Development of ideas

From our initial idea of a narrated illustration of a broken relationship, we have decided to change our storyline to that of a person who is hooked, instead of on a person, but to alcohol and drugs. This therefore, contradicts the traditional idea of a relationship break-up, but alternatively relates to extreme consequences of thus eventuality, creating a controlling addiction. Furthermore, we have desputed that the majority of our music video will be in black and white, therefore acting as a signal of the past however, the alternative stop-motion instalement, will be photographed in colour consequently, representing the present and also reflecting moments of happiness. When generating intertexual references, the music video 'A-Team' by Ed Sheeran acts as an influence for our music video, devising the use of a black and white filter over the entire sequence. Not only this but, the synopsis of the video is also likewise to themes which in turn, we idealise to use. Additionally, 'Flashing lights' by my previously studied artist, 'Chase&Status demonstrates a video compiled around the subject of alcohol and drug addition. This has thus, impressioned our music video with the use of a red filter. This is an effective approach, using red to symbolise the danger of alcohol and drug abuse.  Finally, an effective shot used, is a low angle 360 Arc. Personally, I feel this represents the absence of the mind due to the spinning sensation of which the shot produces. Moreover, this is present too in the 'Shrooms' trailer, used to illustate insecurity.

Noticeably, there are certain motifs that run through videos surrounding drugs and alcohol. Firstly, the idea of reflection is common. Both videos having discussed above, witness shots of dirtied mirrors, possibly representing the lack of self understanding. Not only this but, a bird's eye view shot is used to capture a figure underwater, regularly within a bath tub. This can be seen in music videos such as 'Damage' by Fit For Rivals, which encompasses the idea of drug taking therefore, being used to symbolise entrapment within a vicious cycle. This may also be noticed in a more subtle way, through the use of small, claustrophobic spaces. These common conventions will furthermore act as domineerig shots within our music video. Finally, the theme of depression is always withstanding in music videos sounding the consumption of drugs and alcohol. This may be the initial cause or ultimately the consequences of such actions. This can be seen in the music video, 'Everybody's Fool' by Evanescence when the teenage girl is frantically scribbling away on the face of a female image within a magazine, possibly representing the distancing of herself from others.

On the other hand, we also hope to dress our main casting actress in th usual stereotypically clothing associated with 'druggies' or 'alcoholics. This will consist of the female who is pale in face with smudged mascara thus, portarying a individual who is physically suffering from a deficiency in health, having lost all care. In addition, the clothing of the girl will be ripped, representing a hassled and damaged past that is being carried through to the present in a mental state of mind.

Lesson Notes

1900 - 1940

• 400% rise in high school enrolment in the USA
• This in turn led to the creation of 'Peer Culture'
• Magazine (and fashion, beauty)  industries targeted the insecurities of adolescent girls
• Post WWII created a demand for labour, which in turn created adolescent disposable income

In the early post war period, in both Britain & the USA, the term 'Youth Culture' was primarily used to refer to the mass culture of certain groups of working class men (Abrams 1959)

In particular, the growth of consumer society, rising living standards and forms of mass entertainment became equated with specific modes of negotiating the transaction from working class male child to men

1945 - 1960 : Birth of the Teen

• Economic potential is obvious - Market of the future
• However, negative stereotypes began in the media
• Youth simultaneously represented a prosperous and liberated future and 'a culture of moral decline'
• This was the first sign of adult cultures dichotomous image of teenagers
• However, they are still a lucrative target market 

Negative stereotyping to protect power structures

• Antonio Gramsci defined cultural hegemony as when a ruling class dominates a culturally diverse society (1931)
• Ruling classes want to stay in control. Therefore, any culture that threatens the Status Quo is a problem for them and is seen deviant
• Therefore, by branding this behaviour as a moral decline, the ruling class maintains a cultural hegemony as society turns against it. Stanley Cohen (1987) said that the media helps exaggerate this power, while Eldridge thinks that the media reproduces the definition of the powerful (1997)

Teddy Boys

Lesson Notes: Teddy Boys (1950s)

• Fashion based upon Edwardian dress, hence 'Teddy' Boys
• Sought to experiment with 'Dandy' fashion, appearances and practices as an antidote to poverty and poor life changes (Fyvel 1963)
• Enjoyed American Rock n' Roll music, idolising James Dean, Elvis Presley and Marlon Brando (Brake 1985)
• Believed in both, Narcissism and Dandyism at the same time
• Associated with violence derived from a 'Butch' dandyism, which sought to protect working class masculinity
• Compared to 'Flies'
• Referring to the Teddy Boys as 'those' or 'these' - classing them as things
• 'They need curing like an Illness' 

