In what ways does your media products use, develop or challenge forms and conventions of real media products?
The song ‘Children in Need’ doesn’t have an existing music
video which meant we had to look at previous music videos that the artist has
so that it would give us an idea on how the artist likes to be portrayed in his
videos. Most of his videos are performance based with him rapping to the camera
apart from his 2007 single ‘pushin’ which is a mixture of performance and
narrative with a young boy acting as the artist in his teen years. We as a
group decided that our music video will be narrative and performance which
challenges the conventions of a typical rap video. Majority of rap videos are
performance based, with the artists performing straight into the camera. This
often gains recognition for the artists, especially those who aren’t as well
known. This is where the star theory can be included, unknown artists will
feature on a well-known artist’s song so that they can gain some recognition. The
typical conventions of a rap video can be seen in the Sneakbo ‘cant believe’
music video.
The concept of ‘Children in need’ is a true story and has
quite a deep meaning to it. We can link our music video to that of Krept and
Konan’s ‘My Story’ music video. This video is unlike any of their others as it
consists of narrative throughout. The song tells us the story of what Konan
went through when he first entered the music industry and before he became
known. The narrative helps us visualise the story and helps us understand the
struggle the artist went through. For the first ¾ of the video it shows the
negative things that kept happening to the artist but then after the cut, it
comes back with krept and konan laughing and joking and telling us of the positive
things that began to happen. In another music video that they have ‘don’t waste
my time’ shows the typical conventions of a rap video. For example, numerous
police vans turn up to the scene due to the anti-social behaviour that the
music video shoot is causing. The artists are also promoting their clothing
brand ‘play dirty’ in their video by having most of the people in the
background wearing one of their shirts.
We wanted to take inspiration from other genres and music
videos. For example, we used Ed Sheeran’s use of black and white in the music
video The A-Team. We also wanted to link it to The A-Team as we had similar
visuals, for example having both actresses looking in the mirror. It also links
back to The A-Team as they both tell a story of a young girl going through
rough times in their lives.
We challenged the typical conventions of a rap video as our
artist chooses not to perform into the camera and doesn’t give the camera
hardly any eye contact. This could represent the fact that the artist doesn’t
want to face the truth within the lyrics as it all happened to his big sister.
It also shows the humble side of the artist compared to that of other artists
like Stormzy who perform quite aggressively to the camera.
UK rap artists keep their videos mainly performance based as
in they’ll be up close rapping into the camera whereas US rap artists will rap
into the camera but they’ll have their distance from the camera. They may also
be included in a dance routine or will have dancers performing behind them. For
example Chris Brown in his hit single ‘loyal’ is included in the dance routine
as well as having times where he will rap into the camera. From watching a
range of different rap videos, I noticed that quite a few rap videos are
narrative based. For an older example we can look at 2Pac ‘ghetto gospel’ shows
us a day in the life of a young black man living in poverty in the US. A newer
example of a narrative rap music video can be ‘Ricos Story’ by Speaker
Knockers, which states the story of a young black male who is betrayed by his
girlfriend.
The locations used in the music video fit the rap genre; as
they are council owned areas, which are often shown in typical UK rap music
videos. I decided to film at the Watermans Arts Centre, as I liked the graffiti
designs on the back wall, which you can see in the music video. I wanted to
show this as it is urban and it brings some colour to the video. Graffiti is
something we see everyday around London. In some cases it can look nice and be
classed as art, but majority of the time it is gang names, peoples tag names
and vandalism. Quite a few artists like having graffiti in the background of
their video as it shows the gritty and more truthful side of London. For example Chips newest video ‘school of
grime’ is set in an underground tunnel, where the walls are covered in
graffiti. Location is one of the things we didn’t challenge.
Through research, I learnt that most UK rap artists would
keep their location of their video simple and easy. They keep to urban settings
like studios, streets, council estates or areas they grew up in. Some US
artist’s do the same for example 2Pac ‘to live and die in L.A’ shows certain
places in L.A that have a relivance to the lyrics. On the other hand you have
some US artists who will chose places that most show of their wealth and
fortune. For example ‘High School’ by Nicki Minaj is set in a huge mansion,
which has no relevance to the song.
Although we challenged some of the codes and conventions,
there were a few that we kept the same. We did this so that people would be
able to recognise this as the rap genre. The conventions we kept the same
include the mentions of crime, violence and drugs. In the song, the artist tells us of the
negative effects drugs had on his sister’s life, for example becoming a heroin
addict, and being sentenced to eight months in Holloway prison. The lyrics
could also be a way of getting a message across to young people, that smoking
weed may be a fun high at the time but that doesn’t last and can lead to more
lethal drugs. There are some artists who promote drugs and alcohol to young
people. For example, Snoop Dogg and Wiz
Khalifa are the main artists that promote smoking weed. In their song ‘that
good’, you see the artists and fellow associates smoking a lot of cannabis.
Which obviously isn’t setting a good example seeing as their main target
audience is teenagers. Crime and violence are also mentioned in the song
‘beating up her younger brother for attention’ shows that she would use
violence to get attention from others, as she was a young trouble teen. The
crime element is shown through her ‘nicking cars’ and ‘drug dealing’ as a way
to make money. This music video doesn’t show the luxuries of the music
industries but the true stories behind their ‘star image’ of money, cars, gold
chains and women.
For the magazine advert I looked at artists such as Chris
Brown and Wretch 32. I liked how wretch 32s advert was quite simples and stuck
two a few colours. I liked how it had a block of flats in the background, which
kept it urban and showed the gritty sides of London. Chris Browns was similar
in ways and it had buildings in the background, showing him to be on the top of
a building. When filming the music
video, I asked the artist to do a quick photo shoot in the park. I thought the
park would be quite iconic as we named the EP ‘Estate Dreams’. Every estate has
a park, so from the artist sitting on the swings in a park, it could show the
artist reflecting on his past and reminding himself of his success.
In our music video we included Goodwin’s theory of visuals
and lyrics. I think there is a strong link between the lyrics and visuals
because are emphasised. Majority of the time the lyrics and visuals link but in
other parts we decided not to as we wanted to show different aspects. This makes
the music video more emotive and connects more with the audience.
We also included Laura Mulvey’s theory by not sexualising
our actresses or our artist. In most music videos nowadays, women are being
objectified. We decided to go against the conventions of a rap music video as
we didn’t show our artist or actresses in a sexualised manor. This behaviour of
sexualising women in music videos has become something of the norm and
interestingly enough, men are now becoming even more sexualised for the female gaze.