http://m.youtube.com/index?desktop_uri=%2F&gl=GB#/watch?v=F-uoHYvyXjY
This is the video link to my evaluation... It is only the first draft and has been edited since, due to unforeseen circumstances the final edit us unobtainable at this time, however in January it will be uploaded and burned on to a DVD format...
(The video may not be available straight away as it is roughly half an hour long and will take time to process)
Monday, 19 December 2011
Tuesday, 13 December 2011
Monday, 5 December 2011
The back cover follows the same conventions. It has the same consistent contrast established of black and yellow carrying hazardous connotations. However I didn't find the layout of the graphology very aesthetically pleasing, it's very generic and is almost cliché. This is why when I produce my back cover I want to be more creative and contemporary, as I feel this would help hail the TA into buying a digipack rather than just downloading it illegally for free. I believe good designing carries a large amount of commercial value on the overall product.
Although, simple layouts and design are starting to become very popular amongs digipacks. They tend to be comical mostly, the heavy gothic or hybrid coloured and textured designs are becoming extinct. The main reason for this I believe is because the simplicity supplements the enigma and leaves the TA wanting to know more. But still it is not very aesthetically stimulating which is why I wanted to be a little exentric in my design.
The front cover, no more idols has a background image of a british bull dog which contains vivid connotations of the UK and british culture, which is informative to the specified audience of Dupstep, more specifically south london where the Dubstep genre initiated from.
The simplicity of the black and white colour contrast dulls the background image down making way for a more elaborate colour to present its self to create a potent design on the front cover. Here the bright yellow stands out substantially from the whole piece, as an album artwork it works collectively to emphasise the modern and urban feel that it is trying to convey.
The simple format and colouring of the front cover shows that simple artwork shows a lot about the genre and artists.
Friday, 2 December 2011
Thursday, 1 December 2011
Risk Assessment
When in consideration of the possible hazards that may affect the production of my music video I had to be analytical on what possible could be done to prevent these risks.
1- A preliminary precaution that had to be taken was that, we had to formulate an agreement between the actors and ourselves and disclaim what would be expected of them as they acted in the production and they had to be aware of the possible risks which in this case were; as they would be doing a lot of staged running whilst in an anguished state, they could possibly trip or fall on pavement or stairs whilst acting, therefore they would have to have been extra vigilant towards this for prevention.
2- Another risk would have been the access to film within a train station, as we were not previously aware of the policy against filming within a train station, we were at high risk of getting caught and possibly prosecuted without warning. However, following the filming session a worker at harold wood station later approached us and told us that it was prohibited to film in any train station and it could lead to immediate arrest, this was a verbal warning. If we had accessed this information at an earlier stage in the development of the project I would have avoided filming at train station and thought of an alternative solution or another shot to put into the sequence.
3- As we were filming the staged club environment within the blue screen room, we were aware that filming would take place in darkness and minimal light would have been provided by the crane lights in the studio. Therefore it was of paramount importance that the crowd would not get hurt whilst dancing, trip on any wires or hit the fog machine and damage any other electrical appliances. To prevent this occurrence we duck taped all wiring to the ground and ensured any/all appliances and electrical sockets were at a sufficient distance away from the dance floor.
4- As I was watching back over the first draft of the music video and i noticed that as there are loads of flashing jump cuts in between various scene. this could have a possible epilepsy hazard . to disclaim epileptic viewers i will disclaim that this video contains flashing images within the description in the final draft on youtube.
1- A preliminary precaution that had to be taken was that, we had to formulate an agreement between the actors and ourselves and disclaim what would be expected of them as they acted in the production and they had to be aware of the possible risks which in this case were; as they would be doing a lot of staged running whilst in an anguished state, they could possibly trip or fall on pavement or stairs whilst acting, therefore they would have to have been extra vigilant towards this for prevention.
2- Another risk would have been the access to film within a train station, as we were not previously aware of the policy against filming within a train station, we were at high risk of getting caught and possibly prosecuted without warning. However, following the filming session a worker at harold wood station later approached us and told us that it was prohibited to film in any train station and it could lead to immediate arrest, this was a verbal warning. If we had accessed this information at an earlier stage in the development of the project I would have avoided filming at train station and thought of an alternative solution or another shot to put into the sequence.
3- As we were filming the staged club environment within the blue screen room, we were aware that filming would take place in darkness and minimal light would have been provided by the crane lights in the studio. Therefore it was of paramount importance that the crowd would not get hurt whilst dancing, trip on any wires or hit the fog machine and damage any other electrical appliances. To prevent this occurrence we duck taped all wiring to the ground and ensured any/all appliances and electrical sockets were at a sufficient distance away from the dance floor.
4- As I was watching back over the first draft of the music video and i noticed that as there are loads of flashing jump cuts in between various scene. this could have a possible epilepsy hazard . to disclaim epileptic viewers i will disclaim that this video contains flashing images within the description in the final draft on youtube.
