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Media evaluation (2)
- 1. JACK GARRATT EVALUATION- QUESTION1 BY HARRY GARSIDE WORRY “TRY AND GIVE YOURSELF SOME REST, LET ME WORRY ABOUT IT, LET ME WORRY ABOUT IT”
- 2. In what waysdoes your media product use, develop or challenge forms and conventions of real media products? • Our brief was to create a promotional campaign, including a digipak, magazine advert and a music video. • Here is evidence of all the magazine advert and digipak. Our brief
- 3. • In termsof our magazine advert, there was evidence of a high image to text ratio, which is very conventional of magazine adverts as a whole. • In terms of the typography of this advert, we decided to adopt a similar style of font to our artist Jack Garratt. The artist uses a regular, standard sans-serif font, though always cuts a part of the letter ‘A’ off, to create his own unique, recognisable font. We therefore tried to replicate this in the advert. Our font on our digipak Font on Jack Garratts EP- Remnants Magazine advert Typography
- 4. • We alsoused the iTunes logo, as well as the web address as a call to action, which intrinsically connotes verisimilitude. In terms of the reading path, the large bold text stating ‘Jack Garratt’ is the first part of the advert that the audience will see, along with the colourful eye catching image of the younger brothers. Then the reader will be drawn towards the artist’s label and the release date of the album. Magazine advert analysis
- 5. • In termsof the digipak, it is the developed concept of print representation, at the point of buying for the customer. Therefore it has to be eye catching, vibrant, and encourage the consumer to want the album. • The main feature of the front cover is a close-up image of the artist. Our front cover is therefore conventional, as we used Tom (who looks similar to Jack Garratt) as the image for our front cover. This therefore creates parasocial intimacy for the audience. Digipak analysis
- 6. • Lastly, acommon feature is also visual signifiers. Our main visual signifier is evident on our back cover, as a pair of headphones are prominent. • This therefore intimates that Jack Garratt is a recording artist, and allows the audience to understand the type of artist Jack Garratt is. Back pane analysis
- 7. • Andrew Goodwin(Dancing in the Distraction Factory 1992; Routledge) identified a typical framework that music videos conform to. When applying his theory to our music video, we can see that our video demonstrates characteristics of the electro R&B genre. This is a screenshot from Weathered (Jack Garratt,2015) a narrative-based video in an isolated location which we took the idea of a woodland location from. • We conform to characteristics as, in terms of our artist, his music videos tend to be narrative-based (for example Weathered, 2015) and we are therefore conforming to the conventions of his meta-narrative. Goodwin
- 8. • Applying Goodwin’s theory,the lyrics would be classed as amplifying rather than illustrative; this is because in the first verse it states “My nights are broken up by the sounds of women I’ll never meet”, which obtrusively intimates that the song is about a girl. • However, we decided to create our own relationship with the lyrics, depicting a boy looking back on memories with his brother, before he passed away. • The general theme of the lyrics were about love, and heartbreak, which we attempted to include by showing the boy grieving over his loss, evident in the screenshot above. Goodwin continued
- 9. • We paidhomage to a song called Pull me Down by Mikky Ekko (2014, Michael Volpe) due to their recurrent use of fades to show that a girl is no longer present. From this, we were able to adapt this to our piece, utilising fades to show one of the brothers no longer being in George’s life. This is therefore evidence of an intertexual relay, as we adapted Mikky Ekko’s ideas of fades in his music video, into our own. External inspiration
- 10. • In termsof the relationship between the music and the visuals, it would be illustrative. This is predominantly due to the slow-pace of the music, to allow a slow-cutting rate which intrinsically coincides with the emotional narrative. • Goodwin also believes that the demands of the record label will include the need for lots of close- ups of the artist. In our piece, we often used close-ups to show the depressed, dejected nature of the boy reminiscing on his nostalgic past with his brother. This created parasocial intimacy for the viewer, creating a relationship and therefore allowing the audience to know his story. There is evidence of one of the close-ups in our piece here. Goodwin continued
