Nudity in Film
Nudity in film is "any presentation in films that involves people who are naked or wearing less clothing than contemporary norms consider modest." The appearance of nudity within cinema and the entertainment industry has been considered controversial ever since the appearance of american actress Adah Isaacs Menken wearing a flesh-coloured body stocking on stage during the performance of Byron's "Mazeppa". She also posed for nude photos after this show, causing further contention.
The first film productions containing aspects of nudity were erotic films, not long after the introduction of cinema in the 1890s. Most of these nude appearances were short sequences under 10 minutes, such as the 7-minute film La Coucher De La Maríee - a film showing Louise Willy performing a striptease in the bathroom. The first full-length film containing this variety of eroticism was After The Ball, a production by director George Melies in 1897. Around this time, many French directors discovered the potential profits that could be made from this kind of industry, and this became a popular film genre amongst the male, French audience.
Since the introduction of feature-length film in Hollywood in 1906, nude scenes have been present in cinema. In the 1910s in particular, there were many films that contained only brief nudity, however, they sparked a great deal of controversy. Various groups objected to these features on moral grounds, and several states set up film censorship boards, arguing that such content was obscene and should be banned. Subjected to significant pressure from these groups, the Motion Picture Association of America was forced to establish its own censorship agency, the Hays Code, putting an end to any risqué content involved in films produced by the main Hollywood studios. In line with this, the Catholic Legion of Decency frequently monitored the morals displayed in films and indicated its disapproval by condemning films it considered morally objectionable.
Since this time period, social and cultural attitudes towards nudity have relaxed somewhat and in 1958, the New York Court of Appeals decided that in the context of film, moving image that contains scenes of nudity would not be considered obscene, and the code was abandoned in 1968 in favour of the MPAA film classification system.
Although more commonly accepted in the modern day, nudity within film and video is still certainly a culturally controversial issue, most commonly because it can be seen to be questioning of certain communities' standards of modesty. In addition to this, in the modern day, body image and acceptability is a strong issue in relation to how the media can depict a certain image of the body that consumers (females in particular) may feel that they have to conform to - and nudity in media can exacerbate this societal issue. However, the level of controversy and offence caused by nudity is of course dependent upon many factors, as these standards vary by culture, and depend on the type of nudity, who is exposed, which parts of the body are exposed, the duration of the exposure, the pose, the context.
In society the acceptability of nudity in terms of the gender of the subject differs. Up until around the 1980s, it was rare for male nudity to be shown in the media, whilst the appearance of a nude female was considered dignified. Eventually, when male nudity became more frequently materialised, it was treated as laughable and was generally used in a humorous context. This is an example of evidence for the argument that the media is still mostly dominated by the male gender, as females are often sexualised to a greater extent than males. Although this societal attitude is slowly changing, with the release of films such as "Magic Mike" - a feature-length about male strippers, aimed at a female audience. Today, although the appearance of male and female nudity is much more prevalent in the media, it may still be argued that levels of acceptability differ between the two genders - generally the consensus would be that it is more acceptable in society for a man to appear half naked than a woman, as they are less likely to be objectified.
Why is nudity used in films?
Nudity in films is often justified to be significant to the natural and realistic aspects of a narrative. A film feels closer to reality if it portrays events as close as possible to how they would unfold in a real life context. In many cases it is especially important in the construction and development of a character. Nudity has many connotations and can help intensify feelings of nature, love, beauty, seduction and sex. There is a strong impression that nudity is often superfluous and gratuitous to a plot, and many people would suggest that it is used simply as a means of appealing to certain audiences, ultimately as a means of making profit.
Although planned, due to the unpracticality of using any elements of nudity within our music video and for the safety of our actor, we decided against doing this (Updated post-shoot).
Monday 19 October 2015
Thursday 15 October 2015
Developed Final Music Video Idea/Treatment - Kieran Panchal 9652 and Joshua Manley 9645
In a desolate and empty post-apocalyptic world, a lifeless vagrant male finds himself in a large empty space - a place where he can escape from his deteriorating life situation to play music. He is set up with his companion (his Australian Shepherd Dog – a dog known for its versatility, trainability and loyalty. In the camp, a teepee-style tent is surrounded by a circle of rocks, and other basic survival equipment. A variety of close up shots are used, showing details in the environment whilst establishing shots show it as a whole. A drone will be used to provide an aerial view of the setting. There are long, continuous shots, which could last up to 20 seconds.
