Representation of gender within our own music video

What we have discovered from research and how this has influenced our representation within our music video:

Research into gender representation within acoustic music videos, has enabled us to discover that our initial ideas (more specifically within our treatment) and assumptions of representation within this particular genre, are rather stereotypical/expected of the genre. 

Whilst the 'Characters and Costume' blog explains the protagonist's representation through her costume and make up, our research and analysis has influenced our representation of gender further. These include: 

• Clearly representing the protagonists sense of 'longing' and progression, as seen within both researched music videos. This will be through character emotion, as well as physicall movement from the bike and camera.
• 'Delicate'- a theme already decided and established through the protagonists hair and make up, as well as the use of soft artificial and natural lighting
• Similar to that of Gabrielle Aplin, we aim to represent the female protagonist as slightly vulnerable as a cause of her 'delicate' nature. For example, she will not sing to or interact with the camera, portraying a shy but beautifully intriguing personality.
• Again, like Gabrielle, we aim for the audience to sympathise with the protagonist due to our use of shot-reverse-shot in which her reaction will be captured through a close up shot.
• Post-production: by analysing the two music videos, we have realised how useful and important editing is when understanding representation for example, to portray the artists youth, energy, mental and physical state. Therefore, we have taken into consideration using fast pace cuts in order to imply our character's energy/and or frantic confusion when she realises the truth about her old romance.

Our representation could be argued as hardly unconventional to the genre, possibly not deriving any pleasure from the audience. This is in relation to Abercrombie's theory that 'we derive pleasure from observing how the conventions of a genre are manipulated'; the representation of females within acoustic music, arguably hasn't been 'manipulated' within our music video. However, as already discussed in previous blogs, the intrigue and pleasure that is derived from the constant change in genre within our own music video, is focused upon the strong narrative and lack of performance. Due to this evident lack in performance, the representation of the protagonist will hopefully attract a loyal, acoustic fan base as the representation will appeal in the sense of genre familiarity.

Characters and Costume

Rosie Clark: Female Protagonist.

 

We chose to cast Rosie Clark as the female protagonist for a number of valued reasons. First of all, Rosie is an A Level Drama student and were therefore assured that her performance within the music video would be very professional and realistic.

 

 Rosie is also young (aged 17), attracting our youthful target audience (teenagers+).



 

 

 

 

 

 

 

 

 

 

Visually, Rosie is ideal for our music video. With large, pretty eyes and a fair complexion, Rosie connotes innocence, naivety and a beautiful persona. Supported by research, many genres and music vides often portray women as slim and attractive; a voyeuristic treatment of the gender. Although Rosie is not playing a lustrous character, acoustic videos often portray their protagonists as 'naturally pretty' and down to earth. This is emphasised through Rosie's subtle make up, perfectly placed hairstyle (loose curls to symbolize fresh, natural beauty) and feminine but casual clothing.

 



The soft, pastel colour comination is aesthetocally pleasing. The use of the coat implaies that the protagonist is somehwat vulnerable and in need of protection from love. Therefore, this choice in costume is very symbolic whilst still being visually, very casual.
 

With specific reference to the costume, the floral pattern of both her dress and shoes reflect the natural, organic theme, as well as establishing her femininity. Flowers also have a delicate nature, therefore implying that the femal protagonist is of a delicate nature, enabling the audience empathise with her.

We decided to have the same interior costume as the extrerior/woodland shots not only to achieve continuity, but to establish a clear identification of the protagonist (for the audience) throughout the music video. The florals are also very appealing to us in terms of symbolism, and we want this to remain throughout.

However, there is a slight distinction between an interior costume and exterior costume; the female protagonist puts on a coat in order to search for her 'love'. Arguably, in real life you are less likely to change your outfit in one day, although many music videos (such as pop) often have several costume changes in order to maintain focus on the artist. However, supported through research, acoustic videos like to portray reality through the mise-en-scene. Therefore, having a single, casual outfit reflects this.

