Question one

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

My primary media text is a music video production, accompanied by two ancillary texts - a digipak and magazine poster which promote the production. Within my music video pre-production stages, I had initially researched the concept of content within music videos; guided by a theory described by ‘Andrew Goodwin’. This enabled me to obtain an understanding of music video structure. Goodwin’s theory explores eight main principles in regards to the structure of music videos. Generally, the principles enforce the idea of lyrical visualisation; whereby the visuals should reinforce the message that the lyrics attempt to convey. Moreover, the theory discusses the concepts of various means of music video presentation; including performance, abstract and narrative structures of production(s). These concepts are shown within numerous hip hop music video productions, an example being Eminem - Not Afraid. Inevitably, the production is performance based; the artist performs numerous motions that accompany the lyrics. This is demonstrated through the means of camerawork; whereby the artists motions are commonly captured within mid range shots. The integration of mid range shots in this instance, purposely suits to highlighting the artists physique. In regards to my own music video production, I have incorporated mid range shots to capture the artist performing in accordance to the lyrics, adopting generic camera shots in relation to that of existing hip hop music video productions.

Music video

Moreover, my music video production was intended to be partially focused upon the conventions of the genre, which allows the production to be identified as a hip hop music video; yet has concepts of unique qualities to appeal to viewers. This understanding was developed from my research into ‘Steve Neale's theory of repetition and difference’; claiming that “difference is absolutely essential to the economy of genre”. Neale’s theory explores how a media text has to conform to a genre, enough to be identified as a media text of a specific genre, whilst challenging these expectations by subverting the generic conventions enough, to be identified as a unique production, rather than a duplicate(suggesting that difference achieves an increased audience). The ideology of difference and repetition is shown within numerous hip hop music video productions. An example of a music video that is relevant to the concept of repetition and difference, is Mac Miller - S.D.S. Whereby, the music video conveys difference by implementing many abstract shots within a performance structured production; commonly abstract elements are a minority within existing music videos. The theme of abnormality is illustrated by the artist's role-play appealing outfits(presented as superhero and scientist). Moreover, the outfits of the other actors within shots convey a similar image, enhanced by the usage of makeup. Their image completely subverts the generic appearance used within hip hop music videos, as that associated to a gang-like culture. In addition to clothing, numerous uncommon environments were used within the production such as a laboratory, booths, sky and fiery tunnels(computer generated).

Music video

Developing the image of the artist, I had researched into the theory of ‘archetypes’ described by ‘Joseph Campbell’, which explores the recurring character types, patterns and symbols of media texts(narrative). This enabled me to gain an understanding of the generic presentation of hip hop artists and actors within music video productions. Whereby, encouraged my character(s) to have characteristics that are recurring within generic music videos, allowing the media text to be identified as a hip hop production. Many hip hop music videos demonstrate a generic character type, an example is that of ‘Rick Ross’ starring in ‘Hustlin’. Throughout the song, the artist is observed ‘hustlin’ making many visual and lyrical references to wealth, sexualised women and drugs. Typically the themes mentioned are related to a troublesome nature, this image is conveyed within the artist's appearance, who compares to the stereotypical thug. This ‘thug’ appeal is portrayed via casual-like clothing styles, consisting of loosely fitted jean trousers or tracksuit bottoms and t-shirts, further incorporating trainer shoes and accessory items such as hats, sunglasses and jewelry. Such appearance is enhanced via the use of camerawork and focal lighting in attempt to capture and highlight the character's physique; suggesting authority, which is another ideology that is generically illustrated within music videos. Furthermore, the archetype symbol ‘light to darkness’ is supported by the references to wealth, sexualised women and drugs; illustrating a degradation. The ideas of degradation is a recurring symbol within the genre, where social issues are generically glorified. This is typically achieved via the various implications of media language. In terms of my own production, I have adopted the ideals of degradation, by visualising the artist's interactions; that involving drug and alcohol consumption. Such interactions within the video, will enforce the artist's image as being troublesome. In relation to his appearance, I have imitated the generic ‘thug-like’ appeal of artists to act as a feature of familiarity to viewers. The elements of familiarity within my music video production, enables it to be established as a hip hop music video. Conclusively my production conforms to existing hip hop music videos.

