Wednesday, 26 October 2011
Prouction Log
Today we shoot the park scene. We faced some difficulties such as the weather was rainy which we did not expect so we for future scene we will have to check the weather forecast. Also because it was raining we tried to get the shoots done quickly which might have effected some scenes. Furthermore, the people in the park interupted our filming serval times and therefore we had to stop/pause which was time consuming.
Thursday, 20 October 2011
Tuesday, 18 October 2011
Shooting schedule
Park Scene:
Date: Sunday 23rd of October.Performers: Anita, Derik and Najim
Time: 1:00 - 3:00
Place: Barnhill Park
Message Scene:
Date: Wednesday 26th of October
Performers: Najim and Anita
Time: 1:00 – 3:00
Place: Rovena’s House
School Corridor Scene:
Date: Wednesday 2nd of November
Performers: Anita, Derik and Najim
Time: 3:15 – 4:30
Place: Preston Manor School
Band Rehearsing Scene:
Date: Friday 4th November
Performers: Najim, Ankit, Jordan and Mathew
Time: 3:15 – 4:00
Place: Preston Manor School
Band Performing Scene:
Date: Monday 7th November
Performers: Ankit, Jordan and Mathew
Time: 3:15 – 4:00
Place: CLC
Getting Ready and Party Scene:
Date: Wednesday 9th November
Performers: Najim, Anita, Derik and extras
Time: 1:00 – 2:00 (Najim and Anita only) 2:00 – 3:00 (Anita, Najim, Derik and extras)
Place: Rovena’s House
Running Away and Crying Scene:
Date: Saturday 13th November
Performers: Najim
Time: 1:00 – 4:00
Place: Rovena’s House
New Look Revealed Scene:
Date: Monday 14th November
Performers: Najim, Anita and extras
Time: 3:00 – 4:00
Place: Preston Manor School
Friday, 14 October 2011
Saturday, 8 October 2011
Research into Album covers (Front and Back covers)
The artists on the front cover Ellie Goulding herself has shimmery golden lights in her hair, which links in with the album, name ‘Lights’. The close up shot of her face allows audiences to see her facial expression and the light tinted make up she have used which links with the album name. We could argue that Ellie Gouliding’s pose; her hand behind her head and looking away is vey enchanting suggesting that the magazine is aimed at male audiences. However it is evidence that the magazine is not only aimed at male audiences, as the magazine looks also very natural highlighting femininity therefore attracting female audiences. The colour used throughout the magazine is mainly gold, which has connotations of wealth, innocence and royalty. Perhaps this colour could be linked to Gouldings luxurious life style and her innocent and royal personality. In addition, it is also similar to her surname ‘Goulding’. On the bottom of the poster audiences can see the logo of the record label Goulding is signed too. This record label is well known therefore this makes Goulding more appealing towards the audiences as she has a contract with a well known record label company who also has signed contracts with other famous singers. The typography used for the letters ‘E’ and ‘G’ is quite curvy and different from the rest of the typography that has been used. This gives it a sophisticated look which links in with the overall image of the magazine. The other typography used is quite simple and straightforward making it easy for audiences to read. The website on the bottom of the page will be useful for audiences who want to find out more about the album as they can visit the link provided. The quotes on the magazine are from the Q magazine and The independent this shows that Goulding’s magazine has been rated by well known magazine companies so therefore audiences can trust and purchase the magazine as the opinions will reflect of those who know a lot about the music industry.
This CD cover has used a lot of bright colours to show that the genre of this album is clearly pop. In addition the colours also highlight happiness and fun adding to the connotation of a pop genre. Mika’s name has been written on the centre of the page in big bold typography in order to make audiences aware that the album is of Mika, a well-known artist. Also a small picture of Mika has been included however the colour of the picture looks different from the overall CD cover, as a sepia effect has been used. This has been added to attract audience’s attention and make his image stands out and show people who’s artists album cover it is. The name of his album ‘’Life in Cartoon Motion’ is typed up in a different typography and much smaller than Mika’s name however it still links in with the cover as it goes well with the whole cartoonish image/theme. Furthermore, we can see that the cd cover has been aimed at different age ranges as the bright colours and the doll suggest that the cover is childlike aimed at young people however the man in the suit sitting on the bank suggest adulthood making it appeal to a older audience. Making it appeal to different age range will attract a lot of mainstream audiences. The pictures that have been used might show Mika’s artistic side and portraying him to be fun (i.e flowers,tv,bright colours) as well as music talented (i.e paino image in the corner). The back cover of the CD runs the same theme as the front for example the titles of the song are written in the same typography as what the album title 'Life In Cartoon Motion' is. This is probably done to make it easier for audiences to recognise who the album belong to even if the back cover was seen before the front. Website has been included in order for audiences to find out more information about the album if they need to. Overall, we could argue that the CD covers clearly connotes the pop genre by using creative images and bright colours suggesting the songs within the album will also have high production values.
