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Location Report

When deciding on our location we had to consider factors such as weather, light/darkness and permission.
We needed a dark room background for most of our video because it’s a dark storyline. We decided that a garage would be the most appropriate so we used Lauren’s, as it was clear.
We needed dry weather to film outside which we found difficult with the amount of snow, this affected our production schedule slightly as we had to pick days when there was no snow.
Originally we wanted to film in and around a church, because of the religious theme of our song, however we found we needed permission to film in a churchyard and the church was only open on Sundays when none of us were available. So instead we decided to use Laurens garden and garage for it all and just use different movements and angles to make it look different.


Laurens house : 23 Sumbury Drive Trench

Production Schedule

Inside - 'Cassie' by Flyleaf

Cover - 'Cassie' by Flyleaf

History of Music Videos

History of Music Videos

Music videos transformed the music industry, as artists were not only able to show their singing ability, but also how they perform and their image. Music videos are an effective way of drawing attention to a certain performer and their song, and in many cases receive more publicity than the song it’s trying to promote due to the controversy some bring. Examples of controversial music videos are Madonna’s ‘Like A Prayer’ and The Prodigy’s ‘Smack My Bitch Up’.

Music videos originated from an Australian TV show called ‘Countdown’, which first aired in 1974. Various acts appeared on the show, and a short music video clip was used to promote each of them. These clips proved popular, and the music industry soon discovered the potential of putting film to music.

A band from New Zealand, known as Split Enz, were one of the first groups to create an entire set of promo clips for each of the tracks on their album ‘True Colors’ in 1980.

The first nationwide video music program to air was ‘Video Concert Hall’, which premiered in America in 1981. A few months later, MTV was launched. This saw the birth of 24-hour music television, premiering ‘Video Killed The Radio Star’ by The Buggles, as it’s first video. In 1983, the most successful and influential music video of all time was released. Michael Jackson’s ‘Thriller’ was 14 minutes long and featured scenes of zombies and the famous ‘Thriller dance’. During the 1990’s, MTV launched music channels all over the world and has played a large part in the music industry ever since.

Equipment List

Equipment List

Before we began filming, we needed to figure out what equipment we would be needing.

Camera

The choice of:

A Sony Hc-5

Canon MD – 205

Canon MD – 101

Canon MD235

Tripod

Cast List

Cast List

Starring: Lauren Elcocks



Director: Gemma Harborne




Costumes: Kelly Perks



Editors: Kelly Perks, Gemma Harborne and Lauren Elcocks

Flyleaf Biography

Flyleaf
Flyleaf is an American metal band, fronted by lead singer Lacey Mosely. Other band members are lead guitarist and backing vocalist Sameer Bhattacharya, rhythm guitarist Jared Hartmann, bass player and backing vocalist Pat Seals, and drummer James Culpepper.

The band members are all Christian, which has a heavy influence on their music and the way they promote themselves. In 2005, the band performed a free concert at Los Angeles Pierce College for a Christian group there. In 2007, they released the single ‘Perfect’ to Christian radio stations, and portions of sales from their EP was donated to World Vision, a relief and development organization whose stated goal is "to follow our Lord and Saviour Jesus Christ in working with the poor and oppressed to promote human transformation, seek justice and bear witness to the good news of the Kingdom of God."

Their songs feature issues such as neglect, abuse, addiction, and dysfunction.

The majority of their videos are mainly performance based, with a slight narrative.

Music Video Analysis - Paramore

Music Video Analysis

The final music video I’m going to analyze is Paramore’s ‘The Only Exception’. This video follows lead singer Hayley, who after leaving her boyfriend, goes back in time to when she was younger, and lost her belief in love due to her parents’ divorce. It features both performance and storyline aspects in the video.

In the opening scene, the music begins as Hayley wakes up and decides she’s going to leave her boyfriend. She writes him a note saying ‘I’m Sorry’, before leaving through the door. She is casually dressed and natural lighting is used.


