Even though water was one of the main drives for my music video, after I created it, I noticed that lots of abstract music videos followed the same conventions as my video. For Example, Taylor Swift's new music video for her song 'Style' was created as an abstract feature. It solely focuses on a montage of footage to create an interpretive narrative.
As you can see in these screenshots:
Both of these shots are around 2 seconds long which shows that my video do follow conventions of real-life abstract music videos. You can see Taylor Swift looking at someone (in the form of a flashback) and then in my music video, you can see my subject looking at someone, again, in the form of a flashback. There is continuous use of montage in Taylor Swift's video, which again is similar to mine because it sets apart my video from being narratively-based. The use of close-ups, as shown in both the 'Style' music video and my music video shows that abstract-based videos use collections of these types of shots to show intimacy. Therefore, if you were watching an abstract music video, it is normally created for an Indie or Niche audience and therefore you want to make it personal. For my video, I think I have created this personal level because most of my video is shot at a close-up aerial view, therefore, meaning that the audience are experiencing an interpretive emotion first-handedly. So therefore, hopefully, because I have followed similar conventions such as close-ups and fast-paced editing as shown in both my music video and Taylor Swift - Style, as proposed by Rick Altman (1999) a certain type of genre (for example Abstract) has aims to create an emotional response, hopefully acquired via flashbacks and the progression of life (from being young, to going through issues within growing up), a Visceral response, a sensory or physical pleasure from watching a piece of footage (which could therefore relate to my video in the sense of the problems that could be interpreted may be relatable for the audience). This can be shown in the end shot where the song fades out to black, it is unclear as to how the video ends, whether or not she commits suicide or if she finally gets over the problems that are troubling her:
These screenshots from the Taylor Swift - Style music video further show the personal approach as an artist she has with an audience, shown via close-ups and direct eye-contact:
This also shows the dark, gloomy and melancholy aspects of Taylor's video which thus contrasts nicely with mine. In the first screenshot, you can see dark almost shadowed by a distorted darkness which could be reflected within my music video because of the purple shampoo in the water and also the dark colour scheme I chose to portray the gloomy and melancholy emotions my main protagonist was feeling.The last screenshot is similar to my flashback aspects of my music video because although mine is in Black and White, the Brightness and contrast aspects are very similar to a sunny day as the sky is bright in my music video, just like it is in Taylor's. However, even though some aspects of mine and Taylor's video are similar, aspects such as bright sunshine (as shown in Taylor's) does not have direct correlation to my music video. This could be because her soundtrack lyrics have a narrative theme of love, whereas Marika Hackman - Drown is primarily interpretation. It could be literal as in 'So I'll drown' meaning that she would fall into the water and not surface, or it could mean drowning in her day-to-day life. Whereas Taylor's lyrics suggest romance such as 'And when we go crashing down we come back everytime, because we never go out of style' therefore discussing a past relationship ( which we know is conventionally to Taylor Swift) therefore reinforcing the fact she has become a mainstream music artist (because she follows one set of conventions - pop music and creating music for a specific audience - teenage girls). Thus meaning my soundtrack choice was successful choice to use for an abstract music video because it can conform to more mainstream versions of abstract music videos, but also creates its own too. It therefore challenges certain conventions as abstract and indie artists are meant to be different to other products, but still follow the main conventions such as close-ups, eye contact and varying colour scheme (as represented in the blue, brown, purple tones and the black and white flashback aspects.)
(The writing is slightly small so you will have to click on the application.)
In order to create my ancillary texts and ensure that they followed conventions of real products, I created a moodboard for both my Digipak and Poster text:
These are just a few samples of CD Digipaks I got off a few quick searches on Google. You can determine which CDs are mainstream and which are alternative by the use of colour schemes.
However, because I created two Magazine posters, I was able to create a more mainstream-looking poster (by incorporating minimalistic design like the Eminem poster) I was able to keep conventions of an Alternative product but challenge it aswell. By challenging conventions, it meant a larger audience will take interest in my products. If someone who primarily liked mainstream items saw a mainstream poster, they may be more accepting to the more abstract/alternative aspects of my film therefore merging two different mind-sets.
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By creating this Prezi, it meant I could evaluate my work on a simplistic basis. Meaning that I could see whether or not I had followed basic conventions such as the bar-code, record label and other various aspects such as CD conventions in regards to DVD/CD logos and serial code numbers. For this process it was about learning how to assemble my package as a legit product. therefore having to follow simple conventions (such as positioning the bar-code in to the bottom corners).
