Album Cover

This is a prototype Album Cover for Joe Cocker that I created using Photoshop:



Although the Album Cover has no particular relevance to the course, it has enabled me to get a better understanding of how to use Photoshop, which will hopefully become useful when we get round to producing our two Print Texts - the DVD Cover and Magazine Advert for the DVD.

As part of the research for this project, I looked at album covers. The album cover that I have made here coincides with a few of the codes and conventiones I found in my research. For example, the use of a large image of the artist, that dominates the cover. I have also used contrasting colours between both the background and the picture, and the background and the text, to make it stand out more. The font of the text that I have used for this is quite bright and bold, which reflects the sort of content of the song. The idea of having the text at angles also helps to make it stand out.

Although I have used some codes and conventions, I also believe there are some that I have missed. The fact that there is suggestive content in the lyrics of the song, should warrant there being an age rating somewhere on the cover, which I have not included. The picture I have used also isn't in the central third of the cover, which means it doesn't draw as much attention as it could.

Promotional Media Photos

The following pictures were to be used as part of our original idea for our video, which was subsequently changed due to time restraints.








The photos all show three males, in rather erotic poses, and therefore challenges the "Male Gaze" theory, as we are shown to objectify male characters. For the photos we used a standard stills camera which we obtained from our College's Media department.

The photos were taken at our College's gym, which was also the location we intended to film our video at. However, due to time contstraints we have had to change our idea.

Our original idea was to have a sort of X-Factor style contest, where several different characters would audition for a panel, and would strip to the camera. We had intended on filming the finished strip sequence, along with a band, in our college's music room, however we were denied access by the college Music Department. Because of this, and the time constraints we enforced upon ourselves, we had to change our idea, and so these photos are no longer particularly relevant to our Music Video.

Shot Breakdown/Link to finished music video

Shot Breakdown

We have created the following storyboard using screenshots from our finished video. It also contains information on all the shots we have used.

The Video

Video first posted on 29th December 2009.

By posting our video online we hope to recieve a lot of feedback, from people around the World as opposed to just those who know us in class.

Storyboards and Lyric/Shot analysis

Storyboards

The following are basic paper storyboards for our music video, that were created by myself, then scanned onto the computer before being uploaded. They contain images of stick people, as it was much quicker than drawing people out in great detail. Along with these, we will also produce a storyboard from our finished video, that shows every shot we have used.

From the storyboards it is clear to see that we have used a lot of mid-shots and close-up shots. This ties in with the ideas of Andrew Goodwin, as we frequently use close-ups of the singer of the song, which is one of his key components in music videos. The idea of having mid-shots/close-ups of the Stripper character also coincides with his ideas of voyeurism, and a link between lyrics and visual content, as the lyrics contain many references to stripping.

Lyric/Shot Analysis

BEGINNING SHOTS – Opening title of “You Can Leave Your Hat On by Joe Cocker” fades to black.

Aerial shots of three characters sitting on sofa – slowly change to different angles of the same shot. Mid-shot of all three characters as central character leaves the room. Cuts to close-up of stripper stripping. Fades to black as the music begins. Mid-shot of stripper re-entering the room, cuts to mid-shot of guitarist and singer, which then quickly cuts to aerial then over-the-shoulder shot of the stripper/characters on the sofa.

Extreme close-up of stripper quickly changes to extreme close up of singer. This quickly cuts to a close-up and panning shot of guitarist playing guitar, before cutting to mid-shot of guitarist and singer. LYRICS BEGIN:

Baby take off your coat (Extreme close up of singer – switches to mid-shot Stripper starting to undress)
Real slow (Extreme close up of singer singing)
Take off your shoes (Mid shot of singer and guitarist)
I'll take off your shoes (Close up of Guitarist playing guitar)
Baby take off your dress (Extreme close up of singer singing)
Yes, yes, yes (Mid shot of stripper continuing to strip)

You can leave your hat on (Mid shot of stripper cuts to mid shot of Singer’s shadow on wall)
You can leave your hat on (Close up of time-lapse of bath cuts to close up of Stripper)
You can leave your hat on (Close up of bath switches to extreme close-up of Singer)

Go over there, turn on the light (Close up of guitarist playing guitar smaller close up shots appear at the side of the guitarist)
Hey, all the lights (Over the shoulder shot of guitarist – other smaller close-ups of guitar appear around the guitarist)
Come over here, stand on that chair (Mid shot of stripper removing shirt switches to continuation of guitarist multi-shot)
Yeah, that's right (Mid-shot of singer and guitarist – Switches to mid-shot of stripper)
Raise your arms up in the air (Extreme close-up of microphone swinging in the air, and the singer then holding the mic still)
Now shake 'em (Quick-cut mid shots of Stripper and Singer/Guitarist)
You give me reason to live (Close-up of singer’s shadow)
You give me reason to live (Close-up of bath)
You give me reason to live (Mid-shot of singer/guitarist)
You give me reason to live (Extreme close-up of singer singing)