The Teddy Boys began to appear in the early 1950s on the streets of South and West London. Sometimes known also as the 'Edwardians' due to the time period, the Teddy Boys were a Dandified street gang. Their extravagant contrast of dress, either being an expensive Edwardian 'Ted' suit or 'drape' jackets made them popular subjects for the expanding media of magazines and television in the 1950s. However, the Teddy Boy became a media folk devil, spreading their image far beyond the original metropolitan gangs, until the Teddy Boy became a nation wide teenage style, being called the 'Teenage Terrorists' 


The adoption of upper class dress by working class youths was a defiant act, however, the exaggerated style of their dress also made them an easy target. The media constantly attempted to discredit the Teddy Boys by ridiculing their appearance, calling them such as a 'monkey in a drape'. With the representation of style in the earlier years, the Teddy Boy went through a third stage of a vintage or retro style. 

Evening Argues: 'Get Rid Of Them'

The article states the Teddy Boys as 'self-advertising nincompoops' This would suggest that the media suggests the dress and action of the Teddy Boys is ultimately down to attention. 'Nauseating' would furthermore represent peoples opinion of the boys, being that they are disgusting specimens, witnessing disgrace and embarrassment to the people of Brighton. Interlinking, this would see a decline in visitors to Brighton, as people wouldnt want to be in sight of this menacing figure. 

Sunday Chronicle: 'Gangs Menace Report'

The media used extreme words such as 'terrorised' and 'savaged' to exaggerate the actions of the Teddy Boys in the purpose of causing increased panic to the locals. Furthermore, many words with negative connotations were included, for example using 'thugs' or 'gangs' in place of the word group. The article word also suggest that the police came out in unusual numbers to deal with the Teddy Boys, portraying them as a strong force. This is additionally supported with the use of 'the Edwardians have the upper hand' and also 'The visiting gang from Southsea got the worst of it'. This lexis was used to portray the Teddy Boys as a folk devil, spreading the negative connotation nationwide. 

G325: Media and Collective Identity

What are the similarities between Youth Cultures?

• Signifying dress code, usually influenced by music
• Formed around 'expression'
• Rebellion from the 'tradional' appearance therefore challenging 'normality'
• Literature involved on the scene, such as fan magazines and forums
• Cultural practices including behaviour and morals (eg. smoking or head banging)
• Conformity of a group - sharing beliefs
• Often have an opinion leader who can change ideas amongst the group etc.

COLLECTIVE IDENTITY - The self that finds solidarity with others who are similar

MEDIATED - How the media portrays the social group and therefore influence their identity

Links to 'WE MEDIA' - Marginalised social groups have often used media as a way of forging their own collective identity

This 'WE MEDIA' can challenge how social groups are represented by the media. This is a form of self representation

It can also be used to describe people who do not have professional qualifications or industry experience in the media

PROSUMERS - A merge of the two words 'producer' and 'consumer'. Prosumers are people who used to only consume media, but now create and distribute it too. this change has been facilitated by the proliferation of technology. 

Summary of Youth Culture

The 'teenager' is a constructed social group. They were in part, made my marketers so that they can sell products and services to them

• They were created by post war capitalism and marketing
• In the 1960s and 1970s, teenagers rebelled against consumerism and being marketed towards by forming a counter-culture
• The Counter-Culture became their own Youth Culture. 
• This trend has been continues by the formation of the user-generated cultures online

'Young people have a wide range of colourful labels such as 'Goths' or 'Skaters', used to make a distinction between behaviours of specific friendship networks'. (Kettley 2007)

'Many of these groups of young people are, however, not associated with patterns of behaviour that persist over time' (Brake 1985: Hodkinson & Deicke 2003)

The 'Bowery Boys'

The Bowery Boys or 'Soaklocks' were one of the first identified teenage groups or 'gangs'. Based in New York, Manhattan in the 19th century, the gang was both Anti-Irish and Anti-Catholic. This therefore, initially exhibited their appearance and behaviour in a negative manner. 

