NEW genre essay:
GENRE
Intro
Through genre, we are able to categorise different texts and
place them into particular groups based on codes and conventions as well as
producer/audience relationships. My A2 music video is generally associated with
Pop music. I would say that my music video is a platform/genre in itself, yet
what I may consider as a genre, others may consider as a subgenre. Therefore,
genre has no boundaries by breaking conventions and perhaps could be seen as
raising the threshold of what’s considered generally acceptable, or creating a
new genre completely.
Context
Establishing a strong awareness of genre allows the producer
to reduce financial risk and also strengthen the relationship between the
audience and the text. My research into real media texts and genre allowed me
to meet certain pop conventions. Initially, I used the ‘mode of effects’ theory
by assuming that my young target audience would appreciate the love story I
have portrayed within my music video. As well as this, I used both performance
and narrative-based shots which is a common pop music video trait, with a
simple chronological narrative; however the slow motion footage and then
fast-cut shots heighten the sense of emotion and allows the audience to
sympathise with my main protagonist. This convention is heavily recurrent
within the Pop music video genre.
Further
generic elements of low key lighting or over cast weather trigger a sense of
pathetic fallacy; as depicted in my music video when my protagonist walks away
from her past lover after ending their relationship and there are dark clouds
in the sky, as well as low key lighting. This is contrasted with more
previously ‘happy’ shots, which use high key lighting and are fast-paced.
Theorist 1
A strong pop music video convention I feel I have replicated
is Andrew Goodwin’s theory of “personal identity”. Goodwin stated that it is
necessary to create a personal relationship between the audience and the main
protagonist, which is what I feel I do through making it seem as if my
protagonist is guiding the audience through a journey of her own in the woods.
Through portraying a typical love/break-up story, I have assumed that many
teenage girls (my target audience) would feel they can relate to what Georgina
goes through in the music video, therefore almost strengthening a personal ‘bond’
they now have.
Furthermore,
I applied Goodwin’s ‘Dancing in the Distraction Factory’ theory (1992) by using
shots including pieces of technology that teenagers often use, such as mobile
phones, laptops, and tablets. This includes a ‘frequent notion of looking’, and
an example of this would be the shot of Georgina where she picks up Matt’s
phone which is Blackberry. This is almost like a ‘screen within screen’ effect,
where the audience will also recognise the Blackberry and will feel they can
relate to the video much more as it is modern, therefore increasing its appeal.
Theorist 2
Additionally, Roland Barthes suggested that there are two
types of pleasure associated with generic texts. Plaisir reflects the every
day, mundane pleasures which are expected by the audience. I replicated this
idea by using conventional forms of slow motion, black and white imaging and
female independence versus female insecurities (Georgina burning a letter from
Matt, moving on vs Georgina crying as she is comforted by Matt). Such binary
oppositions are exemplary of the music video genre.
In
comparison however, Barthes also stated that there is a generic pleasure known
as Jouissance which denotes extreme, unexpected pleasure. This is usually fulfilled
by the breaking of conventions through elements of iconography or narrative
style. In my A2 music video, I achieved Jouissance by purposely adding several
abstract, slow motion shots of my friend Jessica, performing Gymnastics. These
shots are black and white and if the audience pays close attention, they will
notice that these shots portray subliminal messages, for example Jessica leaps
into the air as Georgina finally lets go of Matt, illustrating Georgina’s
ability to literally ‘leap’ into her freedom. These shots could be considered
random and unusual, which is why they are so unconventional of the pop music
video genre, thus challenging the generic forms. Furthermore, I added a slight
quirky ‘twist’ to my music video, by using the woods as the main setting and by
allowing Georgina to discover props along the way which not only link to
flashbacks of her previous relationship, but they are actually products of her
imagination too. Here, we can see that I am slowly breaking away from typical
pop music video conventions, as my video has a slight ‘Alice in Wonderland’
idea to it, which is unconventional.
Iconography
is another aspect of genre that was fulfilled in my A2 work through
mise-en-scene scene and iconic signifiers. The presence of a deteriorating relationship
itself is a generic attribute of the taxonomy and such emotion is emphasised
through shades of black or red that are exemplified within the couple’s
outfits; for example on their first date where Georgina wore a pink cardigan to
portray passion, and then when she was finally moving on at the end, she wore a
grey cardigan to represent dullness and neutralisation.
This is a prezi I have created, consisting of my explaining genre and how it is used within audiences and producers.
Genre of my music video
Genre and narrative of my music video "Guns and Horses" by Ellie Goulding, presentation
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