Call Sheet
Manoj Gohil
Role: Director/ Editor/ Actor: Killer
Email Address: manojgohil8@gmail.com
Phone number: 07985117311
Thomas Wallbank
Role: Director/Cameraman
Phone number: 07792226511
Email: thomas.wallbank93@gmail.com
Email: thomas.wallbank93@gmail.com
Christopher Temple
Role: Actor- the last victim
Phone: 07825303512
Email: christophertemple@ymail.com
Priyank Thakker
Role- Penultimate victim
Phone Number: 07507414519
Dhru Rathod
Role: First victim
Phone Number: 07534178253
Final DigiPack Design
This is the finalised Digipack images constructed with the dimensions and template design. the amendments that have been made to the digipack is the inlay/lyric book. it has been changed from the prior yellow silhouette figure with a question mark from an image (Screen shot) taken from the actual music video from the anticipation montage of the killer preparing the metal wire, right before the killer takes his first victim. Also another modification that has been made is the colour gradient running on the skirt of the album it has also has deluxe edition added along the side along the title.
Front & Back Cover Designs
These are the initial stages of the front and back cover of the album Digipack. Amendments had been made to the original drafts which I wasn't entirely content with. I have tried to stick strictly to conventionalised album covers as this would have challenged my knowledge of image and concept construction. I have kept the same sans serif font used throughout the the album and video production.
Wednesday, 30 November 2011
Friday, 18 November 2011
Wednesday, 9 November 2011
Shot List
Shot 1- Low angle shot of the group of teenagers shoes running
Shot 2- long shot of the teenagers running past
Shot 3- Extreme long shot of the killer in the distance
Shot 4- POV eye-line match of teenagers seeing train station
Shot 5- Tracking shot of the boys running to catch the train
Shot 6- Low angle shot of the boys running down the stairs
Shot 7- Panning shot of the boys missing the LAST train.
Shot 8- Extreme close-up of cigarette and lighter in mouth, then fades
Shot 9- From the platform, long shot showing killer, then disappearing.
Shot 10- POV of boy downing a drink
Shot 11- Rewind effect to the beginning of the night
Shot 12- Cut to dance floor silhouette
Shot 13- Panning close up of people dancing
Shot 14- Quick jump cut to close up of killer stringing the wire
Shot 15- Tilted shot from low to high angle of the side/back of killer
Shot 16- Extreme long shot of killer walking off
Shot 17- Long shot of teenagers coming out of club, walking to the pub
Shot 17- Medium shot of boys having drinks outside pub
Shot 18- Jump cut Medium close up of the back of the killer hiding
Shot 19- Panning of one boy walking to alleyway to urinate
Shot 19- Jump cut of boy in corner urinating
Shot 20- Over shoulder shot of the killer approaching victim
Shot 21- POV shot of the killer strangling the boy
Shot 22- Cuts to the boys at the pub
Shot 23- Canted angle, low angle shot of the victim on the floor and killer taking the mask, clothes and taking his beer bottle
Shot 24- Low angle of killer taking boys shoes
Shot 25- Jump cut to killer putting on shoes
Shot 26- Panning from back of killer to front to show him wearing his mask
Shot 27- panning shot of killer walking towards the boys at table
Shot 28- All the boys leaving to go to the off licence
Shot 29- Panning shot of boys walking past alleyway
Shot 30- Eye-line match of one boy notices foot hanging out
Shot 31- Boy pulls out body to reveal his mate
Shot 32- Long shot of the rest of the group walking off
Shot 33- Close-up of boy shouting HELP!
Shot 34- Boys run over to body
Shot 35- Tilted low angle shot of the boys circling the body
Shot 36- Boys look up
Shot 37- over shoulder shot of the boys looking at the killer with the mask on
Shot 38- Medium close up of killer getting out wire
Shot 39- Boys run away
Shot 40- POV through killers mask showing boys running
Shot 41- (Quick, rapid jump cutting) Close up of shoes running, canted angle
Shot 42- Medium long shot Boys running whilst looking back in anguish
Shot 43- Whilst running, one boy looks back and stops to get phone out
Shot 44- Close up of boy looking at phone, then killer comes from behind and kills him
Shot 45- Medium shot of killer towering over the body
Shot 46- Killer steps into the dark
Shot 47- Teenagers running back looking for the other boy trying to phone him
Shot 48- Medium long shot of back of killer as a silhouette, looking down at traffic
Shot 49- cut back to the boys running along the alleyway to the train station (previous rewinded sequence is shown)
shot 50- Boys run back up the stairs (low angle shot)
shot 51- jump cut to the club everybody leaving (long shot)
shot 52- one boy stops to talk to someone asking for help...
shot 53 -other boy walks back into the dance floor POV shot of him in to fog and the light ...
shot 54 -POV shot of the boy getting punched by killer
shot 55- pitch black.
shot 56- long shot of dance floor full with fog... fog clears and killer is towering over the victims body..
