Website Complete (Ancillary)

Below is the link to our completed band website. This is part of our ancillary work, worth 10 marks. We designed the website using Wix.com.

http://callumhind95.wix.com/thekinksa2media

Evaluation: Question 3

Evaluation: Question 2

Digipack Album Work Complete (Ancilliary)

Below is a 'Vine' video presenting our completed ancillary work.

Made on the mobile Vine application 'https://vine.co/'

Evaluation: Question 4

Evaluation: Question 1

In what ways does your media product use, develop or challenge forms and conventions of real media products?

Codes and Conventions of the forms of media products are what the audience expects to see. Commonly used within genre's and subverted sub genre's, by demonstrating ideologies specific to the text. In terms of our own media production work; the music video to The Kinks- All Day and All of the Night and it's ancillary products (Website and Album front cover/ back cover and insert); our products challenge and also develop the forms and conventions of real media products, by showing links to content already in existence within the music industry.

Goodwin's Theory in Relation to our Music Video:

Genre Characteristics:

Previously, within 'All Day and All of The Night's' original era (1960's), the song would have been classed as 'pop' music, attracting a mass audience. Now however, this genre of music would be considered more of as indie/ rock genre, attracting a niche audience compared to its previous popularity. It is important to make note of the fact that we constructed our music video in a 'pop' style genre, rather than rock; in order to make reference to the 1960's era. For example, no instruments are shown within the music video; instead the band members are at times singing individually, also as a group; making similar links to a modern boy band, rather than a typical rock band.

A smart 'suited and booted' dress code is apparent for our clothing choice. The Kinks themselves and bands similar, such as The Beatles would have commonly been seen wearing similar attire, as this was what was considered popular within the 1960's era. We therefore attempted to mimic this style, reinforcing the old fashioned 'pop' genre, but with a modern twist.

As we were aware of the 1960's style throughout the planning process, we had predetermined ideas of the 1960's 'pop' image; so therefore we incorporated these ideologies into our media production to demonstrate homage to the 60's and in turn develop the conventions of this style into a more modern media piece. For example with Jem (main band member) using Usain Bolt's signature pose within one of the shots, it makes clear references to a modern idol. We have therefore used a pastiche style, by combining influences from different time period's, contributing to the fact we have challenged forms of 60's media productions.

Lyrics and Visuals:

The title, stated within the lyrical chorus, 'All Day and All of The Night' suggests that the band members are trying to win over this girl around the clock 24/7. This in turn strengthens the narrative. Illustrative links between the lyrics and visuals are made throughout as the visuals presented within the narrative suggest that the main band member wants to get this girls attention and be with her. The lyrics reinforce this with utterances such as, 'Girl I want to be with you all of the time' and 'I believe that you and me last forever' that are shown to be repeated, linking to Vernallis's theory of narrative.

Music and Visuals:

Jump cuts are used, edited in synchronized timing with instrumental beats to the song. This demonstrates a clear amplified link between music and visuals as the editing has been done precisely in time to the music phrases. This develops typical conventions of a rock music video as the camera editing cuts are usually fast paced and repetitive to the song; as demonstrated within our jump cuts.

Motifs (Visual Style), Demands of Record Label:

Close up's of all three band members faces are frequently used throughout. The close up, 'Selfie' style tracking shot at a high angle is a good example, presenting all three band members as they walk. This emphasis on each band member provides individual identification and band recognition, contributing to the marketing. This is a typical demand of a 'pop' band's record label, showing that we are challenging conventions of real media products by doing so within our iconography.

Notion of Looking:

The previous point referring to the 'selfie' close up of the band members, also makes links to the notion of looking. This is because the main band member is presented to be looking directly at the camera, in turn at the audience, creating a visual bond.

The low angle tracking, two person shot of the girl (Georgia) walking from her perspective in the foreground, and Jem watching her in the background against the wall, makes reference to the notion of looking and therefore linking to Laura Mulvey's 'Male Gaze' theory; through voyeuristic treatment of the female body. The camera purposely lingers on her legs, to increase her sexual appearance. We are developing ideologies of women's sexual appearance in music video's within this scene to gain male and also female attention, as Jem is shown to be watching her through an eye line match, reflecting a typically male audience off screen. Women are frequently shown to be presented in a sexual way in modern day 'pop' music videos, so therefore we thought it would have been appropriate to include this in a more subtly way, to demonstrate a post feminist view. And to reinforce the ideologies that 'sex sells' in modern marketing techniques.

Intertextual References:

The Universal TV leader (Countdown at the beginning, alongside radio 'crackling' effect) is used at the beginning to make reference to the old fashioned style we were going for linking to the 1960's era. This effect was used typically at the beginning of black and white movies, when film began to take off within the media industry. We reinforced the ideologies of black and white film by following onto the next scene as the girl presented is listening to the radio. This develops older conventions of media, by incorporating it into our modern take of a music video.

