought they were so she must go and ‘hunt the cause’ which she does getting up and finding a door out.

In a few, rare places the meaning will be contradictory but instead of confusing the viewer makes the artist seem like a storyteller. Contradictory visuals can be seen in the first verse of Iron & Wine: Boy With A Coin as the lyrics are:

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A boy with a coin he found in

the weeds

With bullets and pages of

trade magazines

Close to a car that flipped on

the turnWhen God left the ground to circle the world

This was contradictory as all that could be seen on screen was a group of women

dancing, no boy or weeds or a car to be seen. But in the following verse the visuals take the other direction and actually amplify the lyrics meaning:

SCREENSHOT

A girl with a bird she found in

the snow

Then flew up her gown and

that's how she knows

If God made her eyes for

crying at birthThen left the ground to circle the earthThere is one woman singled out for dancing and we can see no bird, but feathers are falling from her dress and her dress is moving like a living bird – her expression is also quite sad. This amplifies because instead of simply showing a girl in the snow finding a bird that flies up her dress, the bird is metaphorical and the repeated line of God having ‘left the ground to circle the earth’ reflects the women dancing endlessly in circles in the same path as people

are left on the path of fate, referencing religious messages.

Relationship between music and visuals (either illustrative, amplifying, contradicting).

 

The music is mostly illustrative of the visuals. In Iron & Wine: Boy With A Coin the style of the dancing matches the style of the music that is being played, both old fashioned and classy. The movements of the dancers hands are very smooth as are the notes of the piano being played. At the same time their dancing is still very obviously choreographed, hips and legs sharply in time to the guitar strings being plucked in clearly defined movements.

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In Laura Marling: Rambling Man the music has a fairly steady ‘one-two’ beat which is in time with the visuals, to the point where even the birds flying and the sea waves lapping have been edited so their speed is in time with the song. The music being in time with the

DEVELOPED - AMPLIFYING

visuals actually amplified meaning at some points e.g. near the middle of the song and near the end the music sped as the man leaped into the sea for his freedom, emphasizing the weight of his action and its symbolism.

Demands of the record label will include the need for lots of close ups of the artist and the artist may develop motifs which recur across their work. (a visual style).

A large number of close ups of the artists are used in all of the videos, even in the ones where there is a large narrative taking place in order to keep the viewers back to focusing on and reminding them of the artist/band (Laura Marling: Rambling Man). By constantly focusing on the face of the artist, especially if they’re new, makes them more memorable and a brand in themselves.

SCREENSHOT

Conventions of the artists appearance if men, tends to mean fairly long hair to the shoulders or at least floppy around the ears or chin. This emphasizes their masculinity (also with suits in Mumford & Sons: Little Lion Man),

USED – close ups

maturity and life experience, which in turn imply authenticity that the artist knows the life issues that they’re singing about in their song. (Iron & Wine: Boy With A Coin, Mumford & Sons: Little Lion Man). Costume tends to be very minimalist, simple colours and traditional cuts which lets the viewer focus on the actual performing of the artist and narrative actions of any actors if present. This makes sure to draw more attention to the actual music itself, instead of being distracted by minor details like overly extravagant clothing with bright colours and patterns.

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Make up if used for the women is usually naturalistic so subtle, which also lessens distraction by beauty/appearance and gives off along with the simple clothing an impression of humility. (Bon Iver: Calgary) This was turned on its head for Laura Marling: Rambling Man but

still had the same intended effect as its extravagance of make up only served to highlight the humbleness of the rambling man’s lifestyle and dourness of his clothes.

The only video I found which defied convention was Bon Iver: Calgary in that the artist did not appear at all, which defies the convention of showing and focusing on the artists’ face within videos to sell them as an artist.

Notions of looking (screens within screens, telescopes, etc) and particularly voyeuristic treatment of the female body.

NOTIONS OF LOOKING

SCREENSHOT

The notions of looking are effectively referenced in Iron & Wine: Boy With A Coin where the use of the dancers watching their own performance within the video – hinting that they are aware of the audience, and they are performing for them.

SCREENSHOT

In Laura Marling: Rambling Man there’s a reference in the beginning of the video where the man looks at himself in the mirror. This shows his self-awareness, and the camera shoots it from the same angle where he must be able to see it and be aware of his audience although he does not directly look in that direction at the viewer.

VOYEURISTIC

TREATMENT OF THE FEMALE BODY

SCREENSHOT

Iron & Wine: Boy With A Coin has chosen a slightly more subtle way of viewing the female body voyeuristically. In the medium close up shots of the singer’s face we can see the main dancer’s bust behind him emphasised further by how her head has been cut out of the shot.

SCREENSHOT

In Bon Iver: Calgary the female is treated voyeuristically as the viewer sees her half dressed in a sheer nightgown tossing and turning in her bed which is an intimate location, and the feeling of voyeurism intensifies as the camera lingers on her neck, legs and bare skin.

intertextual reference (to films, TV programmes, other music videos etc.).

Intertextuality was found to be rare within the music videos that I researched, present in only one: Calgary – Bon Iver. In this video, the woman rises up out of the ground coming up from a whole hidden world beneath the earth up to ground level – this is a direct reference to the film Pan’s Labyrinth.

As a folk rock band, part of the genre is being very true to the music and the integrity of the artist – Bon Iver’s Justin Vernon writes his own songs and produced the album For Emma forever ago independently. This is reflected in the production of the video. Instead of taking clips from actual films and embedding them in the video, the label has chosen to recreate the concept of coming from a world underground and filmed it themselves with their own actors and

DID NOT USE

extras for the video.This was appropriate as the film is about a girl in fascit

Technical DirectionsArtist/bands / actor’s positioning, movements, gestures, pose and mode of address etc.

Editing directions(Match cuts, jump cut, reverse shots – cutting rhythm etc.)

Selection of mise-en-scène including colour, figure, pops, lighting, objects, costume, location and setting and use of crowds/dancers etc.

Framing of Shot CU, MLS, ELS etc.)