- 11. • Goodwin refersto the ‘notion of looking’ within music videos, for example screens within screens, telescopes etc. Whilst we have nothing directly relevant to this notion of looking, we incorporated flashbacks into our piece, to show the two brothers when they were younger, creating a parallel to when the boy (George) is alone. • There is evidence of a flashback here. • As well as this, the use of flashbacks allow the audience to consume the boy young and old, again creating a close relationship between him and the audience. Goodwin continued
- 12. • We useda purely narrative based video for our piece. After researching our artist Jack Garratt, and other singer songwriters such as Ed Sheeran, they often use a narrative structure rather than performance. • As well as this, we believed that due to the slow-pace of the song, a narrative-based video would be extremely effective as it would complement the meaningful lyrics Jack Garratt uses. • We took inspiration from Photograph (Ed Sheeran, 2015) as the video was purely narrative based, depicting the artist growing up from a young baby to an adult, creating an emotional story. A screenshot from this video is evident here. External inspiration
- 13. • When discussingthe editing of our music video, we decided to intercut between the two boys young and old, as well as the boy (George) alone. • Discussing editing further, we had to distinguish between the brothers when they were younger (flashbacks) and George alone when he is older. • To show George at present, looking back on his past with his brother, we utilised a black and white filter. This circle shows the segment on the timeline where we dragged the ‘black and white’ filter onto, prior to rendering. This circle here shows the filter we used, after clicking edit, then filters, to show George in a dissimilar, unique way to challenge conventions due to presenting someone in the present without colour. Premiere analysis
- 14. • When depictingthe younger brothers, we decided to increase the hue/saturation to create a contrast between the two ideas (shown in the screenshot here). • This is therefore evidence of emotional colouring, as we used colour to reflect the mood of our piece. • As well as this, increasing the saturation meant that the flashbacks were portrayed as happier times, whereas the black and white filter to show George at present, intimates a dark, solemn mood, which coincides with the slow-pace and meaningful lyrics of the track. Hue/saturation of brothers
- 15. • In termsof our piece, it would need a focused viewing in order for the audience to understand the narrative plot. • However, If there was to be an ambient viewing, the audience may be unable to understand the story, therefore experiencing a narrative fuzz. • These 3 images show the 3 different aspects to our music video, showing the complexity of the narrative. It features George alone, and with his brothers, young and old. Focused/ambient viewing
- 16. • In termsof audience readings, creating by Stuart Hall, the preferred reading of our piece would be that the younger boys are brothers, though something has happened to the younger brother (i.e. death) shown through the character exposition of George. • This character exposition is shown by George alone in shot, creating an emotional response from the audience. There is evidence here. • Despite this, the video connotes that life carries on despite the death of the younger brother. • However, a negotiated reading is that, without a focused viewing, the time manipulation may be confusing in terms of the relationships. Also, the relationship of the black and white filter with the highly saturated footage may be difficult to decifer. • Our video needs a focused viewing as there are three complex lines of action, meaning that the audience need to be able to understand the relationship between each. • This shot is particularly iconic, showing George in a very isolated location along a bridge, creating a parallel with his loneliness in the video. Audience readings
- 17. • Our narrativeintercuts between the brothers when they were younger, the brothers when they are older, and George alone. • Relating our narrative structure to Todorov, there is evidence of a disequilibrium when George is alone, as it connotes that the other brother is no longer present. • However, Todorov believes that a narrative closure is conventional of music videos, with a new equilibrium after the disruption has occurred. Though, in our piece, there is no evidence of a narrative resolution, as the final shot depicts George alone, disconsolate. • Therefore, our video challenges the typical narrative structure of music videos. Todorov- narrative structure
