Letter To Local Street Life Museum;

Natalie Greenley

350 North Road

Hull

HU4 6DD

Dear Sir or Madam,

I am a full time Media and Film student at Wyke College and am soon to be undertaking my A level coursework for both subjects. One of my assignments is to record a music video, for which my idea is themed around the 1930/40's. I am writing to enquire if it would be possible for me to arrange a meeting with somebody at the museum to discuss whether I would would be able to gain permission to film in parts of the museum. I am aware the museum is open to the public and would be very willing to accomodate around the museums opening times. I am able to provide legitimate proof of my assignment from my college tutor, John Hamlin (john.hamlin@wyke.ac.uk, 01482 346 347)

Thank you for your time, I look forward to hearing from you soon.

Yours sincerely,

Natalie Greenley




I have since had a response from the museum giving me permission to film

'Hello Natalie,

9am-10am Wednesday 11th January and  9am-10am Friday 13th January will
be fine.  I will book you in and will be there, at least initially on
the Wednesday to talk it through with you.

Regards,

Robin'

I am having to film AFTER the Christmas due to my actors schedule.

Pre existing video analysis;

Laurel and Hardy Inspiration;

For parts of my music video, I have been inspired by this famous scene of comedy legends 'Laurel and Hardy' throwing pies in the city square. I am not going to include a pie fight in my music video but I will use the technique of speeding up the footage for comedic value like shown in the clip above (2.23-2.35).

I want to use this technique on the scene where my actor is splashing in the water and when him and my actress are dancing in the street, I believe it will add an authentic feel to footage and make it appear more realistic to the era.

For my hand holding scene when my actors are dancing in the street I will also replay the scene backwards in a sped up speed.

'Singin' In The Rain' Inspiration;

I decided upon my final song whilst on holiday in Greece. My iPod was on shuffle and it was one of the first songs to play, it reminded me of classic films such as “Singing in the Rain” and “On the Town”

For the majority of my music video, I have been influenced by the 1950's classic, 'Singin' In The Rain'.
Due to my song choice, I have a lot of le-way to be able to use a similar setting/style of footage. The song sounds as though it from an era before it's time due to the editing effects on the sound. When I first heard the song I was instantly able to picture what style of video would fit to it and I thought of Gene Kelly's charm and charisma in this extremely famous clip.
He gives off a sense of class and grace, despite being soaking wet in the middle of a street, that I believe instantly captures an audience.

I want my video to be noticeably inspired by this scene so I have requested permission to film at my local Street Life museum where they have an artificial street based in the 30's/40's, similar to 'Singin' In The Rain' and where I can create the most authentic atmosphere possible. As the music video is more complex due to the era it is set, by using the museum I would have access to sets and props I would otherwise not be able to use to due to cost.

Unfortunately, I can not use Gene Kelly as my star for my music video, so I have asked one of my friend, Phil, who looks very similar to James Dean, and also has access to a lot of vintage suits from eras such as the 40's/50's which is a huge help and benefit for me.

As my song also mentions a part of taking off shoes and dancing in the rain, I want to include a scene very much like Gene Kelly dancing in the rain, however, due to not owning the location where I will be filming, I will be unable to do so. However, after discussing with my tutor, I will be able to film it in a cobbled street outside of the museum (on a rainy day) and if I stick to mainly close up's of the characters feet, the location change will go un-noticed.

Target Audience;

My target audience is the Main stream audience, 15-25. However, the video on it it's own will be relatable for an older audience due to the fact it will be inspired by the class 'Singing' in the Rain'.
I am aiming my video towards this age range as the band I have chosen are typically aimed towards it as well.
Their pre-existing music videos are featured on music television channels such as 'Kerrang!' and 'MTV Rock' and they have played famous festivals such as the Leeds and Reading Festival, of which, a large majority of the viewers fit into this audience, I myself am one.
 As my artist already has a pre-existing base of videos, I will try my best to keep it within the style expected from their fans, keeping it similar to older videos but adding originality.

Narrative Theory;

Narrative Theory

Roland Barthes - Semiotics 1950's - The science of signs - Developed from linguistic theory.

