How do I profile my audience

I used the YouGov site in order to develop my model above- many of the points that I felt were suitably applicable, I have used in order to depict a more in depth and sufficient description, fulfilling descriptive criteria both through characteristics and aesthetic. 

The audience that I would associate to Jens Lekman's 'An Argument With Myself', may be fairly wealthy or in a position of satisfaction in terms of living standards, when it comes to measuring their socioeconomic demographic; possibly placing them in the higher brackets such as C1, B or occasionally A. The idea behind this is that whilst a lot of my audience may be unaccounted for in this system as they may be younger, a large number of the audience will be of an older age- people who enjoy the nostalgic notions of Jens' music, with links to Paul Simon and Talking Heads. It is possible to link these type of listeners to a higher earning wage bracket as they are older and having been earning for longer.

I would also look at segmenting the market using the Channel 4 tribal separator. By using this I wish to target my younger audience by focusing on the 'hipster' tribe that is described by Channel 4. Their desire to be original and unusual may lead them to sway towards the retro vibes of Jens Lekman's originally Icelandic music. This way of profiling is quite effective for my music video, as a movement such as the 'Hipster' movement  seek to be original and quirky; of which I believe my music video is apt.

I don't believe that the Young and Rubicam method of profiling is that effective for my audience, because I believe that whilst my audience could come under aspirers due to their fairly creative nature, I also believe that success is a key part to different people within that audience, especially when looking at a more successful, elder bracket of people within them. 

Storyboard

How and why do media institutes profile audience

For an institution to make profits, it is important that they are targeting the right people- therefore institutions tend to segment the market and focus on fulfilling the needs of  more niche groups of people. The music industry in particular focus on this segmentation, in order to market to their correct potential listeners.

One way that an institution may segment a market is through creating assumptions based demographics, focusing on a person's socioeconomic position in society. This way of marketing can be effective in certain markets- for example, more high end media institutions may look at marketing towards a wealthier and more socioeconomically established group of consumers. The technique is easily measurable and can portray the links between disposable income and consumerism. However, especially in 2017, where most media is accessible by anyone, this structure can be deemed unhelpful, as it doesn't take into account the complexity of people's lifestyles. It also misses out a large chunk of consumers- people who aren't in full time employment for various reasons. Possibly one of the most predominate group of people would be teenagers and kids when looking at media consumers- these aren't accounted for in a socioeconomic demographic measurement. It limits the understanding of individuals whilst also making very broad assumptions.

Media institutions also tend to look at tribe or subculture models. In the past 50 years, youth subcultures have proliferated massively- this sees a whole group of people ranging from 55+ to below 16 who all have the large variety of cultures to associate with. Therefore the use of tribe models is very useful as most people have some sort of associations with said groups. Media is responsible for the development of these subcultures and some medias have strong links to cultures, where usually they become lifestyle signifiers. For example, music plays a massive role in cultural identity. With the punk subculture, music is responsible for the whole movement itself essentially. This model also allows for much more in depth segmentation of a market as it using these links in order to create these different segments. However it stills stereotypes people and doesn't allow us to specifically target individual demands that efficiently.

The use of lifestyle profiling is more efficient at doing this. Using YouGov's survey system, we are able to link together individual tastes surrounding specific products and the average person's similar likes. This allows us to take into account a more specific taste of media. Whilst subculture models allows us to take into account the stereotypical tastes of subculture groups, it doesn't allow us to visualise the complexity of individuals and their, not necessarily, labelled tastes. It also allows us to link together similar individuals who might have similar interests, and thus be interested in your media. However this method can sometimes prove ineffective- the survey system isn't necessarily always reliable as people don't follow average trends. Each individual has their own complex tastes that don't link to the average person's likes. It is also unreliable as some interests shown aren't actually an interest and more of something that may come up out of a person's lifestyle- for example, when looking at Peppa Pig, the average consumer was a 55 year old woman. This suggests abnormalities in the data and could be a hindrance when gathering data for segmentation in this way.

Young and Rubicam came up with a way of segmenting consumers- they suggested that consumers were split into 4 categories; mainstreamers; aspirers; succeeders and reformers. Although it takes a more in depth look at lifestyle rather than income, it still has a very vague category for people. People with completely different tastes may fall into the same category. Or with the proliferation in identity exploration, people may fall in different categories or may be in more than one.