Through the door is her dad, who she greets with a hug before reaching for a photo she notices on a shelf. She sits down for a brief talk with her dad, still clutching the photo, before again leaving the room.


Through the next door is what appears to be Hayley’s childhood bedroom. At this point it comes apparent to the audience that we are going back in time. Hayley pins the photo she was holding onto her mirror, which turns out to be a photo of her mum and dad. Paramore fans will be aware of the fact Hayley’s mum and dad divorced when she was a child, so the song itself is in fact autobiographical. In the next scene, we see Hayley lay down on a bed of Valentine’s Day cards and love poems. The mass of pink she is laying on has connotations of love, lust, and femininity. It’s also necessary to take note of the heart necklace Hayley is wearing in each scene, which is another reference towards love.

In the next scene, Hayley and the band are performing on stage, showing the live music is just as important to them. The backdrop to their performance is red curtains, again relating back to the love and passion that is a strong theme throughout the video. The camera cuts back to the story, where Hayley has entered another room, which looks like a restaurant. She is on a date, but there is a queue of men at the table, who keep taking it in turns to sit with her. Hayley is confused by their actions, and the blue walls suggest the coldness of the men. Eventually she leaves.


In the next room, a wedding is being conducted. All the guests are dressed in white, which is a wedding tradition, whereas Hayley has turned up wearing black. Black is associated with funerals and death, perhaps indicating her feels towards love, and how it is in her eyes, ‘dead’. Unimpressed by the wedding, she runs out the door towards what appears to be a bright light.



More performance sequences follow, before Hayley ends up in the crowd at a gig. She appears happy for the first time throughout the video, surrounded by friends, and notices an admirer from across the room. They continue to make eyes at each other throughout the scene, resulting in Hayley running back through the door she had previously exited.


Hayley finds herself sat back in the alter, with the male she had been flirting with across the room. She looks assured and happy, before the camera cuts to shots of her in each of the rooms she had previously visited, this time with the boy sat next to her. Hayley retraces her steps though each of the rooms until she’s back where she began, where we realise her boyfriend is the male from previous scenes. She screws up the note she had wrote at the beginning of the video, and lies back down with him.

This music video contrasts with the other two i have analysed for different reasons. There is no controversy or shocking sequences in this video, same as there’s no dancing or stereotypes. It’s simply done but the message is clear and effective.

Music Video Analysis - Miley Cyrus

Music Video Analysis 2

The second music video I’m going to analyze is ‘Fly On The Wall’ by Miley Cyrus. The video is based around Miley trying to escape the paparazzi after going on a date to the cinema. This is very true to life as Miley is in demand as one of the biggest teenage stars in the world, and has admitted she finds it hard to lead a normal life away from the media. This music video is perhaps her way of showing the public what it’s like as Miley trying to live an ordinary life.

The video begins with dramatic diagetic music, and a sign above the cinema saying ‘Friday Night Frights’. The fact that they’ve been to watch a horror film at night is a subtle hint towards what to expect from the rest of the music video. The camera cuts to Miley and her date discussing the movie they’ve just seen. This shows a stereotypical portrayal of teenagers, as going to the cinema is something they are widely associated with doing.



Miley’s date stops in his tracks, as something appears to be wrong with him. Miley asks if he’s okay, and the camera cuts to play more diagetic music, whilst showing the full moon in the sky. The video has a play on the age old beliefs of were wolfs transforming at night, as Miley’s ‘date’ transforms into a photographer. Miley screams and runs away, cueing the start of the song. This shows qualities typical of a ‘damsel in distress’.



The next scene shows Miley’s escaped to an underground car park, where she is desperately trying to keep hidden from the paparazzi, which have followed her there. The next thirty seconds consist of Miley trying to avoid the paparazzi, and her performance of the song. The presence of a glamorous looking Miley, cars and boys make it stereotypical of what you’d expect to find in a teenage music video.



