Genre analysis is an important part of the research process. By looking at different aspects of the genre (Mise-En-Scene/Themes/Music), we see exactly what forms the contract of the genre. We know for example that mods looking for ska expect an upbeat walking bassline so they can dance, suave dress, and equality and unity as a race. Without these conventions, the genre is not the blueprint that the fans were expecting so Stuart Hall would state that the preferred reading, of which all directors are to aim for, is not achieved. It also taught us how to look for the nature of the star image, and part of this included exploring how the paradox of the star is still created despite the lack of hierarchy within the bands themselves, and the lack of deeming themselves higher than their audience.
Click the image below for our annotated presentation.
Obviously, our music video will be a huge task, and good amounts of preparation over the summer will be required to make this product spectacular, and professional.
Find a band – we need to find suitable members for our band. Suitable members will be free to film, motivated to act, and to some degree, its mandatory that they be skilled at their respective instrument. This will make syncing believable, practical and time saving. If they own their own instrument is a major factor too as it will save us time trying to source them.
Find suitable costumes – Costumes in ska are very diverse, and ska bands never look the same. Each band has its own image, and even each member in the band have their own identity through how they dress. It is important to vary the costumes in order to keep to the repertoire of elements, of which includes ‘equal, but different’, and to stop drifting into the realms of industrial, manufactured star imagery. Finding suitable costumes over the summer will allow us to accumulate a mass of costume, and then we can pick and choose and mix and match to perfect each member’s look.
Explore Guernsey – Exploring Guernsey is a fundamental target. By doing this, we will search out suitable, genuine locations in which we can film narrative and performance sections of the music video. Not only that, but we can explore shops to find props, costumes, make up, etc, all parts of which will make the mise-en-scene of a Utopian standard.
Devising various ‘satirical, light hearted’ narratives and performance – Experimenting and writing ideas over the summer will allow us to come back ready to sift through what we have come up with and get started on the filming as soon as possible. Time is of the essence and it is important not to lose it by wasting time planning and making narrative/performance ideas.
Remain sensitive – NARRATIVES AND PERFORMANCE MUST BE POLITICALLY CORRECT. It is important to make a statement, and push boundaries to fight for the equality of those being persecuted for their individuality, but in this age of technology, its very easy for audiences to take things the wrong way, and be insulted/offended. This is seen in Stuart Hall’s ‘reception theory’, where by the presence of oppositional reading and negotiated reading will impact the audience’s decoding of the music video. As such, we must think of ways to clearly connote our support for these people, not a non-existent sense of hatred before we come back.
It was decided that the video should most certainly be humourous and light hearted, as in accordance with the repertoire of elements for the ska genre.
The video should be based around the lyrics, of which focuses on themes and implications of narcissism, vanity, or perhaps developments of confidence and defying the social norm
Possible locations include Rue Mainguy Scout Camp or the School pavillion/changing rooms for their facilities, of which include bathrooms and toilets that can be used for the performance. Additionally, the school stage was mentioned as a potential site.
The performers will be sharply dressed, as advised by Mr Gregson, and in keeping with the mise-en-scene of ska.
Possible narrative could focus on the pressure put on our generation through social media, thus the mirror becomes the “black mirror” of technology. Another narrative idea Cameron and I devised is one that pushes boundaries, just as the genre itself aims to do, by having the lead male singer in a dress, full make up, etc. This aims to get the message out that just because you’re different, that doesn’t mean you’re inferior.
However, it must be done carefully as bought up by our teachers due to the sensitive nature of the topic in hand.
A pitch was made by myself, and Cameron Osborne-Burns on Prezi. The pitch is required for us to ‘sell’ our idea to the Media Department in our school. This is important because we, as a group, need to know that we can go ahead with our music video, and all the narrative/performance within it. It is mutually beneficial because it gives the department an idea on what we intend to do whilst simultaneously building a platform upon which our two parties can talk and fuel creative ideas.
