Final Music Video and Website

This is the final, uploaded edit of my music video, which is also available on the finalised version of the website; linked below.

https://lucymod5.wixsite.com/musicrayne

Statement of Intent

Artist Website and Influences

The home page of my artist's website is the most important part, as it is the first place that fans and other interested music listeners will land on. I have incorporated a lot of features that link to the music video itself, as well as common tropes of musician's websites. I chose to make the main colour of the website green as this is a massively featured colour in the music video, connoting technology, progression, and happiness. 

As evidenced by these screenshots of the music video, green is a prominent colour. Most of the action occurs in a park and is the main colour of the protagonist's love interest - played by Rayne, the artist.

Additionally, the page buttons on the website are geometric shapes, which, alongside the pixelated font used for her logo and throughout the site, add to the video gaming, 90's feel of the whole project. I also chose to incorporate clouds as part of the theming as I use shots of clouds to open and close the music video. This keeps a sense of brand identity as it crosses over from the video to the website.

As evidenced by the opening and closing shots of the music video, in which I have also used the pixelated font for the artist's logo.

I also chose to include a footer to the website which includes social media links, a newsletter subscription, a merchandise bar, and the artist's label logos. This is commonly featured on other artist's websites. 

The social media and newsletter icons are displayed prominently at the top of Girli's website, as opposed to the footer that I chose to use.

Justin Bieber's website has a section at the bottom of his website which includes his record label's logo and a section for his newsletter.

I chose to put the music video in a separate tab as I find that it is a common feature of  EDM artist's websites. The music video page also keeps in line with the cloud theming that runs simultaneously in the music video and in the rest of the site. I chose to include two pictures of Rayne, the artist, to keep a sense of brand identity - she is dressed in nostalgic, 90's inspired clothing, and is also edited in the same way as on the home page.

Famous EDM artist David Guetta has his latest music video displayed on a page dedicated to his music video pursuits.

Marshmello, another EDM artist also has his music videos advertised on a separate page.

I chose to include a "Tour" page on my artist's website because it's a common feature of EDM artists and other genres webpages alike. It's a typical tab to include as it promotes the artist's live appearances; encouraging those visiting the site to purchase tickets to the events.

This is an example of a tour page being a prominent feature of an artist who isn't an electronic dance artist. Gus Dapperton is an indie pop artist who displays his tour page heavily on his website - it's in large, noticeable letters on the menu.

The tour page is also prominently visible and constantly updated on the website for Steve Aoki, an EDM artist.

Extra audio-visual content for website

In addition to the music video, I have created a behind the scenes video to be placed on the website.

Website Moodboard

This is the moodboard that represents the theme I am going for within my artist's website. Once again, featuring many aspects of the 90's nostalgia idea that I want to include as it resonates with my target audience. I achieve this by using the old school Gameboy and Playstation icons, alongside the CD disk, and the Pacman ghost. I have also incorporated the pixelated clouds as I will be using clouds in my website as it is a crossover between the video and the site. The Instagram notification above the artist's head is a reference to the integration of social media on the website and how imperative it is to include this considering the massive use of social media on other artist's websites. The use of the green, gridded background is a nod to the main colour of the video; a link between the two products enforcing brand identity, and the grid is a trend of the 1990's.

Practice shots/scenes for video

In this shot, I wanted to capture my character running away from our protagonist, but I was unsure as to whether to use a tracking shot to catch her running away. 

In this shot, I decided to keep the camera still as she ran off. It isn't as interactive and feels quite lifeless.

The tracking shot of her running away is much more engaging, and it's much better to keep an audience entertained.

Prop making for music video and final outcomes

For my music video I needed to create some props to establish the idea that my character is a reknowned and coveted character in the narrative. I took inspiration from Lara Croft and the many games in her franchise.

