Media Studies - Music Videos

OCR Media Studies - Paper 1 Section B - Music Videos: Emeli Sande Heaven and David Guetta's Titanium

1. 1 Media Messages Section B MUSIC VIDEOS Emeli Sande – Heaven David Guetta - Titanium Media Language & Representation

2. Our Chosen Music Videos are: David Guetta featuring Sia - Titanium Emeli Sande - Heaven

3. AIM: Interpret the media language and intertextual references in ‘Heaven’ and evaluate how the music video represents the artist Media Messages Exam About 18-20 mins 10 marks May be asked a question about one or two music videos. FOCUS: Media language and representation; contexts (social/historical/cultural/political)

4. SECTION B Media Language and Representation Explain how representations in music videos are chosen to promote the artist(s). Refer to one of the music videos you have studied to support your answer. [10]

5. What is a music video? A music video is a short film integrating a song and imagery , produced for promotional or artistic purposes. Modern music videos are primarily made and used as a marketing device intended to promote the sale of music recordings.

6. What is a music video? The media language used in a music video will generally do one or more of the following: Reflect the tone of the song Comment on the song Reflect the public image of the artist Reflect the style of the producers

7. The History of the Music Video http://matheussiqueira.com/a-brief-history-of-music-video/ 1927 The Jazz Singer – first talkie (musical) Performance Not able to perform https://www.youtube.com/watch?v=cX4xuhPKzrI MTV 1981 US 1997 UK banned TV and radio 1984 https://www.youtube.com/watch?v=9q0JP3tcoHQ 2005 The YouTube era TOP 10 music videos https://www.youtube.com/watch?v=KQoPx7v74f0

8. Media Language and Technology The music video dates back as far as the 1960’s and the Beatles films However the form took off in the 1980’s (led by MTV) which created a demand As the number of TV channels grew with satellite and cable channels more niche music channels were created Early music videos were shot and edited on film but with the emergence of digital cameras and non-linear editing, it became cheaper and more assessable for people to produce - the pace and complexity of music videos also increased. Light weight cameras enabled diverse locations (especially ‘Street’ locations like Sandi’s Heaven)

9. The History of the music industry https://www.youtube.com/watch?v=-bVketPj5to Watch the short film and answer the following questions Create a timeline of events

10. https://www.thebalancecareers.com/signing-with-an-indie-label-2460744

11. https://www.thebalancecareers.com/signing-with-an-indie-label-2460744

12. ROYALITY REVENUE

13. Produce a fact sheet for both chosen videos David Guetta featuring Sia - Titanium Emeli Sande - Heaven

14. Different Styles Performance – artist/band singing Narrative – a story Conceptual – related to the song lyrics Or A combination of more than one of the above

15. Style of Music Video David Guetta featuring Sia - Titanium Emeli Sande - Heaven Naturalistic Social realism – real life conditions Fantasy. Period cinematic fantasy Expressionism possible elements of post modernism and/or intertextuality

16. Style of Music Video David Guetta featuring Sia - Titanium Emeli Sande - Heaven Contrasts Lyrics desire to be better and lure of temptation V upbeat nature of song V gritty social realistic imagery Linear narrative Themes of alienation Expressionism – not naturalistic Intertextual references to Super 8 and Stranger Things

17. Elements to consider

18. REPRESENTATION of characters featured Age Gender Socio-economic / Income Ethnicity/Culture Social Groups

19. Richard Dyer’s Typography (1985) What is being represented? How is this representative of social groups? Who is responsible for the representation? What does the audience make of it?

20. Representation Stereotypes – short hand, unrealistic Archetypes – characters seen again and again Stock Characters – Vladimir Propp’s stock character – Princess, villain, hero etc Strong Woman, Vulnerable. Damsel in distress

21. Theorists already studied Liesbet Van Zoonen – objectification of females in a patriarchal society Judith Butler – performativity – gender is a construct by society Hell Hook – feminism is a political struggle (Male Gaze – Laura Mulvey )

22. MEDIA LANGUAGE Cinematography – shot sizes, camera angles, camera movements, framing Mise en Scene – Props, costume, hair, body language, facial expressions, location, lighting, colour Editing – pace, transitions, cut on the beat/transitions, cutaways Performance Sound – sound track