'A high beaver hat, with the nap divided and brushed in opposite directions, the hair on the back of his head clipped close, while in front the temple locks were curled and greased (hence, the well-known term of 'soap-locks' to the wearer of them), a smooth face, a gaudy silk neckcloth, black frockcoat, full pantaloons, turned up at the bottom over heavy boots designed for service in slaughter houses and at fires; and when thus equipped, with his girl hanging on his arm, it would have been very injudicious to offer him any obstruction or to utter an offensive remark.' (Charles Haswell)

The description of a typical b'hoy would suggest:

• That they are not incredibly manly, showing youth
• They have particular arrogant characteristics

'Love Diamond' lyric analysis

Below, I have analysed the lyrics to 'Love Diamond', line by line. For this, I simply wrote down the first visual idea that came into my head when looking at each individual row. This in turn has constructed an initial narrative for our music video.

Don't you say, I love you again
A broken relationship trying to be fixed, but it young girl doesn't want to hear it. She puts her hand up to the speakers face. It's been heard before and it doesn't want to be heard again.
We're like a box love diamonds
A flashback, a box love diamonds - a box of memories.
You play the game on my heart
A sin - flirting with others when their should be commitment.
I feel the pain I'm not insane
Witnessing what is going on from a distance - feeling distort.
You spinning wires around my heart 
Flashbacks from when the two were in love.
You disappear in front of me and never come for me again
The young man in a bed alone, having identical flashbacks when their were two in a bed.
You took my love last night
Male running his hand up on the females leg and a zoom on the females lustful red lips.
Was it wrong or was it right
Running mascara and tears down the females face.
All I want is for your love diamonds (x2)
Slamming the door on the young man, with the girl sinking down and crying into her hands.
I miss your laugh and your eyes
A flashback of the two lovers together. Focusing on facial expressions.
When you look deep into mine
An extreme close-up, concentrating on the eyes.
It will rain when we kiss
The two kissing - the passion behind gestures of love.
And I'll make only one wish
I want to play on the strings
Of your mind and of your heart
Both the male and female, thinking about what has happened to each others love.
It hurts inside, I'm petrified
Thinking of the pain that the young man has caused.
Stars are floating around my eyes
The two are deep down, still in love with each other.
All I want is for your love diamonds (x2)
Identical scenario - The young man running his hand up the females leg and a zoom on the females lustful red lips. However, the outcome is positive - zoom out, smiles.

Experimenting With Stop Motion

Here, my partner and I have experimented with stop motion. For this, we took a number of continuous photographs using sports mode on a high quality camera. We asked our subject to simply walk at a variety of different paces therefore, seeing how each speed reacted when sequencing the photographs. Furthermore, we also trialled singular photographs, positioning ourselves alternatively on different steps. After this process was completed our photographs were loaded onto imovie and edited using filter variations and different effects. Once this was complete, music was added, interlinking with the colour filter and additionally, labelling the stop motion video with a genre.
I feel that this investigation was successful however, over the time period of 10s, we managed to use a total of 61 photographs. In realistic terms, the expense of this would be too high to use throughout our entire music video therefore, we will only construct a small section using printed photographs, the rest being both narrated and illustrated film.

You Are The Empire

Together, working with another individual in my A2 media class, we have sourced the unsigned band 'You Are The Empire'.
'You Are The Empire' are an Alternative Rock band from North Norfolk, formed earlier this year. The band are all male, consisting of 4 members whom, are all currently studying a-levels in the same region. The band is composed of Sam Jenkins on the drums, Ed Richardson playing the bass guitar, Stokely Howard on the electric guitar along with singing the backing vocals and finally, Dan Holmes singing the main vocals for the group.

The band comprises their own music, currently having four recorded songs available on the media platform, Youtube. Momentarily, the band are in the process of writing new material for upcoming productions. In keeping with the Alternative Rock genre, the band is styled with a motif look of buttoned up shirts and slim fitted jeans. For this project, we will mainly be focusing on the bands song, 'Love Diamonds'. Directly from the band, they quoted a synopsis for their song as followed, "Love Diamonds, a stereotypical love song, meaning those little things that are unique in every relationship that make it special and individual from others. Every relationship has them" 

'Remember That I Love You' digipak analysis

When looking at the Digipak, 'Remember that I love you' by Kimya Dawson there are a number of features to pick up on.

Firstly, the cover presents cartoon imagery of cannibalistic animals. This, I would usually associate with children, along with the fact that the graphology looks hand drawn. Furthermore, the typography also appears child-like due to the handwritten style and the imperfect colouring of the red heart. From the title, the digipak would imply that the album is focused on the issue surrounding love and relationships. Additionally this could be assumed due to the heart being the solitary colour on the cover, possibly representing the dominant theme.

Next, when looking at the back of the digipak, the colour scheme carries through using the three colours of red, white and black. Following my previous comment on the assumption that the album is principled on love and relationships, the colour scheme could surround the positives and negatives of love. Black generally has negative connotations, that of fear and the unknown in opposition to white which depicts the positive, such as faith, purity and innocence.