Schedule

This is the calendar I will be sticking to for the production of my video.
I have decided to go to visit one of my actors on the 19th to the 20th before filming as they are also my artist. Therefore, I can get my artist images for the website, and also for some prop posters in the video that are imperative to some of the scenes in my music video. 
Then, on the 22nd to the 24th, both of my actors will be free for us to film all the necessary scenes of the video. 
The earlier establishing shots will be filmed on the 22nd; including scenes of London, to set the location, and also the outside shots of the house. Then, on the 23rd, the main bulk of filming which features both Chris Styles, and Hayley Osbourne will take place, with us using Southwark Park for the majority of filming - as mentioned in a prior location post. 
The 24th will then be used to review the footage and grab some last minute shots while I'm still on location - just in case anything has been missed in the rush of the main filming day. 
Once all footage has been collated, editing will hopefully begin on the 25th!

Sketching and Storyboarding

This is the vaguely outlined storyboard for my music video. It hits every pivotal scene that I am definitely going to film and include; however, it also leaves room for me to take creative liberty in places. This will give me scope to experiment with various shot types and locations within Southwark Park. I have labelled some of the shot types and transitions, but not all - once again to enhance my creativity on the shooting days. I believe I will make some minor changes on the day, but the general idea of the video and the overall direction I'm taking will remain intact.

Types of camera shots

Here is an idea of the different types of shots I have discovered are used in music videos to portray meaning. I have recreated these shots to show the meaning they hold, and to practice how I might use these in my music video.

Planning - Location Information

In order to film my video I have had to organise and plan the location of my filming. In this post, I'm going to identify and assess the locations that I'm using in my video.

Southwark Park
Gomm Rd, London SE16 2TX



Southwark park is going to be the main location for my video because it has multiple places within it that suit my video project. The bandstand, pictured above, is one such example of this, as it made for some dynamic shots, and is a memorable location which will stand out in the mind of the audience. Plus, it makes for an interesting contrast between the big-band, orchestral music commonly seen playing in bandstands and the electronically produced dance music that will actually be backgrounding these shots. These contrasts are often present in dance music videos as dance music itself is typically a merge of different genres and cultural elements.
There is also a section of the park which has tended gardens and a lake. The garden creates a junglelike effect that I aimed to create for the video game character which would match the terrain she is played in, and create the effect that she is suddenly in real life. 
Additionally the lake is the perfect setting for the kiss scene as it has a dreamlike, hazy look; given by the drooping willow tree, sparkling lake, climbing tropical vines, and a general fantasy facade.

There are a number of risks and issues that can come with filming in Southwark Park. For example, the park often holds community events in which the parts of the park get closed off. This could have been an issue, however we made sure to schedule filming so as to not coincide with one of these events. Another huge risk was the general public. To avoid shots being ruined or having continuity errors by people enjoying the park, we made sure to film in early afternoon on a weekday. This ensured minimal people at the park, as they would typically be working or in school, leaving us with a relatively empty place to shoot. 

Osbourne's House
Bermondsey, South East London

I decided to use one of my actors homes as the second location for I only used it in a few shots. The house has a lived-in, homely feel to it which is vital to my main character; as he wants to stay cooped up in his house playing video games. Therefore, it's the perfect environment for this character. 
The room I used for these shots are lit low-key, which creates a warm, cosy, up-close-and-personal effect. This created the cocoon-like imagery of our nerdy protagonists room; getting across the idea of his hermit, obsessive personality.
The setting also made for some nice establishing shots showing the protagonist moving from his house to the park - Bermondsey is full of bustling, city roads, typically teeming with red London buses, enabling me to get some iconography across the audience. 

There weren't many risks associated with this location, besides the typical risks and dangers that come with using the laptops and other technology. It was difficult, however, to achieve lighting that was suitable enough to film in - the house wasn't designed with filming in mind, so we had to employ extra artificial lighting and blinds to create the desired effect described above.

Artist Moodboard

I drew most of my inspiration for my artist (and my final music video!) from the revival of 90's culture. Many current trends in fashion, music, art, and film draw heavily from the 90's era. Additionally, as the target age range is 16-25, they'd have grown up in the nineties and the early noughties, so they'll experience nostalgia and resonate with the aesthetic. 