This CD cover compared to Mika’s front cover looks more simple and straight forward however it still has a lot of connotations of the pop music genre. For example the cover consists of different range of bright colours i.e red, blue and yellow, suggesting fun and happiness. We could argue that the front cover has targeted successfully male and female audiences in order to get a mainstream audience to maximise the albums profit. The pink colours and her outfit would attract female audiences as they would envy and emulate her stylish clothing whereas the blue colour of the albums name ‘One of the Boys’ contrasts with the feminine representation and her revealing clothes and pose would attract a lot of male audiences. Her sweet and playful look suggests that the album is aimed at young people most likely teenagers. In addition, the pose she makes looks very glamorous suggesting that the album is also aimed at a high-class audiences, as they will be able to identify and relate to her. The typography of her name is in bold big pink letters with an outer line to make it more stands out and eye catching towards audiences. Audiences will be able to recognize by who the album is song as her name is mainly in the center of the page therefore can’t be missed out. The mise en scene, which consists of a sun bed, record player, white fence and flowers, represents a typical British 1950’s garden. In addition also the straw head she is wearing and here pink crop top, blue waisted shorts and red wedges all add to the 1950’s look however it has been modernized in order to fit in with today’s society/fashion. This theme is been used in order to attract older audiences who would be able to identify with the 50’s theme. The back cover of the album still runs the same theme (1950’s theme) to show that the front and back covers are part of the same album. The long shot of Katty Perry allows the audiences to see her figure, which adds to her feminine features as well as her red lipstick and long legs. Again her pose and revealing clothes would attract the male gaze as she shows off her womanly features. The mini paddling pool with rubber ducks could suggest that the back cover of the album also run a funfair theme as the it could represent the duck joking game that is mainly played by young audiences when visiting funfairs. The fact that she is holding a lollipop in her hand is also another feature that is associated with going to the funfair and having fun. Similar to Mika’s back cover also Katty Perry’s back cover includes a website where audiences can find more information about the album if they need to.
This background of Rihanna’s album ‘Good Girl Gone Bad’ is quite simple and straightforward with only the artist on the front cover portraying class and elegance. Her name is in big bold turquoise letters in the center of the page in order to show by whom the album is song. The fact that the artist name is in the middle of the page is eye catching and would attract audience’s attention. In addition, because her name stands out, it puts more emphasize on the artist herself and who she is, as the rest of the album is in black and white. The name of the Album is ‘good girl gone bad’ she has used alliterations of the letters ‘G’ to make it easier for audiences to memorise the album name. The album name could also suggest about the situations/life story that Rihanna had to go through in order to become a famous artists. The artist pose is quite sexual and appealing, which would attract a lot of male audiences. However, also females would be attracted to the album as young girls would envy and want to emulate her in the way she looks. Brighter lighting has been used round Rihanna’s image in order to make her and her outfit stand out and emphasise her importance on her front cover.
The same black and white theme runs throughout the back cover of the CD with again a brighter colour used in Rihanna’s image. The song titles of the album are in turquoise in order to make them stand out and allow audiences to see what songs are included in the album. The fact that a lot of black and white colour is used could be that the colour black connotes the ‘bad girl’ and the white colour connotes the ‘good girl’ which links in with the Albums name ‘Good girl gone bad’. Furthermore, also institutional information has been added on the back cover of the album in order to give audiences a little bit of more information about the album and who produced it. Rihanas make is quite simple and straightforward which is associated with R&B fashion therefore we can point out that the album is part of the R&B music genre.
Friday, 7 October 2011
Paramore - Brick by Boring Brick analysis
Paramore are an American alternative/rock band who of which are signed to ‘Fuelled By Ramen’. They conform to the use to the use of drums and guitars throughout their music and demonstrate their creative and eccentric mentality in comparison to predictable and typical R&B/Pop videos.