Media Language Analysis

Discuss how narrative structure is used in 'Choreograph' by Gilligan Moss

The music video for ‘choreograph’ by Gilligan Moss utilises a linear structure which can be interpreted using Todorov’s concept of narrative. It only encompasses a three act structure. An equilibrium (the boy’s mind being distorted), followed by the conflict of him putting his earphones on causing the change into a disequilibrium, where he is proving a persisting annoyance to the family. The action builds up, adding more characters to finally climax at the point that he turns into an old man in the third act, the new equilibrium. The disequilibrium is his ignorance to the action around him, and this accumulation of the constant ignorance, with the addition of more and more characters, leads to the denouement of when he becomes the old man. The conflict of the boy without the headphones, in obvious mental pain, versus the friction it causes when he does have his headphones on means that the audience are awaiting a climax of the reaction of this friction. The ending rejects the normative structure of the family and instead breaks away from hegemonic family structures. Instead of conforming to the stereotypical reinforcements and ideals of family life, the boy zones out from that and lives his life in a rebellious and conflicting way. Todorov’s three act structure allows us to understand how the video creates friction and thus a conflict, and how we as an audience are constantly awaiting the product of such a conflict.

This message suggesting a resistance against dominant ideologies is shown through a metaphorical story, showing a stereotypically depicted family and a child who is obviously contrasting to that. The structure is fairly closed in how the story flows- we see the boy at a negative equilibrium, and he resolves it creating conflict with his family but has developed a new, more positive for him, equilibrium. We follow this story up front, however we are only shown the basics of the story. The ambiguity of time, setting and context suggests that as an audience, we are expected to piece together are own prologue and prior narrative to create an understanding of the action now. The circular elements within the linear structure give the impression that time is moving quickly, contrasted with the slow movement of the boy. The two contrasting paces make for a more ambiguous product and thus considering it a more open structure.

This video follows many of Louis Barthes codes. Although much of the video is proairetic, it also follows quite a symbolic code. The use of the headphones is fairly proairetic as it takes the boy from the equilibrium to the disequilibrium and conflict. However it also holds symbolic purposes as it suggests a less specific release of tension. It essentially portrays his rebellion and holds this image specifically but uses it to connote a larger meaning. Throughout, it is essentially following a proairetic code as it is each part is constantly moving the story forward, and apart from the beginning where we see the boy in distress, we are hardly following an enigmatic code- we don’t tend to ask many specific questions concerning certain parts. Although the use of an artificial set used as the back drop in addition to the use of multiple actors playing the same roles, evokes questions as to why, they are used as more of a progressor. The shots of the eggs being placed are used as a signifier of time. We associate eggs with breakfast and assume breakfast is had once a day- this suggests that one egg means one day. Therefore we assume a development in time which is also then reinstated when we see the boy having aged significantly with the large sum of eggs on his plate. These two concepts both suggest that the video is fairly proairetic.

The accumulation of eggs, showing a movement in time can be described as a narrative driver as it is taking us through time. It’s showing us a forward movement in the story, and showing us a development in the period that we are watching. The other narrative device is the headphones. It takes us from one section to the other. We start in a conflicting equilibrium which is resolved by putting the head phones on but causes a wider conflict and thus a disequilibrium within the story.

Theatre Influences

How do music videos interpolate an audience

How do music videos interpolate the audience from Charles O'Brien

Shot List

Timeline

Mood Board

Costume, Location, Props, Mise En Scene

Treatment

Jens has a long lost lover who he is still madly in love with but hopeless as to whether he will ever see her again.

Jens goes to live out his every day life, walking around the city. He lives a fairly solemn, lonely life but still upbeat. As he encounters different characters, he is given, or is reminiscing over different aspects of his relationship with her. For example, he is sitting in a taxi and pulls out a photo of her in remembrance of her. In another moment, he is given a flower by a man with a parrot on his shoulder, with the initials of the girl's name on. As he progresses through, he becomes more hopeless until he notices the girl on the phone standing right next to him. It's her. Whilst he composes himself, she's left and he has to chase after her. He does so and runs after her, tripping over something, falling to his knees. As he looks up she is there in front of him, smiling.