Clipped tones of a 1960's style radio presenter are used within the dialogue at the beginning, to introduce the song. Linking back to my 3^rd music video textual analysis of The Beatles- Words of love, a similar effect is used within that modern music video take of an old song. We decided to therefore include this within our own media piece, as although it makes reference to 1960's representations, it also challenges modern forms of media conventions.

Vernallis's Theory in Relation to our Music Video:

Linking to Vernallis's theory of music video editing, she states that the editing breaks all rules of continuity. Our music video therefore agrees to a certain extent with this theory, as although continuity is presented at certain points in conjunction with the narrative, we break the continuity by including jump cuts within the instrumental demonstrating extreme changes in pace, also cutting to the lyrics, therefore disrupting the conventions of continuity editing. This style of editing is typical for music videos in the rock and 'pop' genres, showing that we are developing these conventions through our own editing techniques.

However we contradict/ challenge part of her theory as she states narrative doesn't usually have a clear ending or resolution to the narrative. In our music video we do however have a clear ending to the story line, as it's simplistically shows that the girl, that our main band member had been trying so hard to attract, had in fact another lover; which is demonstrated by the tracking shot of the couple walking away from them at the very end. This ideologies of our narrative had been constructed for the audience to clearly understand what was going on. Many music videos follow this 'filmic form' as we did, showing that we elaborated from an existing form of media product. Linking this to Chandler's narrative theory. the fact we included a structure with a simple plot, consisting of conflicts within the narrative between two characters elaborates the fact that this music video is of a 'pop' genre.

Our Album Work (Ancilliary Products):

Our album front/ back cover and insert work all adhere to forms and conventions of real album products by including typical features that are expected for industry standard. The typography demonstrates a clear sizing hierarchy within the album; as the Band logo and album title are presented significantly larger than any other text. Along with the contributing factor that all three band members are shown to be enlarged on the album front cover, it emphasizes that they're the centre of attention and most important, contributing to the band identification. 

The insert includes individual photo's of each band member to increase promotion and marketing. Along with the personal message included from the band, this is done to attract to their fan base by appealing to them with a well natured approach. This is a typical feature within album products, as it allows 'pop' artists to reach their fans on a more direct and personal level, usually in order to thank them. Our back cover and insert also follows typical conventions as we've included standard industry features such as track list, record label, bar code, QR code to the website (Creating synergy), external industry logos such as Spotify and Itunes; as well as essential information such as piracy terms, copyright and record label information for legal requirements. 

I think it's important to make note of the pragmatic links between the front and back cover imagery; as the girl is shown to be looking back at the band members, contributing to the mise-en-scene. This is because although it is apparent to the band members she is ignoring them within the music video, or doesn't in fact know they're there; the back cover suggests she's fully aware that they're interested in her, as the photography demonstrates an over the shoulder shot from the girls perspective looking back at the band members. These indirect links contribute to the technicality of the text.
 

Our Website:

The website, created on the flash generator website maker Wix.com, does also challenge conventions of real media products. This is because although only a front cover is a necessary requirement for the ancillary product, we decided to include additional pages appropriate, such as an 'enter site', 'video', 'gallery', 'store' and 'sign up' page; demonstrating Web 2.0's interactivity. As social networking is key to real life music marketing, it was essential we included links to external sites such as Twitter and Facebook, in order to promote greater accessibility for fan communication.

Like on our album products we also included links to sites such as Spotify, Itunes and Amazon on our 'enter site' page. This is a good example of challenging real life conventions as this would be done to encourage sales and increase profitability. To demonstrate the websites multi-modality we included a slide show of our album images alternating, linking to the text below stating 'The new single PARODY out now'. 

A 'News & Updates' information column and 'UK Tour List' column has also been included additionally to develop forms of media products with a sole purpose to keep the audience informed on key information. This is demonstrated on every band website I’ve seen within my research, reinforcing that our media product is challenging modern forms of real products, by containing key industry features throughout.

Callum Hind.

Why we included an external actor

We decided to include an external actor on our third attempt filming, simply to strengthen our narrative. We asked a friend of ours, Tom Parkinson to help us out with the acting. Tom's role consisted of playing an antagonist role, from the main character/band members Jem's perspective; as he is considered the protagonist. Although Jem is portrayed as the archetypal character initially to sweep the girl of her feet; the girl however in this instance isn't interested in Jem and instead has eyes for another person, Tom. Tom has been included for overall dramatic effect, taunting Jem throughout the music video. This strengthened our narrative by making it more exciting for the viewer.