FINAL PRODUCT: MUSIC VIDEO
Wednesday, January 8, 2020
FINAL PRODUCT: WEBSITE
FINAL PRODUCT: WEBSITE
https://clm071326.wixsite.com/1983
HOMEPAGE:
When you enter the site, you get a pop up immediately, which presents a trailer to my music video, already foregrounding my product 1.
I have left a gap between my header and my first bit of information on the website as I have included an interactive video on loop as the background of my website to ensure a sense of brand identity.
This video is my final product 1, and is the first thing you see when scrolling through the website.
I have synergised this with promoting it not only digitally to promote modernisation and postmodernism but also through 'limited edition vinyl' that foregrounds the nostalgic element of the 80s representation: ensures a wide audience as this would target nostalgia of older audience whilst incorporating the vinyl trend coming back in modern society.
Audio visual content foregrounded, utilised through being a interview with the main singer, portrays friendly and humanised representation of the artists.
I have intertextually incorporated the use of 'Diva' magazine and 'Translating International' magazine to present the post modern ideology of the song. This links to the representation of Willow in the interview and foregrounds her identity within the band as being transgender, further displaying the post modernist ideology of the song and portraying her as a central part of the band mirroring the video, product 1. This also portrays the audience of being a younger audience as this demographic are more likely to relate to these social issues.
collage of band members and a quote from each - portrays that each band member is of the same importance: all appear in product 1.
Foregrounds audience interaction, there is a social media poll for the band trending portraying Shirky's 'End of Audience' theory showing that the younger audience are more likely to get involved.
Instagram poll: portraying the social media side of the band. Not only portrays the band as relatable but shows the low level band and foregrounds the target audience.
Interactive pop-ups to portray audience engagement.
SECOND PAGE:
Immediately foregrounds Willow as being centre frame - mirroring the music video and product 1. She has been given her own gallery of photos portraying importance as well as presenting makeup done in the colours of the transgender flag - young audience's cultural competence, they would recognise the pride colours associated with the LGBTQ+ community.
More elements of audience interaction - a pop-up when clicking on the plug 'WHAT ABOUT ME' in the speech bubble.
Audio visual content reemphasised
Primary interview with Willow about her personal experiences and reassuring people to interact and 'share their own story' - presents the band as relatable to their young audience.
Band reaction to audience interaction and foregrounds the intertextuality used within my music video - 1975 (within the mise en scene and costume) and Bend it Like Beckham (within the narrative and post modern ideology and message of the video).
A second interview and video introducing the band as a collective - portrays them as friendly.
ADDITIONAL PAGES:
Merchandise page - linked within the homepage, when clicking on the image on the homepage it takes you to this merchandise page.
Subscription page:
Portrays importance of audience interaction for a modern band and reflects a level of relatability and friendliness to the band.
WEBSITE PRODUCTION: Helpline links
WEBSITE PRODUCTION: HELPLINE LINKS
As the ideology of the band is covering possible difficult social issues that people find difficult to deal with, i have incorporated, alongside the stories and experience of the open artists, helpline numbers for Samaritans.
In the header:
In the footnote of the website:
In the header and footnote of the website these helplines are foregrounded with 'Whatever you're going through, a Samaritan will face it with you. They're here 24 hours a day, 365 days of the year. Call 116 123.'
In addition, to add to the relatability and welcoming representation of my band i have also placed throughout the emphasis of sharing your own story, and at the end of the Samaritan number, i have written "If we can help, share your story HERE" and linked the 'HERE' with the share your story link.
As the ideology of the band is covering possible difficult social issues that people find difficult to deal with, i have incorporated, alongside the stories and experience of the open artists, helpline numbers for Samaritans.
In the header:
In the footnote of the website:
In the header and footnote of the website these helplines are foregrounded with 'Whatever you're going through, a Samaritan will face it with you. They're here 24 hours a day, 365 days of the year. Call 116 123.'
In addition, to add to the relatability and welcoming representation of my band i have also placed throughout the emphasis of sharing your own story, and at the end of the Samaritan number, i have written "If we can help, share your story HERE" and linked the 'HERE' with the share your story link.
WEBSITE PRODUCTION: AUDIENCE INTERACTION
BAND REACTIONS TO AUDIENCE INTERACTION:
I have involved a sort of pop culture representation of the band to reflect the young and wide target audience. To portray the band as relatable for that young audience I have included a section of 'audience trivial questions' that i received from a questionnaire about the interests of young people.
The two questions are 'what are your favourite films' and 'who is your favourite singer/ artist?'
