Media 2 coursework blog
Friday 26 February 2021
Sunday 7 February 2021
STATEMENT OF INTENT (FINALE?!?!?!?!?)
Statement of intent
How will you use media language and media representations in order to create your product, meet the requirements of the brief and the needs of the target audience and reflect the appropriate media industries for your chosen brief?
Be specific about the ways in which you will use aspects of media language, media representations, target your audience and reflect the appropriate media industry for your chosen brief and exploit opportunities for digital convergence.
In order to meet the brief, my chosen song, “I’m Sleepin’ In'' by King Gizzard and The lizard Wizard is exactly three minutes long. The genre of music is Psychedelic rock, a genre that became popular during the 1960s and 70s and has gained traction back into the mainstream by contemporary artists such as Tame Impala. King Gizzard aims to follow in the expanding of the genre into the mainstream by appealing to younger audiences who would be unfamiliar with the genre, although will also connect with older fans who grew up with similar music such as The Beatles. Similarly, King Gizzard explores multiple genres and has a distinct sound that will appeal to a range of audiences.
My target audience will primarily be males aged 18-26, be a part of the ABC1 social class, and lean left politically. As for lifestyle, music is a large part of their life - they are bound to indulge in live concerts, collect records and enjoy experimenting in different musical genres. They will have a vast media literacy, using the internet and social media every day and will commonly interact on twitter with music artists. They are likely to read the NME online, as well as engage with independent music magazines. They best fit the "Explorer" psychographic group.
The headphone sponsorship will be purposefully on the nose, lamp-shading the product placement yet engaging with the audience's tastes in order to create a connection between the audience and the lead (our masked individual.) The use of a modern headphone brand sponsorship will help in both engaging mainstream audiences, as well as creating more juxtaposition including between the 70s aesthetic and the modern world. Specifically, "Marshall" headphones will appeal to the target demographic, a popular brand of headphones evoking a vintage rock feel.
The music magazine is named HAZE. Due to the rise of digital media, the music magazine engages with the target demographic primarily through its online presence, hosting a popular website that branches out into various genres of music and pop culture. Despite this, the magazine still circulates around 190,000 physical issues weekly, partly due to its aesthetic visual design appealing to psychedelic rock audiences. It’s design is modern yet quirky - the front covers are artistic and host hand-drawn stylisations reminiscent of psychedelic album covers from the 70s, managing to engage with the mainstream audience while appealing to a niche one. Similar to magazines like NME, HAZE is heading in the direction of becoming an online-only publication, and thus their social media presence is plentiful and influential.
The video will be uploaded to YouTube and be available for viewing on the band's website. Social media will also be a key aspect in promoting the video, where a link will be cross-posted to the band's Twitter, Facebook and Instagram pages and be repeatedly advertised coming up to it's debut. The magazine issue will be promoted alongside the music video on the band's website, as well as on all the band's social media platforms. HAZE will also feature exclusive articles promoting King Gizzard’s tour. Furthermore, building an audience on newer social media like Tik-Tok will result in reaching the largest audience possible, as well as creating more opportunities for a strong participatory culture.
In my music video, I will incorporate the concept of juxtaposition; employing media language through Levi Straus' binary opposition theory, with one location being within the confounds of a bedroom and then contrasting it with vast beaches, cliffs and wooded areas. The camera work will be steady and unmoving inside, which will contrast with many panning long shots of the scenery and utilisation of hand-held camerawork. My main idea is to convey the concept of descending into madness while yearning for an unattainable fantasy life: Portraying a fantasy world, akin to a dream-scape, and contrasting it with a world more mundane, which then concludes in the eventual merging of the two as our masked individual wakes up on a mattress outside.
Applying codes and conventions, psychedelic rock elements I will use are Kitsch costumes and intentionally tacky composition of props, such as items not being where they should be for brief shots. Our main actor will be wearing a cheap Halloween mask, obscuring his face.
