Theorists:

Narrative Thriller

Introduction:

*made use of linear structure, where events in film were told in a chronological order of B.M.E

Propp:

*Character types ‘Villain’ and ‘victim’.

*Audience deploys knowledge of character types in order to decode the meaning of the text.

*Use of MES, arbitrary helps to construct the Thriller connotation.

Todorov:

*Linear structure of Equilibrium, Disequilibrium and New equilibrium.

Barthes:

*creating enigma, 5 narrative codes which audience use to decode texts.

*’Objective POV’ viewer is treated at the observer.

*’Invisible editing’ used in Hollywood, created shots that supported the narrative rather than dominating the narrative enabling the storyline and characters being the main focal point.

*motivated edits.

MES:

*technical codes- visual and aural. (camera shots, voiceover?)

Levi-Strauss:

*Binary opposites. GD vs Evil.

Conclusion:

To conclude, I believe that I successfully met the important aspects that create a strong narrative relating specifically to the genre of a ‘Thriller’ mainly because I was able to connect my ideas well to the theorists I have mentioned

GENRE: MUSIC VIDEO

*Audience- Abercrombie ‘boundaries between genre are shifting and are becoming more permeable’. Hybrid genre, attracts a wider audience. Useful ‘Hook’.

*Codes & Conventions- Mittell- used genre to sell my product through stylistic approach which also represented ideologies of the artists representation of ‘role model’.

Symbolic- MES, lighting, costume etc what did this effect create?

Uses & gratifications- Bulmer and Katz – potential pleasures genre includes. Empathy of escapism, hyper-real state representing freedom.

Altman: ‘set of pleasures’ emotional, visceral and intellectual. Emotional pleasure relates to mine because of the response it receives from the audience.

Conclusion:

I believe my work has successfully met genre conventions through maintaining the theorists that I feel had a good relation to my production. I would however criticise the uses and gratifications theory of the audience being able to chose the media that we consume from what is available to watch as on television such as music channels the audience are given no choice or control over what videos are shown.

AUDIENCE:   music video

Introduction-

*Specific genre my music video appealed to

*Mulvey- ‘the Gaze’ (voyeurism).

Uses & gratifications- McQuail- two reasons  ‘personal identity’ models our behaviour (identifying with characters or artists). ‘Entertainment’ watch for enjoyment, pleasure.

Hartley- institutions understand what the audience want because trends and styles and preferences, I wanted to create a stylist more aesthetically pleasing video. Use of location etc.

‘Two step flow theory’: ‘Opinion leaders’ influence media has on our behaviour (whether it controls or changes us). More likely to be affected by media if we discuss it.

Hall:

*adopt one of three readings: preferred, negotiated or oppositional. Producer encodes and audience decodes.

Ang:

*difficult to distinguish a specific target audience, thorough research into existing fan bases, social networking etc.

Hyperdermic needle theory:

*audience is passive and powerless to resist. This idea was used to control audiences equalling to benefitting capitalism and the government. In my production, I aimed to achieve the effect of power and a method promoting the artist through exciting visual content and the hyper real state in which the artist is presented in the video.

Representation: Music Video

Intro:

What is being represented within your music video?

A form of reality?

The lyrics of the song?

The music?

The artist?

A theme within the narrative? A movement – feminism?

Paragraph 1: Stereotypes/Audience

*Young, powerful women, role model. Done this through, costume

Paragraph 2:

Paragraph 3: Genre

Hall- *adopt one of three readings: preferred, negotiated or oppositional. Producer encodes and audience decodes. Representations becoming established through ‘repetition’ and a ‘common sense status’ through the ‘performative nature’ of texts (we know what a car chase feels like because we have seen in within a media text).

Mulvey: The ‘male gaze’.

Paragraph 3:

Media languageà

semiotics, genre, narrative, design, structure, codes and conventions, time and space, aesthetics, spoken, written and visual language.