This moodboard depicts the artist that is being portrayed in the website and music video. I drew inspiration from the late 90's and early 2000's nostalgia that is currently trendy and popular in culture at the moment. This era of nostalgia appeals greatly to my target age range of 16-25 as it the period of time in which they grew up in, so it is appealing to them. The vibrant colours are reminiscent of that era, and are also very present in the dance music video genre. The additions of current celebrites (such as Ariana Grande, Khloe Kardashian, the Hadid sisters, and Miley Cyrus) alongside popular celebrities of the nineties, (such as Britney Spears, the Spice Girls, Gwen Stefani, Jennifer Aniston) shows the resurgence of nineties fashion and how the trends are prevalent in popular culture today - a popular culture which is both carried, and influenced, by dance music.

Casting

Here I'm going to identify the actors/models that I'm going to use in my music video and subsequent website. I have mentioned how the casting choices would affect my potential audience. I have stayed very close to the industry standard; for there is not much diversity in dance music videos.

My Audience

In order to understand what my target audience wants to see from a music video and the subsequent artist website, I've created two surveys in order to gather their likes and dislikes in regards to these media texts. This way, I can tailor my products to confidently appeal to my audience, as I will know what they respond best to.

Survey on music videos - https://www.surveymonkey.co.uk/r/7C5H9SZ

Results analysis:

Of the 11 responses gathered, all of them were aged 16-18. This is important because it shows that my video must be geared towards the younger end of my target audience. It must be easily accessible and understandable. Therefore the retro feel and revival will resonate with them heavily.

The majority of my respondents were female so it is important that I remember to take in the male views as well as the overwhelming female response. I can ensure that there is enough male representation and know exactly what it is that the females in my audience want to see.

An overwhelming majority of respondents said that they do watch music videos. This is important information to have as it shows that nearly all of my audience are familiar with the codes and conventions of a music video, and will have some idea of what to expect when watching one. This means I will need to definitely stick to the typical standard of a music video.

Many respondents tend to watch music videos within the rap/hip-hop genre. This means I should draw from the typical conventions of this genre into my video in order to best appeal to my audience. A good way to achieve this would be to dip into Laura Mulvey's theory of the male gaze as this is the typical depiction of gender roles in the genre.

A narrative is expected from my respondents, which is why I have chosen to include a strong narrative theme to my music video. A narrative format is a common convention of music videos alongside the typical performance format. The narrative format is often better praised as it gives a sense of meaning to a video aside from it being a simple self-promotion of an artist. Oftentimes, narrative and performance will combine, however I'm going to stick solely to narrative as my audience would like to see that. 

These results show that intertextuality is vital to my audience; therefore I will ensure that I use that to my advantage. Throughout my music video I'm planning to reference multiple established products, such as Eminem's Stan music video, the Lara Croft video game franchise, and elements of Edgar Wright inspired directing and editing (Scott Pilgrim vs. The World).

The fact that my respondents can observe clear links between an artist and the music video, proves that my artist must be similar to the music video and website that gets produced. Therefore I need to keep a coherent sense of branding across both products.

The respondents do not believe that there is enough diversity in music videos. Despite my use of males and females in my video, I don't have any racial diversity at all which is unfortunately the industry standard. My audience would much prefer to see diversity in the music video industry, however.

My respondents liked romance as a genre the most, therefore I will be sure to implement aspects of romance into my music video. Additionally, as the three other genres are equally as liked by my respondents, I will integrate minor aspects from those other three genres, such as the action-inspired chase scene, and the dreamlike concept can be linked to comedy.

Survey on website design - https://www.surveymonkey.co.uk/r/2W9W57X

Intertextuality Research

Intertextuality is often used in music videos to create a sense of nostalgia and familiarity with target audiences for specific artists. These intertextual references can come from a wide range of cultural, musical, and cinematic sources - most commonly in regards to iconic symbols. The stylings of Quentin Tarantino, Tim Burton, and Marilyn Monroe have all received the intertextuality treatment. 

