IN WHAT WAYS DOES YOUR MEDIA PRODUCT USE, DEVELOP OR CHALLENGE FORMS AND CONVENTIONS OF REAL MEDIA PRODUCTS? Milo Marshall

CONVENTIONS OF GENRE AND MUSIC STYLE  The genre itself could be linked between grunge and rock; this gives me a lot of free reign in how to present the music video. The genre aspect allowed me to change fonts, animation styles and backdrops for the video.  If I apply Goodwin’s theory only a few of parts of said theory apply to a animated typography video. However, of those, the second step of “Thought Beats” links in to the tone of the music helping my audience to identify the tone of the video to the artist.  “Relation of Visuals to the Lyrics” is a huge part of the video as the entire video is relating the lyrics to the connotation of the lyrics itself as well as the tone, speed, and intensity of the music at that given point. I would use a variety of animations, fonts and transitions to send the tone of the music through into the video, to then reach the audience.  “Technical Aspects Of A Music Video” would also apply to my music video a great deal as the entire production of the music video would take place inside an editing program with no film being shot; the editing, mise-en-scene, and special effects are large parts that apply to my music video from the theory.

PRINT ADVERT Release Date Venues Platforms available on Record logos Key Signifier Anchorage

PRINT ADVERT  Layout – The layout of the advert followed a vertical pattern where the audience grabbing image was located at the top central portion of the poster. This covered a large expanse of the poster to not only become eye-catching for the audience, but to represent abstract, grungy connotations which can then be linked to the artist.  Venues and dates made up the majority of the poster so it was an effectively practical poster as well as being graphically artistic. The glitch effect that was a dominant overlay for the background of the poster worked symbiotically with the abstract shape that sucked the audience in, to which the effect gave the connotations more depth.  All the record label logos were included at the bottom right hand side where they were visible, but not over-bearing. I reduced the opacity of these logos to aid this style.

PRINT ADVERT This is an example of a poster for the artist TV On The Radio themselves. This abstract design shows the continuity I am trying to keep with artist identity. Their poster features very little direct address, and no social links or slogan. The band are entirely focused on the music itself and its connotations. They want to focus on artist image more than what they would be telling their audience; so much, that they have filled the entire poster with artwork that just gives an abstract interpretation of the artist’s music.

DIGIPAK My digipak design featured “cut-out” designs of previously taken photos. The photos were edited within Photoshop to change the colour to a black and white variant whilst simultaneously altering their style to appear as though drawn with a pencil. I feel this style sticks to their earthy nature as well as giving a style that I feel is not often found in the majority of artists’ digipaks. The record label logos are included on the back of the album, as shown on the right. They too, like the poster, have had their opacity reduced so as to keep them visible but not an eye-sore. The font style used is that of what could be interpreted as a chalk scrawling associated with insanity, or intangible ideas. Thus is often noted with TV On The Radio’s lyrical messages. The font however was not my own, but was labelled for personal use, meaning that for this non-profit, and educational project I was legible to use it. Album Front Album Back

DIGIPAK  Barthes Codes  Enigma code – In my Digipak I have used the Enigma code to allow my audience to question the band itself, as well as the cover of the digipak. One of the ways I have implemented this was by having a song cover the eyes of the band member to give him a more mysterious impression.  Symbolic Code – In order to use the symbolic code to greatest effectiveness, I changed the colour of the photos I used to a black and white variant. This helped shape the idea that the band had stayed true to its older roots, appealing to an older audience; whilst the animated video appeals to a younger audience. I had also increased the white levels to help the band member pictured on the back cover appear to be the light surrounded by darkness. They convey the message that stands visible in the vast pool of other messages that fall into the depths of the immaterial.

MUSIC VIDEO  My music video retain the surrealist convention that TV On The Radio are famous for to aid artist recognition. The first third of the music video was entirely animated to show the representation of the written word to drive home the power of the song’s ideals; where the remainder showcases a conceptual/narrative filmed section that shows a normally negatively viewed activity in a neutral light. This leaves audiences free to create their opinion about the video, song, and artist.  The representation of gambling and financial gain is shown with the background song of the “spreading evil” narrative of the song, but the video is showing an opposite to this creating antithesis as well as a piece that shows the value of choice over that of society telling you how to do things.  Link to Music Video: