Sunday, 10 April 2011
Thursday, 7 April 2011
Evaluation Question 4
4. How did you use new media technologies in the construction, research and planning and evaluation stages?
Question 4
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Wednesday, 6 April 2011
Evaluation Question 3
3. What have you learned from your audience feedback?
First Draft of Music Video
What worked well about our Advanced Production?
Ancillaries
"...artistic and sophisticated..."
"...eye-catching..."
"...look real..."
"...good to look at..."
"...convey his independance..."
Music Video
"...keep audience entertained with fast paced editing..."
"...amazing use of green screen footage..."
"...female character convey post-feminist traits..."
"...varied camera shots..."
"...varied locations..."
"...narrative is clear..."
"...convincing performers..."
What didn't work well about our Advanced Production and what could be improved?
Ancillaries
"Inlay text covers image..."
"Use different Inlay images"
Music Video
"...slow down the rate of some edits..."
"...smoothen up the lip-synching..."
"...smoothen up some of the outlines around some of the green screen performance..."
"...shoe walking bit a little jaggedy to look at. Fix up pace."
"...replace some of the green screen footage at beginning, breaks pace."
"...needs a stronger running motif..."
After the intial feedback process from the presentation evening and our peer assesment we came to a conclusion that there was still a bit to do. We fixed up the music video by adding additional scenes and fixing up lip-synching among other things. The Inlays got a complete re-vamp and look completely new. I learnt that it was necessary to keep a stronger consistency between the Ancillaries and Video. The video is described as "artistic" and we wanted to keep that same style throughout the ancillaries which meant the feedback was essential towards the finishing touches. I learnt a lot from feedback, that many people can different interpretations out of one thing; different people like and dislike different thing too. Feedback allowed us to refine all those comments so that our production could work well for the majority.
Final Draft of Music Video
First Draft of Music Video
What worked well about our Advanced Production?
Ancillaries
"...artistic and sophisticated..."
"...eye-catching..."
"...look real..."
"...good to look at..."
"...convey his independance..."
Music Video
"...keep audience entertained with fast paced editing..."
"...amazing use of green screen footage..."
"...female character convey post-feminist traits..."
"...varied camera shots..."
"...varied locations..."
"...narrative is clear..."
"...convincing performers..."
What didn't work well about our Advanced Production and what could be improved?
Ancillaries
"Inlay text covers image..."
"Use different Inlay images"
Music Video
"...slow down the rate of some edits..."
"...smoothen up the lip-synching..."
"...smoothen up some of the outlines around some of the green screen performance..."
"...shoe walking bit a little jaggedy to look at. Fix up pace."
"...replace some of the green screen footage at beginning, breaks pace."
"...needs a stronger running motif..."
After the intial feedback process from the presentation evening and our peer assesment we came to a conclusion that there was still a bit to do. We fixed up the music video by adding additional scenes and fixing up lip-synching among other things. The Inlays got a complete re-vamp and look completely new. I learnt that it was necessary to keep a stronger consistency between the Ancillaries and Video. The video is described as "artistic" and we wanted to keep that same style throughout the ancillaries which meant the feedback was essential towards the finishing touches. I learnt a lot from feedback, that many people can different interpretations out of one thing; different people like and dislike different thing too. Feedback allowed us to refine all those comments so that our production could work well for the majority.
Final Draft of Music Video
Tuesday, 5 April 2011
Evaluation Question 2
2. How effective is the combination of your main product and ancillary texts?
Question2
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Wednesday, 30 March 2011
Evaluation Question 1
1. In what ways does your media product use, develop or challenge forms or conventions of real media products?
Our Music video contains a mixture of narrative, performance and concept. It harbours elements of performance as it features the dancing from our actors in a various shots and clips throughout the video. Many R&B videos feature such a performance technique, take for instance Dru Hill’s song In My Bed – a mainly performance based video - which features its artists as backup singers as well as dancers. The artist in this video seems to have direct interaction with the camera through the use of close-up shots of him singing. This is to suggest he is singing to the audience and keeping them closely engaged throughout as a means of direct address. This is also a performance technique we used with our music video. Therefore you could argue that our music video is conforming to the conventional R&B videos.