Sweet darling, (you can leave your hat on) (Close up of singer’s shadow quickly cuts to mid-shot of Stripper and guitarist then to mid-shot of singer/guitarist)
You can leave your hat on (Close-up of singer’s shadow quickly cuts to extreme-close of singer singing)
Baby, (you can leave your hat on) (Close up of bath cuts to mid-shot of stripper and guitarist dancing)
You can leave your hat on (Extreme close-up of singer singing quickly cuts to mid-shot of guitarist and stripper dancing)
(You can leave your hat on) (Extreme-close up and zoom in of Guitarists face)

There’s no way. (Extreme close-up of guitarist zooms out to mid-shot of guitarist and stripper)
(You can leave your hat on) (Mid shot of guitarist, stripper and singer dancing changes to close-up of singer, stripper and guitarist dancing)
You can leave your hat on (Close-up of singer, stripper and guitarist dancing)
(You can leave your hat on) (Extreme-close up of singer singing)
Give me the reason to live (Close-up of stripper switches to Close-up of singer, stripper and guitarist dancing)
(You can leave your hat on) (Mid-shot of Singer, Stripper and Guitarist quickly switches to extreme-close up of singer’s shadow)
You can leave your hat on (Singer’s shadow switches to close-up of stripper and guitarist dancing)

FINAL SHOTS – (Mid-shot of guitarist, singer and stripper switches to close-up of stripper)

CREDITS – Consist of a collaboration of quick cut close-ups of each actor, which culminates in a final mid-shot of all three before the camera fades to black.

For our music video we have used a variety of different shots, mainly close-ups and mid-shots. The close-ups of the stripper we have used help to objectify the character, which contrasts the ideas of Laura Mulvey’s “Male Gaze” theory, as the audience are shown the stripper through a feminine viewpoint. We have also used a lot of mid-shots, as they are the only way in which we could fit in multiple characters at one time. A lot of the editing we have used is very quick cut, and in time to the music, which will make it more effective.

In accordance with Andrew Goodwin’s theory, we have used some of what he identifies as key aspects of music videos in ours. We have used several close-up shots of the vocalist throughout the video, and have also established links between the content of the lyrics with the actions of “the Stripper” character. We have also used genre-related styles, for example the use of humorous expressions on characters’ faces, which reflects the parody genre of our video. We have also contrasted one of the key aspects of Goodwin’s theory however, as we have used no female characters, and have instead used the idea of voyeurism on “the Stripper” character.

The fact we continually switch between the Stripper and the two performers means our video follows the theory of Steven Archer. Archer theorised that a music video should have a clear link between narrative and performance that promotes both the song, and the artist. The main narrative of our video is of the stripper gradually undressing, which is coupled with the performance of the singer/guitarist.

Location Report/Risk Assessment

The following two documents are reporting on where we shall film and the risks that need avoiding whilst filming:

Location Report


Risk Assessment

Cast/Prop List/Costume Report

Cast List

Our video will star the following people (images below):

Mitchell Hickman as "The Stripper" / Backing Dancer


Robert Glass as "The Singer" / "Friend 1" / "Dancer Number 2"


Ben Scott as "The Guitarist" / "Friend 2"

(Those in bold are cast members main roles.)

Prop List

The following are props that we will need for our music video:

• 1 x Guitar
• 1 x Pair of Headphones
• 1 x Keyboard
• 1 x Microphone

We will also need standard household items, such as mugs, chairs, a table, a sofa and a television remote, which will help us to create the sense of realism early on in our video.

Costume
The only character in our film that really needs a costume is "The Stripper". For this character we will use smart business attire, with as many layers as possible to prolong the strip sections. The character will need to wear the following attire:

• Formal shirt
• Tie
• Vest
• Smart trousers (with belt)
• Female Underwear

"The Singer" character will not need a specific costume, however he must wear a pair of headphones (listed in the Prop List).

The "Friend" characters (seen at the start of the video) will need to wear casual attire, however there are no more costume restrictions for them.

With Laura Mulvey's "Male Gaze" theory in mind, we have decided to focus on a more feminine viewpoint throughout the entire Music Video, which is why we will be using a male as "the Stripper". Therefore we will be going against the ideas of Mulvey, even though we have no female characters in our video.