Music video

My ancillary tasks that were the magazine poster and digipak, purposely suit the means of promoting my main product - a music video. Within the pre-production stages of the products, I had considered theories that were relevant to the representation of imagery, which the products were based upon; ‘Stuart Hall’s’ theory of ‘reception’ was particularly investigated to gain a concept of what view(s) I intend for individuals to have of my music video product, in relation to viewing my promotional products. The theory discusses the potential readings of media texts that individuals may have. Enabling me to gain an understanding of the three potential readings of media texts(dominant, negotiated and aberrant). Gaining knowledge of the readings, allowed me to understand that individuals can have ‘polysemic’ readings(multiple). Based upon the concept of the theory, and in context to my production. I intended to portray the troublesome representation of the artist. This was because of the fact that the music video production, highlights the artist interacting with the social issues that surround him; leading him to be perceived as a character of negative traits. Whereby, I proposed this representation to be reinforced across all products, as the dominant reading of viewers. In which, I intended viewers to decode the imagery, and accept my encoded representation of the character(artist); not differentiating from it.

Ancillary tasks

However, to enforce a dominant reading of a media text, required that I knew of the generic conventions. This is where I began to analyse existing digipaks and magazine posters, which would assist me with achieving the dominant reading. As a mainstream artist, I had used the marketing products of ‘Eminem’, which were used as promotive devices in relation to the his album's release ‘Recovery’. The poster and digipak that associate to the release of the album, both integrate the same canvas imagery; achieving seamless integration of imagery across media texts. Inevitably, recurring images are used to encourage familiarity in regards to recognising a product. Moreover, in the context of the poster, we as viewers are encouraged to think of the artist as once being setback. This representation of the artist is gathered through the many means of conventions that are present, that of the long ranged shot used to establish a distance in relation to the artist and his environment. The use of generic yet metaphorical imagery of a road, reinforces the idea that the artist has a long duration before he ‘recovers’. The idea of time relevancy is definitive, this reading is based upon the album title ‘recovery’, which is put into the same perspective of the artists positioning within his environment. This suggests that imagery used within media texts(promotion), must visually refer to the content of the product being advertised; purposed to create relevance to the advertised product. Furthermore, the portrayal of a setback in relation to the artist, is enhanced by the generic appearance to that of a thug. Which, alongside the medical aid symbol in the album title ’recovery’, is informing us as viewers that the artist is recovering, specifically from the usage of drugs. This is gathered from the intertextual references that can be made to existing hip hop music video productions. Whereby, characters wearing similar clothing are observed as interacting with drugs, which is notably a generic theme.

Ancillary tasks

In relation to my own production, I have adopted the typical conventions of drug consumption(smoke fumes) and visually applied the concept to both my digipak and poster. Whereby, the visualisation of drugs relates to the album name ‘Exile’, which defines as a form of banishment(outcast) in regards to wrongful actions. Notably, the ‘Exile’ logo itself intends to convey the symptoms of consuming drugs. This is achieved by the green and red colour scheme; whereby green is the generic colour that can be commonly associated with marijuana. Meanwhile, the colour implication of red acts as a manipulative device, visualizing the ‘i’s’ (eyes)of the artist in context to consuming marijuana. Both conventions of drugs are integrated onto both mediums of promotion, which purposely reinforces the artist's image of being troublesome. Additionally, the generic concept of drug consumption is further enhanced by the editing processes, which entailed the image to have green highlights and motion blurs surrounding the artists physique; achieving the simulation of being high. The state of being high is visually referred to within the music video, on numerous occasions. Furthermore, these effects are implicated as devices of viewing restriction in regards to the image, whereby the background is out-of-focus. This concept is further implemented onto the digipak to encourage maintain the viewing ideals of a dominant reading; created via the larger proportion of smoke in relation to the artists environment. This is forcefully intended to encourage the viewers to create narrow perceptions of the artist. And is achieved via simplicity, that is inspired by the promotional texts of ‘Eminem's recovery’ album.

Ancillary tasks

Within my research into ‘Blumler and Katz uses and gratifications model’. I have gained an understanding of people’s various needs of media texts. And in context to my ancillary tasks, the troublesome representation of my artist has evidently been reinforced through the various means of using generic conventions. Through using generic conventions, encourages viewers to recognise my artist as being associated with a thug-established social group. Evidently, this fulfills the viewer's ‘identity’ gratification of my media texts; being able to recognise a person. This is suggested as conventions are recurring images which enable viewers to make identifications of the personna within media texts. The ideals of recurring imagery are illustrated through my numerous implications of similar imagery - within my digipak and magazine poster.

In relation to my music video production, through the implication of using generic devices. My production is inevitably a generic music video. And in relation to Blumler and Katz uses and gratifications model, the production fulfills the gratifications of being able to ‘educate’ audiences; highlighting the social issues that the youth interact with. Moreover, the production also fulfills the gratification of being ‘entertaining’; through being a performance production, the artist visually engages with the audience.

Conclusion