Ways in which our video incorporates narrative is through the vast array of locations we filmed and the interaction our two main characters had and the settings they were in together. Our narrative can be summarised as basically consisting of our two main character’s Jamal and Sarai going out to a party together – as friends to start off with but within the party their relationship deepens and they start to develop feelings for each. Setting out to incorporate the themes of love our narrative portrays this well. We explore this with a variety of different camera angles; Close-ups for facial expressions and mid-shots of the couple together during the party scene.
Take Ne-Yo’s - Because Of You for instance which displays a similar style of narrative to ours. It doesn’t break any boundaries and again conforms to your traditional R&B style of music video which is direction we wanted our music video to take.
One way we subverted the R&B genre is by the way we represented our performers Jamal and Sarai. Both of them seem to be very equal in the relationship (shown at the beginning with the split screen effect we used) Not only through editing but in the way they interact with each other. They are very mutual and understanding of each other and no-one really tries to take a lead in the relationship showing the equality they share and thus subverting the typical R&B music video style which usually tends to show the dominant character being played by the male. 50 Cent’s P.I.M.P is a good example of this showing scenes of the several women in his room massaging him which shows the dominance he has over them which also a reference to the title of the song P.I.M.P. pimps usually described as men who objectify and treat woman disrespectfully.
Another way in which our music subverts conventional music videos is the stance it takes on its running motif. The title of our music is called “Right on Time” therefore we wanted the theme of time to somehow be placed within the video. Therefore we have superimposed images of time-lapsing clocks over the first chorus/verse and before the club scene as way of keeping with the narrative from the start of the video -> “I’ll be there right on time” a key line our main performer Jamal says to Sarai on the phone before he leaves for the party. This is definitely a feature we thought we contribute to our music video branching off your traditional R&B style.
Another way in which we feel we subverted the R&B genre is the choice of placing text in and around our video. This we believed was a tool for referencing Post-modernist ideals thanks to the many textual analysis we did during our research and planning stage. Videos such as Lady Gaga’s Paparazzi used this technique as homage to classic Hollywood films and making her video beginning seem almost like a film opening with the incorporation of credits in the beginning therefore blurring the lines between film and music video creating the now known cinema verite effect. Examples of R&B videos using such a technique can be seen in the song ‘You’ by Raheem DeVaughn. It may not be to the same style as Lady Gaga’s but still uses the technique of intertextuality in the music video which is something most R&B music videos do not use therefore this was a brilliant way for us to branch the boundaries in our music video with these references to work from.
The green screen footage is a big part of our music video and it was an essential part in bringing our music video together. All of the green screen footage we incorporate into the video is performance based. It isn’t common to see green screen effects in R&B music videos but it certainly isn’t non-existant either. We used it to break-up our music video, show off our editing skills and to coincide with the music’s catchy beat. Take for example For My People by Missy Elliot. This music video is entirely shot under green screen and becomes classified as a performance music video because of this. These are the types of performance shots our music video adhered towards. I still consider this a form of subversion however as it is very rare to see R&B music videos with green screen performance footage these days as it is mostly shot on location now.
Clothing is also another important feature that our team had to work on. We didn’t want to branch too off track and be completely subversive. It was necessary to keep at least much of the mise-en-scene within conventions. The clothing picked for our music video is very stylish and very casual. We don’t want them to over-dress to a party. Our target audience is generally around 14-25 so being a fairly young target audience range it’s necessary to keep at least the clothes casual so the audience can relate and not be deterred. Audiences see it all the time in magazines with their favourite celebrity wearing stylish and fashionable clothing. Without going too overboard we wanted to stay in that line of thought making the character look stylish and be still believable and not too rich looking that they become unrelatable. With Sarai however it was different story. We wanted at least a running trend to reoccur throughout the video. One of the ways we do this is by having her wear a red dress. Red is colour signifying love and/or lust. It’s one of the key themes we truly wanted to establish within our video and we do this with her costume.