Along with contrasting the ideas of Laura Mulvey, we will also contrast the theory of Emanuel Levy, as the character who is stripping in our video does take pride in his appearance and youthfulness, and is of the male gender.

By contrasting these two theories, we are seeming to demasculinate (if that's a word) the Stripper character, as is evident in the idea of making him wear female underwear. We hope that this lack of masculinity in a male will add to the amusing tone of our video, particularly as it is a parody and this is the effect we wish to achieve. In accordance with Stuart Hall's Encoding/Decoding model, we will hopefully still achieve a "Hegemonic Reading" from the audience, and they will hopefully be amused by the content of our video.

By using casual clothing for the two "friend" characters, and applying the "Uses and Gratifications" theory, the audience are liable to think that the video will be used by them for Personal Relationships or Personal Identity purposes. However upon the entrance of the Stripper, they are likely to feel more of a sense of Diversion, and escapism, due to the humorous content. By lulling them into a false sense of what the video will be about to start, we hope to amplify the amusement in our audience, when the stripping sections begin.

"You Can Leave Your Hat On" Target Audience

The target audience for our music video is probably people aged between 16 and 24. Due to the inclusion of a male stripper in the video, it is probably also more likely to be aimed at females. According to Laura Mulvey’s theory of “Male Gaze” and the objectification of females, our video totally contrasts this, as the male stripper is viewed from a more female perspective, and is objectified accordingly.

Many people in our target audience will hopefully view our finished music video from a Preferred or Negotiated Reading, according to Stuart Hall’s Encoding/Decoding theory. As the video has a clear narrative there is not a lot for the audience to consider about the video, which will aid us in getting the preferred reading.

As it is a song by Joe Cocker, the video is likely to attract interest from fans of his. Also, as a version of the song was featured in the film, “The Full Monty”, our video could attract viewers from the film, to see whether we replicate the moves of the film or have created a new routine.

As the content of our video is amusing, we are likely to be viewed by our audience for diversion purposes, in accordance with Blumler and Katz “Uses and Gratifications” Theory. As the video contains mostly amusing content, the audience are likely to have very little scope for character relation, particularly as the characters are not developed in much detail through the video, and the audience are not shown any of their personality.

The age of people that we believe will be least attracted to watch our video are males aged between 40 and 65. We believe this because they are not likely to appreciate the comedy aspects of our video. Because of this, the audience are likely to view our video from an Oppositional viewing, in accordance with Stuart Hall’s “Uses and Gratifications” Theory, and therefore are likely to totally reject the ideas we are trying to convey.

The song that we have used for our music video, Joe Cocker’s “You Can Leave Your Hat On” became particularly popular in the mid 1980’s, along with the release of the film “9 ½ Weeks”, which was of the erotic drama genre. The song featured in a famous strip scene in the film, which is the reason many people associate the song with stripping, alongside the suggestive content of the lyrics. Conforming with stereotypical views of youths around that time continuing to experiment sexually, the film the song was associated with is likely to have been aimed at a relatively young audience, possibly late teens to mid-twenties. Because of this, the song is likely to have been popular with youth, which agrees with the idea of Keith Negus, who theorized that popular music that is popular with younger audiences, is made by older artists. At the time the song became popular, Joe Cocker was already well into his fourties, making him a singer of an older generation, therefore agreeing with Negus’ ideas.

Media Theories

Along with researching music videos, album covers, adverts and DVD covers, I looked into various different Media Theories, in order to help understand people’s expectations of music videos. Therefore, this will enable us to create a more realistic video that conforms to audience expectations.

Blumler and Katz – Uses and Gratifications (1974)

Audience-based theory, by researchers in the 1970’s that questions audience’s purposes for consuming different types of Media. The theory is broken down into four different reasons:

* Diversion – for the audience to escape everyday life and routines.
* Personal Relationships – for emotional and interactive purposes (for example, relating to characters in soaps/television programmes)
* Personal Identity – audience exploring their own personal problems (through characters in television programmes)
* Surveillance – for information about what is going on in the World around the audience (for example news and weather)

Stuart Hall – Encoding/Decoding (1973)

Another audience-based theory, by cultural theorist Stuart Hall, that questions audience’s acceptance of consuming different types of Media. The theory contains three possible outcomes:

· Dominant (or “Hegemonic”) reading – the reader/viewer accepts and agrees with the ideas that the text is conveying.

· Negotiated reading – the reader partly understands and accepts the ideas the text conveys, however they adjust certain things to fulfil their own personal interests and experiences.