Shot 2- long shot of the teenagers running past
Shot 3- Extreme long shot of the killer in the distance
Shot 4- POV eye-line match of teenagers seeing train station
Shot 5- Tracking shot of the boys running to catch the train
Shot 6- Low angle shot of the boys running down the stairs
Shot 7- Panning shot of the boys missing the LAST train.
Shot 8- Extreme close-up of cigarette and lighter in mouth, then fades
Shot 9- From the platform, long shot showing killer, then disappearing.
Shot 10- POV of boy downing a drink
Shot 11- Rewind effect to the beginning of the night
Shot 12- Cut to dance floor silhouette
Shot 13- Panning close up of people dancing
Shot 14- Quick jump cut to close up of killer stringing the wire
Shot 15- Tilted shot from low to high angle of the side/back of killer
Shot 16- Extreme long shot of killer walking off
Shot 17- Long shot of teenagers coming out of club, walking to the pub
Shot 17- Medium shot of boys having drinks outside pub
Shot 18- Jump cut Medium close up of the back of the killer hiding
Shot 19- Panning of one boy walking to alleyway to urinate
Shot 19- Jump cut of boy in corner urinating
Shot 20- Over shoulder shot of the killer approaching victim
Shot 21- POV shot of the killer strangling the boy
Shot 22- Cuts to the boys at the pub
Shot 23- Canted angle, low angle shot of the victim on the floor and killer taking the mask, clothes and taking his beer bottle
Shot 24- Low angle of killer taking boys shoes
Shot 25- Jump cut to killer putting on shoes
Shot 26- Panning from back of killer to front to show him wearing his mask
Shot 27- panning shot of killer walking towards the boys at table
Shot 28- All the boys leaving to go to the off licence
Shot 29- Panning shot of boys walking past alleyway
Shot 30- Eye-line match of one boy notices foot hanging out
Shot 31- Boy pulls out body to reveal his mate
Shot 32- Long shot of the rest of the group walking off
Shot 33- Close-up of boy shouting HELP!
Shot 34- Boys run over to body
Shot 35- Tilted low angle shot of the boys circling the body
Shot 36- Boys look up
Shot 37- over shoulder shot of the boys looking at the killer with the mask on
Shot 38- Medium close up of killer getting out wire
Shot 39- Boys run away
Shot 40- POV through killers mask showing boys running
Shot 41- (Quick, rapid jump cutting) Close up of shoes running, canted angle
Shot 42- Medium long shot Boys running whilst looking back in anguish
Shot 43- Whilst running, one boy looks back and stops to get phone out
Shot 44- Close up of boy looking at phone, then killer comes from behind and kills him
Shot 45- Medium shot of killer towering over the body
Shot 46- Killer steps into the dark
Shot 47- Teenagers running back looking for the other boy trying to phone him
Shot 48- Medium long shot of back of killer as a silhouette, looking down at traffic
Shot 49- cut back to the boys running along the alleyway to the train station (previous rewinded sequence is shown)
shot 50- Boys run back up the stairs (low angle shot)
shot 51- jump cut to the club everybody leaving (long shot)
shot 52- one boy stops to talk to someone asking for help...
shot 53 -other boy walks back into the dance floor POV shot of him in to fog and the light ...
shot 54 -POV shot of the boy getting punched by killer
shot 55- pitch black.
shot 56- long shot of dance floor full with fog... fog clears and killer is towering over the victims body..
Sunday, 30 October 2011
Technical Analysis
Example - Kickstarts (Bar 9 Remix) (Official Video)
The concept for this video is a reoccurring theme within most Dub-step music videos, as mentioned in previous posts, as the lyrical content doesn't consist of a narrative being built the visuals adapt the context and create a unique concept. In this video example is not featured, in fact there is no vocalist miming the lyrics in the duration of the video. This has inspired my project as It will be an educational journey adapting these codes and conventions onto my music video as my idea is of a similar nature.
When in consideration of the technical aspects of this video in relevance to the cinematography, I noticed that the shots transitions and angles deviated greatly, giving of a hybrid juxtaposition which gathered rhythm and energy that coordinated with the music. Close-ups are established when the couple reach in for an intimate moment as the camera pans around there foreheads together, showing that they are standing as a unit fighting the oppression. Close-ups are also used to establish the antagonist within the music video.
A close up is shown as the male protagonist lifts up a burglar mask which reveals an X mark on this opponent who he has just triumphed over.
Long shots are also used, the long shots serve the purpose of showing the state of emergency as a P.O.V shot from the antagonist chasing the couple is shown. the constant jump cutting on every beat diversifying from close-ups medium shots, medium long-shots and extreme close ups create a strong impact on the specified audience, as they don't have enough time to analyse every shot but enough time to comprehend what is going on within the narrative. This is a very effective technique if it is done properly, and it is one which I am going to adopt into my music video.
The miss-en-scene features exclude anything too elaborate, simply because it doesn't fit into the genre and keeping the costume and locations in industrial and rural area supplements the realism that is trying to be shown. The costume of the antagonists are simple yet effective, having a mask on within itself creates a potent enigmatic threat to the protagonist and also the fact that they are dressed in all black gives a deeper connotative meaning of death, supremacy and darkness.