- 18. • When discussingJacques Derrida, he recognised that there are binary oppositions present in media texts. With one being culturally marked, whereas the other was less valued. • In our music video, the binary opposition between young/old in the context of childhood is encoded. • When George is older, he is shown to be trying to cope with mature themes such as death and bereavement. • When George is with his brother, it is more culturally marked, as the theme of family is highly valued, having more power. More culturally marked Less culturally marked Jacques Derrida
- 19. • We constructeda paradigmatic relationship between visual signifiers in our promotional campaign. For example: • George wearing very ordinary clothing to connote sadness, in that he is no longer bothered about his appearance. • In terms of location, we utilised a wood location for the majority of our music video, including the flashbacks. This is because it is a dreamy, idealistic location. • When discussing the semiotics of our music video, there is evidence of a black and white filter, which is a visual signifier for sadness and melancholy. Semiotics
- 20. • In termsof constructing our piece, it was rather abstract in creating a metanarrative due to the serious message about loss and death, which made it far more enigmatic. • Another visual signifier is how the brother (whom is perceived to have died) fades out in the majority of the shots, which emphasise his death. Semiotics- visual signifier • Here is evidence of one of the fades in the timelines. To do this we overlapped two of the same shots, one with both brothers and one with only one brother. We then used the zoom tool to make sure that the positioning of the camera in both clips was exactly the same, if not, we would alter the positioning by accessing the motion toolbar and moving one clip until both clips looked the same.
- 21. • We wouldthen add key frames to one of the clips, one frame at the start of the clip and one towards the end. For the first key frame we made sure the opacity of the clip containing the brother was at 100% so that he is clearly visible, and at the end key frame I would bring this opacity to 0%, this gave the effect that the brother slowly fades out of shot, representing that he is gone. The picture to the right shows the opacity and colour pass toolbars, to the right of this is the two key frames of the clips, the red line represents the part of the clip I have paused it at, in between these two key frames, therefore giving a half faded effect.
- 22. • The benchlocation is very iconic in our music video. This is because it depicts the place where brothers went before, hence why George returns, in order to reminisce. • At the very end of the video, George picks up a photo, which is a visual signifier displaying him and his brother. • This is evident below: Visual signifiers
- 23. • In termsof the magazine, there is evidence of a red, green and black themed effect. The black section connotes George alone, whereas the red and green connotes brothers together, due to the colours intimating love and happiness. • As well as this, we took the shot in the wood location, to create a parallel with the location used in our music video. • A wood location is fairly unconventional of music videos, however, our artist Jack Garratt uses isolated locations such as woodland areas in the majority of his music videos. We therefore took inspiration from Weathered (Jack Garratt, 2015). Magazine advert analysis
- 24. • In termsof our digipak, we used the same colour scheming as we did in our magazine, using the red, green and black concept to reflect the mood of our piece. • As well as this, we also utilised a similar wood location for the middle panes of our digipak. This is evidence of a visual signifier, as it is the location where the brother shared many memories. • There is also evidence of an iconic signifier in terms of the front pane iconography, which includes when a flat cap and a beard, an almost identical style to Jack Garratt. • As well as this, we utilised headphones to show that Garratt is a recording artist. Digipak analysis
- 25. • In termsof the media, they sensationalise in order to sell. Therefore, artists are endowed with the myth of stardom. • In terms of our artist, we have represented him in the role of George, who experiences a very emotional story in our piece. He is shown to have values such as youthfulness, originality and anger throughout our video, which all create a parallel with Garratt himself. Evidence of this anger is when he lashes out in frustration at the beginning of the chorus. Artist representation
- 26. • Music videosare in a a post-modern style, and often adopt a hyper real style rather than realism. Techniques such as using a time-lapse are proven to detract from the realism. • Our music video challenges the narrative structure of film but is conventional of the narrative fuzz in music videos. • Our music video is seen as having a narrative fuzz features a montage of different ideas, including George alone, along with being in his brother young/old. Construction of verisimilitude