Setting is also another key area we wanted to keep within the R&B convention. The majority of our music video is shot in a club/ party atmosphere setting. This is definitely a trend seen in a lot of R&B music videos. I mean take for example Usher’s Yeah. This entire club setting is exactly the type of style we were going for with our own music video. Dark room, lots of people, strobe lights, backlighting, loud music, close-ups of dancing, long shots of entire crowds dancing – are the sort of things you’d generally see in a club and R&B music videos such as these love to re-enacted these clubs as a way of glorifying them and making them seem like a fun place to be. Our narrative doesn’t deter from this ideology of basic fun and having a good time and is definitely a method in which we conformed to your traditional conventions of R&B music videos.
Our Music video contains a mixture of narrative, performance and concept. It harbours elements of performance as it features the dancing from our actors in a various shots and clips throughout the video. Many R&B videos feature such a performance technique, take for instance Dru Hill’s song In My Bed – a mainly performance based video - which features its artists as backup singers as well as dancers. The artist in this video seems to have direct interaction with the camera through the use of close-up shots of him singing. This is to suggest he is singing to the audience and keeping them closely engaged throughout as a means of direct address. This is also a performance technique we used with our music video. Therefore you could argue that our music video is conforming to the conventional R&B videos.
Ways in which our video incorporates narrative is through the vast array of locations we filmed and the interaction our two main characters had and the settings they were in together. Our narrative can be summarised as basically consisting of our two main character’s Jamal and Sarai going out to a party together – as friends to start off with but within the party their relationship deepens and they start to develop feelings for each. Setting out to incorporate the themes of love our narrative portrays this well. We explore this with a variety of different camera angles; Close-ups for facial expressions and mid-shots of the couple together during the party scene.
Take Ne-Yo’s - Because Of You for instance which displays a similar style of narrative to ours. It doesn’t break any boundaries and again conforms to your traditional R&B style of music video which is direction we wanted our music video to take.
One way we subverted the R&B genre is by the way we represented our performers Jamal and Sarai. Both of them seem to be very equal in the relationship (shown at the beginning with the split screen effect we used) Not only through editing but in the way they interact with each other. They are very mutual and understanding of each other and no-one really tries to take a lead in the relationship showing the equality they share and thus subverting the typical R&B music video style which usually tends to show the dominant character being played by the male. 50 Cent’s P.I.M.P is a good example of this showing scenes of the several women in his room massaging him which shows the dominance he has over them which also a reference to the title of the song P.I.M.P. pimps usually described as men who objectify and treat woman disrespectfully.
Another way in which our music subverts conventional music videos is the stance it takes on its running motif. The title of our music is called “Right on Time” therefore we wanted the theme of time to somehow be placed within the video. Therefore we have superimposed images of time-lapsing clocks over the first chorus/verse and before the club scene as way of keeping with the narrative from the start of the video -> “I’ll be there right on time” a key line our main performer Jamal says to Sarai on the phone before he leaves for the party. This is definitely a feature we thought we contribute to our music video branching off your traditional R&B style.
Another way in which we feel we subverted the R&B genre is the choice of placing text in and around our video. This we believed was a tool for referencing Post-modernist ideals thanks to the many textual analysis we did during our research and planning stage. Videos such as Lady Gaga’s Paparazzi used this technique as homage to classic Hollywood films and making her video beginning seem almost like a film opening with the incorporation of credits in the beginning therefore blurring the lines between film and music video creating the now known cinema verite effect. Examples of R&B videos using such a technique can be seen in the song ‘You’ by Raheem DeVaughn. It may not be to the same style as Lady Gaga’s but still uses the technique of intertextuality in the music video which is something most R&B music videos do not use therefore this was a brilliant way for us to branch the boundaries in our music video with these references to work from.