I have used this as an opportunity to not only make the band seem relatable but also involve a level of intertextuality.
All of the band member interests are linked to their presented identity:
Zain - Birdcage and Troye Sivan - identifies as gay.
Willow - Bend it like Beckham - which i have used as a form of intertextuality for my band and the challenging of expectations and generalisations but rather than using religion and sport, i have used gender expectations and the identity of being transgender.
Her favourite artist is the 1975- the inspiration I have taken for may band and included intertextuality for.
I have involved a sort of pop culture representation of the band to reflect the young and wide target audience. To portray the band as relatable for that young audience I have included a section of 'audience trivial questions' that i received from a questionnaire about the interests of young people.
The two questions are 'what are your favourite films' and 'who is your favourite singer/ artist?'
I have used this as an opportunity to not only make the band seem relatable but also involve a level of intertextuality.
All of the band member interests are linked to their presented identity:
Zain - Birdcage and Troye Sivan - identifies as gay.
Willow - Bend it like Beckham - which i have used as a form of intertextuality for my band and the challenging of expectations and generalisations but rather than using religion and sport, i have used gender expectations and the identity of being transgender.
Her favourite artist is the 1975- the inspiration I have taken for may band and included intertextuality for.
AUDIO VISUAL CONTENT
AUDIO VISUAL CONTENT:
This portrays 'Willow's story' highlighting her as a central character within the band, mirroring the music video.
Willow is the main actor in product one within the narrative video and portrays the main didactic message of individuality.
WEBSITE PRODUCTION: EXCLUSIVE INTERVIEW
EXCLUSIVE INTERVIEW:
I have completed two interviews. The first is an interview with the main singer songwriter of my represented band, with the opinions of others about the ideologies I have chosen for the band and broad generalisations of what the band represents.
The second, as mirroring the focus within my video, is from the perspective of 'Willow' who is not lipsyncing but acting in the narrative structure I have chosen for my video. This incorporates my audio visual content of the interview with Willow and a transcript, she is then centred on my second page to help highlight her importance within the video.
HOME PAGE REPRESENTATION:
SECOND PAGE REPRESENTATION:
I have completed two interviews. The first is an interview with the main singer songwriter of my represented band, with the opinions of others about the ideologies I have chosen for the band and broad generalisations of what the band represents.
The second, as mirroring the focus within my video, is from the perspective of 'Willow' who is not lipsyncing but acting in the narrative structure I have chosen for my video. This incorporates my audio visual content of the interview with Willow and a transcript, she is then centred on my second page to help highlight her importance within the video.
HOME PAGE REPRESENTATION:
SECOND PAGE REPRESENTATION:
Friday, November 29, 2019
PRODUCTION DEVELOPMENT: Changing band name
CHANGING THE BAND NAME:
In terms of developing my band, I have decided to change my band name.
I originally took inspiration from the 1975 in my naming of my band and taking certain ideologies to reflect in my own brand. I have decided to still use a numerical band name to reflect the intertextuality of the 1975, but referencing 1983.
The new band name, of 1983, reflects a widened fun-loving audience. I have placed emphasis on a bold mise-en-scene to adhere to the fun loving mass market audience and in terms of reflecting a 'modern unique artist', as presented in the remit of Sony Music, I have presented ideologies that reflect a modern society and modern societal issues like the issues around generalisations of gender.
To increase inclusivity with a mass market audience, the miseducating-en-scene presented by my artist not only reflects the aesthetic of my young target audience but also includes a level of nostalgia for a slightly older audience through 80s costume and a formal representation of a jazz trumpet player.
In terms of developing my band, I have decided to change my band name.
I originally took inspiration from the 1975 in my naming of my band and taking certain ideologies to reflect in my own brand. I have decided to still use a numerical band name to reflect the intertextuality of the 1975, but referencing 1983.
The new band name, of 1983, reflects a widened fun-loving audience. I have placed emphasis on a bold mise-en-scene to adhere to the fun loving mass market audience and in terms of reflecting a 'modern unique artist', as presented in the remit of Sony Music, I have presented ideologies that reflect a modern society and modern societal issues like the issues around generalisations of gender.
To increase inclusivity with a mass market audience, the miseducating-en-scene presented by my artist not only reflects the aesthetic of my young target audience but also includes a level of nostalgia for a slightly older audience through 80s costume and a formal representation of a jazz trumpet player.
Tuesday, November 5, 2019
WEBSITE PRODUCTION: SINGER VIDEO INTERVIEW
Audio Visual Content 2:
I have used the 30 second audio visual content to be an interview with the main singer of the band I have created.