In order to see how I created my product, like I have done throughout all my planning and research, I decided to make a Textual Analysis on my own product:
Mise-En-Scene
The mise-en-scene for my music is a collaboration of props such as an additional lense, purple shampoo (for blonde hair) and I used these items to create the mysterious, dark and slightly questionable video. The purple shampoo, for me, gave the video a sense of purpose, not like she was just wading around in a bath - it gave Erin's stance a purpose. The consistent flashes between the purple-filled bath and the clear water cohesively created a frustration between different aspects of Erin as the actress. She is seen smiling at 0.18 seconds when the bath is clear and then at 0.41 you see the shrouded purple water succumbing her. I used this throughout my whole video to build up different thought patterns, and as the rhythm of the song became more profound, the more concentrated the purple became (alongside the increase of pace of editing.)
For the Black and White 'flashback' aspects of the video, clips in which a one tree were filmed was aimed to represent life and the growth from childhood to adulthood. However, of course as this film is incredibly abstract, people will formulate their own ideas about what it represents. But, for me this music video is about the struggles of growing up, and although youth is carefree, it doesn't always carry on into later life. the 'drowning' aspects a little less literal that taking ones life - but more about nonchalance of her youth. I think the Black and White aspects of the video really did highlight that aspect and thought.
After researching Eric Anderson and the opening to Dexter, I felt like his 'rawness' and explicitness within his video could be portrayed in my video as the need of not being perfected (as in no make-up) which gave the video a natural aura in my opinion and worked quite well.
Cinematography
It was very hard in terms of framing for my video as the first filming shoot in the bath was done without a tripod and therefore centralising my actress was very hard. However, after a few practises I managed to do so. Therefore, throughout my video, you can see I have tried to keep my actress centralised as she is the main focus of the video - the music artist. therefore it is easier to determinate which is the flashback and which is supposed to be in present time.
In terms of framing at 2.48, you can see that the shot of Lottie is a high-angle, showing her as more prestigious and the smile of her face shows the care-free aspect of Erin that may have been lost. Therefore, the use of aerial shots for Erin throughout make more sense - representing her as stagnant or stuck, whereas Lottie is free to run around, climb and jump. Also at 3.22, you see a low angle shot of Lottie standing up into the bright sky which cuts to Erin struggling underwater. This was a contrast I wanted to create to show that when you may be trying to stand up or remembering something uplifting, there may always be something dragging you back down.
Editing
Like every other music video I have analysed before, the pace of editing always increasing with the rhythm. therefore, for my video, I have ensured to follow this convention. As you can see at 2.17, the pace of editing becomes a lot faster and the change over from clear water to purple is more prominent. this is to ensure the climax at the end of the video is reached successfully and doesn't just jump from slow-paced film to fast instantaneously.
Other editing techniques such as low-motion and layered film was used to create an eerie distorted effect. As I took inspiration from Euan Baker's A2 music video, slow motion was a big part of my film as I think it captures an emotion or expression. Also, the use of black and white footage is also similar to Euan Baker's as the camera quality is of same standard.
Sound
The video I created is strongly based around the lyrics within the soundtrack. As I have mentioned before, I had chosen not to incorporate lip-sync as I felt like it wouldn't fit with the abstract connotations I was trying to create. I didn't want the lyrics to influence my audience's thoughts about the video. For example, if I had Erin lip-syncing 'And so I'll Drown' it would give the piece a more literal meaning which, for me, would ruin the mysterious, unusual atmosphere I created. However, at 1.06, Marika sings 'Oh I was born, with a healthy appetite' which syncs with the film as it cuts to the Black and White shots of "Erin" at a younger age. This creates cohesion for the audience and makes them subconsciously aware that the film shot of Lottie is supposed to represent Erin as a child.
To conclude, for my final media products, I had to keep to conventions by researching into the basic aspects of real-life products. However, because I created an Abstract music video, I was able to incorporate new and different ideas, which kept conventional to Alternative and Indie products. For example, Marika Hackman's new album front cover breaks mainstream conventions by showing her legs instead of a direct photo of her face, which shows her as an alternative artist trying to do something new. Just as I have tried to do with my Digipak.
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