As the music begins to fade in the pace of editing will be very slow, as the character begins to emerge from his sleep and walk into the centre of the camp carrying out his usual morning routine. The character’s dog is also present in the camp, being left to roam. Shallow depth of field shots are used frequently here, allowing the audience to get a solid grasp of the character and dog, and also providing a sense of open space.
As the music begins to fade in the pace of editing will be very slow, as the character begins to emerge from his sleep and walk into the centre of the camp carrying out his usual morning routine. The character’s dog is also present in the camp, being left to roam. Shallow depth of field shots are used frequently here, allowing the audience to get a solid grasp of the character and dog, and also providing a sense of open space.
Following this sequence, the character walks to a location just outside of his camp and begins to assemble a drum kit, which is in a pile. This is a long process, but will be cut down to the most significant parts of the assembly. Crossfades will signify the sense of time change. After this, he sits down on his stool behind the kit and begins to prepare himself to drum. Other than his pet, drumming is the only thing that the character has left in his life, due to his presence in a post-apocalyptic world where nobody else exists. In this sequence, there will be many extreme close ups, detailing the technicalities of the task.
As the drums are introduced in the track, the character becomes active. The drumming starts slow and he drums in time to it, getting into the swing of the build up and becoming more full of life and energetic as he drums. There is a long build up section, where a variety of close-up sequences (as influenced by Whiplash – 2014). The climax is dramatic, and flares arise from behind increasing the passionate tone and anthemic aesthetic. Slow motions are used to hyperbolise his expressions. In the climax the camera will reposition to show a stand-out long shot, showing the performance as a whole at its peak, whilst encapsulating the environment in the frame. We can see his passion for playing as he sweats and bleeds, letting nothing prevent him from continuing. This is the disequilibrium period.
Eventually the drumming sequence comes to an end where the subject remains still in on his stool, breathing heavily with a sense of relief and satisfaction in his expression (CU). Once he has regained stamina, he reaches for cigarette and lights it up – beginning to whistle (diegetically) to the melody of Festival. As the character smokes, the smoke is followed. The pace slows again, taking the narrative back to a restored equilibrium.
Eventually the drumming sequence comes to an end where the subject remains still in on his stool, breathing heavily with a sense of relief and satisfaction in his expression (CU). Once he has regained stamina, he reaches for cigarette and lights it up – beginning to whistle (diegetically) to the melody of Festival. As the character smokes, the smoke is followed. The pace slows again, taking the narrative back to a restored equilibrium.
Wednesday 14 October 2015
Timed Analyses - Kieran Panchal 9652
Zombie - Jamie T
0:00-0:02 - Long shot of the band on stage in a small pub. A hispanic male police officer is composed in the foreground (out of focus) on the left side of the screen.
0:03-0:09 - A Mid Shot/Close up of Jamie as he begins to sing. The drummer is out of focus and composed in the left hand side of the shot.
0:10-0:11 - A Close Up shot is shown of a hispanic lady wearing an eye patch.
0:12 - 0:13 - Return to the opening Long Shot.
0:14 - 0:15 - A Close up shot is shown of the police officer.
0:16-0:19 - Return to a Close Up shot of Jamie singing, this time from the right hand side focussing on the left side of his face
0:20-0:21 - The camera switches to a mid shot composed from behind Jamie, allowing the audience to see the location and the rest of the characters within it
0:22-0:28 - Return to a the frontal mid shot of Jamie singing
0:29-0:33 - Return to the opening long shot. This time a black female waitress walks through the centre of the shot, from a table to the bar.
0:34-0:35 - Return to mid shot of Jamie singing
0:35 - 0:36 - Extreme Close Up of Jamie's face allowing us to see the beginning of his transformation into a zombie.
0:37-0:38 - Long shot of the band. A new character is composed in the left of the shot in the foreground (from behind and out of focus)
0:39-0:40 - Low angle mid shot of the drummer playing.
0:40:0:41 - Low angle close up of the drummer playing.
0:41-0:42 - Close up of Jamie's face allowing us to further see his transformation
0:43 Return to the same shot as 0:37-0:38
0:44 - 0:45 - Low angle mid shot of the guitarist and bass player side by side playing their instruments.