This will help enhance the psychedelic elements of the video, and make it more entertaining through its absurdity, thus marketable to a mainstream audience. My music video will also be heavily reliant on synchronisation between the music and sequencing of shots, and I will use a lower-quality, VHS styled camera or camera filter that can enhance the mood of the video and liken it to psychedelic music videos of the 70s-80s.
Applying Blumler and Katz’s Uses and Gratifications theory, Personal Identity and Escapism are the two main audience pleasures for my media products. Due to the masked individual being faceless, I believe it will be easier for all audiences to relate to and project their similar feelings of frustration about the unattainable outside world onto them (feelings that will be common amidst the Covid 19 pandemic.) This also plays into representation, as this masked individual represents more than just one gender or one race or one age. No women will be objectified or sexualised, as is common in the modern music industry, and the video will have no focus on gender dynamics or power. This perpetuates Butler's idea that gender is "performed", as disengaging with specific gendered acts in my media product will create unique gender representations. In doing this I will be challenging traditional gender conventions, preventing stereotypes and going against the patriarchy.
Friday 29 January 2021
PRINT PROGRESS
POSTER
Friday 8 January 2021
Coursework: Print magazine research and planning
Coursework: Print magazine research and planning
It is crucial that you research, plan and design print work that could comfortably hold its own alongside professional examples. You will also need to include a short paragraph regarding your print magazine work in your redrafted Statement of Intent. A reminder of our coursework brief is here, with the key tasks as follows:
You should create 4 pages from a music magazine. The magazine targets a mainstream music audience.
You should create a front cover, a two-page feature interview with your music artist and a one-page tour advert for your artist that would appear in the magazine.
You can choose the focus of the feature article but it needs to promote the tour and music video. It should also reinforce the brand image of the artist/band and integrate some reference to the headphone manufacturers who are sponsoring the band/artist.
What do you need to produce?
1) The front page (A4 portrait) for a new, original music magazine aimed at a mainstream audience that you have created:
- Title and masthead
- Selling line (slogan)
- Cover price
- Dateline
- Main cover image and at least two further smaller images related to the content of the magazine (all original images)
- At least 5 cover lines
2) A double-page spread feature interview with your artist (A3 landscape - i.e. two A4 pages next to each other):
- Content that is appropriate to the conventions of the genre of magazine being created
- Original copy (at least 400 words)
- Each page to use original images as illustrations (the main cover image must not be repeated but can come from the same photoshoot)
- Internal pages should reflect the design codes and conventions of the genre of magazine being created
- Original photography - NOT from the same photoshoot as the other pages
- Link/reference to headphone manufacturer sponsorship
- Tour dates and other conventions of tour posters must be included
- A clear house style should be used in the presentation of the magazine pages with a separate house style and branding for the tour poster.
- A minimum of 7 original images should be included in the submission.
- All copy should be original and a minimum of 400 words should be submitted
- Work should be presented on pages that are an appropriate size or in proportion to the size of paper used by magazines
Research and planning blog tasks
Create a blogpost called 'Print brief research and planning' and complete the following tasks to plan and prepare your print work:
1) Research music magazine cover key conventions. Look over the magazine cover key conventions notes sheet and write which of these you will use for your magazine cover. (This is a film magazine example but the conventions still apply).
Central image - the cover is anchored by an image.
2) Find at least five music magazine front covers (either current or former magazines as many have stopped their print editions) aimed at a similar target audience to your project (mainstream music audience). For each one, pick out one design idea or convention that you could use in your own print work. A few examples to start you off:
1) Plan a title and slogan (sell line) for your new, original music magazine. Sketch out possible designs for the masthead - font, style, colour etc.
2) Plan the content for your magazine front cover. Your double-page spread interview will be the main story and image but what other cover lines and smaller images will you include on the cover?
3) Plan the content for your tour poster. What image will you use? (Remember it needs to be from a different photoshoot). What cities and venues will your artist play in the UK? This may take some research into venues that are associated with your chosen genre and the right size for your artist.