As the chorus kicks in, the paparazzi jump out from behind the cars and are snapping away with their cameras. Miley tries desperately to escape them, but she’s surrounded. During Miley’s performance of the song, there are flashing lights going off behind her, similar to that of a camera, which relates to the story part of the video.



After a minute of hiding behind walls and cars, Miley becomes backed against a gate, with the paparazzi coming towards her in a crowd. They are walking in sync and as the music kicks back in, start dancing in front of Miley’s eyes. She is clearly scared and confused by this, but is unable to escape.

A black car shows up with a male friend inside to rescue Miley, and they drive off away from the paparazzi. The music finishes, whilst Miley explains to her friend what happened. Whilst she’s doing so, it becomes apparent to the viewer that there is a camera in the car that’s filming her, and the scene then gets cut to the website from which the car camera is airing the footage live. This is giving out the message that Miley feels unable to trust anyone.

Miley's video was a huge contrast to Madonna's as it stuck to simple themes that weren't likely to cause any contraversy or make any real statement or impact.

Music Video Analysis - Madonna

Music Video Analysis

The first music video I’m going to analyze is Madonna’s ‘Like a Prayer’. Released in 1989, this is a popular and widely known music video, winning Viewers Choice for Best Music Video at the MTV music awards. However, it has also been subject to harsh criticism due to the controversial storyline, which features Madonna kissing a black saint and singing in a field full of burning crosses, and topped a poll for music videos which ‘crossed the line’.

The opening scene features diagetic sounds of police sirens, and Madonna appearing to run away from them. The scene doesn’t have much lighting as night is setting in, however there is a bin alight which Madonna runs past. Fire is a connotation for danger and warning, which relates back to the sirens which can be heard. In the bible, fire represents the Holy Spirit and light. A guitar intro begins as Madonna falls to the ground, before looking up into the distance.


Next, what appears to be a cell door is closed shut, which implies there is a prisoner. The lighting in this scene is very dim which adds to the grim reality of prison life. The song begins with a choir, and the image of a burning cross is present. This is controversial, as burning crosses are used to intimidate black people. This has textual reference to real life events (Ku Klux Klan.)

In the next scene, Madonna witnesses an attack on a woman which relates back to the sirens heard at the beginning of the video, and is possibly what Madonna was running from. It then cuts to the image of a church, where the lighting is still dark as its night time, but the lights from behind the church door are on, which almost slightly resemble a set of eyes.

Following the image of the church, the video cuts to a shot of a man. There’s a spot light circling him, and he’s being lead away by a police officer. This again links back to the sirens and the cell door from the previous clips. Madonna enters a church, looking worried and in need of help – like she’s seeking help from Christ. The church is full of candles, representing the light of Christ. A ‘statue’ is behind bars in the corner of the church, also surrounded by lit candles. Madonna stands before it and the video quick cuts to images of crosses and Christ. This relates back to the religious element of the video.

The black saint begins to come to life, moving his fingers and ‘crying a tear’. He bears a striking resemblance to the man from the previous scene. The man being arrested is innocent, which links towards the black saint Madonna is praying before, as Jesus was also innocent, accused of crimes he didn’t commit. Again, the scene is lit only by the light from candles.

Madonna sings before the black Jesus, and is noticeably wearing a crucifix necklace, which again ties in with the religious theme of the video. There are metal bars separating her from Jesus, which she clings on to whilst singing the lines ‘I have no choice, I hear your voice’, which relates back to the need she felt to seek help from Christ after witnessing the crime. She rests on a bench, where she falls asleep and begins to dream she is in heaven.




In her dream, she is falling through heaven, until she is caught by a woman. The woman tells her to do the right thing and throws her back to earth. The background is made up of only sky and clouds, to clearly represent Madonna is in heaven. The lighting is a lot brighter than in previous scenes, representing she has ‘seen the light’ on what is the right thing to do after this brief encounter.



Madonna, whilst still dreaming, revisits the church and kisses the foot of the saint, before pulling back the bars which had previously separated them from each other. This shows her erotic feelings towards him, as she begins to caress his face, bringing the saint to human form.