23. MEDIA LANGUAGE Narrative Genre Themes Messages Ideology Social Realism /Urban

24. Andrew Goodwin Dancing in the Distraction Factory 1992 A music video will possess genre characteristics (pop- love, metal – aggression etc ) There will be a relationship between the Lyrics and the visuals There will be a relationship between the music and the visuals Record label often wants to feature close ups of the artist (Star Image) for commercial reasons There is often a voyeuristic element (watching, nudity, screens etc ) – objectification of a female body/bodies ( Liesbet Van Zoonen ) Often intertextual references (elements borrowed from TV, Films etc ) FOR FURTHER INFO: https://www.slideshare.net/jude.holmes/lesson-2-goodwins-music-video-theory-introduction-roland

25. Representation: audience responses and contexts (consider Stuart Hall’s Reception Theory) Audience interpretation of music videos representations might depend on a number of differences Fandom and musical preference Gender Sexuality Race/ethnicity and nationality Age Class Region Political affiliation

26. Heaven by Emeli Sande (2011) Media Language and Representation

27. Analysis of Emeli Sande - Heaven Some background info

28. Emeli Sandé born 1987 Genres: RnB, Gospel and Soul Singer Songwriter and musician Record Labels: Virgin, Virgin EMI and Capital

29. Emeli Sandé born 1987 Scottish singer and songwriter. English mother and Zambian father She featured on the track "Diamond Rings" by the rapper Chipmunk (2009). Sandé released her first solo single "Heaven" in August 2011. 2 number-one singles in the UK: Read All About It with Professor Green  Beneath Your Beautiful", a collaboration with  Labrinth . Her album  Our Version of Events  spent ten non-consecutive weeks at number one and became the best-selling album of 2012 in the UK, with over 1 million sales.  In 2012, she performed in both the Opening and Closing ceremonies of the London Olympics. She won two Brit Awards at the 2013 ceremony: Best British Female Solo Artist, and British Album of the Year.

30. Emeli Sande – Background to Heaven Adele Sandé is a Scottish R&B and soul singer-songwriter who records under the stage name of Emeli Sandé . Before pursuing music, Sandé studied medicine at University of Glasgow. The Scot first entered the public eye in 2009 when she featured on rapper Chipmunk's debut single, “Diamond Rings," which gave her and Chipmunk a first top 10 hit on the UK Singles Chart. In 2010, Sandé appeared again on Wiley's “Never Be Your Woman," which became another top ten hit, and on “Let Go," which was the closing track of Tinie Tempah's debut album. Sandé also co-penned Alesha Dixon's single “Radio." The same year she signed her first major record deal with Virgin Records before signing another deal with EMI in 2011. (owned by Warner Music Group since 2013) This euphoric Trip-Pop tune is Emeli Sandé's debut solo single. She wrote the song with Naughty Boy, who is a British grime producer who previously collaborated with her on "Diamond Rings" and "Never Be Your Woman.“ It was also the first release from Sandé's debut album,  Our Version of Events on 14 August 2011. The single was added to BBC Radio One’s playlist in June 2011. The song was also crowned record of the week by the station’s daytime DJ,  Fearne Cotton. The single is written by Sandé , Naughty Boy, Craze and Hoax, with producer Mike Spencer.

31. Introduction – Heaven Lyric Analysis 1. Read through the lyrics 2. Choose the most powerful words and phrases that provoke thoughts and ideas about themes, context and representation of social groups. 3. Do they give you any hints about what the music video could involve? 4. Are any themes evident through the lyrics of this song? 5. Would you expect Emeli Sande to have a large role in the video? 6. Would it be mainly a performance or narrative video?