The pitch can be found below, and contains (in order):
The Song
The genre, and its respective repertoire of elements
Ska music is a very upbeat, happy genre. This offers the perfect opportunity for us to make a heavily dance based performance, and a comedic, satirical narrative.
Additionally, I was infatuated with the deeper meaning behind the lyrics. The song appears to talk about themes of narcissism and vanity, and as such I feel these lyrics could be interpreted to talk about confidence and individuality, thus allowing a lighter, humorous video.
Furthermore, the varying tempo of the genre will allow for some interesting change in length of shots, and the instrumental solos will create room for some switches between performance and narrative.
Finally, the ska genre is one of which will allow it to be easy to succeed in maintaining the repertoire of elements required for the music video. I am very much into the ska scene myself, and as such I have access to certain instruments and aspects of the Mise-en-scene such as costume. This makes the video less costly, and less time consuming when sourcing the necessities. Plus, I believe the island to have many great locations and helpful people/companies who would be willing to help us out in lending us said locations.
Moodboard:
This is the moodboard for New Wave music. Please click below for full PDF.
New wave is a genre influenced by punk and post-punk, but heavily merged with synth, electronica and pop. It is stylised on loud clothing and wild colours. Wacky hair and make up is also a huge part of the genre in some cases. Famous new wave bands include Blondie, Kraftwerk and Depeche Mode. Narrative and perfomance for this genre generally includes group togetherness, artwork, bright colours and abnormal settings.
2. ‘Mirror in the Bathroom’ – The (English) Beat
Moodboard:
Ska is a genre combining Jamaican Calypso and American Jazz, playing an upbeat bassline as the centrepiece of the genre. Due its jazz influences, trumpets, saxophones, and other various big band, brass instruments are used frequently. Typical mise-en-scene in the ska genre is black and white check (to convey equality, but variety), suave/sharp dress, and energetic, happy dancing. As such, narrative and performance for my video is likely to include comradery, satire, dancing and smart costume.
This is my song idea ‘Mirror in the Bathroom‘by The Beat (‘The English Beat’ in America). This song is classified as ska. Ska is a genre of which is idolised by its use of big band instruments, such as the saxophone, trumpet, and trombone, due to its influence from jazz. It is a genre of which revolves around a bass guitar, often a walking bassline, of which is played on the upbeat. Ska was highly popular with the Jamaicans post World War 2, of whom bought the genre to the streets of London during their mass migration in the 1960s. It soon became popular with English mods and skinheads. The moodboard introduction to the genre can be found below in PDF by clicking the image.
As it is clear from this moodboard, the star image of a ska band is very much built to show a repertoire of elements, of which includes suave clothing, companionship, equality, enjoyment, and variety. They are meant to look like happy go lucky young people who enjoy dancing, music and fashion, of which was parallel to the attitudes of their audiences. This therefore creates the paradox of the star, for these young musicians were completely equal to their fans, but somewhat idolised for being the ones to stand up to social norms in the music industry, and indeed the global social climate. Black and white (known as two tone in ska) check designs are quintessential to the genre, and thus the star image. Conventional clothing includes suits, sunglasses, trilbies, Doc Martens, suspenders, buttoned polo shirts and suspenders.
Some narrative ideas I had for our music video included ideas and themes of peace, equality, neutrality and social understanding, all themes of which are what ska was built upon. This could perhaps involve the idea of a protest against nuclear armament, or a minority whom rise up from segregation and hate to gain their rightful place among others. However, this isn’t completely necessary as Madness, a famous two tone band, often did comedic videos involving dancing, slap stick comedy, satire and wacky, abnormal clothing. Perhaps a funny narrative could be the way forward too.
Annotated lyrics for ‘Mirror in the Bathroom’ by The Beat:
Clicking the image below will take you to a PDF of my annotated lyrics. These include narrative/performance ideas, themes, and camera angles.
