Question 1: In what ways does you product challenge and conform to real media products?

The content of our video can be seen to be a hybrid of linear/non-linear narrative, drawing content that references a lot of different films and music videos we have found ourselves exposed to. One of the first sequences we filmed was the poker scene, a pivotal scene within our video which attempted to showcase the hedonistic ideal and excessive lifestyle gained from our characters whilst being exposed to the lifestyle that comes alongside being in a rock n roll band.

The main influence for the content within the poker scene was a very similar scene within Guy Ritchies film 'Lock Stock and Two Smoking Barrels' which showcases the excessive grandeur of the game in the same light we wished to.

This panning shot within our video is a direct homage to the same shot within Lock Stock, with the comparison shown below,  Lock Stock's use of panning shots of the raised poker table shows a desperation to view the going-ons of the game and an inability to join the table which highlights the grandeur of the game alongside it being an efficient establishing shot: with the fame of the characters involved in the game. This connotation is what we wished to mirror for our characters, who we wish to be aspired to by the audience and shown in a very grandeur light.  Not only is the shot itself identical, but the use of non-ambient lighting within both shots makes the viewer unable to look away from the action and great emphasis is put upon the players, reinforcing the high risk that comes along with the game, which emphasises the hedonistic ideals we wished to portray.  

 

The first person view of the dealer that shows each player throwing either cards of chips into the cameras direction pinpoints the swagger and egotistical players- a trait mirrored in our video, as well as allowing the viewer to be finally placed in the game, this connection with the audience coercing them to pay more attention to the scene. The use of slow-motion highlights the fact that one second can change everything in this high risk game; emphasising the fast and loose lifestyle of the players that we also showcase in our video- the use of ECU reinforces the emotions of the players and reinforces the importance of a 'poker-face.'

If Andrew Goodwin's theory of Music Video conventions was to be applied to our music video, then a mix of following and challenging conventions would be derived from our product. Goodwin's first point is that there is a relationship between the lyrics and the visual; which in one point of context is true as the performance shots see the band lip-sync the lyrics- empowering their message and, as Goodwin puts it, 'amplifying' their presence. However despite the fact the song is called 'Waiting For Tomorrow', the band immediately waste their sudden gain of wealth in a storm of excess, it could be interpretated, on the other hand, that the lyric 'I'm wasting a lifetime waiting for tomorrow' is referencing the mundane aspects of life explored within the opening of our video, which shows the vocalist simply making a cup of tea and showing his disdain at the state of modern daytime television.

With Goodwin's second point, that their is a relationship between the music and the visuals, the product can be seen to be conforming with everyday media products. With the use of fast paced editing and a variety of camera shots in quick succession, it can be said that the product is reinforcing the fast pace and disorientation  connoted with the rock n roll genre, alongside the mis-en-scene of the instruments themselves, and the use of mise-en-scene which also amplifies the message given out by the music.

The mis-en-scene shown here of the dark-coat-clad teenagers smoking can seen to be amplifying the message given out by the music of the rock n roll genre; with this notion in mind the product is definitely conforming to the criteria set out by Goodwin of music videos. This alongside the use of band shirts and leather jackets shown below also reinforces Goodwin's point that genre-related style and iconography are present. With said band-shirts in mind, alongside references to bands such as Sonic Youth portrayed in posters around the location for the performance shots, Goodwin's point that the product contains intertextual references to other products also rings true: especially when considering the homage to Lock Stock shown in the poker scene of our music video.

 

As a large amount of the shots within our video feature close-ups of the character, the vocalist (pictured above and below) in particular, the product is also complying to Goodwin's point that the product contains many close-ups of the artist. It could be said that with close-ups of the artist such as those shown below, there is a sense, as Goodwin believes, of voyeurism in connection with female fans, however this point is fragile to say the least: as their is only one female within our video shown only breifly, this sense of voyeurism is false within our product. 

 

  With our use of performance shots, our product is conforming to media products of the same type, with music videos of the rock n roll genre attempting to sell their band as a live experience Close-ups of the instruments, such as the conforming 'down the neck of the guitar' shot shown below, are typical of rock n roll performance videos. The use of black and white, which attempted not only to provide a non-linear sense of flashback to the performance shots, also made said performance more dramatic in selling our band as a live experience. This style is mirrored within many music videos, particularly 'Underdog' by Kasabian. 

Shots such as these are typical of rock n roll music videos, the use of colour in these shots was inspired by videos such as 'Underdog' by Kasabian, which is pictured below.