Wednesday, 4 October 2017
Thursday, 21 September 2017
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.
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.
Monday, 11 September 2017
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.
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.
Friday, 8 September 2017
Thursday, 13 July 2017
Friday, 7 July 2017
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: |
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
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