This music video was released on November 23rd and is primarily narrative based and the concept behind the video is that you cannot escape the past by living in a fantasy world; instead you must face the past, bury it and move on. The girl in this video tries to enter a world she has mentally created through her reading of books in order to run away from the trials and tribulations of reality. CGI effects were used to create the castle, change of colour in the sky and falling petals which give the entire set a magical ambience.
Intersexuality has been implemented in that ideas from Little Red Riding Hood and Alice in wonderland become apparent as the environment around the girl is significantly larger than herself as well as the fictional character, The Red Queen. The little girl is represented as a figure of innocence with the butterfly wings on her back and white dress this conveys a sense of purity and youth.
There is a direct link between the visual and the lyrics, in that the track says ‘’she lives in a fairy tale somewhere too far for us to find….of a world that she’s left behind’’, which relates to the scene of the video with the girl running into a magical world with typical fairy tale characters, here a tracking shot is used. Also sung, are the lyrics, "well go get your shovel And we'll dig a deep hole", whilst this is said the character of screen is digging a grave in the ground.
A mid-shot of Hayley ( the lead singer) sitting on the swings narrating the song and illustrating her mood through her body language. A point of view shot is employed when the little girl is running towards the bushes, the audience feel as though they are the character themselves and feel as though they are involved in the story, not knowing what to expect. Moreover, there is also a link between the music and the visuals as sharp cuts in the video are made to compliment the fast-paced beat of the track.
The colours used throughout the video are yellows, oranges and reds which are bright, joyful colours however, the use of these colours set against shadows of the forest craft a mysterious, eerie atmosphere, ultimately, mirroring the little girls’ state of confusion. A minor aspect of stereotypical gender representation is the male figure digging the hole, which is quite a masculine job. Although this video could be aimed at older people facing issues in their life, younger audiences can engage with it too due to the use of relatable characters recognised from childhood stories. Within in this video there are no prominent female or male characters which, in effect eliminates the male/female gaze and ultimately viewer’s attention is directed towards the narrative and message conveyed by the artist thus placing greater focus upon the song’s lyrics
Lloyd ft. Lil' Wayne 'YOU' - Music Video Analysis
Lloyd is signed to Interscope/Zone 4 and this music video produced by Big Reese for Lloyd's second studio album is of the R&B/ hip-hop genre and is primarily narrative based, however contains sections of performance. The single debuted on May 28, 2007, at number sixty-six on download sales alone, and moved up to number forty-five. These settings are alternated with the story initially following the main artist in his chase for a woman then finally attaining her and embracing with her with a cloud-like background, complementing the softness but also passion in the scene. The video starts with the main artist steeping out of a flashy vehicle which is the central focus to the scene; the luxurious car is a generic code typical of many R&B videos. This is a key factor in conveying a bold statement, in addition to the close-up shot of an expensive medallion-like chain, which communicates their mass amount of wealth. A convention of this video is its sexually evocative nature as the artist depicts a sensual ambience when he takes off his top revealing his well-toned body, covered in tattoos. Ultimately, this element has intentionally been included to attract female viewers, however it does not decrease the videos appeal to male viewers as it may provoke envy and emulation, as males may want to have his body shape and confidence with women.
Similarly, Laura Mulveys theory of the male could be explored within this video as Lloyd clearly exposes his body in order to attract women’s’ attention to the video even if they are not enjoying the track itself. The tattoos are also a generic code in that is portrays the artists’ masculinity following the pain in which he would have had to endure. Moreover, Lloyd is accompanied by another male artist (Lil Wayne) who evidently initiates a more ‘hard’ image which clearly contrasts to Lloyds more smooth approach. Although, Lil Wayne’s clothing is quite simple in the scene with Lloyd, the use of mise-en-scene is quite conventional of an R&B, as his sunglasses and his cap which makes his eyes less visible instantly craft an enigmatic sense. A low-angle shot is used when Lil Wayne is sitting on the car which illuminates a sense of authority and superiority. Also, the bandana tied around his neck suggests gang culture references.
This music video adopts the conventional use of a female to play the provocative figure, a slow-motion shot is used to emphasise her entrance into the scene where the group of boys typically are drawn to her appearance, perhaps presenting her as simply a sexual object. Another stereotypical feature of the R&B genre is a club scene in which this video adheres to. In this scene there is a man wearing lots of bling and typical ‘gangster-like’ clothing consisting of a large baseball jacket sat between many women ultimately conveying a player-like status, which is a conventional idea illustrated in many R&B music videos.
