1. In what ways does your media product use, develop or challenge

forms and conventions of real media products?

My music video and ancillary products…

FINAL MUSIC VIDEO

MAGAZINE COVER

ANCILLARY PRODUCTS

MIDDLE COVERS

FRONT COVER BACK COVER

• Throughout the production of my music video and ancillary products, I have adopted a hegemonic framework by using many codes and conventions of real media products to produce my media products.• I have embraced Henry Jenkin’s theory of poaching to poach ideas from existing

media texts and developing these in my products. I have adopted a similar structure, as stated in Henry Jenkins book titled ‘Textual Poachers’ to poach existing ideas. • For example when producing the magazine advert, I poached the structure of the

magazine advert from an existing magazine advert and changed the image to best fit my target audience. • I also poached the idea of balloons from Meghan Trainor’s music video ‘All About

That Bass’ and used this in my music video.

MAGAZINE ADVERT• Main image of artist that takes up the whole page• Artists name and album name• Where the album is available to access – CD /

download + ITunes• Date of album release• Website links to the artist • Record label • Iconic features + brand identity

ADOPTED

MAIN IMAGE• Most of the magazine adverts that I looked at had a main image of the artist that dominated the page. • I found this convention to be the most important because it visually allows audiences to recognise who has

produced the artist. • I have used direct mode of address to create a relationship with between the artist and the audience. The eye

contact personally addresses the specific reader reading the magazine and forms a connection with them. • The image stands out amongst the writing because it gives the audience something to look at instead of

reading.

NAME OF ARTIST AND ALBUM• Every single magazine advert that I looked at showed the name of the artist and the name of the album

that the artist had produced. This is a very important convention because it tells audiences what the name of the artist is and the name of the new album.

• I have positioned the name of the artist at the top of the page, then the album name closer to the bottom.

• The positioning of these titles varied in different magazine adverts. However I saw that the artists name was more common where I had positioned the album name (towards the bottom of the page). I developed Jenkins theory of poaching so I positioned the name of the artist at the top because I replicated the codes and conventions of the format from an existing product.

• I think the positioning that I have chosen is more effective because it places a larger emphasis on the name of the artist, rather than the name of the album.

• The bold font and plain pink background behind the artists name makes the artists name stand out the most against anything else.

• The use of iconic fonts was another code and convention that I adopted. I used these iconic fonts to uphold the artists star image and the bright colours to represent the pop genre.

CHALLENGED

• In a lot of the magazine adverts for an album that I looked at, dark colours were a common theme. • I have challenged this convention because I wanted my magazine cover to be different and to stand out by

using bright colours to amplify the cover. • I used a bright colour pink because it constructs my brand identity, but also so that it would maximise the

effect of appealing to teenage girls aged 14-17.

Magazine advert for CD covers from artists that produce POP music I have challenged this convention by using bright colours – pinks / yellow to

make it stand out which would maximise audience engagement.

COLOURS

DIGIPAKFRONT COVER MIDDLE COVERS BACK COVERS

• Artist name • Album name • Main image of the artist in the

middle of the page• Simplistic design • Colour palette (yellows /

pinks)– to fit the genre of the product – POP genre.

• No writing• Bright colours – represent POP

genre.• Shots from the music video

• List of song titles• ‘FT’ – to promote other artists• Barcode in the bottom right

hand corner• Image of the artist • Institutional information –

record company, production company, copyright

• Logos to illustrate institutional information.

In iconic fonts

ADOPTED

Front cover• I found that the CD covers have a variety of different layouts but they all

contained the same information. • The most important convention I recognised were the uses of the main

image, album name and artist name. All of these 3 features makes it clear to audiences who produced the album and the name of the album. • The image breaks the text up on the page and allows audiences to look at

something else instead of just reading the text. • I adopted this code and convention so that audiences would easily

recognise who made the album and the album name. This information is a key feature to successfully promote the artist.

