25 September 2013

Watch videos you might not usually watch - Use the playlists:

Watch a range of videos, starting with our playlist:

Also learn from the masters:
1. Mark Romanek

2. Hype Williams
3. Stephane Sednaoui
4. Anton Corbijn

5. Spike Jonze

6. David Fincher

7. Chris Cunningham
8. Michel Gondry
9. Alternative forms of music video


Look at this film made by another media teacher:

23 September 2013


That's where they're up to...


Keep an eye on them!!!!!

Here's her 25 word pitch - It could be a bit more specific about the amount of performance v. narrative.

Example of full marks coursework:


Watch and make a few notes on what you have picked up from it. This video was recommended by the person who's in charge of A2 at OCR......

The Videographers Guide Ep. 1 - The Music Video from Hypebeast on Vimeo.

10 September 2013

Music Video Analysis Theory - Andrew Goodwin

To be used when analysing music videos as part of your research.

Andrew Goodwin identified a number of key features which distinguish the music video as a form, before you understand his theory you need to understand some key terminology. If you click on the key terms you will be taken to videos which best illustrate these terms

Illustrate: Images used to represent the meanings of the lyrics and genre (this is the most common feature of a music video) this is very often literal.

Disjuncture: When the meaning of the song is completely ignored

Amplify: Meanings and effects are manipulated and constantly shown throughout the video and shown to the audience (basically repetition).

- There is a relationship between the lyrics and the visuals, with the visuals
illustrating, amplifying or contrasting the lyrics.

- There is a relationship between the music and the visuals, with the visuals illustrating, amplifying or contrasting the music.

- Genres are complex and diverse in terms of music video style and iconography

- Record companies will demand a lot of close-ups of the main artist or vocalist

- Voyeurism is present in many music videos, especially in the treatment of females, but also in terms of systems of looking. Some examples are screens within screens, cameras, mirrors, etc.

- there are likely to be intertextual references, either to other music videos or to films and TV texts, these provide further gratification and pleasure for the viewers/fans.

Using your favourite music videos,
TubeChop scenes where ANY of the above features are present. Screengrab and comment.

(With thanks to Lutterworth Media)


Welcome to the A2 Advanced Portfolio in Media Studies. Ready for the challenges ahead? Of course you are!

The Advanced Portfolio 's chosen brief is Music Video.

This will be managed in a similar way as the Foundation Portfolio through a blog which the moderator will then have access to.
Individual blog for:individual (and group-based) research and ideas, reflections and evaluation, planning and production work.
You will get the relevant guidance.

ASSESSMENT OBJECTIVES for the coursework:
1. Apply knowledge and understanding when analysing media products and processes and evaluating your own practical work, to show how meanings and responses are created (20 marks)
2. Demonstrate the ability to plan and construct media products using appropriate technical and creative skills (60 marks)
3. Demonstrate the ability to undertake, apply and present appropriate research (20 marks)

The unit requires you to engage with contemporary media technologies, giving you the opportunity to develop in these technologies. It also enables you to develop the skills of presentation that are required for further study at higher levels and in the workplace.

Candidates will produce:
a media portfolio, comprising a main and two ancillary texts
• a presentation of their research, planning and evaluation in electronic format

Brief: A promotion package of the release of an album, to include a music promo video, together with 2 of the following 3 options:
• a website homepage for the band
• a cover for its release on cd
• a magazine advert for the cd

Note: Original imagery, (including publicity stills for the ancillary products) must be included on all products. You are expected to shoot stills specifically for use on your print materials rather than merely relying on extracts from your MV footage.

Assessment: to achieve Level 4 in Research and Planning, you must demonstrate
• excellent research into similar products and a potential target audience
• excellent organisation of actors, locations, costumes and props
• excellent work on shotlists, layouts, drafting, scripting or storyboarding
• excellent time management
• excellent level of care in the presentation of the research and plannning
• excellent skill in the use of digital technology or ICT in the presentation
• excellent communication skills

Assessment: To achieve Level 4 in Production you are expected to demontrate excellence in the creative use of most of the following technical skills:
• holding a shot steady, where appropriate
• framing a shot, including and excluding elements where appropriate
• using a variety of shot distances, where appropriate
• shooting material appropriate to the task set
• selecting mise-en-scene including colour, figure, lighting, objects and setting
• editing so that meaning is apparent to the viewer
• using varied shot transitions, captions and other effects selectively and appropriately for the task
• using sound with images and editing appropriately for the task

Assessment: to achieve Level 4 in Evaluation, you are expected to demontrate excellence in the creative use of most of the following technical skills:
- understanding of the forms and conventions used in the productions.
- understanding of the role and use of new media in various stages of the production.
- understanding of the combination of main product and ancillary texts.
- understanding of the significance of audience feedback.
- choice of form in which to present the evaluation.
- ability to communicate.
- use of digital technology or ICT in the evaluation.

In the evaluation the following questions must be answered:
1. In what ways does your media product use, develop or challenge forms and conventions of real media products?
2. How effective is the combination of your main product and ancillary texts?
3. What have you learned from your audience feedback?
4. How did you use media technologies in the construction and research, planning and evaluation stages?

Where a candidate has worked in a group, an excellent contribution to construction is evident. Differences in the contributions made by individual candidates must be clearly indicated on the teacher marksheets. When marking the production, teachers must focus on the quality of the brand identity across the promotion package as a whole, as well as on the indidvidual productions.

In other words, a lot to think about and lessons to be learnt from last year and along the way.

Enjoy it!

This is not perfect but demonstrates well how to embed technologies and really document your journey over the whole production process.
See Emma's music video blog.

This blog got a top level 4 for research/planning and for evaluation. Do have a look.
Alex's music video blog.


The points below should help you to analyse your chosen videos in a more focused way. Use them to get started. Start building up marks.

  • Music videos work around 3 codes - music, lyrics and iconography. The relationship between these codes is key to understanding how music video work. Take some time looking at whether the video illustrates the lyrics or not, and in which ways, as well as whether the video helps you to understand the lyrics better or not, and in which way. Does the song belong to a particular music genre and does it come across in the video?

  • Music videos are designed to provide pleasure in order to keep the viewer (particularly the intended audience) watching and to encourage repeat viewings. How is it achieved? How are the performers shown? What do YOU LIKE about the video? Can you screengrabs favourite shots and comment?

  • Explain whether the video is primarily performance-based, narrative-based or concept-based, or is it a hybrid? Explore how it is done and presented. Look at Lauryn Hill's Everything is Everything for example.

  • Does the video refer to / draw upon other texts (book, film, other video, advert...)? Is it a parody or tongue-in-cheek video?

Finally, this is an example of evaluation video tackling all 4 questions to give you a feel for the work ahead...