Similarly, Laura Mulveys theory of the male could be explored within this video as Lloyd clearly exposes his body in order to attract women’s’ attention to the video even if they are not enjoying the track itself. The tattoos are also a generic code in that is portrays the artists’ masculinity following the pain in which he would have had to endure. Moreover, Lloyd is accompanied by another male artist (Lil Wayne) who evidently initiates a more ‘hard’ image which clearly contrasts to Lloyds more smooth approach. Although, Lil Wayne’s clothing is quite simple in the scene with Lloyd, the use of mise-en-scene is quite conventional of an R&B, as his sunglasses and his cap which makes his eyes less visible instantly craft an enigmatic sense. A low-angle shot is used when Lil Wayne is sitting on the car which illuminates a sense of authority and superiority. Also, the bandana tied around his neck suggests gang culture references.
This music video adopts the conventional use of a female to play the provocative figure, a slow-motion shot is used to emphasise her entrance into the scene where the group of boys typically are drawn to her appearance, perhaps presenting her as simply a sexual object. Another stereotypical feature of the R&B genre is a club scene in which this video adheres to. In this scene there is a man wearing lots of bling and typical ‘gangster-like’ clothing consisting of a large baseball jacket sat between many women ultimately conveying a player-like status, which is a conventional idea illustrated in many R&B music videos.
Britney Spear - Womanizer analysis
This music video was released on September 26, 2008 by Jive Records as the lead single of the album. Produced and co-written by Nikesha Briscoe and Rafael Akinyemi of The Outsyders, the song had to be re-recorded after a snippet was leaked onto the web. "Womanizer" is an uptempo electropop song with characteristic sirens and a repetitive hook. Described by Spears as a girl anthem, the song's lyrics recall a womanizing man, while the protagonist of the song makes clear she knows who he really is. This music video would appear on music channels such as MTV, Starz and Viva and would be heard on radio stations such as KISS, Capital and Radio1, which play predominantly mainstream tracks. This is an interesting video in that the artist adopts several stereotypical roles of a woman, for example, a housewife/sex kitten and a sexy secretary, however, is able to remain a dominatrix throughout. Interestingly she also adopts the alter ego of a limousine driver which generally is seen to be a stereotypical male occupation. However, she subverts the common idea that the woman is subordinate to the man, instead she asserts control and dominance over all the male figures in the video.
This is effective in that she attempts to directly challenge the stereotype that if she dresses quite feminine and seductive, this does not mean she is vulnerable and helpless. This video is a balanced combination of narrative and performance based and so as well as engaging viewers through a storyline; they are also captured by the sharp dance routines. She adopts the role of 4 alter egos. When dressed as a secretary, her attire is quite tight-fitting, ultimately displaying her vivacious body. Similarly, when she is in the kitchen and in the bedroom she is wearing very little clothing despite her domestic status. This in effect, objectifies her for the male gaze. I believe that the target audience for this video is mainly women and men of 20 years+ as the artists adopts quite mature roles, perhaps more relatable to older people.
The video directly links with the visuals and lyrics. The uses of the direct and accusatory words ‘you’re a womanizer’ are repeated, whilst she faces the audience at one point. Perhaps generalising this impression and directing it towards the entire male race. This is done cleverly in that she lays completely naked on a table during the choruses with steam surrounding her, which sets quite an intense and appealing display for men, sort of locating their underlying psycho-sexual mind-sets and diverting their attention away from what is being said. This may be slightly confusing in that she is saying that men are womanizers yet she is somewhat provoking these sexual thoughts through her seductive mannerisms.
Point of view shot is used when the male is recording Britney on his phone, perhaps this is some to gratify male audiences and make them feel as though they are recording her, ultimately making them feel more involved. The men in this video clearly have very little power and in the office scene, the artist stands over the love struck male who is seated, making him appear inferior to her. In addition to this, the male figures lift her up, elevating her to authority. In pop music videos females are more likely to be the dancers, however, within this video there are several men seen dancing around the woman, suggesting that she is quite promiscuous. It is not very typical of pop videos to have excessive bling, and this video adheres to this, also, pop videos tend to be quite bold, colourful and theatrical, and the use of her costumes conforms to this convention
This is effective in that she attempts to directly challenge the stereotype that if she dresses quite feminine and seductive, this does not mean she is vulnerable and helpless. This video is a balanced combination of narrative and performance based and so as well as engaging viewers through a storyline; they are also captured by the sharp dance routines. She adopts the role of 4 alter egos. When dressed as a secretary, her attire is quite tight-fitting, ultimately displaying her vivacious body. Similarly, when she is in the kitchen and in the bedroom she is wearing very little clothing despite her domestic status. This in effect, objectifies her for the male gaze. I believe that the target audience for this video is mainly women and men of 20 years+ as the artists adopts quite mature roles, perhaps more relatable to older people.