The green screen footage is a big part of our music video and it was an essential part in bringing our music video together. All of the green screen footage we incorporate into the video is performance based. It isn’t common to see green screen effects in R&B music videos but it certainly isn’t non-existant either. We used it to break-up our music video, show off our editing skills and to coincide with the music’s catchy beat. Take for example For My People by Missy Elliot. This music video is entirely shot under green screen and becomes classified as a performance music video because of this. These are the types of performance shots our music video adhered towards. I still consider this a form of subversion however as it is very rare to see R&B music videos with green screen performance footage these days as it is mostly shot on location now.
Clothing is also another important feature that our team had to work on. We didn’t want to branch too off track and be completely subversive. It was necessary to keep at least much of the mise-en-scene within conventions. The clothing picked for our music video is very stylish and very casual. We don’t want them to over-dress to a party. Our target audience is generally around 14-25 so being a fairly young target audience range it’s necessary to keep at least the clothes casual so the audience can relate and not be deterred. Audiences see it all the time in magazines with their favourite celebrity wearing stylish and fashionable clothing. Without going too overboard we wanted to stay in that line of thought making the character look stylish and be still believable and not too rich looking that they become unrelatable. With Sarai however it was different story. We wanted at least a running trend to reoccur throughout the video. One of the ways we do this is by having her wear a red dress. Red is colour signifying love and/or lust. It’s one of the key themes we truly wanted to establish within our video and we do this with her costume.
Setting is also another key area we wanted to keep within the R&B convention. The majority of our music video is shot in a club/ party atmosphere setting. This is definitely a trend seen in a lot of R&B music videos. I mean take for example Usher’s Yeah. This entire club setting is exactly the type of style we were going for with our own music video. Dark room, lots of people, strobe lights, backlighting, loud music, close-ups of dancing, long shots of entire crowds dancing – are the sort of things you’d generally see in a club and R&B music videos such as these love to re-enacted these clubs as a way of glorifying them and making them seem like a fun place to be. Our narrative doesn’t deter from this ideology of basic fun and having a good time and is definitely a method in which we conformed to your traditional conventions of R&B music videos.
Tuesday, 29 March 2011
Monday, 28 February 2011
Feedback
John you have demonstrated sound evidence of your research and planning work via your blog - well done!
Targets: 1) Include research into a music artist's music video career history
2) Include screen shots of sections of your music video with an outline of the visual codes you have used
Targets: 1) Include research into a music artist's music video career history
2) Include screen shots of sections of your music video with an outline of the visual codes you have used
Sunday, 27 February 2011
Ancillaries - Poster
This is the poster for our artist - Singnature. We have recieved fairly positive feedback from peers mainly the images that are used are convincing eye catching and attractive. We decided to have our artist in our main image not face the camera to seem more defiant or rebellious suggesting that he is not conforming to direct address. Our artist is his own person. We still need to work towards a definitive colour scheme that will can be identifiable to the artist. Right now 'red' is only temporary until we actually do choose a suitable colour.The quote from the magazine 'Rolling Stones' was a nice addition as it made the poster more authentic. Plus it gives the viewer a reference for the artist credibility. '5 Stars' implying that this artist is really good making the viewer of the poster more likely to buy the album.
Final CD/Album Poster
Poster powerpoint
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Ancillaries - Logos
Record Company Logo - "The Music Factory"
"The Music Factory" is the name of our made up record comany. We designed this logo to tag along side our ancillaries for that additional layer of realism. We designed our logo with our genre in mind. Thinking about our target audience being R&B fans our first thoughts were image, we wanted our artist to be signed to a believeable R&B record company. The gold CD adds to image connoting wealth and success will be achieved if you join this company. We cut it in half to add the title and added several Blending Options to it: Drop Shadow, Outer Glow and Inner Glow to make it look shiny and gleeming almost like a trophy of some sorts.
Final Logo for artist - 'Singnature'
Not many changes made here. After much thought, we believed a golden colour scheme would work best for our artist. It's eye-catching, dynamic and has the connotations of our artist being popular, wealthy and sophisticted. Changes involved a simple tamper with the Colour Overlay to change the colour to golden/yellow. Next, a Bevel and Emboss effect was added, soon after we played with the depth of the outline and boldness of the font until we got the desired shape we wanted.