5) Write the text for your double-page spread feature. This needs to be a minimum of 400 words and be completely original and include reference to the music video, tour and headphone sponsorship. Make sure you include a headline, subheading and any pullout quotes or sidebar contents.
6) Produce an A4 sketch of your front cover including the key conventions and design tricks you have studied in existing magazines and then planned in planning task 1 above.
7) Produce an A4 landscape sketch of your double page spread design now you have chosen the subject matter and planned the photoshoot.
Photoshoot
1) Who do you need to photograph from your artist/band that will appear on the front cover of your magazine? This is vital for planning the location and time for your photoshoot (note: if it is you or someone in the class it will make things a lot easier in terms of running the photoshoot)
3) What image or images will you use for the tour poster? Remember, you need seven different original images across the print brief in total and the tour poster images(s) need to come from a different photoshoot.
4) Write a shot list for your photoshoots. Make sure you plan a variety of camera shots you will look to capture - medium shots, close-ups etc.
5) What costume, props or make-up will you require for your photoshoots?
Thursday 5 November 2020
TREATMENT + STATEMENT OF INTENT
Treatment:
Masked man asleep in a bed, follows him performing conventional bedtime rituals, such as brushing teeth, washing face, tucking self in, turning lights off. Shots change in time with the music, (synchronisation).
When “I’m sleeping in...in” is repeated, it shows the same scene from a different angle.
Cuts to outside to a beach location, splashing around in water, running from the waves etc. Lots of establishing shots, panning shots to show scope of outside compared to inside, but also focus on following the masked man. He’s jogging skipping, having fun.
Back and forth editing between man sleeping in bed and outside activities. The shots become more unsettling with props showing up where they shouldn't be, his mask changing briefly, and our masked actor becoming more and more violent in his actions.
During harmonica parts, masked man is playing harmonica as camera circles around him at a low angle, looking from below at him as if spiralling into madness.
Editing becomes more chaotic and fast paced as we begin cutting to and from the inside world and outside world more frequently, until the climax at the end where he wakes up outside on a mattress in the woods.
Statement of intent
How will you use media language and media representations in order to create your product, meet the requirements of the brief and the needs of the target audience and reflect the appropriate media industries for your chosen brief? (Maximum 500 words)
Be specific about the ways in which you will use aspects of media language, media representations, target your audience and reflect the appropriate media industry for your chosen brief and exploit opportunities for digital convergence.
In order to meet the brief, my chosen song, “I’m Sleepin’ In'' by King Gizzard and The lizard Wizard is exactly three minutes long. The genre of music is Psychedelic rock, a genre that became popular during the 1960s and 70s and has gained traction back into the mainstream by contemporary artists such as Tame Impala. King Gizzard aims to follow in the expanding of the genre into the mainstream by appealing to younger audiences who would be unfamiliar with the genre, although will also connect with older fans who grew up with similar music such as The Beatles. Similarly, King Gizzard explores multiple genres and has a distinct sound that will appeal to a range of audiences.
My target audience will primarily be males aged 18-26, be a part of the ABC1 social class, and lean left politically. As for lifestyle, music is a large part of their life - they are bound to indulge in live concerts, collect records and enjoy experimenting in different musical genres. They will have a vast media literacy, using the internet and social media every day and will commonly interact on twitter with music artists. They are likely to read the NME online, as well as engage with independent music magazines. They best fit the "Explorer" psychographic group.
The headphone sponsorship will be purposefully on the nose, lamp-shading the product placement yet engaging with the audience's tastes in order to create a connection between the audience and the lead (our masked individual.) The use of a modern headphone brand sponsorship will help in both engaging mainstream audiences, as well as creating more juxtaposition including between the 70s aesthetic and the modern world. Specifically, "Marshall" headphones will appeal to the target demographic, a popular brand of headphones evoking a vintage rock feel.