My influences will come from directors like Wes Anderson and Taiki Waititi. I want to also use a Brechtian technique of direct address so that the audience feel as though the characters are talking directly to them. I want to convey an unrealistic love story, in the sense that the story line I follow is fairly down to coincidence and fate, which can be seen to be supernatural. Therefore I want to create an obscure world where the actors and viewers are connected and where we feel the upbeat ecstasy of the song, whilst seeing the quite sad and isolated man's life in a more light-hearted comedic way.

What are the Uses and Implications of Genre for Producers and Audiences

What are the Uses and Implications of Genre for Producers and Audiences 

Producers use genre in a way to manipulate and simplify where and to whom their film will be exhibited. Genre is 'a kind if text that derives its form from the structure of a (frequently repeated) social occasion', says Gunther Kress, suggesting that a genre exists because of the repetition of certain techniques. This means that producers are able to exploit already popular techniques. An example of this is Mumford and Sons and folk music. Their use of banjos and a typical folk aesthetic, creates preconceived ideas of how people perceive them and their music. It automatically can be branded as a genre before the music is even heard. These codes and conventions allow for produces to control where their demand is directed. In superhero films, the producer has a pre-existing audience because people who enjoy the conventions of other superhero films know what to expect and they will watch the film because of the genre's previous success. As Christine Gledhill said, 'One advantage of genres is that they can rely on readers already having knowledge and expectations about the works within a genre.' Producers can also reap upon other producers, or other similar media's success. They can reuse and recycle successful ideas, casts, props, costumes, sets, etc. because they know that they have already worked and can work again- with this and 'the relative stability of genres' it allows for 'the producers to predict audience expectations.'

Audiences use genre to be able to understand what they like and where they would turn to when it comes to media choices. They also use it for identity purposes, where they can feel more resolute when part of a 'tribe'. Genre is a way of fulfilling audience demands by using pre-made ideas and conventions, 'helping any mass medium to produce consistently and efficiently and to relate its production to the expectations of its customers.', says Denis McQuail. However audiences also use genre to know where to steer away from. For example if they didn't like sci-fi films, they would know to not go and see a space film if it was to come out. This reinforces the tribalism behind the media industry and allows for more choice and understanding behind where people choose to focus their interests. When looking at genre, most of the time, the audience are able to feel stable in knowing what they are consuming, they know, contextually, what the media will contain.

Music videos use genre as a means of branding by challenging or developing upon genre conventions. They often use it to give them an edge over other artists, as it is hard to gain originality with such masses of competition. For example, Ed Sheeran uses a very Irish, Celtic aesthetic in order to distinguish him from other pop artists. His early music had strenuous links to Irish/Scottish musical culture and therefore he developed upon that sound with his look and his conduct. He used this as a means of differentiation from other artists when he came to penetrate the pop industry. Not only is this a way of gaining more attention because of his originality, nut he also is able to target a group that may not necessarily enjoy contemporary pop music, as pop is not the only genre to define him. Another example of doing so is Taylor Swift. She uses genre in a very volatile way in the sense that she is constantly changing or challenging genres and adapting upon genres. She entered the market as a folk pop singer, then she shifted to a more innocent movie star sort of performer and recently has lost her innocence and is trying to become more of a female icon showing strength and domination. These shifts can be linked to the constantly shifting opinions and popular media content. Therefore genre is also used in a way to exploit the movement of current social trends, and singers like Taylor Swift, Katy Perry, Chris Brown are all examples of people who have challenged the genres they associate themselves with or changed genres altogether, in order to follow the current trends of society.

What Can We Learn From

Applying Goodwin's Theory

Music Choice

This song, "An Argument With Myself" by Jens Lekman, was released in 2011. Jens Lekman is a signed artist, however after contacting him, he replied saying I am able to use the song as long as it is only for school purposes.

I chose this song because it has clear narrative elements within the lyrics and that opens doors to create a clear and definitive story line. Also the song has a very definitive beat which enables me to edit with much ease, as well as make my cuts look neat and fit accordingly. The song has a very upbeat, summery feel to it and it constructs a satirical story in which the character is essentially arguing with himself, whilst the music is quite fast and happy. This holds a contrast which can be depicted effectively, giving the lyrics meaning, but in a light hearted fashion. It's genre is fairly ambiguous, however Jens associates himself to an Icelandic genre. The song, aurally has links to Paul Simon's "You Can Call Me Al" which is all one shot, simply based on live performance. Another one of Jens' songs, "I Know What Love Isn't", is also a video based solely on live performance. Nearly all of his songs are all set on one setting. In one song, the whole video is set in a police car. Therefore, it would be possibly to achieve the same effect as he does, with a low budget.