32. Lyrics Will you recognize me In those flashing lights? I try to keep my heart beat But I can't get it right Will you recognize me When I'm lying on my back? Somethings gone inside me And I can't get it back Oh heaven, oh heaven I wake with good intentions But the day, it always lasts too long Then I'm gone Oh heaven, oh heaven I wake with good intentions But the day, it always lasts too long Then I'm gone Then I'm gone Then I'm gone Then I'm gone Then I'm gone Then I'm gone Then I'm gone Then I'm gone Will you recognize me When I'm stealing from a car You're not gonna like me I'm nothing like before Will you recognize me When I lose another friend Will you learn to leave me Or give me one more try again Oh heaven, oh heaven I wake with good intentions But the day, it always lasts too long Then I'm gone Oh heaven, oh heaven I wake with good intentions But the day, it always lasts too long Songwriters: Michael Spencer / Shahid Khan / Hugo Chegwin / Harry Craze / Emeli Sande Heaven lyrics © Sony/ATV Music Publishing LLC Then I'm gone Then I'm gone Then I'm gone Then I'm gone Then I'm gone Then I'm gone Then I'm gone Then I'm gone Oh heaven, oh heaven I wait with good intentions Oh heaven, oh heaven I wait with good intentions Oh heaven, oh heaven I wait with good intentions You say that you're away I try but always break 'Cause the day always lasts too long Then I'm gone (repeat)

33. You could analyse: MEDIA LANGUAGE Sound ( inc lyrics) Mise en scene (setting, costumes, lighting colour, body language etc ) Camerawork – moves, angels, shot sizes etc Editing pace. (EXTENSION Kuleshov effect – cutaways creating a message) REPRESENTATION – Youth, gender, socio-economic , ethnicity

34. Heaven https://www.youtube.com/watch?v=883yQqdOaLg Consider Representation and Media Language

35. This is a song of contrasts: The lyrics contrast the desire to be a better person with the lure of temptation. The downbeat message of the lyrics contrasts with the upbeat nature of the music. The media language of the video reflects these contrasts: Gritty social realism , reflecting the downbeat message of the lyrics (the sorrows caused by temptation). Images of transcendence , which reflect the Heaven of the title and the upbeat music (power of redemption) Heaven by Emeli Sande (2011)

36. What Themes are evident in the lyrics? Religion (Title, “I wait with good intentions”)  Hedonism  (“Will you recognise me in the flashing lights? I try to keep my heartbeat…”) Guilt/Regret (“Something's gone inside me, and I can't get it back”.)

37. Social realism : The set of conventions by which audiences accept a representation as reflecting real social conditions , especially the plight of the poor or powerless. ‘A window on the world.’ Transcendence : Existence or experience beyond the normal or physical level. E.g. "the possibility of spiritual transcendence in the modern world“ Heaven by Emeli Sande (2011)

38. Create a PowerPoint, give it the title above. TASK 1 – How media language connotes social realism Pick 3 moments from the music video that you think construct a sense of social realism . Analyse the media language at these moments by making reference to at least two technical areas (e.g. mise en scene, camerawork, editing and sound) and how they convey a sense of social realism. Use screengrabs to illustrate. See example on next slide >> Heaven by Emeli Sande (2011) Social realism : The set of conventions by which audiences accept a representation as reflecting real social conditions, especially the plight of the poor or powerless.

39. Heaven – How Media Language Connotes Social Realism In terms of mise en scene , the naturalistic looking characters and the very everyday, unglamourous location (filmed in the East End of London) highlighted by shuttered shop windows, scaffolding visible in the background and overcast grey sky all construct a sense of social realism. The handheld camerawork also adds to this. The montage editing style places this shot between shots featuring religious imagery and, along with the lyrics and uplifting non-diegetic sound track, encourages the audience to consider ideas of trying to do good in everyday life.

40. The high angle wide shot of the woman wearing red …. …connotes that she is descending into a dangerous or evil situation… Red is often used to signify danger (Barthes Semiotics theory) but also red dresses were worn by prostitutes in the Victorian era. This could suggest that the woman is about to commit a something immoral.