First Draft of logo for artist - 'Singnature'
Right now this is the chosen masthead (logo) to be identified with. The font is called - Nyala (Adobe Photoshop CS5). Several edits have be made to make it look unique including the mixture of the Black and Gray colours to give it that chrome effect. It seemed suitable for our artist as it suggests our artist isn't just one thing, he's a mixture i.e. His music is a mixture of multiple genres not just one.
Right now however, we believe this colour scheme isn't what we truly want for ou artist and are at the moment still coming up with a suitable colour scheme.
"The Music Factory" is the name of our made up record comany. We designed this logo to tag along side our ancillaries for that additional layer of realism. We designed our logo with our genre in mind. Thinking about our target audience being R&B fans our first thoughts were image, we wanted our artist to be signed to a believeable R&B record company. The gold CD adds to image connoting wealth and success will be achieved if you join this company. We cut it in half to add the title and added several Blending Options to it: Drop Shadow, Outer Glow and Inner Glow to make it look shiny and gleeming almost like a trophy of some sorts.Final Logo for artist - 'Singnature'
Not many changes made here. After much thought, we believed a golden colour scheme would work best for our artist. It's eye-catching, dynamic and has the connotations of our artist being popular, wealthy and sophisticted. Changes involved a simple tamper with the Colour Overlay to change the colour to golden/yellow. Next, a Bevel and Emboss effect was added, soon after we played with the depth of the outline and boldness of the font until we got the desired shape we wanted.First Draft of logo for artist - 'Singnature'
Right now this is the chosen masthead (logo) to be identified with. The font is called - Nyala (Adobe Photoshop CS5). Several edits have be made to make it look unique including the mixture of the Black and Gray colours to give it that chrome effect. It seemed suitable for our artist as it suggests our artist isn't just one thing, he's a mixture i.e. His music is a mixture of multiple genres not just one.Right now however, we believe this colour scheme isn't what we truly want for ou artist and are at the moment still coming up with a suitable colour scheme.
Sunday, 5 December 2010
Feedback
John, you have made very good progress so far with your group production. I am particularly impressed with your editing of the vox pops. Your research and planning is up to date and you should now maintain a regular / weekly running commentary of the production work.
Targets: 1) begin working on the ancillary tasks
2) use peer and self assessment to make any revisions to your group's music video.
Targets: 1) begin working on the ancillary tasks
2) use peer and self assessment to make any revisions to your group's music video.
Monday, 29 November 2010
Wednesday, 10 November 2010
Tuesday, 9 November 2010
Shooting Schedule
Monday 1st November - Shooting the Club Scene
Tuesday 2nd November - Tri-caster
Saturday 6th November - London Scenes
Thursday 18th November - Tri-caster
Saturday 20th November - Bedroom Scenes
Tuesday 23rd November - Tri-caster
Friday 3rd December - More London Scenes
Saturday 4th December - Scenes of couple together
Tuesday 2nd November - Tri-caster
Saturday 6th November - London Scenes
Thursday 18th November - Tri-caster
Saturday 20th November - Bedroom Scenes
Tuesday 23rd November - Tri-caster
Friday 3rd December - More London Scenes
Saturday 4th December - Scenes of couple together
Monday, 1 November 2010
Feedback
John, you have made ecxcellent use of multi media in the presentation of your group's research and planning work - well done! I am happy to see that you are up to date with all aspects of this work. You now just need to upload your vox pops.
Monday, 11 October 2010
Possible Locations for Filming
Wembley Arena (Night - Fountain Area) - This will be one of the scenes used for a romantic meeting with the main characters. The colours of the fountains can be used to connote the passion and connection of the relationship.
South Bank (Night) - A scene where performance and narrative is combine. The main male performer is dancing to the female performer to try and get her to go out with him.
The London Eye - A low angle shot like this would provide another interesting romantic scene perfect for the narravtive parts.