The saint whispers into Madonna’s ears, before kissing her on her forehead and exiting the church. He is wearing white, a sign of purity, with a red sash across, which can indicate warning or danger, but is likely to represent the erotic feelings between himself and Madonna in this particular scene.


Madonna picks up a knife off the floor, which is lay next to red roses. These have connotations of love and beauty, and contrast with the knife which is a known danger. She cuts her hands with the knife, resulting in blood. This relates to the age old saying ‘blood on your hands’, but also to followers of Catholicism, who believe that if you do something that feels good, you will be punished. This shows the guilt of her exchange with the black saint.


In the next scene, it cuts across to an all black choir, who begin to sing. Light from outside is shining in on the choir leader, dressed all in white, and the table behind him which has Candelabra’s and what appears to be the Bible on it. Madonna is seen witnessing the crime where white men attack a white woman before fleeing the scene, and the black man rushes over to help the woman. The police arrive just as the man is helping, and arrest him for the crime based on the colour of his skin. The man who committed the crime gives Madonna a threatening look, and she looks on as the black man is arrested.



The next scene is very controversial, as we see Madonna dancing and singing in front of a field of burning crosses. Crosses symbolize Christianity and all it stands for. Madonna is directly facing and looking into the camera during these scenes. The burning of crosses is used to intimidate others. In the next scene Madonna has joined the gospel choir, where they are all celebrating her.


Whilst still dreaming, another controversial scene follows, where Madonna is seen getting intimate with the black saint. This physical connection between her and the saint gives her the encouragement and inspiration to get the falsely accused man released from jail. She wakes up to find the choir leaving the church and the saint back behind the bars. She is next seen assisting in the release of the man after revealing the details of what she saw to a police station, whilst curtains come down as he is being released, to give the impression this was all a play. Madonna herself said “everybody takes a bow as if to say we all play a part in this little scenario."

CD Cover Analysis

The cover for Kate Nash’s album ‘Made Of Bricks’ (2007) is quite quirky which represents the artist and the tracks on the CD, with songs such as ‘Mouthwash’, ‘Skeleton Song’ and ‘Pumpkin Soup’.
The simple concept of Kate outside a house is made more unusual by the addition of grass horses and over sized daisies, and on closer inspection the house resembles a doll’s house. These make it feel almost fairytale like, which links with the track ‘Little Red’, a referance to little red riding hood, and also to Kate who is wearing a red dress on the cover. This shows how tracks link back to Kate, implying the songs are personal to her. These connotations suggest childhood, and are perhaps a reference towards Kate’s life.
The use of primary colours is another reference towards childhood, but also simpleness, a recurring theme throughout the album. This is present on songs such as ‘Birds’ and ‘The Nicest Thing’. The colours green and blue suggest being fresh and natural.
Overall the album cover has an old-era feel about it, and the doll’s house and her red dress quite stereotypically imply femininity. This is fitting, as Kate’s main audience are more likely to be female based.

CD Cover Analysis

The cover for Kids In Glass Houses album ‘Dirt’ (2010) is ironic as its title is made up of flowers. There is a strong contrast between the flowers, indicating femininity, and the harsh slogan of the bands name. The title ‘Dirt’ creates an image of mess and masculinity, which contrasts with the flowers, which are fresh, sweet, clean and girly. This enables the band to appeal to both male and female.

The background resembles the style of an old fashioned scroll, whereas the font of the bands name is more current, which hints at a mixture between old and modern styles on the album.

The flowers are perhaps a connotation for the band growing and ‘blossoming’ since their debut album ‘Smart Casual’, and are mixing new styles into their sound. The band name Kids in Glass Houses reminds us of the phrase ‘people in glass houses shouldn’t throw stones’, which is a saying often used towards children/teenagers, who are the main target audience for the band. The design of the album cover implies that the tracks are simple and straight to the point, but after closer analysis have a deeper, hidden meaning. There is no images of the band which indicates star appeal is not needed- their name alone promotes their music.