Television and magazine advertisement became massively consumables. Disposable income = advertising.

Impact of visual imagery on people = Semiotics.

Action code = visual code = short hand to starting the narrative.

We can have visual imagery which we decode to lead to a particular action. Creating signs which the audience read in a particular way. It becomes Cultural and stereotypical.

Kate Domaille (2001) every story ever told can be fitted into one of eight narrative types. Each of these narrative types has a source, an original story upon which the others are based. The stories are as follow : Achilles - The fatal flaw that leads to the destruction of the previously flawless, or almost flawless, person, e.g. Superman

Candid: The indomitable hero who cannot be put down, e.g. Indiana Jones, James Bond, Rocky.

Cinderella: The Dream comes true, e.g. Pretty woman.

Circe: The chase, the spider and the fly, the innocent and the victim e.g. Sokey and the bandit, Duel, The Terminator

Faust: Selling your soul to the devil may bring riches but eventually your soul belongs to him, e.g. Bedazzled, Wall Street.

Orpheus: The loss of something personal, the gift that is taken away, the tragedy of losses or the journey which follows the loss, e.g. The sixth sense, Love Story, Born on the fourth of July.

Romeo and Juliet: The love story, e.g. Titanic

Trist and Iseult (Is-old-ay): The love triangle, man loves woman...unfortunately one or both of them are already spoken for, or a third party intervenes, e.g. Casablanca.

The Russian Theorist VLADIMIR PROPP (1928) studied the narrative structure of Russian Folk tales.

He also concluded that all the characters could be resolved into only 7 broad character types in the 100 tales he analysed.

Subjective approach - Semiotics.

Aesthetics = Pre-semiotics, critics point of view

Structuralism - objective structure, objective view point.

Post Structural - The idea that structuralists felt that everything was objective, follow certain rules, un-biased.

Modern day - Everything is subjective = depends on life experience, influences in our life.

The villain - Struggles against the hero

The Donor - prepares the hero or gives the hero some magical object.

The (magical) helper - Helps the hero in the quest

The princess and her father - gives the task to the hero, identifies the false hero, marries the hero, often sought for during the narrative. Propp noted that functionality, the princess and the father cannot be clearly distinguished.

The dispatcher - character who makes the lack (something that is missing) known and sends the hero off.

The hero or Victim/seeker hero - reacts to the donor, weds the princess.

(False Hero) - takes credit for the hero's actions or tries to the marry the princess.

(Character shapes)

Beautiful south - The villain = music industry, the donor = song writer, magical helper = the band, Princess = No.1, the dispatcher = the band, the false hero = the blamonge.

Joseph Campbell's (1949) Universal hero mono-myth = in all cultures, narratives, religions etc.

Problem needs solving, hero solves problem, hero helps society overcome problem.

In terms of music video - The hero = the star/artist.

We project ourselves onto the artist.

Claude Levi-Strauss' (1958) Ideas about narrative amount to the fact that he believed all stories operated to certain clear binary opposites e.e good vs evil, black vs white, rich vs poor etc.

The importance of these ideas is that essentially a complicated world is reduced to a simple either/or structure. Things are either right or wrong, good or bad. There is no in between.

Following - Robin Hood.

Against - Batman

Music Video - audio visual poetry?

--> Michael Shore (1984) argues that music videos are...

--> Recycled styles, surface without substance, simulated experience, information overload, image and style scavengers, ambivalence, decadence, immediate gratification, vanity and the moment, image assaults and outré folks, the death of content, anaesthetisation f violence through chic, adolescent male fantasies, speed, power, girls and wealth, album art come to turgid life and classical storytelling motifs.

Andrew Goodwin (1992) argues that in music video, "Narrative relations are highly complex" and meaning can be created from the individual audio-viewers personal musical taste to sophisticated intertextuality that uses multi discursive phenomena of Western Culture.

Many are dominated by advertising references, film pastiche and reinforce the postmodern 're-use' tradition

Sven Carlsson (1999) suggests that music videos in general, videos fall into two rough groups: Performance and Conceptual.