· Oppositional (or “Counter-Hegemonic”) reading – the reader understands the ideas that are being conveyed, but rejects them due to their own personal morals and beliefs.
Laura Mulvey – “Male Gaze” Theory (1975)

Theory from British Film Theorist, Laura Mulvey. The theory states that women in film are often objectified from a male point of view, and seen only as objects for their beauty.

Emanuel Levy (1990)

Theory from American film critic, Emanuel Levy, who conducted research into Hollywood film stars, between 1932 and 1984. From his research, he theorized that female stars considered beauty and youthfulness more important than male stars.

Sven E. Carlsson

Carlsson’s theory of Music Videos analysis suggests that a music video communicates to audience through both audio and visual elements, in which messages and values are shown through the music, the lyrics and/or the video itself. He also theorised that there are two different types of Music Video:

* Performance Clip – A video where the main artist is shown dancing and singing throughout
* Conceptual Clip – A video containing more of a narrative, or an artistic style.

This can be developed into more detail, by analysing each type more closely. In certain Music Videos, the artist is often seen as materialized, into a Commercial Exhibitionist, which is the main selling point of the music, as opposed to the song itself. Another type of singer is the Televised Bard, who acts as a singing storyteller, who relies upon voice as opposed to more personal traits of the Commercial Exhibitionist, who relies upon body, costume etc. The final type is the Electronic Shaman, whom is often not seen in videos, and relies on their voice alone.

Keith Negus – Popular Music in Theory (1996)

Keith Negus’ theory challenges ideas people have about the relationship between popular music and youth cultures. He states that this music is particularly popular in younger audiences, with the artists making the music of a considerably older generation. This can be applied to bands such as Paul McCartney, Donny Osmond and ‘The Rolling Stones’. Negus also states that popular music is “inherently rebellious”.

Andrew Goodwin

Andrew Goodwin identified several different key components that make up music videos, such as:

* A link between lyrics and visual aspects – with visuals “illustrating, amplifying or contradicting” the lyrics
* A link between music and visual aspects – with visuals also “illustrating, amplifying or contradicting” the music
* Genre-related styles and iconographies evident
* Several close-ups of the main vocalist
* Voyeurism often evident with female characters
* Intertextual references to other media texts occasionally present

Many of these are evident in music videos, depending on narrative and genre of the music, and what the aim of the record company is – whether they wish to sell music or promote an artist/band.

Steven Archer

Steven Archer’s theory for music videos is that “There needs to be a strong and coherent relationship between narrative and performance in music promos. It needs to market both the song and the band”

David Gauntlett – “Making is Connecting”

David Gauntlett, a British sociologist and media theorist, came up with the idea that audiences are liable to produce media, as well as consume it. He argues there is a change in audiences from a “sit-back-and-be-told” mentality to a “make-and-do” mentality.

Research

Powerpoint presentation for my research of the music industry (all sources used are listed where appropriate)






































Advantages of my Research
I believe overall I have produced a very strong piece of research, which will hopefully enable me to contribute a lot to the Music Video, DVD Cover and Magazine Advert. By analysing existing magazine adverts, I believe it will stand me in good stead when it comes to creating our own, as I know now some of the codes and conventions of each different item. I believe I have used a wide variety of different sources, which has culminated in the success of my Research. I tried to use a variety of different genres of music as well throughout the project, and I have covered rock, parody, rap, dance, pop, heavy metal and classical genres at some point in all of my research. For the choice of music video analysis, I decided to use a very wide variety of video, including animation, in case the group decided they would like to have a go at creating something different from the conventional music videos. I also believe I have researched a considerable ammount of Media Theories that can be tied in with my work, and will overall help me to obtain a better understanding of Music Videos and the effects they have on their audience.

Disadvantages of my Research
Although there were considerable positives for my research, I also believe there have been some negatives. Although I have researched many different music genres, this could also prove to be a hinderance, as if I had focused around, for example, two different genres of music, I would have a greater understanding of codes and conventions, and what we should be looking at including in our video. Although I feel I have researched sufficient theories to tie in with my work, I would have liked to have had more time to research more different theories, as I feel some of them probably are not as relevant and specific to the music industry as they could be. It did prove arduous and time consuming finding these theories however, so realistically more time to research them is unfeasable. Another negative point for my research was that certain aspects I feel I didn't actually need to research, such as the Album Covers. As we are not required to produce an Album Cover, it does seem rather a waste of time, however if I get the opportunity I will try to create one, purely for practise on Photoshop, which will then stand me in good stead when it comes to editing our Print Texts. If I had spent less time on Album Cover research, it would probably have meant I could have researched a wider variety researching the other, more important topics. It was also quite difficult finding decent definitons for the DVD cover, or the history of the development of DVD's.