The concept for this video is a reoccurring theme within most Dub-step music videos, as mentioned in previous posts, as the lyrical content doesn't consist of a narrative being built the visuals adapt the context and create a unique concept. In this video example is not featured, in fact there is no vocalist miming the lyrics in the duration of the video. This has inspired my project as It will be an educational journey adapting these codes and conventions onto my music video as my idea is of a similar nature.
When in consideration of the technical aspects of this video in relevance to the cinematography, I noticed that the shots transitions and angles deviated greatly, giving of a hybrid juxtaposition which gathered rhythm and energy that coordinated with the music. Close-ups are established when the couple reach in for an intimate moment as the camera pans around there foreheads together, showing that they are standing as a unit fighting the oppression. Close-ups are also used to establish the antagonist within the music video.
A close up is shown as the male protagonist lifts up a burglar mask which reveals an X mark on this opponent who he has just triumphed over.
Long shots are also used, the long shots serve the purpose of showing the state of emergency as a P.O.V shot from the antagonist chasing the couple is shown. the constant jump cutting on every beat diversifying from close-ups medium shots, medium long-shots and extreme close ups create a strong impact on the specified audience, as they don't have enough time to analyse every shot but enough time to comprehend what is going on within the narrative. This is a very effective technique if it is done properly, and it is one which I am going to adopt into my music video.
The miss-en-scene features exclude anything too elaborate, simply because it doesn't fit into the genre and keeping the costume and locations in industrial and rural area supplements the realism that is trying to be shown. The costume of the antagonists are simple yet effective, having a mask on within itself creates a potent enigmatic threat to the protagonist and also the fact that they are dressed in all black gives a deeper connotative meaning of death, supremacy and darkness.
Audience Research
I asked 10 people
How important is a music video for a song?
Very important- 5
Quite important- 2
important- 3
not important- 0
What genre of music do you listen to?
Rock-5
R&B-2
Hip-Hop-2
Classical-0
Country/Folk-0
Pop-1
What attracts you more to a music video?
Narrative-6
Animation-1
Special Effects- 2
Artist performing- 1
What gender are you?
Male- 7
Female- 3
What is your age?
12-16- 1
17-19- 6
20+- 3
What do you expect in a dubstep music video?
Special editing style- 6
Good narrative- 2
Humour- 2
Andrew Goodwin Theory
1. Music videos demonstrate genre characteristics
Modestep is recognised within the underground music scene to be very influential on contemporary dance styles. Within Dubstep, the genre as a whole contains so many different aspects of lifestyle that influences the video and the choices made within it. This has been shown in the music video "feel good" as a clash of different lifestyles rejoice to the unique sound of Dubstep. the iconic feel good video demonstrates the supposed power or drive that the music brings to you, irrelevant of who you are or what you do. For example as the the office worker/business man, confronts an young adolescent girl who is called to pass on the "feel good" sensation which has been fabricated and is contained in a brief case, two different classes of people meet who would normally have no association in reality. This is one of the many conventions which establish the genre characteristics.
2. The relationship between the lyrics and visuals.
Modestep – Feel Good Lyrics
Cause the music makes me fell good
When I see that look on your face
Cause the music makes me fell like you
When I see that look on your face
Cause the music makes me fell good
When I see that look on your face
Cause the music makes me fell like you
When I see that look on your face
[fades out]
Your face
Your face
Your face
Your face
Your face
Your face
Your face
Your face
Your face
Your face
Your face
Your face
Your face
Cause the music makes me fell good
When I see that look on your face
Cause the music makes me fell like you
When I see that look on your face
Your face
Your face
Cause the music makes me fell good
When I see that look on your face
Cause the music makes me fell like you
When I see that look on your face
[fades out]
Your face
Your face
Your face
Your face
Your face
Your face
Your face
Your face
Your face
Your face
Your face
Your face
Your face
We can bring it back
Bring real music back
We can bring it back
Bring real music back
It might not be everyone’s taste
We can bring it back
Bring real music back
___ down to waste
We can bring it back
Bring real music back
It’s gonna put __ on your face
[fades out]
Your face
Your face
Your face
Your face
Your face
Your face
Your face
Your face
Your face
Your face
Your face
Your face
Your face
Now let me hear the bass
[overlapping]
Yah
Yah
Yah
Yah
Yah
Yah
Yah
Yah
Yah
Yah
Yah
Yah
Yah
Yah
Yah
Yah
Cause the music makes me fell good
When I see that look on your face
Cause the music makes me fell like you
When I see that look on your face
Cause the music makes me fell good
When I see that look on your face
Cause the music makes me fell like you
When I see that look on your face
[fades out]
Your face
Your face
Your face
Your face
Your face
Your face
Your face
Your face
Your face
Your face
Your face
Your face
Your face
[overlapping]
Yah
Yah
Yah
Yah
Cause the music makes me fell good
When I see that look on your face
Cause the music makes me fell like you
When I see that look on your face
Cause the music makes me fell good
When I see that look on your face
Cause the music makes me fell like you
When I see that look on your face
When in analysis of dubstep music videos or even the lyrics notice that there is usually never a narrative set within the lyrics, however the music video establishes a story and is illustrative of the pragmatic meaning of the lyrics opposed to most, if not all other music genres. The chorus is looped repetitively throughout the track, this links to the fact that Dubstep is consistent and carries on having a hybrid, hyper vibe.