The costume is, potentially, not as feminine as that reserached on the mood board. This is primarily due to the practicality of shooting in a woodland location; there is less risk of the actress slipping or falling if she is wearing sturdy, falt shoes. However the dress and shoes are still very feminine, soft and organic ( we have not lost any of our ideas despite our slight changes).

Luke Blackmore : Male.

Although Luke is more of a cameo role, he is vital to the narrative. His casual clothing (t-shirt and jeans) portrays him as a very casual and realistic character. His muscular build will also be good for long shots as the audience can easily make out his physique from afar.

 

Lizzie Adcock: Mystery Girl.

 

Like Luke, Lizzie's role is an even smaller cameo role; the girl that the boy hugs infront of the female protagonist. Therefore casual clothing of a hoodie, jeans and shoes are fitting with the season and woodland surroundings (as well as keeping full focus on the delicate rosie).

As well as this, Lizzie is our production group and therefore fully understands the production and what he want to achieve. She also does A Level Drama, making her knowledgable on performance.

Shot List

Shot List

Location shots

Shooting Schedule

Below, is our shooting schedule for our music video: 

A shooting schedule enabled us to organise each aspect of our music video, giving us a clear overview of what was needed and what was going to happen on each day of shooting.

Shooting Schedule

Storyboard

Music Video Storyboard

Finalised Music Video Idea: Treatment

Chosen song:
http://theohhellos.com/track/like-the-dawn

Music Video Treatment on PhotoPeach

Concept:

'In an unexpected turn of events, a young girl is on a journey of romance and realisation'

The music video is all about a young, female protagonist, as we follow her through a journey of clues, which are in the form of arrows. The video begins with various shots of soft light (direct sun and possibly through a window pane), natural surroundings and various effeminate bedroom objects. We are then introduced to the protagonist, and are welcomed into her personal space; her bedroom. A vintage, autumnal theme is clearly established through the location, lighting and mise-en-scene. As the protagonist is surrounded by letters, books, everyday objects, it seems that she is going about her everyday life (whilst day dreaming), though she seems quite subdued and sad. Within, or throughout this seen there is specific reference to a photograph; though blurred out of focus, the audience can see two figures. The young girl then begins to move papers and get back to what she is doing. However whilst slightly moving a piece of paper, she is confronted with the action code; an arrow.

This arrow is then the beginning of the young girls journey, to which she assumes that her final destination is taking her to the blurred figure (romance) within the photograph. Taking up a considerable section of the song, a 'montage' of shots follow; different types of arrows leading in certain directions, which the girl follows. For example, the protagonist will ride on a bike eagerly following and finding these arrows, taking us through different locations such as a garden, streets, and eventually, the woods.

The girl arrives in what she believes is her destination, after spotting an arrow pointing to an idyllic area in the woods. She holds up the photograph (which takes up the frame), and as she brings it down, the blurred figure is seen in the distance. The girl begins to smile. However, as we cut back to the boy (figure) we see another girl come into the frame and hug him, hence the 'romance and revelation'. Shocked, the girl turns back, only to realise that the arrow was pointing in the wrong direction all along. She runs away from the boy (possibly lending itself to reverse) as we are confronted with many fragmented shots; close ups of the girl, her feet, the light through the trees, her personal possessions back as home, and predominantly, a mug breaking (symbolising her current, 'broken' state).

As we track the girl running away, the video concludes with her finding a new romance and in fact, what the arrows were directing her to all along. The emotive storyline's pace begins to slow down, as their is a clear sense of resolution, to which the broken mug shall be reversed, 'healing' her broken heart.

As of yet, we are still unsure on an ending, to which we have two:

1. The protagonist finds her new love and things are 'fixed'.
2. As the new couple are together, the camera pans out to reveal a missed arrow, which is point to another direction; an ambiguous ending to which we question if she has actually reached her destination?