Regarding the lexis on the digipak, this shows intimacy with the artist. This is indicated by the use of personal pronouns such as 'I' and 'My' demonstrating the sole connection between the lyrics and the artist. Subsequently, when listening to the track 'Looselips', this included lyrics identical to the album title, symbolising a constant message throughout. Moreover, other lyrics included 'monster's under your bed' demonstrating direct relevance to the imagery on the cover.

Penultimately, looking at the inside of the digipak, prior assumptions are supported by the handwritten typography, showing a childish style of writing by a lack of capitalisation and also the personalisation of the album, 'the hugs help more than you could know'. Evidence additionally aids that the artist is American, stating locations in Oregon and New York City along with the lexical spelling of 'Mom' within an individual song title.

Finally, upon the disc, the graphology mimics that of the style upon the digipak covering. Also, including the logo of the artist which is present upon both the disc and the seam of the album, used as a symbol recognisable as Kimya Dawson.

Digipak Analysis

What is a Digipak?

A Digipak is a type of packaging for CD's or DVD's, typically made from a 4 or 6 plate folded piece of cardboard with an internal plastic holder for one or more discs. It folds out like a book, rather than that of opening a conventional case. Digipaks are designed to be cheaper and easier to produce than a normal jewel case.

Digipak is a registered trademark of AGI media who originally developed the packaging style, however the term Digipak has come into common use for any similar style packaging, even when produced by other companies or with varying materials.

CD Digipaks were originally seen as limited edition or specialist CD products however, improvements in the development of CD production and CD packaging printing techniques means that CD packaging is now available at much lower prices.

Hotel Cabana Digipak Analysis

When looking at the cover of the Digipak packaging for the album 'Hotel Cabana' by the artist Naughty Boy, there are several features to comment upon.
Firstly, due to the genre of the music being pop, this means that the artist is looking to appeal to a general audience therefore, the secondary colour of purple has been used so that the album colour does not primarily aid one gender over another.
Cabana -  a cabin, hut or shelter situated on a beach or at a swimming pool. 
Furthermore, the imagery on the cover interlinks with the name of the album, showing a silhouetted holiday destination just off the shoreline. Not only this, but when analysing music videos by Naughty Boy, I felt that these heavily supported landscaping. This once again, has been portrayed upon the album cover by making use of environmental imagery rather than a figurative or materialistic image.
The 'Hotel Cabana' album also mimics that of the individual extended plays. Each conforming a silhouetted image on the front of the digipak. One could assume this to be a themed image due to the artist, Naughty Boy never being present within his music videos, but instead being in the shadow to his featuring artists such as Emile Sande.

When considering the typography upon the Digipack, the main title consists of an informal sans-serif font. I feel this would appeal more to am adolescent audience due to the characteristics that the text portray. Also, the use of the colour white (usually symbolic to purity) could represent the singular genre of the artist and the heavily based naturalistic settings that the artist uses. The typography is also a theme font throughout. On the Hotel Cabana Trailer, used to advise the artist Naughty boy, the typography is identical along with the Hotel Cabana logo. This suggests the typography to be a symbolic reference to the artist.

No More Idols Digipak Analysis

Firstly, when looking at the cover of the Digipak for 'No More Idols' the striking image of the bulldog is the dominant feature. Though this may not seem to have any relevance to the artist, a bulldog is a very symbolic, British image interlinking with the origin of British duo. The image is also in black and white, allowing the typography to stand out. The typography is aligned central in a big, bold font, allowing the advertisement of the artist rather than the name of the album. The use of the colour yellow, along with the black imagery suggests danger or a sign of warning. This may interlink with the music within the album, suggesting the intensity of the beat. With the extreme close-up of the bulldogs face, this may also replicate the heavy beat of the music, so much so that its in your face.

Again, the back of the Digipak can be symbolic to caution with the use of the colours black and yellow. Furthermore, this theme is also carried through with some song titles including the lexical choices of ; 'Fire' and 'Blind', typically associated with danger or likewise hazards.
Additionally, Chase&Status aim to target a party audience of a younger generation. This is shown through word choices such as 'Hype' and also 'Flashing Lights', associated with either a partying atmosphere or that of police cars (stereotypically representing teenagers with crime in the media).

Past my assumptions of the Digipak, looking at 3 songs off the album, these were seen to surround issues of crime including; drinking, physical abuse, death. Therefore, the choice of design for this Digipak is extremely relevant to the music within.