The lyrics that say 'we can bring it back, bring real music back it might not be everyones taste' have a reference to the fact that Dubstep is very versatile at the same time people either hate it or love it, the video construction is has been done in this way intentionally to relate it andrew good wins theory of the 'amplifying' approach' to music videos as the lyrics are descriptive of the action within the visuals of the 'feel good' sensation in a literal manner.
3. There is a relationship between music and visuals
often in music videos the visuals have an obligation to be in sync with the music and coordinate with the track in time with specified beats, this could be on the drum beat or in time for a hook. In this case, the scene deviated from location to location on every third beat. As the build to the chorus comes up, there is a jump cut which abruptly changes from a quiet office to havoc as all the office workers are dancing away and on top of tables, this is usually done within videos to amplify the effect of the chorus and hook.
4. The 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.
Initially modestep is not shown in the video, the narrative within the visuals is gradually built up, and a stage performer is shown in the centre of a busy rave. videos have a tendency to have a significant number of close ups, modestep is shown through a number of angles in extreme and normal close ups this has not only been done to emphasise the expression un his face but to portray his unique ability as a singer and producer, the band is also shown to be mixing on turn tables also displaying their skill. the main artist being the lead singer/producer modestep is given more screen time as his face for promotional purposes is shown dominantly in comparison to everyone else.
5. there is frequently reference to particularly voyeuristic treatment of the female body.
Within popular music genres depending on the context of the lyrics and video concept obviously, voyeuristic and objectification of the female body are a common theme. The reference to this in the video illustrate that the urban culture is behaving in this manner without judgement or objection. The fact that these explicit are being shown do not promote the idea of this, it is purely supplementing to the realism of the video as in various raves and parties young women tend to do what is referred to as 'grind' with strange men.
Modestep is recognised within the underground music scene to be very influential on contemporary dance styles. Within Dubstep, the genre as a whole contains so many different aspects of lifestyle that influences the video and the choices made within it. This has been shown in the music video "feel good" as a clash of different lifestyles rejoice to the unique sound of Dubstep. the iconic feel good video demonstrates the supposed power or drive that the music brings to you, irrelevant of who you are or what you do. For example as the the office worker/business man, confronts an young adolescent girl who is called to pass on the "feel good" sensation which has been fabricated and is contained in a brief case, two different classes of people meet who would normally have no association in reality. This is one of the many conventions which establish the genre characteristics.
2. The relationship between the lyrics and visuals.
Modestep – Feel Good Lyrics
Cause the music makes me fell good
When I see that look on your face
Cause the music makes me fell like you
When I see that look on your face
Cause the music makes me fell good
When I see that look on your face
Cause the music makes me fell like you
When I see that look on your face
[fades out]
Your face
Your face
Your face
Your face
Your face
Your face
Your face
Your face
Your face
Your face
Your face
Your face
Your face
Cause the music makes me fell good
When I see that look on your face
Cause the music makes me fell like you
When I see that look on your face
Your face
Your face
Cause the music makes me fell good
When I see that look on your face
Cause the music makes me fell like you
When I see that look on your face
[fades out]
Your face
Your face
Your face
Your face
Your face
Your face
Your face
Your face
Your face
Your face
Your face
Your face
Your face
We can bring it back
Bring real music back
We can bring it back
Bring real music back
It might not be everyone’s taste
We can bring it back
Bring real music back
___ down to waste
We can bring it back
Bring real music back
It’s gonna put __ on your face
[fades out]
Your face
Your face
Your face
Your face
Your face
Your face
Your face
Your face
Your face
Your face
Your face
Your face
Your face
Now let me hear the bass
[overlapping]
Yah
Yah
Yah
Yah
Yah
Yah
Yah
Yah
Yah
Yah
Yah
Yah
Yah
Yah
Yah
Yah
Cause the music makes me fell good
When I see that look on your face
Cause the music makes me fell like you
When I see that look on your face
Cause the music makes me fell good
When I see that look on your face
Cause the music makes me fell like you
When I see that look on your face
[fades out]
Your face
Your face
Your face
Your face
Your face
Your face
Your face
Your face
Your face
Your face
Your face
Your face
Your face
[overlapping]
Yah
Yah
Yah
Yah
Cause the music makes me fell good
When I see that look on your face
Cause the music makes me fell like you
When I see that look on your face
Cause the music makes me fell good
When I see that look on your face
Cause the music makes me fell like you
When I see that look on your face
When in analysis of dubstep music videos or even the lyrics notice that there is usually never a narrative set within the lyrics, however the music video establishes a story and is illustrative of the pragmatic meaning of the lyrics opposed to most, if not all other music genres. The chorus is looped repetitively throughout the track, this links to the fact that Dubstep is consistent and carries on having a hybrid, hyper vibe.
