Wednesday, 2 December 2015
Tuesday, 1 December 2015
Textual Analysis 2 - Ed Sheeran - Give Me Love
Ed Sheeran - Give Me Love
The reason I have chosen to analyse this as my second textual analysis is because this is yet another video that represents the need for love from someone who the artist cannot have or is not there, linking well to my initial ideas and the song I have chosen. It also links in with my firs textual analysis, because it has both the same meaning and relatively the same idea behind it.
Cinematography:
Unlike Pink's Family Portrait video, a number of various cinematography techniques have been used. However, of the shots used, many are similar to my first textual analysis. One of the similar shots is the use of high angle shots, in this case, particularly at the start of this video. This is used so that the audience can get an idea of what is going on in the video and can have time to analyse the possible storyline in the video. Many medium close ups are also used in this video, much like in my first textual analysis. They have been used in this video so as to represent how the female protagonist is feeling ( in this case very sad and emotional, and, much like with Mad World and Family Portrait, her life is spiralling downwards and all she needs is love because her life is continuing to go downhill and nothing is changing). The female protagonist also, at many points in the video, engages in conversation. Due to this, two shots have been used, much like in my first textual analysis. The only difference in this video is the fact that at some points, while the character engages in conversation, shot reverse shots are used every now and agin, just to show to the audience that the character is talking to other people and having a conversation, most likely so the video does not get boring due to the fact that there is pretty much only the female antagonist present. Pull focus shots are also a big thing in this video unlike in my first analysis,
Mise-en-scene:
There are many similar mis-en-scene aspects in this video as there were in my first textual analysis, for example, the dark, misty lighting and the brick walls and enclosed spaces. However, there are quite a few differences, one of these being the amount of makeup the female protagonist is wearing. In Pink's Family Portrait, the female protagonist is wearing extremely minimal makeup, and it could almost be said that she is wearing no makeup at all - that is the idea that the industry would want to give off. In this video, however, the protagonist is wearing very dark eye makeup and dark lipstick, possibly to fit in with the theme of the video. As well as this, jewellery is also presented in this video, contrasting greatly to that of my first textual analysis. The female protagonist in my first video is wearing little to no jewellery whatsoever, contrasting to this video, where the female protagonist is wearing many necklaces and bracelets etc. The clothing, however, is presented in the same way; very plain clothes with no colour or shape for example. Because of this, it is likely that I will dress my actors and actresses in plain clothing with little to no colour, along with slight makeup and some jewellery.
Sound:
There are many differences in sound in this video, the first being at the start of the video, instead of going straight into the song, the image plays for a good 30 seconds so the audience can get an idea of what is going on in the video before they hear the actual song. In some ways this is more affective than going straight into the song, as the audience will have the chance to get a grasp of what is going on. Later. non-diegetic sound is used the whole way through the video, as with most music videos today. Towards the end of the video, the song, again, fades out, giving the audience more time to actually think about the song so it therefore has more meaning. This is quite apparent in most modern music videos, as, according to most, most music videos have a lot more going on in them, meaning there is more to take in. This means that the audience has more chance to take in what has actually been going on in the music video, hence why, in my music video, I will fade my video out gradually.
Editing:
Like my first textual analysis, the shots in this music video also tell a story, the same as they do in my chosen music video. The shot order is, again, chronological, meaning that there is a lot of verisimilitude going on in this video. Continuity editing is used to make sure the audience know what is going on and that the video physically makes sense. This video, however, tells a much more complex story than that of my first textual analysis, which makes it surprising that the same basic editing skills have been used throughout. This could have been used so that audience can focus more on the story that the video is telling.
The reason I have chosen to analyse this as my second textual analysis is because this is yet another video that represents the need for love from someone who the artist cannot have or is not there, linking well to my initial ideas and the song I have chosen. It also links in with my firs textual analysis, because it has both the same meaning and relatively the same idea behind it.