41. https://www.youtube.com/watch?v=xJJRyPIsD9Q

42. Denote (media language) encode + Connotations (association) decode + significance (why have they used this)

43. https://www.youtube.com/watch?v=bow0Y9QUlBU

44. Roland Barthes SEMIOTICS Hermeneutic/ Engimatic Codes – Lures a reader/viewer in to solve mystery. A hook Proairetic / Action Codes – Foreshadows. Something will happen Symbolic Codes – Hidden meaning. A symbol that signifies something Semantic Codes – A hidden meaning. (generally something you cannot touch/narrative/genre/colour etc ) Cultural/Referential Codes – Something you would understand if you were part of that cultural (historical/age/gender/ethnicity/religion etc )

45. TASK 2 – How media language connotes transcendence Pick 3 moments from the music video that you think connote transcendence . Analyse the media language at these moments by making reference to at least two technical areas (e.g. mise en scene, camerawork, editing and sound) and how they convey a sense of transcendence. Use screengrabs to illustrate. Extension task : Find examples of juxtaposition and comment on how media language (particularly editing and mise en scene) is used to illustrate and amplify the conflict communicated in the lyrics. Can you refer to any of Barthes’ semiotic codes? Or Levi Straus’s Binary Oppositions? Heaven by Emeli Sande (2011) Transcendence : Existence or experience beyond the normal or physical level. E.g. "the possibility of spiritual transcendence in the modern world“

46. Transcendence The framing of Emeli Sande positions her very low in frame, emphasising the enormity of the sky above her. Sky is often used to signify the presence of God and heaven. Her eyes are raised upward as if she is directing her line: ‘Will you recognise me?’ as if in pray. This adds a scene of sympathy as if she is guilt-ridden and worries about the after life. The colours are mutes and soft focus is used to suggest an ethereal atmosphere.

47. Analysis of Emeli Sande - Heaven Naturalistic – ‘window on the world’ Social realism – real life conditions Contrasts: Lyrics desire to be better and lure of temptation V upbeat nature of song V gritty social realistic imagery Performance AND Narrative

48. This video represents the negative consequences of giving in to temptation and at the same time celebrates street life . The consequences of temptation are represented by a succession of sad faces . A diverse range of people are depicted reflecting an inclusive representation strategy in terms of gender, race and ethnicity, age and class. As it cuts to different people, locations, time periods and moods it connotes a kaleidoscope of people and their experiences. The idea of street life as rich in character and variety. No clearly dominant race or ethnicity. Heaven – Media Language and Representation

49. This video represents the negative consequences of giving in to temptation and at the same time celebrates street life. Temptation is represented early in this video by a shot of a woman in a red dress – this is a rare sexualised image of women in the video. Emeli Sande is not sexualised in this manner. Class is represented in the ordinariness of the location; the video is celebrating urban working-class life. Emeli Sande is represented as belonging to this world as suggested by her unglamourised costume, location and performance style (not often looking at the camera) Heaven – Media Language and Representation Subverts Van Zoonen’s objectification of women theory

50. Audience Positioning and ideology Tries to position the audience as identifying with Emeli Sande and her inner struggles. Conveys the view that the world is full of temptation but also innocence and richness. The video invokes a left-leaning ideology by suggesting sympathy with outsiders and underdogs. It is anti-racist in its assumption of multiculturalism Heaven – How Media Language and Represenation

51. INTERTEXUAL REFERENCE – borrows from another style/product https://www.youtube.com/watch?v=L_CUd5apse4 https://www.slideshare.net/jude.holmes/intertextuality-in-titanium

52. INTERTEXUAITY IN MUSIC VIDEOS

53. INTERTEXUAL REFERENCE – borrows from another style/product Nostalgic – Super 8 appearance https://www.youtube.com/watch?v=x1SKyr-GkVk

54. Age How is age represented? Youth Teenagers Old people

55. Age How is age represented? Youth Teenagers Old people Innocence. High key lighting, bright colours, happy characters, being protected Low key lighting, subdued colours, serious characters, in dangerous, eluding to illegal activities. Tattoos. Reflective. Temptation: drugs, sex, back of a car, dark tunnel Unhappy. Homeless. Result of sin ?? Punished. Ready to ‘meet maker’

56. Music Video – What to revise? The 10 Golden Bullet Points How do the representations in the music videos chosen by the producers promote the artist? How do the music videos reflect individuals or social, cultural and historical issues and events? How are the music videos influenced by the concept of intertextuality? https://www.youtube.com/watch?v=L_CUd5apse4 What viewpoints/representations and messages and values does the media language of the music video highlight about society and how realistic do you think these representations are? Do the music videos challenge or subvert the codes and conventions of a music video?

