The Male Gaze: objectification of women's bodies in the media has been a constant theme.
Laura Mulvey (1975) argues that the dominant point of view is masculine. The female body is displayed for the male gaze in order to provide erotic pleasure for males (vayeurism).
Women are objectified by the camera lens and whatever gender the spectator/ auidence is positioned to accept thev masculine point of view.
An example of this is: Wrecking Ball By Miley Cyrus (2013) this shows the male gaze.
An example of feamle gaze is: "Call Me Maybe" By Carly Rae Jepsen
Presenting themselves as a brand. setting their appearance as well as their musical talent. their face, their clothing and lifestyle.
Examples of this are:
"Jenny from the block" by Jennifer Lopez (2002)
"Drunk in Love" Beyonce (2013)
Televised Bard: Represent themseleves as part of a story teller.
An exmaple of this is "Seven Years" By Lukas Graham (2016)
Electronic Shaman:
Generally big budget productions where the artist has immortal powers or adopts the ego of another iconic character/ personaity or superhero.
Examples of this:
"Scream" By Michael Jackson (1995)
"Roar" By Katy Perry (2013)
Tuesday, 27 September 2016
Codes and conventions of music videos
Reasons for codes and conventions. An audience can become very familiar with genres, as they get use to recognizing different conventions within a specific genre. It provides a structure that the audience can recongnis and understand.
The codes and conventions of music videos are the different techniques used to construct meaning in them. These techniques can be divided into two types; technical and symbolic codes and conventions.
Technical Techniques: how meaning is created using technical equipment for example the way the camera angles are used, to show different types of shots, sound (either diegetic and non-diegetic sound) the pace and style of editing, suggested the genre.
Symbolic techniques: are the ways of showing meanings beyond what you can see for example, facial expressions and gesture.
The conventions of a music video changes depending on genre of music. However, the general conventions include;
Style
Camera movements and effects
The Sound (non diegetic and diegetic)
Mis en Scene – props, lighting, costume , hair &makeup, location/setting, colours
theortical evaluation of prouduction. media language. semiotics- the science of signs (the size of the text shows the importance) ie: big text= main stroy. Philosopher Charles Sanders Peirce (1931) (" we only think in signs")- semiotics codes = conventions key concepts L angaue I intertution I deolgy A auidence R represention
crerating a merable image through addverts
what elements take up the image? - why are they there?
"nothing is a sign unless it is interpreted as a sign" ( peirce, 1931) anytghing is a sign as long as somone interprets it as 'signifying' something other to or standing for something it is up to the auideince to 'decode' the conventions.
linguist Ferinand Saussure (1947) offered a 'dyamic' or two-part model of the sign. he defined a sign as being composed of: a 'signifer' (signifiant) - the form which the sign takes and the 'signified' the concept it represents. Everything becomes subjective- people interprate media differty.
iconic signs icon/ iconic - a model which signifier is perceuied as resembing or imitating the signified 9reconginzed locking, sounding, feeling, tasting or smell)
index/indexical: a mode in which is not arbitary but is directy connected in some way (physically or causally)
symbol/ symbotic: a mode which the signifier does not resemble the signified but which is funamentlly arbitary or purely conventional so that the relationships must be teart.
barthes (1977) aruged that in photography connotion can be (anailytically)distinguised from dentation.
realated to connoation is what Roland Barthes (1977) refers to as a myth.. for Barthes myths were deminant ideologies of our time. The 1st and 2nd orders of signification called denotation and connoation conbine to produce ideology- which has been described as a third order of significantby Fiske and Hartly (1982).