The lyrics that say 'we can bring it back, bring real music back it might not be everyones taste' have a reference to the fact that Dubstep is very versatile at the same time people either hate it or love it, the video construction is has been done in this way intentionally to relate it andrew good wins theory of the 'amplifying' approach' to music videos as the lyrics are descriptive of the action within the visuals of the 'feel good' sensation in a literal manner.
3. There is a relationship between music and visuals
often in music videos the visuals have an obligation to be in sync with the music and coordinate with the track in time with specified beats, this could be on the drum beat or in time for a hook. In this case, the scene deviated from location to location on every third beat. As the build to the chorus comes up, there is a jump cut which abruptly changes from a quiet office to havoc as all the office workers are dancing away and on top of tables, this is usually done within videos to amplify the effect of the chorus and hook.
4. The 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.
Initially modestep is not shown in the video, the narrative within the visuals is gradually built up, and a stage performer is shown in the centre of a busy rave. videos have a tendency to have a significant number of close ups, modestep is shown through a number of angles in extreme and normal close ups this has not only been done to emphasise the expression un his face but to portray his unique ability as a singer and producer, the band is also shown to be mixing on turn tables also displaying their skill. the main artist being the lead singer/producer modestep is given more screen time as his face for promotional purposes is shown dominantly in comparison to everyone else.
5. there is frequently reference to particularly voyeuristic treatment of the female body.
Within popular music genres depending on the context of the lyrics and video concept obviously, voyeuristic and objectification of the female body are a common theme. The reference to this in the video illustrate that the urban culture is behaving in this manner without judgement or objection. The fact that these explicit are being shown do not promote the idea of this, it is purely supplementing to the realism of the video as in various raves and parties young women tend to do what is referred to as 'grind' with strange men.
Saturday, 29 October 2011
Music Genre Research
1. Musical and lyrical conventions
In consideration of Dubstep as a genre, it is important to comprehend that is not an independent genre and isn’t a ground breaking new discovery. It should be important to know that it is a compilation of many popular underground genres, such as garage musical contemporary rap, UK rock, electro and house. It takes into account various conventions of some of the best genres of music which enables Dubstep to become so versatile so that it can be incorporated with all most any type of music. This is one of the reasons as to why Dubstep has become popular amongst so many different social groups based on their musical preferences, people that are into heavy metal, electro, grime and house music which all greatly differentiate from one another, all have Dubstep as a common genre preference in their music choice.
As the genre has converged from other forms it allows it to form similar conventions. It often has a steady beat to begin with (usually sampled beats) or it might start with a harmony depending on the artist. The pace of the music is often fast and heavy with wreckage/scratchy type sounds which are referred to as bass rips, this feature is unique within Dubstep and is rarely found in any other music genre. As all this synchronized chaotic sounds fly about the track, the lyrical content is minimal, Chorus' are often repeated more regularly than usual, hooks are looped and played throughout the track as backing vocals or chords.
In the genre the relationship between the lyrics and music is so bias, not due to the music overpowering the lyrics, but the music having the same effect in the track as the lyrics would.
The lyics of any many songs are the centralized aspect and the music only supplements it, however in dubstep the lyrics give a semantic context for example when a song surrounds a controversial or taboo subject such as pedophilia or rape, the music working with it creates a sort of imagery to go with it, supplementing the mood being established. Which has been very usuful to music video directors when working with Dubstep music?
A Good Example of this is a video by Skrillex - First Of The Year (Equinox)
Iconography
Unlike mainstream music genres such as RnB and Hip Hop were expensive clothing and glamorous women houses and cars are used to represent it as a genre, Dubstep concentrates on the implicit side of music. The conventions do not try to show wealth or show romantic intimacy as is done in RnB, it concentrates on the raw power of music and influences its audience to "lose control", it would convey standard civilian clothing in its music video and if any intimacy is shown, it is usually more towards the controversial side as rough spontaneous intercourse may be shown, women being objectified.
Unusually many music genres always have a ethnicity group typically associated with the type of music, in Dubstep, it is predominantly young Caucasian males and females, this usually puts a social identity on any music genre, e.i. people who listen to a particular genre are are categorized from their class and status. For example: Only rich upper-class British people listen to Classical music, only london youths listen to Grime UK Hip Hop music. The common misconception that had been made about Dubstep is that it is a "chavy" type of music and only poor 'chavy' white youths listen to Dubstep, however, now that Dubstep is a growing phenomenon, first within the UK and now in the US, and as it converges showing all aspects of different music genres incorporated within it, this common idea about Dubstep beginning to change.