Near the Thames (maybe even on the boat) - A couple of shots here to really illustrate the romance between the couple.
Drama Room - For several party scenes. We'll be working we the lighting to make it look really authentic and realistic of a party scene.
MPA Room - We're going to be using this room to shoot the performance shots of the video. The dancers will be filmed infront of the green screen and the background will be changed to suit our preferences.
Locations
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Photos of Performers
Tara - Dancer/Choreographer/Performer
Sarai - Main Female Performer
Otis - Performer/Dancer
Jamal - Main male lead/Performer/Dancer
Friday, 8 October 2010
History of Music Career: Queens of the Stone Age
" Queens of the Stone Age developed a style of riff-oriented, heavy music. Their sound has since evolved to incorporate a variety of different styles and influences, including working with ZZ Top member Billy Gibbons and steady contributor Mark Lanegan, both of whom have contributed influences from genres such as blues and grunge. The band began with Josh Homme in 1996. The band's first release was Gamma Ray, a two-track EP featuring the songs "Born to Hula" and "If Only Everything" released in January 1996. The band's first live appearance was probably November 20, 1997, at OK Hotel in Seattle, Washington. In December of the same year, the band released a split EP, Kyuss/Queens of the Stone Age, which was the first official release by the band under the name Queens of the Stone Age. The band released their self-titled debut, Queens of the Stone Age (1998) on Loose Groove records. Songs for the Deaf was a critical and commercial success and its popularity peaked when the album reached gold status in 2003, with sales peaking at over 900,000 copies. The singles "No One Knows" and "Go with the Flow" became hits on radio and MTV. "No One Knows" received heavy rotation on music video channels culminating in a nomination for the MTV2 Award at 2003 MTV Video Music Awards. At the 2003 MTV Video Music Awards, "Go With The Flow" won Best Special Effects and was nominated for Best Art Direction."
Music video by Queens Of The Stone Age performing The Lost Art Of Keeping A Secret. (C) 2000 Interscope Records
Their first music video "The Lost Art Of Keeping A Secret" is a combination performance/concept/narrative music video. The dark atmopshere of music combined with seedy sexual themes (sleazy motel) and projected performances leads to a very ambiguous narrative shrouded in mystery (Highlighted in the chorus). Performance/lyrical-wise suggesting that this sort of act (sex in a motel is something best kept behind closed doors with possible links to prostitution.
Music video by Queens Of The Stone Age performing No One Knows. (C) 2002 Interscope Geffen (A&M) Records A Division of UMG Recordings Inc. Directed by Dean Karr and Michel Gondry
It was the first single and second track from their third album, Songs for the Deaf, and was released on November 26, 2002. "No One Knows" was a chart success, becoming the band's only single to top the US Modern Rock charts. Sticking to their performance/narratve routes the video is split into two, your general performance filmed on tri-caster and a narrative played out in the woods. They seem to be branching off their tradtional mysteriously atmospheric music videos to a more dark comedy style. I call it "Dark comedy" because the general narrative is funny but the song is a sort of juxtapostion. The audience would laugh as much as they would if the song was up-beat or more use of lighter, attractive colours.
Music video by Queens Of The Stone Age performing Go With The Flow. (C) 2002 Interscope Geffen (A&M) Records A Division of UMG Recordings Inc
This is where we see the band really explore with their style now. Their song - more heavy and up-beat, their video - fast paced. Probably now they want to be labelled a one style band and are showing off what they're capable of. The video shows sexual themes such as a metaphor of two cars colliding with each other; symbolizing intercourse and an image of a trident showing some erotic attributes. Filmed entirely in greenscreen/tri-caster the video is now labelled a performance/concept with more emphasis on the concept of sex which links to their first video "The Lost Art of Keeping a Secret"
Music video by Queens Of The Stone Age performing Make It Wit Chu. (C) 2007 Interscope Records - Directed by Rio Hackford
Finally, their most recent music video "Make It Wit Chu" which is a mixture of both performance and narrative. The video begins with Joshua Homme driving to Rancho De La Luna and the band setting up their musical instruments. They then start to perform the song. The video shows footage of the band performing along with shots of several couples making out and talking. The band appear to be performing for the couples. The sex theme arises again with the band suggesting they are influeced on sexual suggestives. The video/song is more light-hearted and warm (yellow/golden tint to the video, slower tempo) than the bands previous work implying they are branching off from their traditional dark/heavy rock for and opting for a more mellow style. This is perhaps how they recieved their dubbed genre of desert rock, psychedelic rock or stoner rock for being a bit more "out there" than most rock bands.
