Super Curricular

Super curricular

 

Media Magazine Article

DRACULA REVISITED 

-  THE MEDIA MAGAZINE 
 

The Hammer Films only first started to become popular in the 1950s because of their bold and melodramatic version of horror. It is very different to the subtle hollywood classics that it came after. Hammer made lots of remakes of classics during his filing period - like Frankenstein (1957) and Dracula (1958). He used heavy makeup and a strong gothic atmosphere that some critics loved, whilst others hated. His films mixed horror with romance, fantasy and even comedy - and nowadays his melodramatic style doesn’t seem very scary. 



SHELTER ADVERT 


I chose to watch this video because it made me feel compassionate for them. The fact that Shelter uses a vulnerable person, such as a ‘mother’ is conventional to charity advertising as it makes it obvious for the audience to understand that this is a character who needs help. The fact that it was a series of clips of the mother and the faceless daughter, shows how the people in the video aren’t the only ones who go through this experience and it can happen to anyone. The charity uses a voiceover of the mother explaining their situation  and how it has impacted her daughters life.




MUSIC VIDEOS 
THEORISTS - GOODWIN AND DYER 

Goodwin's Music Video theory 

Goodwin's music theory focuses around 8 points and how these can be seen in different music videos:
  • Links between music video and visuals - this focuses on how the editing and style of a video will reflect the lyrics, for example an upbeat pop song may include fast paced editing along with a dance sequence, matching the tempo
  • Links between the lyrics and visuals - this focuses on how music videos will use props or actions within the mise en scene to reflect what is being said in the lyrics
  • Display of typical genre conventions - videos will reflect the genre that they come from as this will make the video recognisable for fans of the genre
  • Intertextual references - this is when either the lyrics or visuals make reference to another media text in order to act gratifying for audiences
  • Notions of looking - when a singer or actor uses direct mode of address with the camera, this creates a sense of personalisation for the audience, almost inviting the audience to become part of the video, indirectly part of the fandom 
  • Voyeurism - looking at something for sexual gratification, this is more commonly seen through women and links to Laura Mulvey's Male Gaze theory 
  • Demands of a record label - depending on which record label a singer is under, will depend on the specific artist persona that they must give off. For example, some singers must use lots of code up shots to amplify the idea that they are a 'real person'
  • Being performance based, or narrative based or concept based - this will link to the style of music and the persona of the artist/ band

THRILLER - MICHAEL JACKSON

  

- Micheal Jackson uses a narrative based video, and also included an iconic dance sequence (which has made many intertextual refs in the future, like 13 going on 30. 

SMELLS LIKE TEEN SPIRIT - NIRVANA



- It goes against conventions of music videos, and focuses on the actual fans of Nirvana, instead of actors or the band themselves. It was very different to the high-gloss, ultra-produced videos typical of the late '80s and early '90s.

ROAR - KATIE PERRY 



- There is a clear link between the lyrics within the music video and the mise en scene, for example 'I got the eye of the tiger' she becomes a tiger 
PARTY IN THE USA - MILEY CYRUS 



- Miley Cyrus is presented in a way to amplify her star persona - she is shown as relatable and down to earth, which ties in as an intertextual reference to her character of 'Hannah Montana'


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