Middle covers• As with many digipaks that I looked at, the middle covers contained

no text therefore I chose just to use pictures to show the middle covers.• I chose 1 image that appeared at the end of the music video• The second image I chose, I added an affect to with a variety of bright

colours to further represent the pop genre.

Back cover• The song list is the most important convention that I identified because it informs people of what they will be

listening to if they buy this album. I made a song list of 10 songs and for one of the songs I wrote ‘FT Lady Gaga’ showing that the song featured another artist. This was another convention that I identified within the song list section. This is an effective promotion technique both for my artist and Lady Gaga. This widens the audience of the album, because it attracts audiences of Lady Gaga and the artist which I have created.

• Similarly another important code and convention I identified was the institutional information containing information about the record label and production company. All of digipaks that I looked at, had logos. Logos break the writing up on the page and give audiences something else to look at.

Institutional information Institutional information

‘FEAT’

MUSIC VIDEO

ADOPTED

Andrew Goodwin – music video theory1. Music videos demonstrate genre characteristics (e.g. stage performance in

metal video, dance routine for boy/girl band)2. There is a relationship between lyrics and visuals (either illustrative,

amplifying, contradicting)3. There is a relationship between music and visuals4. 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 (a visual style)

5. There is frequently reference to notion of looking 6. There is often intertextual references (to films, TV programmes, other music

videos)

1. Music videos demonstrate genre characteristics (e.g. stage performance in metal video, dance routine for boy/girl band) • Previously on my blog, I listed the codes and conventions of pop

music after researching Andrew Goodwin’s music video theory.• http://

emilyilettadvancedportfolio2064.blogspot.co.uk/2016/07/pop-music-conventions.html • Throughout the production of my music video, I kept this list in mind

and adopted a number of codes and conventions.

Artist is portrayed as happy and enjoying life …

Dancing aroundMessing aboutSmiling

Mise en scène – the artist is wearing fashionable, mainstream clothing throughout to anchor the basic nature of POP music.

Plain white T-shirtStriped top

Black parka jacket with red tartan scarfYellow striped top

Bright bold colours to signify pop genre

Bold pink lips Purple / blue SFX

Yellow / pink SFX

Bright orange top

Pink background, yellow striped top Pink, yellow, orange,

green balloons

2. There is a relationship between lyrics and visuals

“Cos we want this night to last”

“We’re ready for the afterglow” – the lips stand out and glow.

“smoke and lasers”

AMPLIFYING

ILLUSTRATIVE

3. There is a relationship between music and visuals

Fast paced upbeat music – hand held camera – shaky, jumpy shot.

Fast paced visuals goes with upbeat music.

Slower paced music – artist is sitting down throwing balloons in slower motions compared to when the music is upbeat where the artist is dancing and throwing balloons quicker.

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 (a visual style)

5. There is frequently reference to notion of looking

In all of these shots, the artist is looking at herself in a mirror.

6. There is often intertextual references (to films, TV programmes, other music videos)

• I have made intertextual references to my ancillary products to create a brand identity. • One of the middle covers in my digipak is the same image as the last

shot on my music video right at the end.• Also the main images for my digipak and album appear multiple times

in the music video when the artist sings ‘Afterglow’ – the artist is wearing the same clothing as has the artists iconic make up on the lips.

CHALLENGED

NARRATIVE• I chose not to create a narrative in my music video. • I have challenged the hegemonic framework of having a boy and a girl which most pop music

videos have. This gave the music video a strong narrative in a lot of the videos that I analysed. I have again challenged this because my music video doesn’t have a strong narrative at all.

• In a lot of the music videos that I looked at, they had a narrative that often included a second person to be able to illustrate and represent a theme, often of love.

• The narrative frequently told a love story. • I challenged this convention because I aimed to create a music video that represented happiness

instead of love. • I also chose to challenge this because my target audience of girls only, was different to many

other pop videos which had an audience of boys and girls. therefore I didn’t feel the need to include a male and create a narrative about love.