This task was performed in order to allow us to brainstorm what skills, traits, attributes and resources were necessary to the creation of a perfect production, and of course anything else that would make it above and beyond that. Some key aspects we found were good actors, so that lip syncing would be easier, and they would thus look like proper artists. Additionally, we decided we needed people who were great at photoshop, for the digipak, and also at editing and filming in the area of cinematography so our music video would look professional. It was seen by our group that a good leader had to be an outstanding oritor, and one of whom was optimistic, but at the same time a realist and organised so things were done on schedule. The members of the group had to have good connections with third party sources so that we could find props, settings, actors, etc. It was also adamant that the whole group, cast and crew, have free time. Shooting and editing is time consuming. It can also be expensive travelling around and buying things, so a source of wealth would be good too. Finally, the music video relies on our creativity. As such, we need a member with an eye for detail, and a flair for creativity. This would help with mise-en-scene, constant inclusion of the repertoire of elements of our genre, storyboarding, etc.
What lessons did you learn about planning and the use of Shot Lists and Production Meeting Agendas? Why are they important when out on shoot?
We learnt about the PMA before our shoot, as it was necessary for preparing for the day. It allowed us to know what to take and who was where at what times. Shot lists were made in the lesson before our PMA, and this taught us the generic and/or conventional shots necessary for an audience to distinguish us as an acoustic indie female video, and on the day, to keep to the repertoire of elements (rural, minimalist, etc).
Plus TARGET: Take these documents out with us on the actual day.
What should the camera operator be doing whilst filming?
The camera operator should be maintaining a steady camera. This can done by using the tripod, or using the shoulder rest for handheld shots. They must ensure they are following the shot list, and keeping things in the depth of field, or out of if required.
Plus TARGET: Aim to use the shoulder rest more for our handheld shots as some are unsteady, and wobbly.
What lessons did you learn about directing people in front of the camera? What information do they need to know about their character / their performance style? How can the director get them to relax and have confidence in front of the camera in order to perform well?
When directing, oneself has to be very firm, and adamant that the team IS going to this. I learnt just how easy it is to be lenient, and unfortunately, leniency only loses you time, and also meant that our actor did not sing properly, making lip sync very hard. Furthermore, it is important for the actor to know exactly how they are to act, and this can only be done through communication of the director. They need to know where to be, the emotion that should be on their face, the way they dance, sing, etc. The director can get them to relax by talking to them constantly, reassuring them, giving them tips as they go, etc.
Plus TARGET: Make communication channels open, and a top priority. Do not be lenient, this is our product and we should strive to disallow our actors the ability to ruin it. Reassure and help struggling performers.
What lessons did you learn about filming the performance for your production?
I learnt that filming in a time period is very hard to do. I found that by the time we had found a perfect shot for a long shot, filmed it all, and then found another perfect shot for a close up, we had used 25% of our time. We also learnt that there is no such thing as too much footage. Furthermore, the guitar used was very shiny, and this meant during the close up, our crew could be seen in the guitar, ruining the immersion, and the professionalism.
Plus TARGET: Have 2/3 cameras filming from different angles at once to save time. Film more footage, and avoid being seen in windows, mirrors, and shiny instruments.
What did you learn about editing and post-production?
During editing, I found that it was very easy to use too little of the footage, and shots became far too long. As such, I learnt it was mandatory to make shots snappy, and use transitions and editing to make shots shorter so it was more professional. I further learnt that more footage would be required. It was hard getting continuity and fluidity because we lacked shots in some areas.
Plus TARGET: Don’t forget what I have learnt; make shots quick and get lots of footage.
What did you discover about the use of conventional Mise-En-Scene for music videos?
I learnt just how effective it is. Upon watching my clip with the rest of the dummy mash up, I saw just how easy oneself could differentiate between rap, and disco, and pop, and indie rock, just for example. Each genre had its own style and this is great for selling the music to people watching because they know exactly what they’re getting in to, and by playing on people’s schema of indie females, we are giving them exactly what they are after, and intriguing them.
Plus TARGET: Develop on creating more convention. Always aim to improve on the mise-en-scene, ie, “How could we make Bethan more indie female?” Additionally, aim to break convention in some areas, offer a unique idea that the market will be infatuated with.
