Editing began after filming. We decided that if we took more care with framing, the shots were far more effective, for example in the studio scene where it zooms out of clock to the inside the studio. Another thing was the mugging scene. It was supposed to be done during the day but ended up being filmed in the evening with poor lighting. For the editing, we used Final Cut Pro Package, which allowed us to add transitions, which we knew would appeal to our target audience. We had to digitize the images that we wanted to use onto the computer and discarded the ones we did not need. The editing consisted of the camera zooming in and out of the actors as well as different objects, and in order to make it entertaining, the performance had rapid cutting. To emphasise words like “keep on struggling” we cut to scene showing his struggle. The several different cut away shots helped create more of an ideological framework, where the scenario of what the actor was going through was realistic and true to life.
Other aspects of mise-en-scene provided to be difficult as well. For example we did not plan the schedule accurately so there was time to prepare for the finer details (costumes). This was disappointing, as it did not give the film the extra spark. We were forced to make many changes to the original storyline. This was due to a number of factors including shooting times, costume designs, availability of actors and set locations. I think we changed most of the set locations from the original storyboard so that we could finish filming in the specified given time. Overall I enjoyed working in a group for this production, even though there was minimal contribution from one of the group members it allowed me to learn to camera skills and how to edit, also made it easier to share responsibilities equally.
Critical Evaluation – Part Two
The process of music making and selling cannot be separated, and the rise of video promotion makes it clear that the relationship has always worked. There are now three types of music videos as stated by Frith (1983). One type of music video is performance which contains elements of dancing and lip synching, the other type of music video is narrative which contains linear or non-linear narratives and lastly conceptual videos which convey abstract images or idea that have no direct link to a song.
MTV was launched in 1987 and in 1975 the first music video that was broadcast was Queen’s “Bohemian Rhapsody”. Our video involved a linear narrative as well as a strong performance element; these elements were vital because they keep the audience entertained. Our introduction was ambiguous due to various cuts from black screen to a building and finally and office.. This poses an enigma (Barthes, 1977) “enigma code”, the enigma posed in our video is the anxiety Eric is faced with, the close-up of his face allows the audience to wonder how the two characters relate and what the contract is, that Eric was eagerly ready to sign. However, the answer to the enigma posed in our video, is that obstacles have to be overcome in order to succeed. The mixture of both narrative and performance allows the audience to remain curious and interested, especially when we have the shot of the clock, which is an action code representingt time passing and this is a significant element for the video. This particular action code also indicates that perhaps the protagonist is waiting for his opportunity at fame. The close- up of Eric’s face in the scene where he sees an eviction notice letter not only is it an action code but also emphasises the tension within the dis-equilibrium.
The audience our video is aimed at is an active audience who are ready to question the text. The theme of hardship provides the narrative element of the video and the active audience identifies with the protagonist, because the young man is the victim of the music industry’s deceit and their way of using vulnerable people, to thrive for what they essentially want.
To have poverty as a main issue in our video was a factor that was not to create a moral panic, but plant awareness for the audience of the distressing issues that occur daily (Frith, (1983) “Youth, Leisure, and the politics of rock 'n' roll”). This issue is not often approached in most artists’ promotional videos; it is unconventional to the usually light hearted and fictional R&B video, where money and the power that comes with it are flaunted. Also the mise-en-scene of the key shots was vital, for example in our video Eric (main actor) mugs a girl, this not only connotes how desperate he is, to get money to accomplish his ultimate dream of fame. Also it is in contrast to the conventional materialistic music video theme.
In our video we used realism as a style, instead of the conventional escapism and it ties in with Goodwin’s framework (1993) analysis, for example during the mugging scene the audience is aware that, even though he feels it is wrong to result to such measures, he has no choice and has to do what he has to do, his facial expressions connote his sadness. The entire video is filtered in black and white; representing a flashback of Eric’s story from rags to riches, it is gritty and naturalistic which connotes realism in more depth. Camera angles varied, but consisted mainly of close-ups and mid-shots, this allows the audience to understand the narrative clearly. The establishing shot is of a building, and is followed by several close-ups and mid-shots, which connote the intense emotion between the agent and Eric. This also denotes Eric’s frustration towards the situation, and he coverts the fame that is denied him. The clothing of the agent in this scene is formal to emphasise, that the relationship between the two characters is strictly business.
The lighting and clothing that Eric wears in the mugging scene, is dark which might connote malignant behavior, Levi Strauss (1949). The editing is conventional when the mellow music is more prominent in the video the shots are more gradually cut and dissolved. The editing is also connected to the message, fast paced at the dramatic sequence when the protagonist is stealing. The cuts of Eric in the recording booth and the dancing shot, is repeated in both of the choruses, we superimposed the text to explain the images, and create an impact which allows the audience to enjoy as well as understand the video. Towards the end of the video the editing is slower; one significant scene is when the camera zooms out of a clock into a recording studio.
His suffering takes place in his flat, which he is going to get evicted from. The black and white effect for the entire video sets the mood for his melancholic life, particularly so when it is juxtaposed with shots of him in a booth. Reality conflicts with the ideal dream, a concept portrayed with structure and narrative. The protagonist is in despair and results into stealing; we show the chain of events that led him to such measures. Maslow's Hierarchy of Needs (1940) can be applied to our text; he states that we must satisfy each need in turn, starting with the first, which deals with physiological needs. For example in the first scene he has been refused a record deal, because of the lack of funds. We show this scene to reinforce how society tries to suppress people that don’t have money and showing them to being inferior helps illustrate the narrative. By the end of the video, Eric is leading towards self-actualisation. It should receive more airplay and general interest from an audience who are awoken by a bold narrative that is presented in our video.