Cinematography:
Unlike Pink's Family Portrait video, a number of various cinematography techniques have been used. However, of the shots used, many are similar to my first textual analysis. One of the similar shots is the use of high angle shots, in this case, particularly at the start of this video. This is used so that the audience can get an idea of what is going on in the video and can have time to analyse the possible storyline in the video. Many medium close ups are also used in this video, much like in my first textual analysis. They have been used in this video so as to represent how the female protagonist is feeling ( in this case very sad and emotional, and, much like with Mad World and Family Portrait, her life is spiralling downwards and all she needs is love because her life is continuing to go downhill and nothing is changing). The female protagonist also, at many points in the video, engages in conversation. Due to this, two shots have been used, much like in my first textual analysis. The only difference in this video is the fact that at some points, while the character engages in conversation, shot reverse shots are used every now and agin, just to show to the audience that the character is talking to other people and having a conversation, most likely so the video does not get boring due to the fact that there is pretty much only the female antagonist present. Pull focus shots are also a big thing in this video unlike in my first analysis,
Mise-en-scene:
There are many similar mis-en-scene aspects in this video as there were in my first textual analysis, for example, the dark, misty lighting and the brick walls and enclosed spaces. However, there are quite a few differences, one of these being the amount of makeup the female protagonist is wearing. In Pink's Family Portrait, the female protagonist is wearing extremely minimal makeup, and it could almost be said that she is wearing no makeup at all - that is the idea that the industry would want to give off. In this video, however, the protagonist is wearing very dark eye makeup and dark lipstick, possibly to fit in with the theme of the video. As well as this, jewellery is also presented in this video, contrasting greatly to that of my first textual analysis. The female protagonist in my first video is wearing little to no jewellery whatsoever, contrasting to this video, where the female protagonist is wearing many necklaces and bracelets etc. The clothing, however, is presented in the same way; very plain clothes with no colour or shape for example. Because of this, it is likely that I will dress my actors and actresses in plain clothing with little to no colour, along with slight makeup and some jewellery.
Sound:
There are many differences in sound in this video, the first being at the start of the video, instead of going straight into the song, the image plays for a good 30 seconds so the audience can get an idea of what is going on in the video before they hear the actual song. In some ways this is more affective than going straight into the song, as the audience will have the chance to get a grasp of what is going on. Later. non-diegetic sound is used the whole way through the video, as with most music videos today. Towards the end of the video, the song, again, fades out, giving the audience more time to actually think about the song so it therefore has more meaning. This is quite apparent in most modern music videos, as, according to most, most music videos have a lot more going on in them, meaning there is more to take in. This means that the audience has more chance to take in what has actually been going on in the music video, hence why, in my music video, I will fade my video out gradually.
Editing:
Like my first textual analysis, the shots in this music video also tell a story, the same as they do in my chosen music video. The shot order is, again, chronological, meaning that there is a lot of verisimilitude going on in this video. Continuity editing is used to make sure the audience know what is going on and that the video physically makes sense. This video, however, tells a much more complex story than that of my first textual analysis, which makes it surprising that the same basic editing skills have been used throughout. This could have been used so that audience can focus more on the story that the video is telling.
Sunday, 29 November 2015
Textual Analysis #1 - Pink - Family Portrait
Conventions of form:
The familiar and predictable forms and techniques used by the media to communicate certain ideas or to convey a desired impression.
Conventions genre:
The common characteristics or conventions of any genre, including film, are sometimes calles codes. These include structural codes, which are such features as particular kinds of plot, character or setting. Stylistic codes include such features as particular lighting, shooting style, or music.
P!ink - Family Portrait
For one of my textual analysis', I have chosen Pink's 'Family Portrait', as it links very well with my style of music video that I am re creating - a love triangle. Pink demonstrates this very well in the following music video.
