PLANNING: Actor choice

Main Actor / Main Singer

The main model I have chosen shares a modernist aesthetic that mirrors that of the band, 1975. 

I specifically chose someone with a theatrical background to emphasise the naturalism of the video and increased dramatisation of the narrative of the video to not only make it relatable but also present a unique selling point of the video.

Main actress 

 

I have chosen this girl as the main actress as, as well as presenting a modern aesthetic complimenting the main singer, but also because she presents a 'normal' aesthetic of modern society. This adds to a level of relatability within the music video that will target the audience demographic of 16-25 year olds. 

The narrative of the video follows someone with a postmodern identity that challenges gender generalisations and stereotypes, this is something very popular with the modern, fun-loving 16-25 year old demographic and therefore poses a relatable unique selling point to the music video.

Other musicians

 

For the other parts of the band, I have chosen to chose a more classical and traditional character to juxtapose the modern aesthetics and emphasise the postmodern ideologies of the song I have chosen. 

This is being done through the smart jackets and sunglasses, presenting quite a formal street performer.

This adheres to the brief through creating something that may be slightly different from expectations and present a unique selling point and memorability to the audience. 

PLANNING: QUESTIONNAIRE 2

https://docs.google.com/forms/d/1nbdcJ7dWF4xjANZZXQmBSA4rA59EnITJ-QX168KNb1E/edit#responses
Screenshots of Shot-types in possible music videos.

 

PLANNING: CASE STUDIES

Music video analysis from candidate 5098


Different music video analysis case studies for Mise-en-scene analysis.

PLANNING: LOCATIONS

To adhere to the fun-loving targeted audience demographic, I have selected a few abstract locations in London to reflect a unique representation to the music video. The unpredictability of the different locations reflects the ideology of my chosen song, Sincerity is Scary, and creates an additional USP (Unique Selling Point) to the product being created.

PLANNING: PITCH

Music Video pitch from candidate 5098

This is my Music Video Pitch presentation that was performed in front of my peers. The comments they left me are placed below.

Script: 

·     Music videos have to be engaging. Something memorable for their audiences, something unique to them and something that they can relate too. 

·     Ultimately, I want to present a video that both challenges and adheres to the generic conventions of music videos to create something ENGAGING, UNIQUE and MEMORABLE. Three key aspects I feel are important and essential for creating a successful Music Video.

ENGAGING

·      I want to reflect a simple narrative to engage the fun-loving audience adhering to generic conventions of music videos. 

·      I have taken inspiration from Troye Sivan’s ‘Blue Neighbourhood Trilogy’, where there is an important message reflected as being true to yourself and a route to self-expression, similar to the ideology of Sincerity is Scary (my chosen song). 

·      I would like to include this through the main singer helping somebody, unclear whether they are a love interest or a friend (the ambiguity is important to reflect the universality of the song and increase relatability for the audience). They are helping the person find who they are, despite traditional expectations and will ultimately end with a ‘happy ending’, creating something that the audience may want to aspire to have. This will then, ultimately, mirror the UNIQUE ideology of the song. 

UNIQUE

·      I have not chosen a conventionally up-beat song to reflect the fun-loving mass market audience. Sincerity is Scary from the 1975 isn’t a sad song but isn’t considered a conventionally up-beat song either, like my initial inspiration of Pharrell William’s ‘Happy. Rather this song focuses more on the post-modernist meaning reflecting self-identity.

·      I have taken some inspiration from this music video through the “fun and happy” character to present a positive ideology. 

·     To reflect this, I am purposely presenting a non-conventional ‘fun’ character in informal clothing in a very nonchalant manner. Presented with direct address towards the camera to entice the audience through the ‘notion of looking’. Making them involved in the video and engaging a younger more active audience. 

·     This informal representation will present the main character as someone ‘normal’ that audiences can relate too. 

·     This is my USP for my video, increasing a level of relatability with the audience.

MEMORABLE

·     Memorability is important for a successful music video. To achieve this, I intend to use colourful locations presenting quite high-end settings juxtaposed with graffiti walls and skateparks. 

·     This adds a level of unpredictability in the video, widening the audience, increasing relatability with the audience and reflecting the postmodernist ideology of the song.

·     As well as this, I intend to juxtapose the characters presented in the music video to challenge the generic conventions of creating idyllic voyeuristic representations of artists. The main singer will be presented in informal clothing acting naturally to increase levels of verisimilitude. 

·     Taken from the inspiration of Panic At the Disco’s ‘Girls, Girls, Boys’ and Pharrell William’s ‘Happy’ with extreme simplicity in editing creating a bold representation. I want to ultimately focus on meaning of the song through body language of the artist, as shown through the direct address.

·     This is then juxtaposed with the slightly more formal representation of the trumpet player on the street as presented to mirror the instrumental beginning and end of the song.

Peer Comments:

RESEARCH: Intertextuality of the 1975

Intertextuality from candidate 5098

Not only have I presented intertextuality through the film 'Bend it like Beckham', I have also intertextually referenced the 1975 through their iconography and ideologies. 

RESEARCH: Intertextuality

Intertextuality from candidate 5098

This is my first reference to intertextuality within my practical, the subtle references to the empowering storyline of 'Bend it like Beckham' almost mirror that post modernist representation I would like to incorporate within this practical piece. The modern take of a teenage girl and her unexpected interests with this physical sport compared to her parents traditional expectations and rules reflect similarly in the postmodernist representation moving away from the religious aspect and more onto self identification through gender. In a postmodern society, the traditional and expected norms and attitudes for women and men become more interchangeable and blurred, but are usually reinforced through parental expectations of their children or naturally through taught methods of communication in male and female orientated schools.
Saying this, this video doesn't reflect a possible 'bias' or 'unfair' representations presented by society and 'whats wrong' but rather focuses on a more individual approach in being true to yourself rather than adhering to expectations set by others.