The music magazine is named HAZE. Due to the rise of digital media, the music magazine engages with the target demographic primarily through its online presence, hosting a popular website that branches out into various genres of music and pop culture. Despite this, the magazine still circulates around 190,000 physical issues weekly, partly due to its aesthetic visual design appealing to psychedelic rock audiences. It’s design is modern yet quirky - the front covers are artistic and host hand-drawn stylisations reminiscent of psychedelic album covers from the 70s, managing to engage with the mainstream audience while appealing to a niche one. Similar to magazines like NME, HAZE is heading in the direction of becoming an online-only publication, and thus their social media presence is plentiful and influential.
The video will be uploaded to YouTube and be available for viewing on the band's website. Social media will also be a key aspect in promoting the video, where a link will be cross-posted to the band's Twitter, Facebook and Instagram pages and be repeatedly advertised coming up to it's debut. The magazine issue will be promoted alongside the music video on the band's website, as well as on all the band's social media platforms. HAZE will also feature exclusive articles promoting King Gizzard’s tour. Furthermore, building an audience on newer social media like Tik-Tok will result in reaching the largest audience possible, as well as creating more opportunities for a strong participatory culture.
In my music video, I will incorporate the concept of juxtaposition; employing media language through Levi Straus' binary opposition theory, with one location being within the confounds of a bedroom and then contrasting it with vast beaches, cliffs and wooded areas. The camera work will be steady and unmoving inside, which will contrast with many panning long shots of the scenery and utilisation of hand-held camerawork. My main idea is to convey the concept of descending into madness while yearning for an unattainable fantasy life: Portraying a fantasy world, akin to a dream-scape, and contrasting it with a world more mundane, which then concludes in the eventual merging of the two as our masked individual wakes up on a mattress outside.
Applying codes and conventions, psychedelic rock elements I will use are Kitsch costumes and intentionally tacky composition of props, such as items not being where they should be for brief shots. Our main actor will be wearing a cheap Halloween mask, obscuring his face.
This will help enhance the psychedelic elements of the video, and make it more entertaining through its absurdity, thus marketable to a mainstream audience. My music video will also be heavily reliant on synchronisation between the music and sequencing of shots, and I will use a lower-quality, VHS styled camera or camera filter that can enhance the mood of the video and liken it to psychedelic music videos of the 70s-80s.
Applying Blumler and Katz’s Uses and Gratifications theory, Personal Identity and Escapism are the two main audience pleasures for my media products. Due to the masked individual being faceless, I believe it will be easier for all audiences to relate to and project their similar feelings of frustration about the unattainable outside world onto them (feelings that will be common amidst the Covid 19 pandemic.) This also plays into representation, as this masked individual represents more than just one gender or one race or one age. No women will be objectified or sexualised, as is common in the modern music industry, and the video will have no focus on gender dynamics or power. This perpetuates Butler's idea that gender is "performed", as disengaging with specific gendered acts in my media product will create unique gender representations. In doing this I will be challenging traditional gender conventions, preventing stereotypes and going against the patriarchy.
Monday 28 September 2020
Wednesday 23 September 2020
Radio: War of the Worlds CSP (1938)
Radio: War of the Worlds CSP (1938)
This is a famous broadcast of Orson Welles's radio play - an adaptation of HG Wells's science-fiction novel of the same name. It is a text of historical significance due to a long-running debate over the effect the broadcast had over audiences at the time. Here's a lesson video taking you through some of the key ideas around War of the Worlds:
Narrative and background
War of the Worlds, a science-fiction novel by author HG Wells, was first published in 1898. It is a story of alien invasion and war between mankind and an extra-terrestrial race from Mars.
The original 1938 Orson Welles broadcast is available here:
In particular, focus on the following extracts:
Opening: 0.00 – 4.00
Development: 10.00 – 13.00
Emergence of alien: 17.00 – 19.00
Middle section: 39.00 – 41.00
Ending: 57.00 – end
Think about these questions while you listen:
- How does the radio play seek to engage the audience?
