IN WHAT WAYS DOES YOUR
MEDIA PRODUCT USE,
DEVELOP OR CHALLENGE
FORMS AND CONVENTIONS
OF REAL MEDIA PRODUCTS?
Milo Marshall

The genre itself could be linked between grunge and rock; this gives me a lot of
free reign in how to present the music video. The genre aspect allowed me to
change fonts, animation styles and backdrops for the video.

If I apply Goodwin’s theory only a few of parts of said theory apply to a animated
typography video. However, of those, the second step of “Thought Beats” links in
to the tone of the music helping my audience to identify the tone of the video to
the artist.

“Relation of Visuals to the Lyrics” is a huge part of the video as the entire video is
relating the lyrics to the connotation of the lyrics itself as well as the tone, speed,
and intensity of the music at that given point. I would use a variety of animations,
fonts and transitions to send the tone of the music through into the video, to then
reach the audience.

“Technical Aspects Of A Music Video” would also apply to my music video a
great deal as the entire production of the music video would take place inside an
editing program with no film being shot; the editing, mise-en-scene, and special
effects are large parts that apply to my music video from the theory.
CONVENTIONS OF GENRE AND MUSIC
STYLE
Release Date
Venues
Platforms available on
Record logos
Key Signifier
Anchorage
PRINT ADVERT

Layout – The layout of the advert followed a vertical pattern where
the audience grabbing image was located at the top central
portion of the poster. This covered a large expanse of the poster to
not only become eye-catching for the audience, but to represent
abstract, grungy connotations which can then be linked to the artist.

Venues and dates made up the majority of the poster so it was an
effectively practical poster as well as being graphically artistic. The
glitch effect that was a dominant overlay for the background of the
poster worked symbiotically with the abstract shape that sucked the
audience in, to which the effect gave the connotations more depth.

All the record label logos were included at the bottom right hand
side where they were visible, but not over-bearing. I reduced the
opacity of these logos to aid this style.
PRINT ADVERT
This is an example of a poster for the artist
TV On The Radio themselves. This abstract
design shows the continuity I am trying to
keep with artist identity.
Their poster features very little direct
address, and no social links or slogan. The
band are entirely focused on the music
itself and its connotations. They want to
focus on artist image more than what they
would be telling their audience; so much,
that they have filled the entire poster with
artwork that just gives an abstract
interpretation of the artist’s music.
PRINT ADVERT
My digipak design featured “cut-out” designs of
previously taken photos. The photos were edited within
Photoshop to change the colour to a black and white
variant whilst simultaneously altering their style to
appear as though drawn with a pencil.
Album Front
I feel this style sticks to their earthy nature as well as
giving a style that I feel is not often found in the majority
of artists’ digipaks.
The record label logos are included on the back of the
album, as shown on the right. They too, like the poster,
have had their opacity reduced so as to keep them
visible but not an eye-sore.
The font style used is that of what could be interpreted
as a chalk scrawling associated with insanity, or
intangible ideas. Thus is often noted with TV On The
Radio’s lyrical messages. The font however was not my
own, but was labelled for personal use, meaning that for
this non-profit, and educational project I was legible to
use it.
DIGIPAK
Album Back

Barthes Codes

Enigma code – In my Digipak I have used the Enigma code to allow
my audience to question the band itself, as well as the cover of the
digipak. One of the ways I have implemented this was by having a
song cover the eyes of the band member to give him a more
mysterious impression.

Symbolic Code – In order to use the symbolic code to greatest
effectiveness, I changed the colour of the photos I used to a black and
white variant. This helped shape the idea that the band had stayed
true to its older roots, appealing to an older audience; whilst the
animated video appeals to a younger audience. I had also increased
the white levels to help the band member pictured on the back cover
appear to be the light surrounded by darkness. They convey the
message that stands visible in the vast pool of other messages that fall
into the depths of the immaterial.
DIGIPAK

My music video retain the surrealist convention that TV On The Radio are
famous for to aid artist recognition. The first third of the music video was
entirely animated to show the representation of the written word to drive
home the power of the song’s ideals; where the remainder showcases a
conceptual/narrative filmed section that shows a normally negatively
viewed activity in a neutral light. This leaves audiences free to create their
opinion about the video, song, and artist.

The representation of gambling and financial gain is shown with the
background song of the “spreading evil” narrative of the song, but the video
is showing an opposite to this creating antithesis as well as a piece that
shows the value of choice over that of society telling you how to do things.
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Link to Music Video: https://www.youtube.com/watch?v=D6voF3QFyhE
MUSIC VIDEO