0:46 - Cut to a close up shot of the guitar player's face from a low angle, emphasising his transformation into a zombie.
0:47 - Mid shot of a man at a table playing cards on his own
0:48 - Return to 0:37 - 0:38 shot, a cleaner walks through the centre of the shot
0:49 - 0:50 - Close up of Jamie's face
0:51-0:54 - High angle mid shot of the drummer
0:55 - Return to shot at 0:44-0:45
0:56 - Close up, low angle shot of the drummer
0:57- 0:59 - Static mid shot of the band playing on the stage
1:00 - 1:05 - Mid shot of man playing pool in the foreground with the band playing behind out of focus.
1:06 - 1:08 - Close up shot of Jamie's bleeding hands moving along the fretboard of the guitar
1:09 - 1:14 - Return to 0:51-0:54, the drummer drops a drum stick half way through the shot
1:15 - 1:19 - Close up of the side profile of an expressionless bystander in the pub
1:20 - 1:23 - Mid shot of the drummer and the bass player fighting on stage behind the drum kit. The drummer pulls off the arm of the bassist.
1:24 - 1:27 - Side profile of Jamie's head as he continues to sing. (His face is now morphing even more aggressively)
1:28 - 1:32 - A side angle mid shot of the drummer using the bass players arm as a drumstick.
1:33-1:34 - An Extreme Close up of the bass players remaining stump (arm) with blood dripping off of it, followed by an extreme close up (action match) of the blood dripping onto the floor
1:35 - 1:40 - Extreme Close up of the snare drum being hit with blood smeared over it
1:41-1:43 - Return to 1:06 - 1:08 (this time with more blood)
1:44 - 1:47 - Long shot of the band continuing to play, all of them are now zombies
1:48 - 1:50- Extreme Close Up of Jamie's right hand over his guitar strings, strumming
1:51 - 1:54 - Long shot of a TV showing dog racing. A black male is positioned in the foreground on the right side of the screen out of focus.
1:55 - 1:57 - Mid shot of Jamie playing with the drummer in the back ground. They possess a half of the frame each - symmetry
1:57 - 2:02 - Close up of the drummers face. An arm enters the screen from behind the camera and pulls off her ear.
2:03 - 2:04 - a Mid shot of a man sleeping, slouched on a couch with his head resting on his arm
2:05 - Return to 2:02 - continuing to pull off her ear before throwing it away
2:06 - 2:07 - Action match (Mid Shot) of the ear landing in the police officer's drink
2:08 - 2:11 - Extreme Close up (action match) of the ear entering the drink
2:12 - 2:15 - Return to Long Shot of band playing on stage, they are becoming more dormant
2:16 - 2:21 - Mid shot of guitarist tugging at bass player's arm
2:22 - 2:25 - Return to 1:55 - 1:57
2:26 - 2:28 - Close up of drummer's face as she continues to drum
2:29 - 2:32 - Return to 1:16 - 2:21 - he begins to rip his arm off
2:33 - 2:34 - Action match close up - The arm is being ripped off
2:35- 2:36 - High angle CU of Jamie's face singing. Drummer is positioned behind (out of focus) to the left of the screen
2:37 - 2:39 - Mid shot of the bass players remaining arm being pulled off by the guitarist, before being thrown
2:40 - 2:42 - Action Match mid shot of the arm landing on the table of the man playing cards
2:43 - 2:47 - Extreme Close up of the bass players remainder of an arm, blood is drippping from it onto the floor
2:48 - 2:49 - Return to Long shot of band playing
2:50 - 2:51 - ECU of snare drum being hit with blood on it
2:52 - 3:00 - Return to 2:35- 2:36
3:00 - 3:03 - Return to mid shot from behind Jamie showing the pub. There are now less people present
3:04 - 3:05 - High angle (aerial shot) showing the man playing cards with the disconnected hand on the table
3:06 - 3:11 - Jamie's face singing. His face is deteriorating further
3:12 - 3:13 - Return to 1:51- 1:54
3:14 - 3:18 - Long shot of band playing with police officer in foreground. The man who plays cards rises from his seat and walks through the centre of the shot to the bar
3:19 - 3:22 - Mid shot of guitarist and bass player stood side by side. Shot from the right hand side of the players
3:23 - ECU of blood dripping from the stump of the bassist
3:24 - 3:28 - Return to 3:14 - 3:18, the scene looks even more empty now.