Intertextual references of specific media texts in music videos

Material Girl - Madonna

Madonna's video for Material Girl blatantly references this famous Marilyn Monroe scene in Diamonds Are Forever. Intertextuality is used here to reinforce Madonna's public image a feminine, maneater stereotype (as Marilyn Monroe was also seen), and also bolsters the idea of the song - which has lyrics about materialism and diamonds, thus making the luxurious and wealthy mise en scene of Diamonds Are Forever the perfect choice of intertextual reference.

Bad Blood - Taylor Swift

Bad Blood by Taylor Swift combines intertextual references from the action and sci-fi movie genres, namely, the Hunger Games franchise, and the Marvel Cinematic Universe. This is witnessed in the dystopian, clinical look of the training rooms, and the futuristic, punk styling of the costumes and makeup. The reasoning for this intertextuality is likely down to the feminist, edgy image that the artist was going for with this song. The title Bad Blood also implies fighting, albeit, not typically of a dramatic action scene.

Popular Song - MIKA ft. Ariana Grande 

This video doesn't necessarily take exact scenes from his works, but it borrows stylistic choices and subject matter very heavily from Tim Burton and iconic texts such as The Addams Family. This, by association, links it into the horror genre, yet the stylized and cartoonish Tim Burton links make it child-friendly. The reasoning behind this could be down to how both artists target audience at the time were around 10-16 years old - therefore, they may have wanted to show off some stylistic flair, while remaining appropriate for their audience.

Black Widow - Iggy Azalea ft. Rita Ora

This Iggy Azalea video also borrows heavily from a specific director; Quentin Tarantino. The femme fatale, katana-wielding characters that the artists are portraying reflect the Bride from Kill Bill. The opening shot of "Big Wanda's" diner directly parallels the opening of Tarantino's Pulp Fiction, which features the "Big Kahuna" diner. Even down to the mobster style outfits and neon set design, this video is a homage to Tarantino's works.

1999 - Charli XCX ft. Troye Sivan

Charli XCX's video for 1999 is a total homage to the wide range of pop culture of the 1990's. There are references to famous films such as Titanic, American Beauty, The Matrix and The Blair Witch Project. References to iconic music videos are also present, such as TLC's Waterfalls, Backstreet Boys I Want It That Way, and Eminem's The Real Slim Shady. Additionally, there are references to other cultural icons of the era, such as The Sims, Rose McGowan and Marilyn Manson, The Spice Girls, Justin Timberlake, and the emergence of heavily branded advertising. This celebration of nineties culture is a response to the nostalgic resurgence of 90's trends in fashion and mainstream media.

Video Games intertextuality in Music Videos

The next few videos are examples of intertextuality that involves famous video games and similar technologies. I have taken aspects of these videos directly as inspiration for my own - in which I plan on heavily incorporating a Lara Croft style video game character.

I Got U - Duke Dumont

In his video for I Got U, Duke Dumont toys with the new technology of Virtual Reality to show how it can be all-consuming. The use of VR puts the character in his ideal lifestyle, showing a disconnect between the real world and the world of video gaming. This is a theme I'm carrying over into my work, as my protagonist will find himself caught up in his own thoughts - however without the use of a VR headset.

Californication - Red Hot Chilli Peppers

This video for Californication, by the renowned rock band, the Red Hot Chilli Peppers; is one of the first mainstream music videos to merge the concept of video games with a performance music video. The inclusion of the gaming aspect adds to the humorous image of the band, who are known for their goofy stage antics.

Let Me Love You - DJ Snake ft. Justin Bieber

The video for DJ Snake's Let Me Love You is another video which contains the concept of VR gaming, albeit with a humorous twist. The offbeat inclusion of a comedic plot twist in which the whole premise of the video turns out to be artificial is an aspect that I'm going to put into my own video. My protagonist is going to find out that the video game character he has been chasing has been in his head all along. 

Don't Deny Your Heart - Hot Chip

Don't Deny Your Heart by Hot Chip is a creative way of involving the video game industry in their music videos. They spoof FIFA, the famous football game. The prevalence of this is important as Hot Chip are key contenders in the indie electronic music scene, showing that incorporating video games into their image is creative and offbeat.