Music video by Queens Of The Stone Age performing The Lost Art Of Keeping A Secret. (C) 2000 Interscope Records
Their first music video "The Lost Art Of Keeping A Secret" is a combination performance/concept/narrative music video. The dark atmopshere of music combined with seedy sexual themes (sleazy motel) and projected performances leads to a very ambiguous narrative shrouded in mystery (Highlighted in the chorus). Performance/lyrical-wise suggesting that this sort of act (sex in a motel is something best kept behind closed doors with possible links to prostitution.
Music video by Queens Of The Stone Age performing No One Knows. (C) 2002 Interscope Geffen (A&M) Records A Division of UMG Recordings Inc. Directed by Dean Karr and Michel Gondry
It was the first single and second track from their third album, Songs for the Deaf, and was released on November 26, 2002. "No One Knows" was a chart success, becoming the band's only single to top the US Modern Rock charts. Sticking to their performance/narratve routes the video is split into two, your general performance filmed on tri-caster and a narrative played out in the woods. They seem to be branching off their tradtional mysteriously atmospheric music videos to a more dark comedy style. I call it "Dark comedy" because the general narrative is funny but the song is a sort of juxtapostion. The audience would laugh as much as they would if the song was up-beat or more use of lighter, attractive colours.
Music video by Queens Of The Stone Age performing Go With The Flow. (C) 2002 Interscope Geffen (A&M) Records A Division of UMG Recordings Inc
This is where we see the band really explore with their style now. Their song - more heavy and up-beat, their video - fast paced. Probably now they want to be labelled a one style band and are showing off what they're capable of. The video shows sexual themes such as a metaphor of two cars colliding with each other; symbolizing intercourse and an image of a trident showing some erotic attributes. Filmed entirely in greenscreen/tri-caster the video is now labelled a performance/concept with more emphasis on the concept of sex which links to their first video "The Lost Art of Keeping a Secret"
Music video by Queens Of The Stone Age performing Make It Wit Chu. (C) 2007 Interscope Records - Directed by Rio Hackford
Finally, their most recent music video "Make It Wit Chu" which is a mixture of both performance and narrative. The video begins with Joshua Homme driving to Rancho De La Luna and the band setting up their musical instruments. They then start to perform the song. The video shows footage of the band performing along with shots of several couples making out and talking. The band appear to be performing for the couples. The sex theme arises again with the band suggesting they are influeced on sexual suggestives. The video/song is more light-hearted and warm (yellow/golden tint to the video, slower tempo) than the bands previous work implying they are branching off from their traditional dark/heavy rock for and opting for a more mellow style. This is perhaps how they recieved their dubbed genre of desert rock, psychedelic rock or stoner rock for being a bit more "out there" than most rock bands.
Themes
Post-Modernism will be shown in our music video through a movie style opening. Also style over content which is a convention of post-modernist music videos would be shown through the extra effects which will be incorporated in the music video such as stop motion and black and white effects.
Feminism/Male gaze would be incorporated in out music video through the attractive female character in this music video who is the sexual interest of the male character in this video.
Love is shown through the attraction between the male and female character in this music video and will be reinforced by the fact that the female character would always wear red which has connotations of lust and passion
Feminism/Male gaze would be incorporated in out music video through the attractive female character in this music video who is the sexual interest of the male character in this video.
Love is shown through the attraction between the male and female character in this music video and will be reinforced by the fact that the female character would always wear red which has connotations of lust and passion
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