When a music video mostly shows an artist singing, dancing, it is a performance clip.

When the clip shows something else during its duration, often with artistic ambitions, it is a conceptual clip.

Performance: If a music video clip contains mostly filmed performance then it is a performance clip. A Performance clip is a video that sows the vocalist in one or more settings.

Common places to perform are the recording studio and the rehearsal room. But the performance can take place anywhere.

Narrative clip: Visual story which is easy to follow, either develop narrative or tell narrative through the lyrics of the song.

If a music video clip is most appropriately understood a a short silent movie to a musical background, it is a narrative clip. a narrative clip contains a visual story that is easy to follow.

Developed a mythical method of analysis of music video - centred on a modern mythic embodiment.

Viewed from this perspective the music video artist is seen as embodying one, or a combination of 'modern mythic characters or forces' of which there are three general. the music video artists is representing different aspects of the free floating disparate universe of music video.

In one type of performance, the performer is not a performer anymore; he or she is a materialisation of the commercial exhibitionist.

Another of the performances in the music video universe is that of the televised bard. He or she is a modern bard singing banal lyrics using television as a medium. The televised bard is a singing storyteller who uses actual on-screen images instead of under, personal images. The greatest televised bards create audio-visual poetry.

All media exists within the culture which creates it, and FOR the culture that creates it.

The third type of performer is the electronic shaman.

Sometimes the shaman is invisible and it is only her or his voice and rhythm that anchor the visuals. He or she often shifts between multiple shapes.

At one moment the electronic shaman animates dead objects or have a two-dimensional alter egos (as in cartoon comics), seconds later he or she is shifting through time and so on (e.g. DJ's).

Narrative is central to everything we, and how we live our live. Life structure is reflected in media.

Critical Perspectives in Media

- Genre conventions of my song and music video

Genre is a critical tool that helps us study texts and audience responses to texts by dividing them into categories based on common elements.

Daniel Chandler 2001, argues that the word genre comes from the French (and originally Latin) word for 'kind' or 'class'. The term is widely used in rhetoric, literary theory, media theory to refer to a distinctive type of 'text'.

Codes = Things we read from a text

Conventions = the rules, what we expect from a genre or form.

All genres have sub genres

This means that they are divided up into more specific categories that allow audiences to identify them specifically by their familiar and what become recognisable characteristics (Barry Keith Grant, 1995)

However, Steave Neale (1995) stresses that "genres are not 'systems' they are processes of systematisation's" - i.e. they are dynamic and evolve over time.

Settings, Costume, Transport, Actions, Weapons & Characters are all recognisable as particular characteristics of a particular genre, however they are not fixed, they change with society.

Genres are dynamic and they reflect the society of the present era.

- Typical editing style - fast cuts meet fast music

Jason Mittel (2001)

Argues that genres are cultural categories that surpass the boundaries of media texts and operate within industry, audience, and cultural practises as well.

In short, industries use genre to sell products to audiences. Media producers use familiar codes and conventions that very often make cultural references to their audience knowledge of society, other texts.

Genre also allows audiences to make choices about what products they want to consume through acceptance in order to fulfil a particular

Pleasure of genre for audiences

Rick Altman (1999) argues that genre offers audience a set of pleasures.

Emotional Pleasures - The emotional pleasures offered to audiences of genre films are particularly significant when they generate a strong audience response.

Visceral Pleasures - Visceral pleasures are 'gut; responses and are defined by how the films stylistic construction elicits a physical effect upon its audience. This can be a feeling of revulsion, kinetic speed, or a roller coaster ride.

Intellectual Puzzles - Certain film genres such as the thriller or the whodunit offer the pleasure in trying to unravel a mystery or a puzzle. pleasure is derived from deciphering the plot and forecasting the end of big surprise by the unexpected.

The main strength of genre theory is that everybody uses it and understands it - media experts use it to study media texts, the media industry uses it to develop and market texts and audiences use it to decide what texts to consume.

The potential for the same concept to be understood by producers, audiences and scholars makes a genre a useful critical tool. Its accessibility as a concept also means that it can be applied across a wide range of texts.