Media Theory in Music Videos

Feminist Theory – Van Zoonen
Anaconda - Nicki Minaj

Anaconda by Nicki Minaj is the ideal music video to showcase Van Zoonen's theory of how women can be exploited in media texts for the pleasure of the male. As the video was directed by a male we know that it was created with a male viewpoint in mind. 
The women in this video are dressed in minimal, revealing clothing and are dancing provocatively throughout - opening their legs, twerking, and appearing very sexually motivated whenever they're on the screen. Their hair and makeup appears flawless, and the 'main character' (Minaj) looks the most decorated, with extra gold and diamond jewellery to make her appear more alluring. 
Van Zoonen would criticise this video heavily, insisting that the women in the video are dancing only to attract male attention, as it is extremely hyper-sexualised. 

This reinforces the patriarchal culture of our time, as the women’s bodies are represented as objects. This is different to the typical representation of male bodies as a spectacle. Therefore, Van Zoonen's theory matches this video clearly.

Narratology – Todorov

Take On Me - a-ha

Todorov's Narratology theory relates heavily to the music video for Take On Me by a-ha. The video takes on a clear beginning, middle and end. In Todorov's terms, the girl reading the comic book has her equilibrium disrupted by the characters coming alive, and then again as he pulls her into the comic alongside him. These changes in the equilibrium are what drives the narrative within the video forward and keeps the story moving in time with the music. The transformation occurs when the main character in the comic book becomes a real human being and the pair can be together in real life. This transformation encapsulates the message of both the song and the video - if you chase love you will receive it. Therefore, Todorov's narratology theory ties into it very clearly.

Institution Research

There are many institutions which partake in producing and directing music videos. Many of these institutions are global, and they tend to hire multiple notable music video directors who they pair up with clients seeking a quality music video. 

These institutions are the main 3 in the music industry at the moment; all three having built up reputations for themselves across a wide span of genres.

Music Video Genre Research

Rap/Hip-hop Music Videos 
Swish - Tyga

This video (Swish by Tyga) is the perfect example of a rap/hip-hop style music video. The main figure - almost always the rapper themselves - will be surrounded by stereotypically beautiful models in bikinis or other similarly revealing clothing. In this video, Tyga also shows off a motorbike, a luxurious speedboat, and an expensive, modern house. In terms of setting, most rap videos are set in a foreign, coastal place (such as an exotic island, as seen in this video), or in a built-up city setting. This is to show off the obvious glamour and wealth that is typical of the rap genre. The lighting is often high-key to accentuate this sunny, happy, comfortable effect. In regards to costume and makeup, the rapper and other cast members involved are wearing explicitly designer brands and other expensive items such as gold and diamonds. The women, as mentioned above are usually wearing little clothing but look very glamorous. Additionally, the main figure will often act nonchalant and comfortable in the presence of the expensive decor and props, appearing to be flaunting and showing off. Rap music typically aims to represent aspiration and success, with the videos acting as a motivation for the listeners of the genre. Those who watch it will want to be just like Tyga, thus engaging the audience.

Pop Music Videos

Worth It - Fifth Harmony ft Kid Ink

This video (Worth It by Fifth Harmony) is a good example of a pop music video. The lighting is suitably high key, and as they're women, they are dressed in revealing/tight fitting outfits which match the theme of the video (in this case, they're meant to be businesswomen). Additionally, their hair and makeup is made to appear perfect and flawless. In terms of setting, it varies as pop videos typically have a range of themes and ideas behind them; but typically the settings incorporate exuberant colours and props to portray the happy vibe of the song. They all tend to share the same format of performance with a slight hint of narrative. In this video, we see this in the lip syncing and dance segments scattered throughout, and in the shots of the singers in offices seducing their male co-workers. Pop videos usually enforce patriarchal tropes within their videos.

Influential Producers/Directors

I chose to focus upon four directors; two of which direct films, and two who are exclusively music video directors.

Edgar Wright is one of my primary inspirations because of his inherently cartoonish and graphic-heavy style of editing. He has an entire film dedicated to video gaming and nerd culture ('Scott Pilgrim vs. The World'), which is very similar to the feel I would like to emit from my music video. Additionally his swift, snappy transitions and creative genre-bending stories are constantly imitated and admired across the film industry.

