Evaulation: Question 1

In what ways does your media product use, develop or challenge forms and conventions of real media products?

In the 1980s music videos were a new and fresh phenomenon. Music channel MTV introduced a rising trend in using video as an extension of musical expression and also as a further way of advertisement for the song in question. Michael Jackson pushed the boundaries of this medium throughout his career as nobody else had ever done before him (see: 1, 2, 3), helping to assist his climb to global fame by invoking a reaction. From then on, music videos have become an essential method for musicians to gain larger audiences; to not only hear their music, but experience it as well through the use of visuals.

Performance videos are commonly more often used by bands, instead of solo artists or groups that do not play their own instruments, because it encapsualtes the raw energy of the band that would be present throughout one of their live concerts, providing the audience with an idea as to what to expect when visiting a gig of theirs. We decided as a group that this would be the best way forward for our own music video, to create an authentic and believable product that would conform to the usual conventions of the current period within the music industry. Although we initially questioned the use of a narrative concept, I believed the style and genre in music of the band is best suited to a video focussed on their performance; moreover, it was also difficult to contruct an interesting storyline that would not stray too far from the songs lyrics, whilst in the meantime maintaining a credible yet 'indie' image.

Throughout the development of our promo clip for the track Licence To Dance, it was important to remain fully aware of the necessary conventions needed for inclusion within the music video that would challenge everyday forms of genuine media products. These would involve a variety of camera/shots angles, well-lit scenes and an overall feeling of professionalism. I have always been a great fan of music in general, even prior to the assigned task, therefore I was already familiar with the usual traditions and conveyed a confident understanding as to what should be expected within a music video.

I shall analyse individual aspects of our finalised video, identifying comparisons between existing media products and our own in order to provide our music video with a sense of reality.



The mise-en-scène is the expression given to the visual themes and design aspects of a production, such as setting or costumes, and is very much significant to achieve a believable music video that is representative of the band's desired image. The use of scenery and other properties can radically alter people's interpretations of the song and its success in general, if the overall idea is too weak, inanimate or simply uninteresting to its audience. As aforementioned, performance videos are most famously used for bands within the rock and indie bracket and we hoped to capture this vibe of a live performance by specific choice of venue. The stage we hired had been the home to many a gig previously, by genuine artists within the music business, which already began to elevate the video's likelihood and credibility. Stage lighting was provided by the owner, as well as speakers on show to amplify the sound of the song, all of which contribute to a raw ambience.

Each member of the band was picked specifically, as they were fully trained in playing their respected instrument and all had access to their own. If we had decided to include somebody who was not familiar with the rules of the guitar/bass player/drums or naturally was not aware of the songs tabs and such - the band would appear incoherent as the particular member would seem awkward, unprofessional and undoubtedly out of time - consequently suggesting The Reverb is of a mediocre quality and all at once damaging their plausability due to their incoherency. Although the lyrics on paper may strike one as just another fun, dance track, the vocalists delivery sounds unexpectedly sharp and aggressive and we made sure to translate this with the performance, by use of exaggerated facial expressions and body language. The songs intensity is advanced further within the video by the choice of undertones. The dim lighting and lack of vibrant colours supports this and accomodates usual conventions, as most known rock musicians follow similar colour schemes with their own visions. To use bright shades of pink's and yellow's would completely detract from the sense of extreme power Licence To Dance obtains and would instead be best suited to something within the pop genre.

To accompany the band's laidback, homegrown image, it was necessary for casual clothing to be worn. Each member of the band was dressed a fine line between “grunge” and “indie”, by way of conforming to the genre’s conventions, to depict an image that correlates with the music. Plaid shirts, baggy/skinny jeans and gothic-themed slogan tees were worn, with little variation in colour, as it is what the majority of their target audience would be interested in buying and relates to the dull tones current in their surroundings for the video. It was also important to make sure that all chosen outfits were vastly different from each other, although not so different that they clash. This allows each member their own indivduality, as matching costumes would most probably diminish that, whilst their average taste in fashion makes them seem relatable to their fans. English band You Me At Six share a similar rock sound and understated look, as seen below. They have been proven a success, recently achieving a top 5 album on the UK charts, and are an established name within the indie and alternative sector, therefore I believe our band could use these conventions to find their own marketable space in the music industry.

Camera angles and movement are both very much important, specifically for music videos which are concentrated on a performance alone, as the quality of the outcome often depends on the skills of the person filming. In our specific case, the song is of a very fast pace and is highly energetic so this had to be reflected in the speed of the video. If the camera is static, the enthusiasm of the band when portrayed onto the screen would appear diluted and the result would be a next to lifeless video. If the footage is not strong enough, there is little you can do to save it; editing cannot perform miracles. We realised this our own way with our first shot at filming, as there was a lack of movement in the camera and the shortage in variation of angles would not provide the audience with an enjoyable enough performance - the majority of which were long shots of the entire band. However, we made sure to learn from previous mistakes and pay full dedication towards these vital conventions for future footage. As we were filming with a handheld camera, constant stability was a struggle to accomplish, yet we decided to further forcefully add random shakes and tilts ourselves. Much of the time, directors try their best efforts to keep movement to a minimum, but our research showed that magnified camera actions are common within the rock genre - especially with a song as upbeat as ours, and the word 'dance' in its title. One prime example is Ignorance by Paramore, embedded below. The camera is rarely still, depending on the section of the song, and we enforced these conventions in our own work.

As previously discussed, to produce an authentic and animated music video, a variation in camera angles is especially needed. Too much repetition of the same shots would eventually become tedious for the audience, as made evident with our initial attempts at filming, so we knew it was essential to shoot footage from all possible aspects. The contant use of close-ups was highly reguired for involvement. As stated by Andrew Goodwin:

"There's a demand on the part of the record company for lots of close-ups of the main artist/vocalist".

This is to familiarise the public with the faces of the band, in hope of becoming an established and household name, whilst also enabling a connection between the singer and viewer. The persistent inclusion of eye contact helps develop this further, creating a sense of intimacy as if the vocalist is directing his lyrics to you personally and hence portraying the band as attainable. Shots of the lead singer were embodied continously throughout the duration of our music video. Luckily, our choice in vocalist Jon, is the actual artist and writer of the track itself, so he was able to convey the song with much drive and emotion, resulting in a strong sense of authenticity. His accuracy with the words to the track also contributed to the conception of professionalism within the video. Moreover, close-ups of the intruments in action were crucial, as featured in all genuine performance videos. All chosen members could play their selective instruments at a high level, so they were able to flaunt these skills. Although a majority of angles incorporated in our work were close-ups, a range of others were unmistakably used. Medium shots of each indiviudal were interjected regularly, overhead shots of the drummer were included - as the drum kit would obstruct the audiences view of the member when filming head on - and distanced shots of the entire band demonstrated the group's togetherness.


The Reverb - Licence To Dance VS The Killers - Somebody Told Me


Editing was also highly important in conveying the look of a genuine music video that could potentially challenge the industries ordinary conventions. Quick cuts were regularly used in order to correlate with the uptempo pace of the song, and this sped up even further towards the end to create a dramatic climax for the audience, as a real sense of energy is apparent within the bands performance. As with many performance videos, we made a point to time the editing with the flow of the music. For example, the song kicks in once Jon jumps off the stage and hits the floor and the constant focus on the guitar throughout its solo. We all felt this created a strong feel of professionalism that helped it stand up among other similar videos in current times.