Christian Metz - Genres go through changes

Music Video - Medium with many sub genres/ post modern styles

Music video is a medium intended to appeal directly to youth sub cultures by reinforcing generic elements of musical genres.

They are called pop-promos as they are used to promote a band or artist

Music videos are post modern texts whose main purpose is to promote a star persona (Dyer, 1975)

They don't have to be literal representations of the song or lyrics.

Generic conventions stay the same but the style changes between the genre.

David Bordwell (1989) - Any theme may appear in any genre.

Some music videos have themes for a more youthful audience such as...

- Teen Angst

- Rebellion

- Romance

- Sex

- Nostalgia

- Nihilism

- Coming of age rituals

- Tribalism

- Bullying

Juvenile Delinquency : Moral panics and the teenager as a folk devil

The currency f Cool

Hedonism - Living purely for pleasure

Friendship

War

Crime

Poverty

Capitalism

Racism

Genres are not fixed. They constantly change and evolve over time - your coursework articles, as we have discussed, are postmodern pieces.

David Buckingham (1993) argues that 'genre is not...simply "given" by the culture: rather, it is in a constant process of negotiation and change.

The law of the law of genre is precisely a principle of contaminate, a law of impurity - Jacques Derrida.

Brief History Of Music Videos;

Up until 1975, there was no clear definition of a music video. The Beatles and Elvis had brought out films were they performed their music but they were not used as a promotional device. Then Queen brought out the video for their hit “Bohemian rhapsody” and the industry changed dramatically. Stars realised that they could not only promote their music with their voice, but with their looks as well.

Videos had been associated with music back in the 1940/50s’s but it was only in films and not in a promotional sense. Hollywood musicals such as “Singing in the Rain” (1952) and “On the Town” (1949) had a flowing narrative but with the stars performing in between certain parts. “The Beatles” then copied this style only without a full flowing narrative. They made films of themselves performing their music so that it could be broadcast to people all over the world if they could not see them live at a concert. In April of 1964, “The Beatles” starred in their first Mock-documentary “A Hard Day’s Night” which was a huge success across the UK and the US.

Bob Dylan is still regarded by many people to be the first artist to have a music video for his song "Subterranean Homesick Blues" on the music documentary by D. A. Pennebaker's 1967, Don't Look Back. However, it was not produced for promotion.

In 1981, a new television station began broadcasting; this station was called MTV (Music Television) and became the main form of stars promoting songs through videos. The station was a 24 hour broadcaster, which meant there became a need for music videos, not just a want. With the new idea of stars needing video promotion, there was a lot of speculation on whether the new video era was the death of real artistic talent or the start of the modern music era. In today’s society, a good collection of music videos could determine the success or failure of an artist.

Artists like Madonna and Michael Jackson used the music video highly to their advantage. Not only did their videos promote their musical talent, they helped create an image for the artist, which is still associated with the artists to date. Madonna based a lot of her looks and attitude on 50’s actress Gretta Garbo and in her videos she portrayed herself to be mysterious, sexy and confident and this image is still vastly popular within her modern work.

The upcoming success of music videos did not only mean artists had an opportunity for a more successful career, directors did too. Directors began to use music videos as a stepping stone into making movies, some directors got their name into Hollywood through music videos they directed early in their careers e.g. Michel Gondry.

Music began to have a visual narrative with the development of music videos, stars could not only tell stories with their lyrics, they could not essentially create a mini film to go along side. The majority of music videos in modern times vary immensely from its predecessors like “David Bowie’ Space Odyssey”, stars today are always more concerned about their looks and videos than the actual music they produce and perform. A mass amount of “mainstream” stars don’t even tour to perform their music live. A high amount of pressure is placed upon stars to conform to how their audience expects them to look, e.g. Lady gaga fans would expect her to give her best performance possible in both music videos and live shows and they would expect her to be quite eccentric as that is how she has been portrayed in her music videos. A lot of people argue that music is slowly losing its value in terms of talent as it no longer about the music/lyrics it’s all about looks and star appeal.