57. Music Videos – what to revise The 10 Golden Bullet Points Have stereotypes been used in a positive or negative manner (or both) how and why? When placed in a global context do you think that the music videos offer representations that are under or over represented in society. Why do you think this? How have the social and cultural contexts affected the representations on offer in the music videos? How are the audience positioned to respond and interpret the representations/messages and values/ideologies that the music videos offer the audience? How has the music videos’ version of reality been constructed through the techniques of re-representation?

58. MAINSTREAM or ALTERNATIVE?

59. Emeli Sande – Background to Heaven Digital Spy  said that the song is a mixture of pacey house beats, mellow strings (arranged by Cliff Masterson) and Mark Ronson-esque horn sections. The song was also compared to Leona Lewis (whom Sandé has written tracks for) and Yasmin. One critic said that the song was “ticking all the good boxes in modern urban music."  Critics also said that the song "stunned" them when they heard the song. The single was released accompanied by a music video, which was filmed in London, UK which premiered on August 22, 2011 on Emeli Sandé's official YouTube account. Throughout the video the music has scenes of Sandé singing to the sky, and standing outside of a Cathedral, there are also many shots where Mary, mother of Jesus' statue is seen in the video. The single was released via digital download and 7” vinyl on 14 August and 15 August 2011, respectively. The single was made to pre-order several weeks before it was released on iTunes The song's music video was directed by Jake Nava, who has previously worked with Beyoncé, Alicia Keys, Kanye West and Nicki Minaj. It was shot in Bethnal Green, in East London where Sandé lives. "We wanted to capture a real British vibe and keep it really simple to emphasize the lyrics," the singer told Spinner.

60. Emeli Sande Said… Emeli Sandé said this about the song, “Heaven came from a conversation I was having with my producer Naughty Boy, we were talking about what it means to be good in this day and age, and how it’s harder for our generation because things move so fast, and how there’s so many influences and avenues, and he said, You just have to keep your heart clean. It was the imagery of a clean or dirty heart that inspired me , and we wrote it in about half an hour. I knew I wanted it to be my first song from the off.” “ I definitely believe in God and I believe in heaven, although I don’t follow religion. Heaven was about trying to be good. My idea of heaven? A lot of music, somewhere very calm. I felt it at Christmas with the family around. Kids are so pure and innocent, and one was learning the piano. It reminded me of when I was learning.”

61. The social realism is connoted through a range of media language. The camerawork is largely handheld and not always in focus , which especially when combined with the use of real East End of London locations and naturalistic-looking characters (who may be ‘real people’) connotes documentary style realism . Emelia Sande appears to be the exception in this video in that she is clearly wearing make-up, however her portrayal in the opening singing in a forlorn manner looking out of a very ordinary looking bedroom window hardly connotes glamour. Her performance, while energic, does not include dancing, which would break the naturalism , and she quite often does not directly address the camera, implying that she may be a character in this drama rather than just the star performer . The editing style is very jumpy (though not jump cuts), a sit cuts away to different people, locations, time periods and moods it connotes a kaleidoscope of people and their expressions. One striking juxtaposition is from a low angle shot of a very ordinary-looking street to a statue of Christ on the cross to a young woman in a white dress. (Kuleshov Effect or Montage). The images of transcendence include a recurrent low angle shot of Emeli on a rooftop that fills the frame with the sky, a long shot of clouds rolling in the sky , another of a flock of birds taking off , a medium shot of a man dancing ecstatically with his arms outstretched . These combine with the fast pace editing to bring connotations of joy and freedom to the video. The narrative of the video is structured by a sense of a narrative disruption caused by the wrong moves depicted in the song – this is shown visually in the shots of people looking let down. The video has an enigmatic ending that does not provide a satisfactory resolution – Emeli’s character walks away form the mand seen earlier waiting for her at the end of a tunnel. This lack of resolution fits the tone of the song which is about internal conflict.