The video directly links with the visuals and lyrics. The uses of the direct and accusatory words ‘you’re a womanizer’ are repeated, whilst she faces the audience at one point. Perhaps generalising this impression and directing it towards the entire male race. This is done cleverly in that she lays completely naked on a table during the choruses with steam surrounding her, which sets quite an intense and appealing display for men, sort of locating their underlying psycho-sexual mind-sets and diverting their attention away from what is being said. This may be slightly confusing in that she is saying that men are womanizers yet she is somewhat provoking these sexual thoughts through her seductive mannerisms.
Point of view shot is used when the male is recording Britney on his phone, perhaps this is some to gratify male audiences and make them feel as though they are recording her, ultimately making them feel more involved. The men in this video clearly have very little power and in the office scene, the artist stands over the love struck male who is seated, making him appear inferior to her. In addition to this, the male figures lift her up, elevating her to authority. In pop music videos females are more likely to be the dancers, however, within this video there are several men seen dancing around the woman, suggesting that she is quite promiscuous. It is not very typical of pop videos to have excessive bling, and this video adheres to this, also, pop videos tend to be quite bold, colourful and theatrical, and the use of her costumes conforms to this convention
Rihanna 'Unfaithful' music analysis
Rihanna belongs to Def Jam, which is a subsidiary of Universal Records who usually target a more mainstream audience, ultimately attracting a mainstream audience for Rihanna’s music. Unfaithful" is a ballad written by Ne-Yo, Tor Erik Hermansen and Mikkel S. Eriksen for R&B singer Rihanna's second album, A Girl like Me. It was produced by Stargate and released as the album's second single in mid-2006. This track would be played on TV channels such as Flava’ and ‘MTV’, which are popular mainstream music channels that predominantly play R&B music. This song is an R&B Ballad which makes it different to her other songs but this song has a popular narrative to it.
This video adopts the conventional theme of a love triangle and a series of jump shots cutting between scenes of Rihanna with her lover is displayed, in effect giving viewers an insight as to their relationship. Also, the graffiti on the walls conforms to the urban nature behind R&B music.
There is also a relationship between the visuals and the lyrics; the artist is dressed in black in which reflects the depressing, eerie tone. A direct relationship to the lyrics is also cast in that throughout the song she mentions ‘murder’, and ultimately the theme of black running through the video reflects that of a funeral, which instantly sets an enigmatic ambience. Similarly, she says ‘I may as well take a gun and put it to his head, get it over with’, here is then a pause, and the silence in video engages viewers’ interests. However, she is still able to appeal to male audience as she is wearing a revealing dress and is conducting herself in quite a provocative manner.
Although, she may be seen as being on sexual display, and objectified for the male gaze it is done a more sophisticated way. Interestingly, in many other videos, across most genres, the presence of women is solely for the purpose of display, however, within this music video, she is part of the narrative function. Perhaps this video could adopt a post-feminist approach in that Rihanna asserts her right to dress in a certain way and be sexually attractive without being there wholly for display. When sitting by the piano she begins invading the pianists’ personal space, in effect enhancing the passion of the scene. In addition, a sense of confusion is highlighted throughout this video. Arguably, this video subverts the typical conventions of an R&B video, in that it does not have club scenes, additional rapping and excessive bling, ect, instead, there is limited trills, therefore placing more emphasis upon the concept of the video. However, the use of close-ups of the artist’s facial expression allows viewers to analyseRihanna’semotions which is quite unsettling.
This video does adhere to the wide variety of camera techniques, employing several long shots as she is walking towards the camera as well as wide shots establishing the setting in the theatre, ultimately initiating a dramatic and theatrical effect.