Critical Evaluation - Part Three
My case studies helped me construct many of my ideas for my own video, the performance is usually lip-synched which also provides anchorage, and the video is a chance for the artist to show who they really are, and in the case of "Tyrese", what he stands for. From the case studies, I noticed re-occurring elements within all four videos. In order to make our video enjoyable to watch we had to incorporate many of the following technical elements that we could apply to our own production, but particularly focusing on performance and the narrative structure.
Our video had a linear narrative. Usher is the name of an artist produces a similar genre of music (to our artist Tyrese), whereas Tyrese is signed to “J Records”. Usher would be a direct competitor of Tyrese due to their similar styles, similar record labels and target audience. Both artists rely on other methods of promotion such as doing roles in blockbuster movies, which aid their overall publicity.
In Usher’s video (Confessions II) there are many wide shots and fast cutting rate from scene to scene, we incorporated this into our own video by making quick cuts from narrative to performance in order to maintain a fast pace and to help generate excitement. From my case studies (Dilemma, Senorita, Fill me in Confessions II), I developed ideas of how to mix narrative and performance (Frith 1983). Usher’s “Confessions II” was the most influential, therefore by having similar representations in his video like in ours for example the use of close-ups and cuts used in our video emphasising Eric’s frustration, an example of this in our video is a close-up of Eric’s face before he mugs from the girl. The pace of our video is fast for example in the chorus where the actor expresses most of the frustration; the camera zoomed in and out as we felt that we wanted the audience to feel as if they were part of the video. Usher also uses this aspect for his video, to only signify his emotion, but also indicate he is the main focus of our video, and in our case helps reinforce Eric’s authorage. Our video creates a new representation for our artist Tyrese, because we used themes he never uses in his own videos, mainly because as an R&B artist he uses themes of romance. We deliberately chose not use auteur style, because we wanted to focus on specific authorage of the artist, and the clear sets of values.
The camera imposes on the audience to focus on his characters anxiety and emotions, for example the close ups in the chorus where he has sat down on the sofa after looking at empty fridge, this emotive facial expressions express he is in despair. Our video provides a fresh bold awakening for the audience as to what is going on in the world; such an approach can be described as the Uses and Gratifications theory (Blumler and Katz, 1974), they state that a media user seeks out a media source that best fulfils the needs of the user. Reinforced by my feedback from the focus group, I learnt that the audience enjoys watching things that deal with others problems, it helps draw them in, and a sense of personal identity for members of the audience was achieved, exploring their personal problems having viewed the R&B video's polysemic approach. The journey that the audience experiences during our unconventional pop video, results in self-actualisation for audience members, an element at the top of Maslow's hierarchy of needs. There is a realisation of self-potential for the audience, having compared their own life to that of the male protagonist in our video. This approach is also used in the promotional video for Usher “Confessions II”; an impactful video from the alternative dance act, it deals with elements of lost love and regret of losing the love of his life, using empty and dark mise-en-scene expresses his sadness. Played on music channels in the run up to its release in 2004 it became a no.1 hit, now there are channels such as MTV base, KISS and Box, that would be suitable for the genre of music that “Taking Forever” falls under, on which R&B videos can be viewed by target audiences.
These examples of the totally contradictory readings of the same programme item provide us with the clearest examples of the way in which the “meaning” of a programme as a “message” depends upon the interpretive code which the audience brings to the decoding of the situation, Morley (1993). Our R&B video is essentially about suffering and a subsequent escape. This theme is approached boldly, with the use of many symbols to represent release. Morley's theory can be applied, therefore to the R&B video, for it is these shots that can be translated in a number of ways by the audience. The use of narrative is an unconventional approach for a promotional R&B video, particularly when each element of the real and surreal contradicts one another. Though we used conventions of having the walled reality as black and white and having the escape in colour at the end allowed the audience to clearly identify what the protagonist deals with and what he yearns for in his mind. To maintain audience satisfaction we involved what may be described as “aesthetically pleasing” aspects, this was reinforced by my feedback. By co–operating the unconventional social statement with the conventional need for eye satisfaction, for example, editing the camera angles to the beat of the music.
As stated by Roe and Lofgren (1988) stated that music videos are similar to radio, where the sound is more important than the visuals, audiences view music videos in secondary mode whilst attending to other things, e.g. eating. To sell music videos, some male artists promote sex through the way they dress e.g. Usher “Confessions II”, he takes off his vest in the video. In our video we promote entertainment by giving Eric control over the screen and at the same time appeal to our target audience, music video audiences are mainly adolescents and young adults as they are frequent viewers, and whilst conducting my focus group, I found this to be the case as the participants were adolescent and young adults. The audience endures some suffering through empathy for our male protagonist and subsequently shares his elation and sensation when in the openness and natural environment.
If the song is successful and requests for the R&B video's viewing prove to be of a high rate then this results in a profit-making institutional-consumption paradigm. This will be an accomplishment for we will have fulfilled one of the main objectives behind the promotional video, to successfully promote the song, consequently gaining profit. Of real achievement is the product itself, it is a polysemic presentation of alternative ideology. It alternatively contains a narrative but unconventionally this narrative is led by the addressing of a bold topic of poverty and the entrapment associated with money.