Themes
Reoccurring themes within Dubstep deviate from themes typically shown in music. In a weird way, Dubstep makes association with a lot of the themes shown in Heavy Metal music. Commonly shown in Metal music is the theme of destruction and anguish, letting out your anger as such. This theme has been recreated in Dubstep as it also promotes this theme of letting loose and going crazy to the music, which is why it is very hard to dance to music such as heavy metal and Dubstep, there is no right or wrong way of doing it, opposed to ballet for example where things are very strategic and fluent. Dubstep is what ever you want it to be.
In consideration of Dubstep as a genre, it is important to comprehend that is not an independent genre and isn’t a ground breaking new discovery. It should be important to know that it is a compilation of many popular underground genres, such as garage musical contemporary rap, UK rock, electro and house. It takes into account various conventions of some of the best genres of music which enables Dubstep to become so versatile so that it can be incorporated with all most any type of music. This is one of the reasons as to why Dubstep has become popular amongst so many different social groups based on their musical preferences, people that are into heavy metal, electro, grime and house music which all greatly differentiate from one another, all have Dubstep as a common genre preference in their music choice.
As the genre has converged from other forms it allows it to form similar conventions. It often has a steady beat to begin with (usually sampled beats) or it might start with a harmony depending on the artist. The pace of the music is often fast and heavy with wreckage/scratchy type sounds which are referred to as bass rips, this feature is unique within Dubstep and is rarely found in any other music genre. As all this synchronized chaotic sounds fly about the track, the lyrical content is minimal, Chorus' are often repeated more regularly than usual, hooks are looped and played throughout the track as backing vocals or chords.
In the genre the relationship between the lyrics and music is so bias, not due to the music overpowering the lyrics, but the music having the same effect in the track as the lyrics would.
The lyics of any many songs are the centralized aspect and the music only supplements it, however in dubstep the lyrics give a semantic context for example when a song surrounds a controversial or taboo subject such as pedophilia or rape, the music working with it creates a sort of imagery to go with it, supplementing the mood being established. Which has been very usuful to music video directors when working with Dubstep music?
A Good Example of this is a video by Skrillex - First Of The Year (Equinox)
Iconography
Unlike mainstream music genres such as RnB and Hip Hop were expensive clothing and glamorous women houses and cars are used to represent it as a genre, Dubstep concentrates on the implicit side of music. The conventions do not try to show wealth or show romantic intimacy as is done in RnB, it concentrates on the raw power of music and influences its audience to "lose control", it would convey standard civilian clothing in its music video and if any intimacy is shown, it is usually more towards the controversial side as rough spontaneous intercourse may be shown, women being objectified.
Unusually many music genres always have a ethnicity group typically associated with the type of music, in Dubstep, it is predominantly young Caucasian males and females, this usually puts a social identity on any music genre, e.i. people who listen to a particular genre are are categorized from their class and status. For example: Only rich upper-class British people listen to Classical music, only london youths listen to Grime UK Hip Hop music. The common misconception that had been made about Dubstep is that it is a "chavy" type of music and only poor 'chavy' white youths listen to Dubstep, however, now that Dubstep is a growing phenomenon, first within the UK and now in the US, and as it converges showing all aspects of different music genres incorporated within it, this common idea about Dubstep beginning to change.
Themes
Reoccurring themes within Dubstep deviate from themes typically shown in music. In a weird way, Dubstep makes association with a lot of the themes shown in Heavy Metal music. Commonly shown in Metal music is the theme of destruction and anguish, letting out your anger as such. This theme has been recreated in Dubstep as it also promotes this theme of letting loose and going crazy to the music, which is why it is very hard to dance to music such as heavy metal and Dubstep, there is no right or wrong way of doing it, opposed to ballet for example where things are very strategic and fluent. Dubstep is what ever you want it to be.