Cinematography:
In this video, there is a wide range of cinematography elements used throughout. Many high angle shots are used, particularly during the beginning. This may purely be because the lyrics used in this part of the song are not of the happiest; Pink is talking about how her mum is always crying and this is because of her dad; 'Mumma please stop crying, I can't stand the sound, your pain is painful and it's tearing me down'. The use of the high angel shots in this instance clearly highlight the fact that the female protagonist (Pink) is most definitely the submissive in this shot, along with the younger version of herself. Many close ups have also been used in this video, most notably when switching from the female protagonist and the female antagonist (young Pink), in this case because the audience wants to see two different emotions. The young Pink in this instance can be seen to be upset and worried, hence why she sings the lyrics 'mumma please stop crying, I can't stand the sound', whereas the present Pink seems to have given up on trying, hence why she sings 'I don't want love to destroy me like it has done my family'. Two shots are a regular cinematography element in this video, particularly when the protagonist and antagonist, confidently highlighting that there is the need for two characters so neither character feels lonely, which is a key idea in this song.
Mise-en-scene:
This music video, again, uses many aspects of mise-en-scene, the first being very limited dark colours, for example, the white tank top and plain blue jeans, white bed covers, white phone etc. The main reason behind this is because the artist would want the focus to definitely be on the lyrics, as the lyrics themselves has meaning; the video is, in this case, just to accompany the lyrics. Dull, dark lighting has also been used in most scenes in this video, particularly those where both the protagonist and antagonist are shot together. Most of the scenes with both in convey a more down, depressing mood, compared to the rest of the video where some natural lighting has been allowed to occur ( most notably in the first scene where Pink can be seen to be in bed - lighting from outside has been allowed to enter, likely because it represents Pink starting the same, original, tedious day - much like that of Gary Jules' Mad World. Casual clothes are a big thing in this music video; Pink wears jeans and plain tops all the way through and so does the younger version of her. This connotates the run down life that Pink is living; she doesn't want to dress up and doesn't feel like doing large amounts of makeup (minimal makeup is used in every shot). This then links with the location. The location of this performance is at a run down apartment, most likely in an American city. I find it relatively normal that the producer has chosen to film in what looks like a lonely abandoned apartment, seen as the key idea of the song is about loneliness, and how the protagonist has felt alone for a big chunk of her life.
Sound:
There aren't that many sound elements in this video, however non-diegetic sound is the main sound used. This is the most important sound element, and is used in almost 100% of all music videos. In this song, non-diegetic sound is used the whole way through the music video, as the song (which is the non-diegetic sound) is played throughout the whole video, and no other sounds can be heard at all. Towards the end of the video, the song quietly dissolves instead of automatically cutting out. This is an effective way of keeping the audience involved with the song until it finishes entirely, as the audience now have the chance to, instead of just focusing on the lyrics, focus on the emotion that each character feels, however this is mainly centred on the female protagonist. The main element in this performance is the fact that there is more than just the artist performing the song; the female antagonist is performing a good range of it too, and this would have been used for effect - the idea of a broken family, a child upset would mean more to an audience and affect them more than an adult upset etc.
Editing:
The order of the shots in this video are mainly chronological; they tell a story. This means that there is a big use of verisimilitude in this video, as the video is set with the sue of continuity editing; the story is in the right order and physically makes sense. Not only this, it is easy for us as the audience to understand - a big thing for industries to take into account, as, if a music video doesn't make sense, it is less attractive for the audience, which therefore means they are less likely to buy it. Basic editing skills have been used, however a very complex storyline has also been used. This could have been used for effect, as the audience, having to interpret a complex storyline, then do not have to also interpret why the editing effects have been used in that way etc.
The familiar and predictable forms and techniques used by the media to communicate certain ideas or to convey a desired impression.
Conventions genre:
The common characteristics or conventions of any genre, including film, are sometimes calles codes. These include structural codes, which are such features as particular kinds of plot, character or setting. Stylistic codes include such features as particular lighting, shooting style, or music.
P!ink - Family Portrait
For one of my textual analysis', I have chosen Pink's 'Family Portrait', as it links very well with my style of music video that I am re creating - a love triangle. Pink demonstrates this very well in the following music video.