62. Viewpoints and ideologies in Media Language Music Video Viewpoints and ideologies How the Media Language incorporates these Emeli Sande Celebrates the desire to be better, possibly a religious message. Social realistic media language depicts the sorrow caused by temptation but also suggests the power of redemption

63. Lyrics and their relationship to the visual? Relationship to music and visuals Cinematography – a specific shot/camera move and emotion/meaning made Editing – pace? On the beat? Cutaways and their significance? Mise en scene: Props and their significance/meaning Costume and their significance Hair and make-up and their significance Location and their significance

64. Mise en scene continued- Body language/facial expression and its significance? Style? Intertextual references? Representation of Females? How is youth represented? Representation of social groups featured? Conventions followed for pop / R&B genre? Which of Andrew Goodwin’s conventions does this music video follow?

65. Themes and Representation https://www.youtube.com/watch?v=883yQqdOaLg (You may need to watch it more than once!) ANSWER THESE QUESTIONS… (PLEASE WRITE OUT ANSWERS IN YOUR BOOKS FOR DISCUSSION) Are any of the themes from the lyrics visually represented ? If so, what examples can you give? How are particular social groups represented in the video? Make reference to media language What media theory could be applied here?

66. https://loretob1group5.wordpress.com/2012/09/27/emeli-sande-heaven-media-language/

67. David Guetta featuring Sia - Titanium

68. https://vimeo.com/34035823

69. Bullied / isolated Adults v children Being different Being resilient Metaphor – guns/bullets for words Intertextual reference – Speilberg-esque

70. https://www.youtube.com/watch?v=CuEdncp5XfM

71. Take a theme each. Find a image/images that represent the given theme Analyse Media Language and Representation Use the theorists you have studies so far: Van Zoonen , Barthes Semiotics, Levi Strauss Binary Opposition, Todorov’s Narrative theory Intertextuality – Spielberg- esque

72. Intertextuality & Titanium

73. What is intertextuality? I

74. If audience does not get the references they can still understand the text. If audience does get them it flatters them, and they may feel in on the joke – another ‘pleasure of the text ‘ Intertextuality - meaning is given to a text by it referencing, knowingly, other texts

75. EG: The Beatles and The Simpsons - London

76. EG: Thank U, Next Intertextual references to 4 films : Mean Girls 13 Going on 30 Bring it On Legally Blonde In addition – she references Iggy Azalea’s ‘Fancy’ video Baudrillard !!

77. Titanium has intertextual references to Steven Spielberg films such as ET (1982) Close Encounters of the Third Kind (1978) Also in 2009 JJ Abrams directed a film which was supposed to be an homage to Steven Spielberg. The Film is SUPER 8

78. Spielberg's representation of the family The nuclear, functional family is often torn apart. Spielberg introduces the supernatural and extra-terrestrial into domestic, suburban settings. He comments on family breakdown: absent mothers / fathers and feelings of abandonment. Children that feel alone and isolated. Specify how this relates to Titanium

79. Recreation of Spielbergian early 80s suburban America in Super 8 and Titanium

80. Intertextuality: Steven Spielberg, JJ Abrams

81. Ryan Lee (actor) from Super 8 (2011) (produced by Steven Spielberg) During the summer of 1979, a group of friends witness a train crash and investigate subsequent unexplained events in their small US town. Using the same actor (Ryan Lee) helps enhance or even anchor the intertextual references in Guetta’s video

82. How does the music relate to the visuals? How do the lyrics relate to the visuals? What representations of age are constructed? Screen grab key shots and discuss aspects of the camerawork, lighting and mise-en-scene to support your points. Questions 1

83. Questions 2 What attitudes and values are represented? How are audiences positioned by the text? What effect(s) might the intertextual references have on meanings and reception of the text?

84. Who is David Guetta ?

85. Who is Sia ? Along with other songs, "Titanium" was pulled from radio stations in the US after the 2012 Sandy Hook Elementary School shooting. In 2016 Sia gave an emotional performance of the song to help raise money after the Florida shooting of 49 people in Pulse nightclub in Orlando .