Spike Jonze is one of the most influential music video directors of all time, only recently venturing into feature film making. His music videos were the staple of 90's and early 2000's pop culture, and he pushed the boundaries of music video making with his explosive choreography, and unique technical aspects. His feature films also copy the same format, with grandiose editing and complexly plotted stories. 

Hannah Lux Davis is a pioneering female music video director who has produced many videos for major pop stars such as Ariana Grande, Demi Lovato, and Jason Derulo. Her videos encapsulate the trends of the 2010's and they are some of the most watched music videos of all time. Characterised by neon colours, rich set design, and fashion-forward costumes, her videos appeal to the expansive pop-genre market and younger audiences globally.

Hiro Murai directs music videos for artists within the hip-hop and indie genre. His videos have been viewed millions of times, and oftentimes his involvement in a music video helps to propel smaller artists into recognition. His videos are commonly gritty, and typically have a grim reality to them - for example, 'This Is America' is steeped in political metaphor. Low-key lighting, an emphasis on black & white, and an aim to shock are his trademark choices.

A History of the Music Video

When and what was the first music video created?

• The music video which is universally considered to be the worst in Video Killed the Radio Star, by the band, The Buggles. 
• It's considered the first because it was the first music video to be shown on MTV, which was launched in 1981.

What are the top 3 most viewed music videos on Youtube?

As of March 2018, the most viewed videos, and their view counts, are:

1. Despacito - Luis Fonsi ft. Daddy Yankee (2017) - 4,927,945,209 views
2. See You Again - Wiz Khalifa ft. Charlie Puth (2015) - 3,453,205,056 views
3. Shape of You - Ed Sheeran (2017) - 3,360,806,953 views

What is MTV and VH1, and when were they founded?

• MTV stands for Music Television, and is an American-owned cable/satellite television channel which pioneered music video programming. Its target demographic is currently teenagers, but its ratings are falling due to the rise of digital media. It was founded on the 1st of August, 1981, in the USA. 
• VH1 stands for Video Hits 1, and is an American-owned cable/satellite television channel which was established to build upon the success of MTV's music video programming format. It focuses on a more mature target demographic and plays more upbeat, lighter music. It was founded on January 1st, 1985 in the USA.

What is VEVO, and when was it founded?

• VEVO is an American owned video-hosting service, which stands for video evolution. 
• It was founded on December 8, 2009; and it was a joint venture between the Universal Music Group, Sony Music Entertainment, and Warner Music Group.
• It was pitched as being a music video streaming website, and has partnered with Youtube in order to gather custom through their users.

What are the most influential music videos of all time?

• Thriller - Michael Jackson (1983): this was a 15-minute music video, full of choreography, prosthetics, and costume which was more of a horror short film than a video. It popularised the idea of a running narrative throughout a music video.
• Video Killed The Radio Star - The Buggles (1981): As mentioned above, this was the first music video ever shown on television, therefore kick-starting the music video programming industry, and the use of music video in artist promotion.
• Rat Race - The Specials (1981): This was the first music video to be shown on television which featured a black artist. They broke the barrier for black artists to be featured in music programming.
• Sledgehammer - Peter Gabriel (1986): This video used stop-motion claymation which aided it in the winning of its 9 MTV VMA awards in 1987, and made it the second most played video on MTV of all time.
• Girls, Girls, Girls - Motley Crue (1987): This was banned by MTV for alluding to the band's favourite strip club and containing nude women in its video. However, it epitomised the rugged state of music in the eighties, and the new direction that music video would take a turn to as music itself progressed.
• Like a Prayer - Madonna (1989): The mixture of sexual and religious themes that Madonna merged in this music video provoked outrage, prompting even the Pope to criticise. Despite the negativity, this video proved that music videos have the power and reach to affect social issues and draw major controversy.
• Smells Like Teen Spirit - Nirvana (1991): This rock classic proved how influential music video is on youths. It captured the essence of the rising grunge movement, and popularised it with the generation, who went on to pioneer the idea of teenage angst.