Cinematography:
In this video, there is a wide range of cinematography elements used throughout. Many high angle shots are used, particularly during the beginning. This may purely be because the lyrics used in this part of the song are not of the happiest; Pink is talking about how her mum is always crying and this is because of her dad; 'Mumma please stop crying, I can't stand the sound, your pain is painful and it's tearing me down'. The use of the high angel shots in this instance clearly highlight the fact that the female protagonist (Pink) is most definitely the submissive in this shot, along with the younger version of herself. Many close ups have also been used in this video, most notably when switching from the female protagonist and the female antagonist (young Pink), in this case because the audience wants to see two different emotions. The young Pink in this instance can be seen to be upset and worried, hence why she sings the lyrics 'mumma please stop crying, I can't stand the sound', whereas the present Pink seems to have given up on trying, hence why she sings 'I don't want love to destroy me like it has done my family'. Two shots are a regular cinematography element in this video, particularly when the protagonist and antagonist, confidently highlighting that there is the need for two characters so neither character feels lonely, which is a key idea in this song.
Mise-en-scene:
This music video, again, uses many aspects of mise-en-scene, the first being very limited dark colours, for example, the white tank top and plain blue jeans, white bed covers, white phone etc. The main reason behind this is because the artist would want the focus to definitely be on the lyrics, as the lyrics themselves has meaning; the video is, in this case, just to accompany the lyrics. Dull, dark lighting has also been used in most scenes in this video, particularly those where both the protagonist and antagonist are shot together. Most of the scenes with both in convey a more down, depressing mood, compared to the rest of the video where some natural lighting has been allowed to occur ( most notably in the first scene where Pink can be seen to be in bed - lighting from outside has been allowed to enter, likely because it represents Pink starting the same, original, tedious day - much like that of Gary Jules' Mad World. Casual clothes are a big thing in this music video; Pink wears jeans and plain tops all the way through and so does the younger version of her. This connotates the run down life that Pink is living; she doesn't want to dress up and doesn't feel like doing large amounts of makeup (minimal makeup is used in every shot). This then links with the location. The location of this performance is at a run down apartment, most likely in an American city. I find it relatively normal that the producer has chosen to film in what looks like a lonely abandoned apartment, seen as the key idea of the song is about loneliness, and how the protagonist has felt alone for a big chunk of her life.
Sound:
There aren't that many sound elements in this video, however non-diegetic sound is the main sound used. This is the most important sound element, and is used in almost 100% of all music videos. In this song, non-diegetic sound is used the whole way through the music video, as the song (which is the non-diegetic sound) is played throughout the whole video, and no other sounds can be heard at all. Towards the end of the video, the song quietly dissolves instead of automatically cutting out. This is an effective way of keeping the audience involved with the song until it finishes entirely, as the audience now have the chance to, instead of just focusing on the lyrics, focus on the emotion that each character feels, however this is mainly centred on the female protagonist. The main element in this performance is the fact that there is more than just the artist performing the song; the female antagonist is performing a good range of it too, and this would have been used for effect - the idea of a broken family, a child upset would mean more to an audience and affect them more than an adult upset etc.
Editing:
The order of the shots in this video are mainly chronological; they tell a story. This means that there is a big use of verisimilitude in this video, as the video is set with the sue of continuity editing; the story is in the right order and physically makes sense. Not only this, it is easy for us as the audience to understand - a big thing for industries to take into account, as, if a music video doesn't make sense, it is less attractive for the audience, which therefore means they are less likely to buy it. Basic editing skills have been used, however a very complex storyline has also been used. This could have been used for effect, as the audience, having to interpret a complex storyline, then do not have to also interpret why the editing effects have been used in that way etc.
Monday, 23 November 2015
Sunday, 22 November 2015
Jet - Are You Gonna Be My Girl (My Chosen Music Video)
I have come to the conclusion that the music video I have chosen to re-create is that of Jet's 'Are You Gonna Be My Girl'. The reason behind this is the fact that it is not only an upbeat song and will therefore appeal to more people, but it is also something that a lot of people can relate to due to it being a very popular song, and I therefore think that it will attract a wide audience.