The piano is also not a typical code and so in many ways this video crafts a more edgy and mysterious atmosphere in essence drawing in viewers due to its uncommon nature. This video skilfully subverts gender stereotypes; the artist is presented as a female cheat, which subverts the stereotypical idea that it is usually the male who cheats. She is depicted as a deceiving person, and so is not attempting to encourage envy and emulation, she is revealing reality as opposed to the idealistic, however, this does not mean female viewers will not feel a slight ounce of envy. Females may feel jealous of her figure, her appearance, her confidence but also the dominance she holds within her relationship. Within this video, the male is seen as more helpless and vulnerable, and somewhat is being manipulated and taken advantage of by the woman. Intentionally, she has been presented as classy woman, which alludes to the idea that no matter what your status, you can be susceptible to being unfaithful.
Lady Gaga - Paparazzi
Lady Gaga is signed to Streamline Records, an imprint of Interscope Records and this music video was released as the final single from her debut album The Fame (2008) and was written by Rob Fusari. This track could be consumed through the internet websites such as YouTube, on the radio and also on TV channel such as KISS &Starz. It has a significantly eerie narrative, however it contains elements of performance too. Although to an extent it is quite typical of a pop video, due to the bright colours, CGI effects and wild costumes, it subverts conventions far more. The opening is a pastiche in that it is quite cinematic along with the typography used, in which imitates that of a Hollywood movie during the 1950’s era.
The opening sequence is without music and reflects that of ‘Sunset Boulevard’, it illustrates the conventions of a Hollywood golden age movie. At the start the camera angle is a point of view shot which in effect, makes the audience feel as though they are spying on the couple and invading their privacy.
This video blurs the binary divides when the artist is on crutches, wears a metallic bustier, a matching helmet and has a robotic arm, ultimately alluding to the idea that she is part human, part robot. The presence of the paparazzi is evidently a common thing in Gaga’s life, however, the way in which they are presented in this video is exaggerated and slightly bizarre as she attempts to balance her love life as well as her quest for fame and success, this is done in order to make the entire video more dramatic and intriguing.
Similarly, the artist may also be conveying the idea that sometimes her life becomes so chaotic and animated that it simply feels surreal. In essence, the divide between the abstract and reality is blurred. Post-feminist readings could be extracted from this video in that she is seen as the dominance figure in the relationship, the one with all the wealth and fame as opposed to her envious spouse. Even at the end the female artist still holds the upper hand upon the man as she poisons him, ultimately, asserting her independence and authority. This subverts the stereotypical representation of females, suggesting that they are helpless and vulnerable and that men have control. The advantages of this is that it is not cliché and predictable.
This video conforms to the bright colours and funky outfits that the pop genre usually contains, however in many ways it is unconventional, and extremely untypical regarding her eccentric attires and unusual mannerism. Homage is used in the scene in which Lady Gaga is in front of a black and white swirling background is an idea taken from a film directed by Alfred Hitchcock called ‘Vertigo’. Laura Mulvey would disagree with the idea that she is on display for the male gaze, instead she would claim that the artist is asserting her right to dress and be sexually attractive. In addition, the artist gains power over the male in this video as she attempts to surpass his achievements and adopts the stereotypical male role to be aggressive and dominant. This video subverts the idea that women are just decorative objects despite GaGas eye-catching costumes, but perhaps here the artist is directly challenging this idea, provoking different interpretations.
Towards the concluding events of the music video, intertextuality is demonstrated as we see the artist dressed up as Minnie Mouse, once again the binary divides are not distinct, in addition to this, the idea that she is poisoning her lover is a malicious crime in which strongly contrasts the innocent and sincerity of Disneys’ Minnie Mouse character. Also, she subverts the sweetness and purity of this character by wearing a tight fitting outfit, in which despite her crazy make up and head-gear, still manages to generate sex appeal. Similarly, the black lipstick and inability to see the characters eyes, crafts a sinister and somewhat enigmatic sense.
The extremely odd imagery and concepts employed within this video add to the sinister theme of revenge and murder. The consistent use of the colour purple within the video becomes apparent that it has been used intentionally. Instead of a red carpet, there is a purple carpet perhaps to represent poison, impurity and deceit. This may suggest that the lives of celebrities are sometimes obscured in order to present themselves in a particular light and gain the high status they desire. The message behind the video could be that one may only gain popularity when they exceed expectations and pursue the extraordinary. Overall, although I find this video far too complex, I do acknowledge the range of features such as pastiche, homage and intertexuality implemented.
Tuesday, 4 October 2011
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