This is where Reuben introduces himself and the band and incorporates the ideology of the music video and introduces the important narrative the video is portraying.
This is also featured on the website (product 2) as well as a second written interview with the band.
I have used the 30 second audio visual content to be an interview with the main singer of the band I have created.
This is where Reuben introduces himself and the band and incorporates the ideology of the music video and introduces the important narrative the video is portraying.
This is also featured on the website (product 2) as well as a second written interview with the band.
Sunday, November 3, 2019
PRODUCTION: Cross-media Convergence
Connecting the video to the website and cross-media convergence:
Throughout the website I have presented a connection between my main video (product 1) and the website (product 2).
Here I have created a trailer for the video that pops up in a Lightbox when you enter the site. This immediately foregrounds the video and connects the two products together.
Throughout the website I have presented a connection between my main video (product 1) and the website (product 2).
Here I have created a trailer for the video that pops up in a Lightbox when you enter the site. This immediately foregrounds the video and connects the two products together.
After entering the site, the first thing the audiences are faced with is the music video attached with the title 'latest exclusive'. This presents the video straight away to the audiences and immediately advertises both the video and the website.
The instagram feed presents behind the scenes photos that foreground the music video. The rest of the posts present advertisement towards the bands new 'single' (product 1).
Throughout the website, #selfobssessed is a link and trend that has been created to go with the the music video. It is quoted in the music video and used in the website for audience participation.
WEBSITE PRODUCTION: Website Intertextuality
WEBSITE INTERTEXTUALITY:
Within my website, I have made intertextual links to the original band I am using for inspiration. I have quoted the 1975 lyrics as headings to my pages on the website that the audience would recognise, similar to that intertextuality within the music video.
Within my website, I have made intertextual links to the original band I am using for inspiration. I have quoted the 1975 lyrics as headings to my pages on the website that the audience would recognise, similar to that intertextuality within the music video.
WEBSITE PRODUCTION: EXTRA PAGES - contact us
EXTRA CONTENT - contact us:
This last linked page presents audience interaction. This allows the audiences to subscribe to the band and gain first glance at merchandise, tour dates and other band related information. This encourages audience interaction and a 'fandom' to develop.
This last linked page presents audience interaction. This allows the audiences to subscribe to the band and gain first glance at merchandise, tour dates and other band related information. This encourages audience interaction and a 'fandom' to develop.
WEBSITE PRODUCTION: EXTRA CONTENT - merchandise
EXTRA CONTENT - Merchandise:
HOME PAGE:
MERCHANDISE:
HOME PAGE:
This image on the homepage is linked to the merchandise page, making her navigation of the website easy and convenient for audiences.
MERCHANDISE:
This is an extra interactive page on the website that holds some merchandise that audiences can choose from.
Because this is an extra page, there is an icon at the top that takes audiences back to the homepage. This makes navigation around the website easy.
WEBSITE PRODUCTION: Tour Date Analysis
Tour Date Analysis:
These tour dates reflect the professionalism of the band whilst ensuring they aren't massively high brow and famous, they are predominantly promoted in played in local venues.
These tour dates reflect the professionalism of the band whilst ensuring they aren't massively high brow and famous, they are predominantly promoted in played in local venues.
There is also an exclusive event at Southend Pride. This event reflects the postmodern ideology I want to reflect in the band. This idea of self identity and equality between everyone presents the modern society and acceptance of all types of identity.
WEBSITE PRODUCTION: Exclusive Interview Analysis
Exclusive Interview Analysis:
The second interview includes all members of the band. This incorporates the opinions from all members of the band. This interview incorporates the post modern ideology of the narrative of product 1. In this interview, the band are asked a range of questions that incorporate modern issues that are highly relatable to the target audience of 16-25 year olds.
The second interview includes all members of the band. This incorporates the opinions from all members of the band. This interview incorporates the post modern ideology of the narrative of product 1. In this interview, the band are asked a range of questions that incorporate modern issues that are highly relatable to the target audience of 16-25 year olds.
This question immediately foregrounds the production and advertisement of the single that is being presented as product 1. This also foregrounds real personal experiences chosen by my actors that mirrors the ideology of the song and narrative I wanted to create in the first product.
This question delves deeper into the ideology of the song and narrative I have chosen to follow with a didactic message. This representation of an idealised society is presented in the media and is forced upon people, especially those of the same psychographic and audience demographic as stated in the brief.
These stories presented were true stories from the my chosen actors in the band. This interview foregrounds the narrative of the video if it wasn't understood immediately throughout the video.
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