CD Cover Analysis

The album cover for Christina Aguilera’s ‘Bionic’ (2010) appears futuristic and high-tech. The album title links to the cover image, as it’s robotic looking.
The title ‘Bi-on-ic’ is given dictionary style pronunciation. It’s different to her previous album covers in aspects such as font styles, shying away from her previous brand identity.
Christina is pictured straight on, giving a direct gaze to the audience, which shows star appeal. The split shot on the face, showing the exterior of Christina with stereotypical red lips, implying femininity, and the interior, appearing mechanical and robotic, are a reference towards the two different sounds apparent on the album. Tracks such as ‘Not Myself Tonight’ are upbeat and futuristic sounding, whereas ballads such as ‘You Lost Me’ give us an insight into Christina’s emotions.
The hard shiny metal she’s wearing is a connotation for our dependence on technology, with various methods of it featured heavily on certain tracks on the album.
The cover is perhaps a reference towards the ‘Cyborg Culture’, showing how human and robotic technology is merging together.
Overall, the album cover is successful in grabbing the audience’s attention, much like Christina’s image and song lyrics have done throughout her career.

DVD Cover Analysis

The DVD cover for Take That’s ‘The Circus Live’ (2009) has a strong circus theme, which relates back to their tour. The cover offers an element of fun due to the bright colour scheme, balloons, and the elephant the band are stood on. This enables it to appeal to a larger audience, particularly the young. The colours used are blues, reds, greens and yellows, which are fun and vibrant, giving an insight into the content of the DVD. The illusion of the almost transparent elephant also adds to the circus theme.

The band’s featured on the cover, but are not the main focus, which perhaps implies the production and themes were the most important part of the tour. The elephant was for many fans the most memorable section of the show, so by including this image on the cover is encouraging the fans that attended the tour to also buy the DVD.

The image of the sky is perhaps a connotation implying that the sky was the limit for their tour, and the band are at an all time high.

DVD Cover Analysis

The DVD cover for Paramore’s ‘The Final Riot!’ (2008) features the band performing, which implies that what you see is what you get – no props, just the music. ‘Riot’ has connotations on youth culture, which is the target audience for the music. The mainly black and white colour scheme makes it appear edgy and give it a rock vibe, which relates to the bands music, and the contrasting red title has connotations of passion, referring to their love for music and what they do. The red could also be a reference towards the femininity Hayley brings to the band, as a female singer in a mainly male dominated band. Their faces all appear slightly hidden by either props or shadows, which creates an air of mystery. The expressions on each of the band members faces are full of concentration, showing they are serious about their music.
The colour scheme and fonts are appealing towards teenagers, as this is the bands main fan base. The fonts recognisable as Paramore’s as it’s used on their album covers, website and other merchandise. This shows brand identity for the audience.

This is my completed DVD cover for my music video:

A2 Media, Music Video Planning

Our images are suitable for our DVD cover as they give a fair representation of the artist and song. Lily Allen's reputation is edgy and rebellious, whereas the song is more fun and cheery, so our images capture both these aspects. The 'smile' slogans and smiley faces relate to the song, whereas props such as cigarettes link back to Lily.

The colour scheme is fairly straight forward, using mainly firey colours for the text such as yellow, orange and red, with a contrasting deep blue background, which creates a feeling of coldness, to represent the diversity in styles of tracks on the album. For example tracks such as 'Smile' and 'LDN' have uplifting and cheery music, whereas 'The Fear' and 'I Could Say' appear much more gloomy and serious.

Planning DVD Cover for A2 Media

These are a few of the photos we have taken and are considering to use to create our DVD album cover.

Planning DVD Cover for A2 Media

These are a few of the photos we have taken and are considering to use to create our DVD album cover.

Planning DVD Cover for A2 Media

These are a few of the photos we have taken and are considering to use to create our DVD album cover.