Wednesday, 26 October 2011
Lyrics
Example - Last Ones Standing (Doctor P Remix) lyrics
We're on the run
And I'm about to lose it
She's like a gun
And she ain't afraid to use it
Come on, we'll catch our very last train
Light our very last flames
And we'll knock it all back
And forget our names
'Cause it's our last night
And it's one last fight
We're the last ones
The last ones standing [x5]
Come on, we'll catch our very last train
Light our very last flames
And we'll knock it all back
And forget our names
'Cause it's our last night
And it's one last fight
We're the last ones
The last ones standing [x3]
This ain't child's play like pass the parcel
Or build a castle, just a couple of rascals
Who go harder, live faster
Fight 'till the end like Jason's Argonauts
Uh, 'cause life's a carnival
There's no reason, motives marginal
Don't care if we're cold and starving
We'll still be laughing when
We're on the run
And I'm about to lose it
She's like a gun
And she ain't afraid to use it
Come on, we'll catch our very last train
Light our very last flames
And we'll knock it all back
And forget our names
'Cause it's our last night
And it's one last fight
We're the last ones
The last ones standing [x5]
Come on, we'll catch our very last train
Light our very last flames
And we'll knock it all back
And forget our names
'Cause it's our last night
And it's one last fight
We're the last ones
The last ones standing [x3]
Last night we both died a death
Just flowed 'till no cider left
Jumped out the wrong side of bed
Now another night of wrong lies ahead
To be a kid again, Nancy and Sid again
Need medicine, cut out the middle men
Run free, only way to get rid of them
Never gonna catch us
We're on the run
And I'm about to lose it
She's like a gun
And she ain't afraid to use it
Let's go
And I'm about to lose it
She's like a gun
And she ain't afraid to use it
Come on, we'll catch our very last train
Light our very last flames
And we'll knock it all back
And forget our names
'Cause it's our last night
And it's one last fight
We're the last ones
The last ones standing [x5]
Come on, we'll catch our very last train
Light our very last flames
And we'll knock it all back
And forget our names
'Cause it's our last night
And it's one last fight
We're the last ones
The last ones standing [x3]
This ain't child's play like pass the parcel
Or build a castle, just a couple of rascals
Who go harder, live faster
Fight 'till the end like Jason's Argonauts
Uh, 'cause life's a carnival
There's no reason, motives marginal
Don't care if we're cold and starving
We'll still be laughing when
We're on the run
And I'm about to lose it
She's like a gun
And she ain't afraid to use it
Come on, we'll catch our very last train
Light our very last flames
And we'll knock it all back
And forget our names
'Cause it's our last night
And it's one last fight
We're the last ones
The last ones standing [x5]
Come on, we'll catch our very last train
Light our very last flames
And we'll knock it all back
And forget our names
'Cause it's our last night
And it's one last fight
We're the last ones
The last ones standing [x3]
Last night we both died a death
Just flowed 'till no cider left
Jumped out the wrong side of bed
Now another night of wrong lies ahead
To be a kid again, Nancy and Sid again
Need medicine, cut out the middle men
Run free, only way to get rid of them
Never gonna catch us
We're on the run
And I'm about to lose it
She's like a gun
And she ain't afraid to use it
Let's go
Auteur Theory
Chris Cunningham is a renowned music video, film director and video artist. He had come to prominence through various landmarks within his intricate career. He is independently recognised for being one of the most unique and unusual characters when it comes to his work. This is what has made him standout from other directors as nobody produces such masterpieces effortlessly as Cunningham.
One of his landmark videos produced for leftfield was called Afrika shox. This video had been recognised for its semantic magnitude presented through the narrative and concept of the video. Any analyst will notice that within many of Cunningham’s works, the video is not prescribed to revolve around the music; in fact the video has its own autonomous status.
Afrika shox follows a tramp around a city centre during peak hours, who appears to be horribly anguished; he is barely physically competent as he hops/staggers around throughout the video looking almost like the un-dead. As the character established in the video struggles around a busy city (supposedly New York) full of wealthy, healthy people and literally begs for help and is completely disregarded. This had been shown by Cunningham through the literal, physical breaking down of the character which had been an indication to the consistent theme of decay and breakage established in the video. The character is symbolic of a greater principle, and infliction upon society. The idea that the ‘rich get richer’ and poor are left to rot is commonly regarded to be a misconception. However this music video picks up on this concept and exploits it in the most explicit way possible, not only does Cunningham produce a visual display of the sadistic side to humanity it draws upon the deterioration of society.
For this empathy Chris Cunningham creates within his specified audience he is renowned for being one of the best video directors. Critics have acclaimed Cunningham to work fearlessly as he combines his unique quality as a director with a controversy that is related to by a vast majority. It was through this his name spread and more and more famous musical artists such as Madonna had signed Cunningham up to direct their videos. The video done for Madonna “frozen” then went on to win music awards with MTV in many categories including best video.
Chris Cunningham’s consistent choices of style, in a range of his videos have a common ominous and contemporary theme linking his work. He achieves this by deviating from most other video directors. The dark gloomy visual style that is established has been achieved by weird or supernatural occurrences within the videos, for example in apex twins video window licker where the prostitutes working the block mutate into monster like creatures.
This had also been created in another aphex twin videos directed by Cunningham called come to daddy. This video initiated with an elderly woman walking her dog, who then gets tormented by this voice making her abandon her dog and attempt an escape whilst these little school girls in uniform, who all have the same mutated face shown in window licker, rampage the estate. On many occasions Cunningham has been approached with the question of what was cunning hams drive for doing this?
When approached with this question Cunningham replied, "I remembered being chased through the woods by a nine-year- old child when i was about 16. I was on a pushbike and he had a hammer. It was humiliating and i was shitting it. " he went on to describe the humiliation of the situation as girls were also present and whitening the incident. Within production of the video Cunningham had also revealed that in the group of 'children' running through the estate only two were actually children the rest where fully developed midgets adults. This had not been by lack of children to feature within the video. This had been done intentionally so that it could be shown as many of the 'little girls' had facial and body hair, this greatly supplemented the enigmatic style in Cunninghams work.
Some of the work of Chris Cunningham
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