After enquiring to use the song, Jens replied:

Lyrics:

Having an argument with myself down Elizabeth Street

Bumping into backpackers

And struggling with the parameters

And the basic construction of my feet

Kicking beer cans and rubbish along the concrete

Crossing the street and crossing galaxies

Of taxis and backseats and drunk suites

And half-Greeks

Shut up, no, you shut up

What's the matter, take a number, Buttercup

Every time I hear you say, "Fuck it"

I would remind you of the photo in your pocket

How long's it been there? Two years, I bet

Have a sniff, it smells like a cigarette

When was the last time you smoked a cigarette?

And more importantly, who did you smoke it with?

[Verse 2]

Having an argument with myself down Victoria Street

Passing the market

Now the windows neon illuminating my path to defeat

Your grinning face scaring a poor parakeet

Your heavy breathing, scaring the wind

So rich on summer and so sweet

Fuck you, no, you fuck you

You didn't come here for nothing, did you?

I know that's what you've been saying lately

But let me draw attention to exhibit B

Honeysuckle on a little plastic envelope

And put the flower underneath a microscope

See what's written on the petals

Look closer, that's her initials

[Verse 3]

And now I'm walking by Bev and Mick's

Backpacker hostel on Victoria Street

Where it's reggae night tonight

And the backpackers are pouring out

Like a tidal wave of vomit

I have to sit down on the curbside

And count the coins in my pocket

See if I have enough cash to take a taxi home --

No

Alright, Jens, can we just try to figure this out?

Can we just talk about this, please?

Nah, I don't wanna talk to you

Okay, you wanna keep fighting?

Yeah, I wanna keep on fighting

Alright, fair enough

1, 2, 3, here we go

[Verse 4]

Having an argument with myself down Queensbury Street

The lonely light from the town hall clock tower

The chime of the bells striking

1, 2, 3

And it took shape in the form of an image

In the form of a living memory

The way her shadow used to walk by your side

In a different time in a different city

Oh please, no, you oh please

I wanna see you drop down on your knees

Someone will see your hand waving farewell

Why you're hittin' yourself, why you're hittin' yourself?

History repeats itself twice, said Marx

First as tragedy, then as farce

But where did I find the source

To make history of a love, a love like ours

A love like ours

Potential Song Choices

1.    

• 1. 
• Good beat
• Tells a story 
• Summery 
• Simple style video to fit with genre
• 2.
• Starts very upbeat
• Style links to low budget
• Doesn't tell much of a story
• A bit boring- not much variety in dynamics
• 3.
• Mellow and relaxed
• Slower beat 
• Techno style 
• Not much of a story
• Interesting song
• Good beat and change in dynamic
• 4. 
• Good variety
• There's a story line
• Low budget genre
• Gets a bit boring
• Definite sections
• 5.
• Definite sections
• Interesting
• Room for experimentation 
• Interesting lyrics but not much of a story
• Very repetitive

How and why do different genres use performance and lipsync in music videos? What are the connotations and aims of the lipsync?

How and why do different genres use performance and lipsync in music videos? What are the connotations and aims of the lipsync?

Genres differ in how they use a music video to promote their product. For example a drum and bass song is very unlikely to use lip syncing where as a more wordy, indie song is more likely to use a simple lip syncing video. Budget is essential for the way that a music video is produced. For instance, Milky Chance- a small name at the time of the release, produced "Stolen Dance". The whole music video was set in one room with just him lip syncing, playing a guitar. This signifies the meaning in the song as well as provide an efficient service relative to the budget available. It suits the wordy, indie, mellow vibe of the song and it creates an authentic look to the already quite vintage stylistic song. In contrast a song like "Turn Down for What" by DJ Snake, and directed by the Dans (Dan Kwan and Daniel Scheinert), was produced with a much larger budget and therefore they were able to be much more experimental. Lip syncing is hardly used and instead the atmosphere is created through a weird story line in the music video. The use of lip sync is very relative to the genre and the accessibility of good technology. It also is used to level the piece of music with the audience and allow the artist to be related to more, allowing the audience to connect with the music more.

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