Friday, 20 November 2015
Charles Pierce - Semiotics - Language Essay
Charles Pierce
Semiotics
According to philosopher Charles Pierce, "we only think in signs". Signs, in this case, take the form of words, images, sounds, odours, flavours, acts or objects, but such things have no intrinsic meaning and become signs only when we invest them with meaning and become signs only when we invest them with meaning.
"Nothing is a sign unless it is interpreted as a sign" - Pierce 1931
Anything can be a sign as long as someone interprets it as 'signifying' something - referring to or standing for something other than itself. We interpret things as sings largely unconsciously by relating them to familiar systems of conventions. It is this meaningful use of sings which is at the heart of the concerns of semiotics.
Charles stated that there were 3 types of sign:
Semiotics
According to philosopher Charles Pierce, "we only think in signs". Signs, in this case, take the form of words, images, sounds, odours, flavours, acts or objects, but such things have no intrinsic meaning and become signs only when we invest them with meaning and become signs only when we invest them with meaning.
"Nothing is a sign unless it is interpreted as a sign" - Pierce 1931
Anything can be a sign as long as someone interprets it as 'signifying' something - referring to or standing for something other than itself. We interpret things as sings largely unconsciously by relating them to familiar systems of conventions. It is this meaningful use of sings which is at the heart of the concerns of semiotics.
Charles stated that there were 3 types of sign:
- Icon/iconic - a mode in which the signifier is perceived as resembling or imitating the signified (recognisably looking, sounding, feeling, tasting or smelling like it) - being similar in possessing some of its qualities. E.g. a portrait, a cartoon, a scale-model, onomatopoeia, metaphors, 'realistic' sounds in programme music, sound effects in radio drama, a dubbed film soundtrack, imitative gestures etc.
- Index/indexical - a mode in which the signifier is not arbitrary but is directly connected in some way (physically or casually) to the signified - think link can be observed of inferred: e.g. 'natural signs' like smoke, thunder, footprints, echoes, non-synthetic odours and flavours), medical symptoms such as pain, a rash, pulse rate, measuring instruments like a thermometer, a clock, spirit level etc.
- Symbol/symbolic: a mode in which the signifier does not resemble the signified but which is fundamentally arbitrary or purely conventional - so that the relationship must be learnt: e.g. the language in general (plus specific languages, alphabetical letters, punctuation marks, words, phrases and sentences), numbers, morse code, traffic lights, national flags etc.
Denotation, Connotation and Myth
- In semiotics, denotation and connotation are terms describing the relationship between the signifier and its signified, and an analytic distinction is made between two types of signifieds: a denotive signified and a connotative signified. Meaning includes both denotation and connotation.
Thursday, 19 November 2015
Roland Barthe - Semiotics - Language Essay
Roland Barthe
Semiotics
Roland Barthe researched how audiences interpret what they see. He said "If narratives are episodic this helps our reading. A chain of cuase and effect is expected but the audience desires to see a story of morals."
He argued that the audience looks for signs to help them interpret the narrative, and, according to him, these deeply rooted signs are based on expectations the audience has due to their prior knowledge of old tales or myths.
His theory of how we interpret is as follows:
Signifier Signified
(The object) (The meaning)
\ /
\ /
\ /
Semiotics
Roland Barthe researched how audiences interpret what they see. He said "If narratives are episodic this helps our reading. A chain of cuase and effect is expected but the audience desires to see a story of morals."
He argued that the audience looks for signs to help them interpret the narrative, and, according to him, these deeply rooted signs are based on expectations the audience has due to their prior knowledge of old tales or myths.
His theory of how we interpret is as follows:
Signifier Signified
(The object) (The meaning)
\ /
\ /
\ /
Semiology
(The relationship between the signifier and signified)
|
|
|
Sign
(The total of the signifier and signified, e.g. how we interpret the combination of the signifier and the signified)
The Nike symbol not only represents a fashion brand, a sports brand, a sponsor, a global company and subsidiaries, but it also now has many different meanings. Marketing methods like quoting the famous 'Just Do It' are no longer needed, as the symbol itself is recognisable enough and now has many deeper meanings.
For example, a stop sign:
- The stop sign (the signifier) is to prevent traffic going a particular way (the signified).
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