3:29 - 3:32 - Mid shot of guitarists side by side. This time taken from the front of the players
3:33 - 3:34 - CU of Jamie's face singing
3:35 - 3:38 - CU of police officer sitting expressionless. (head and shoulders)
3:39 - 3:40 - Return to 3:29 - 3:33
3:40 - 3:49 - Long shot. Jamie puts down his guitar and walks towards the camera to the bar, sitting on a stool just in front of the camera
3:50 - Low angle mid shot of the drummer taking the guitarist's arm and swinging it back behind her head
3:51 - 4:05 - Action match mid shot of the drummer hitting Jamie's head off with said arm. She stands there after remaining expressionless.
4:05 - Cuts to black
The Heat - Jungle
0:00 - 1:05 - A Mid shot is shown of a black male wearing street wear, chewing liquorice in an urban location. The camera begins to slowly pan around him as the beat of the song kicks in whilst slowly zooming out, transforming the shot type into a long shot. The camera continues to zoom out until a second character can be seen in the background (hidden by the dark lighting and slightly out of focus). The first male begins to break dance on his roller skates. He eventually skates out of shot, and his place is filled by the remaining character, who comes to the foreground to dance. The camera continues to track to the left, exposing the first character at 0:50, who is stood in the left of the frame watching his partner dance. At the end of the shot, both characters leave the frame on either side of the frame.
1:06 - 1:12 - The two characters emerge from either side of the Long Shot frame but the shot is composed differently, showing a different area within the urban location. They carry out a well-choreographed dance as the camera slowly zooms in, following their movements.
1:13 - 1:14 - Long shot of the two characters taken from a side angle, continuing their dancing. They are both positioned within the right hand side of the screen, conforming with the 'rule of thirds'
1:15-1:17 - Action Matching long shot showing the two men each filling a half of the screen.
1:18 - 1:19 - The camera is positioned further back, presenting a further long shot of the two men continuing to dance on their skates
1:20 - a Mid shot is used following the initial dancer. He is in the centre of the shot in the foreground, whilst his partner is placed in the background and is static, admiring the dancing of the other character.
1:21 - 1:27 - Return to the Long shot of the two males dancing occupying half of the frame each. The dancer on the left hand side drops to the floor after finishing his solo dance, initiating the other male to begin
1:28 - 1:31 A low level mid shot shows the dancer on the floor. The camera moves again, slowly zooming out before zooming back in.
1:32 - 1:44 - Return to the previous shot. In this shot, the dancer on the floor gets up before continuing to dance. The camera slowly zooms out.
1:45 - 1:53 - Close up shot of the original dancer, showing his joyous facial expression as he continues to move. Towards the end of the shot, the focus is pulled and he falls out of focus
1:54 - 2:00 The same shot is used with the other dancer. There is a small zoom, and the dancer's face fills more and more of the frame.
2:01- 2:06 - Return to the long shot of the two dancers. This time the angle is slightly different, and it is shot from more of a side view.
2:07 - 2:08 - Long Shot showing the two dancers from the side. Their faces cannot clearly be seen.
2:08 - Mid shot of the initial dancer as he twists
2:09 - 2:16 - Return to long shot of the men dancing. The camera movement remains minimal but it is present, with a small track to the left.
2:17 - A Mid shot action match of the men, again taken from a side profile angle.
2:18 - 2:25 - Return to generic long shot. This time the camera zooms in towards them, keeping the shot original despite the regularity in which it appears in the video.
2:25 - Long shot of the men dancing from the left hand side. The composition is effective and the location is established well.
2:26 - 2:32 - Generic long shot of dancers, however, this is a slightly more close up camera position. The dancers fill the frame from head to toe.
2:33- 2:40 - Long shot from a side view. The camera is slowly tracking to the right.
2:41 - 2:46 - Mid shot of the two dancers. They begin in the centre of the screen, and end in the left half as the camera tracks to the right throughout the shot.
2:48 - 2:54 - The men both come into the long shot from the left side of the screen. After carrying on with the dance, they exit from the same part of the frame.
2:55 - 3:12 - Cuts to the two dancers symmetrically composed, sitting on a sofa. The camera zooms out, taking the shot from a mid shot to a long shot.