Mood board:

As well as the presentation which begins this post, here are various images from the mood board we created to accompany the treatment  The images reflect our overall, 'natural'/'vintage' theme, as well as our mise-en-scene ideas.

Style of Filming and editing:

Our main influences come from the likes of Jason Myraz and Half Moon Run. Both videos express simple cut transitions (where as we may experiment with fade transitions  at the beginning and end of the video), focus pulls and soft edges; aspects that we aim to include within our music video. Whilst in Post Production, we also aim to reverse a small section of the video. With reference to camera angles and movement, a wide range of shots from close-ups to establishing/long shots shall be included, accompanied by camera panning and tracking.

However, the 'artistic' and 'nature' montage/pick ups, as well as the protagonists fragmented thoughts can afford to be more rugged (shaky) portraying a sense emotion and well as supporting the overall organic theme.

Intertextuality:

Our main intertextual reference is to the novel and film 'P.S I Love You'. This is referenced through the concept of our protagonist following one clue to the next; similar to the film narrative, in which a women follows the instructions of several letters left by a loved one, in which she finds a new romance.

Trailer:

How will it appeal to the audience?

Our music video will appeal to the audience through it's strong storyline; all focus goes upon the girl and her journey. Although this can be argued as unconventional to an acoustic music video, in which there is almost always a performance element, our concept applies to the theory 'We derive pleasure from observing how the conventions of a genre are manipulated'. Therefore, by not including any element of performance, the audience will be intrigued to how the narrative will pan out and keep their attention. However, our music video also agrees with 'Genres permit the creation and maintenance of a loyal audience which become used to recognising the conventions of a genre'. This is because we have a strong relationship between music and visuals, as well as aiming to achieve an aesthetically pretty and natural music video.

Mood Board: Chosen Song and Initial Ideas

Final Song Choice with Lyrics

After listening to and comparing each song within the 'Possible Song Choices Table'. We decided to use the song 'Like the Dawn' by The Oh Hellos:

http://theohhellos.com/track/like-the-dawn

We decided upon this song because of the structure and varying dynamics, particularly within the instrumental. We felt that the instrumental, and overall genre (acoustic) of the piece expressed a lot of movement and emotion, which can be easily reflected and interpreted visually. As well as this the singers voice was a strong persuasion; we felt, that as the directors, we could relate more to the female voice, not only presenting more obvious storyline ( a female protagonist) but also possibly targeting a (female) audience similar to our own preferences, in consideration to the genre audience.

In terms of Post Production, this song persuaded our choice in the sense that the tempo gives us the chances to experiment with quick cuts, as well as slow motion, dissolves and possibly, reverse.

Any logistical problems can also be easily overcome with this song. For example, although the song itself is too long, there are various natural breaks within the structure, to which we can easily cut the song. Also, the band are American. However the genre and culture of acoustic/folk is widely appreciated within British culture (such as Mumford and Sons) and has a style which is not significant to Texas, America.

Lyrics:

I was sleeping in the garden when I saw you first 

he'd put me deep, deep under so that he could work 

and like the dawn you broke the dark and my whole earth shook 

I was sleeping in the garden when I saw you 



at last, at last 

bones of my bones and flesh of my flesh, at last 



you were the brightest shade of sun I had ever seen 

your skin was gilded with the gold of the richest kings 

and like the dawn you woke the world inside of me 

you were the brightest shade of sun when I saw you 



and you will surely be the death of me 

but how could I have known?

Possile Song Choices

In order to decide upon a song to create a music video for, we, as a group listened to and discussed many aspects of various songs. Converting the information into a table format allowed us to clearly identify certain aspects of the songs, such as genre and dynamics, as well as compare the songs to one another.

Here are the links to each song (correct order) which i have included within the table below.

https://soundcloud.com/nightbug/tropic

http://www.youtube.com/watch?v=PczwzftrhYk

http://richardjacobs.bandcamp.com/track/this-light

http://theohhellos.com/track/like-the-dawn

Potential Song Choices.

Welcome

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