86. Extend your understanding You can relate some of the ideas from these articles to Titanium : Spielberg - Close Encounters article Spielberg - children and bicycles Super 8 Article Stranger Things and Spielberg NB Stranger Things is one of our set texts next year

87. David Guetta Titanium

88. Style of Music Video David Guetta featuring Sia - Titanium Emeli Sande - Heaven Naturalistic Social realism – real life conditions Fantasy. Period cinematic fantasy Expressionism possible elements of post modernism and/or intertextuality

89. Style of Music Video David Guetta featuring Sia - Titanium Emeli Sande - Heaven Contrasts Lyrics desire to be better and lure of temptation V upbeat nature of song V gritty social realistic imagery Linear narrative Themes of alienation Expressionism – not naturalistic Intertextual references to Super 8 and Stranger Things

90. CONVENTIONS Performance Music Videos Soundtrack is primarily or completely the music track Expressive camerawork and editing mirrors the tone of the song, but conventionally aims fro movement

91. CONVENTIONS Narrative Music Videos

92. Viewpoints and ideologies in Media Language Music Video Viewpoints and ideologies How the Media Language incorporates these David Guetta Celebrates survival An immersive world created by high production values and narrative construction that encourages identification with the lead character and his quest to survive.

93. Emeli Sande

94. David Guetta

95. Social and Cultural Contexts Music videos reflect the changes in cultural context Before the internet – pop music was consumed by buying records or attending concerts. People had to go out and spend money to access music (except radio which was not playing popular music until the late 1960’s in the UK). Fandom was encouraged – especially cult bands and pop sensations for a mass audiences NOW music videos are freely accessible via YouTube/ Vevo etc Now there is a plentiful choice. NOW many video videos display contextual influences Celebrity Culture - how the performer is represented Multiculturalism – race and ethnicities are mixed (although some groups for example Asians are still lacking) Feminism – featuring women singers who also wrote their material ad are not sexually objectified in the videos Changing Attitudes to sexualities – to some extent – a range of gender identities are seen in some music videos

96. Postmodernism David Guetta’s video uses a loving pastiche (homage) of older films in order to create a self-contained fictional world that relates only on theme to the song it accompanies Titanium reflects the cultural prestige given to Hollywood film and the respect given to the film director in European, especially French culture. ( auteur)

97. Stereotyping and under misrepresentation David Guetta’s Titanium knowingly uses Stereotypes in an intertextual manner Childhood is stereotypes as a time of uncertainty and new discoveries in a mostly uncomprehendable adult world (a sympathetic stereotype) School is negatively stereotyped as a place of constraint – which mirrors the negative stereotypical representation of the forces of law and order By contrast cycling is a positive stereotype – as moment of freedom and escaping the restriction of adults (boy speeds past joggers) ALL Stereotypes that reflect a child’s view on the world. Gender stereotypes – female teacher and male police officers – reflect 1980s world in which the video is set Racial stereotyping – the only black character is in the SWAT team and in an otherwise white American suburbia

98. Discourses, ideologies and audience positioning

99. Take a theme each. Find a image/images that represent the given theme Analyse Media Language and Representation Use the theorists you have studies so far: Van Zoonen , Barthes Semiotics, Levi Strauss Binary Opposition, Todorov’s Narrative theory Intertextuality – Spielberg- esque

100. David Guetta/ Sia : Titanium What type of music video is it? (Performance, Narrative, Mixture) Is it a social realistic music video or post modern / intertextuality? Which of the music video codes and conventions does it follow/subvert What themes does it consider? (Use examples of action, lyrics etc to support your answer) How are the following represented: Youth, Conflict

101. Christmas Homework question MUSIC VIDEOS Compare the themes in two music videos you have studied (Heaven and Titanium). Analyse how each of them follow or challenge the codes and conventions of contemporary music videos? Compare how youth is represented in each? Use examples to support each point (remember your analysis writing table) You may consider: lyrics, media language (camerawork, mise en scene, sound, editing, performance), representation of socio-economic categories, gender, ethnicity Stretch and challenge: You could also refer to theorists we have studied so far (Van Zoonen , Todorov , Stuart Hall Reception theory, Levi Strauss’ Binary Oppositions etc )

102. The question: Q 2: [specimen] Explain one way in which music videos use media language to differ from each other. Refer to one example of contrasting media language in two music videos you have studied to support your answer AO1(1a) Demonstrate knowledge of the theoretical framework of media AO1(1b) Demonstrate understanding of the theoretical framework of media

103. References Rodgers, M. (2018) My Revision Notes: OCR A Level Media Studies , Hodder: London Heaven – How Media Language and Representation