- What effect do you think this may have had on radio audiences in 1938?
Orson Welles was initially reluctant to adapt War of the Worlds, describing it as 'boring'. He was persuaded by the prospect of using recent developments in radio news reporting to create a hybrid-form radio play designed to sound like a real breaking news story. The broadcast begins with a music performance that is increasingly interrupted by breaking news of martians invading New Jersey.
Historical context
The War of the Worlds radio play has become a much-studied text with regards to media effects theories. The initial reported reaction from audiences provided evidence for the Frankfurt School's Hypodermic Needle theory - that suggests people believe whatever they see or hear in the media. However, later studies suggest the audience reaction was exaggerated by the newspaper industry (under threat from radio at the time) and that audiences are more sophisticated consumers of media than first thought.
You can also apply Gerbner's Cultivation Theory, the two-step flow model and Stuart Hall's Reception Theory to Orson Welles's War of the Worlds broadcast.
Radiolab podcast on War of the Worlds
The American podcast Radiolab looked back on the significance of the 1938 broadcast of War of the Worlds and later attempts to recreate the effect. It's a brilliant summary of the context and reaction from the audience alongside clips from the broadcast and transcripts from interviews at the time.
You can listen to the Radiolab podcast here.
War of the Worlds: Blog tasks
Read Media Factsheet #176: CSP Radio - War of the Worlds. You'll need your Greenford Google login to download it. Then answer the following questions:
1) What is the history and narrative behind War of the Worlds?
A radio adaption of H.G. Wells’ novel first published in 1898, War of the Worlds was adapted by Orson Welles (director of citizen kane) in 1938.
The Trenton Police Department (close to the site of the fictional invasion) received over 2000 calls in less than two hours, while the New York Times switchboard received 875 calls from concerned listeners wanting to know where they would be safe.
2) When was it first broadcast and what is the popular myth regarding the reaction from the audience?
3) How did the New York Times report the reaction the next day?
The New York Times headline was "MANY FLEE HOMES TO ESCAPE ‘GAS RAID FROM MARS’ – PHONE CALLS SWAMP POLICE AT BROADCAST OF WELLES FANTASY"
4) How did author Brad Schwartz describe the the broadcast and its reaction?
5) Why did Orson Welles use hybrid genres and pastiche and what effect might it have had on the audience?
6) How did world events in 1938 affect the way audiences interpreted the show?
>At this time, radio networks frequently interrupted programmes to issue news bulletins with updates on the situation in Europe
>As a result, audiences became familiar with such interruptions and were thus more accepting of Welles’ faux newscasts at the beginning of the play. Indeed, for the listeners, it didn’t sound like a play.
7) Which company broadcast War of the Worlds in 1938?
9) Does War of the Worlds provide evidence to support the Frankfurt School's Hypodermic Needle theory?
"The theory states that audiences consume and respond to media texts in an unquestioning way, believing what they read, see or hear.
10) How might Gerbner's cultivation theory be applied to the broadcast?
11) Applying Hall's Reception Theory, what could be the preferred and oppositional readings of the original broadcast?
12) Do media products still retain the ability to fool audiences as it is suggested War of the Worlds did in 1938? Has the digital media landscape changed this?
3) Do you agree with the Frankfurt School's Hypodermic Needle theory? If not, was there a point in history audiences were more susceptible to believing anything they saw or heard in the media?
4) Has the digital media age made the Hypodermic Needle model more or less relevant? Why?
I think people are much more cautious of news and messages they see online. The digital media age allows for more "normal" people's viewpoints to be shared around easier, and thus a user of social media isn't going to believe everything they see as they are bound to agree with some things and disagree with others. The age allows for critical thinking and for people to make their own viewpoints and share their views.
5) Do you agree with George Gerbner's Cultivation theory - that suggests exposure to the media has a gradual but significant effect on audience's views and beliefs? Give examples to support your argument.
6) Is Gerbner's Cultivation theory more or less valid today than it would have been in 1938? Why?