Lovesick - Peace
0:00 - 0:07 - CU of a cigarette being held. The camera tilts upwards presenting a black female smoking the cigarette. There is a focus pull and she becomes sharp. 'PEACE' appears in the centre of the screen in white text
0:08-0:10 - High angle mid shot of two sets of feet walking in a dark room. Intense/focussed low key lighting. 'LOVESICK' appears.
0:11-0:15 - CU of the back of guitarist Doug's head as he walks forward. Low key lighting continues. As he walks forward the rest of the band come into shot - also walking forward.
0:16 - 0:19 - LS of the band walking out the back door of a club to see the aforementioned black smoking female sitting on a bonnet of a car (in the foreground)
0:20 - 0:23 - CU of woman's face on the bonnet. Initially out of focus and focussing on a woman in the driver's seat, however a focus pull occurs, reversing this.
0:24 - 0:25 - CU of the bands head and shoulders (stood in a line). The shot is composed so they each occupy a quarter of the frame space and a peace logo is situated centrally.
0:26 - 0:28 - Return to CU of woman's face. She breathes out smoke.
0:29 - 0:32 - Side profile of the singer walking towards the car with the other band members following. This is a CU which turns into a Mid Shot as the camera zooms out. The woman then appears in the centre of the shot and becomes the main focus.
0:33 - 0:36 - Low angle MS of singer singing the lyrics whilst sat on top of the car roof. The car is now moving and is in a tunnel.
0:37 - CU of the driver carrying out a gear change using the gear stick inside the car
0:38-0:40 - Return to the shot of the singer singing on the car roof.
0:41 - CU of the speed-ometer in the car, showing a speed increase
0:42-0:45 - Long shot of the car reversing quickly back before spinning round to drive in a forward direction. The camera tracks the car as it drives.
0:46 - 0:48 - Close up of the singer counting to recite the lyrics now in the back seat of the car. The rest of the band are also in the back seats and can be seen in the shot
0:49- 0:51 - Cut to a long shot taken from on the car bonnet, with the whole of the inside of the car in shot, showing the band, the driver and passenger.
0:52 - 0:54 - Return to the shot of the singer on the car, this time the shot is in slow motion.
0:55 - 0:58 - Extreme Long Aerial Shot of the car doing a manoeuvre on an empty road. It remains in the centre of the frame
0:59 - 1:04 - Quick cuts of the aforementioned main sequence shots; singer on car, CU of singer in back seat
1:05-1:06 - return to ELS of car drifting in road. The main light source is from the car headlights.
1:07 - 1:13 - A lower angle mid shot of the singer on the roof of the car. This time he doesn't recite the lyrics and the lighting is of a lower key. It is in slow motion.
1:14-1:15 - The singer returns to the back seat of the car - CU
1:16 - Same ELS of car drifting. This time it drives out of shot
1:17 - CU of gear change
1:18 - 1:19 Mid shot of the car driving past the camera. It drives through a puddle and a watery effect is relayed onto the shot imitating a wet camera lens.
1:20 - 1:24 - LS of the car driving directly towards the camera before turning off to the right.
1:25 - 1:26 - MS showing the contents of the car with the singer central on the back seats, continuing to sing.
1:27 - MS of the car driving into the shot before stopping abruptly in front of the camera.
1:28-1:29 - LS of the car from the front. The headlights turn off.
1:30 - 1:32 - CU of singer singing in back seats
1:33 - 1:35 - CU showing an opened door on the parked car
1:36 - 1:37 - Return to 1:25 - 1:26 shot.
1:38 - MS showing the singer exiting the car. The camera is placed adjacent to the rear door.
1:39 - 1:44 - CU of singer singing in back seat
1:45 - 1:46 - Silhouetted MS of the singer on top of the car. Lighting is very low. The camera is moving around the subject
1:47-1:49 - Cut between the close up of the singer in the car to the more zoomed out mid shot encapsulating the cars contents. The singer still recites the lyrics.
1:50-1:51 - Repeat of 0:52 - 0:54
1:52-1:54 - Long shot showing the band walking in the background with the car in the foreground. We can see them through the windscreen and rear view window.
1:55-2:05 - Combination of the centralised/main shots. CU of the singer in the car, coupled with the MS of the whole car and CU of the singer's face on top of the car
2:06 - CU of the singer in the back of the car in the centre. Two of his bandmates are either side of him. He reaches out towards the camera and appears to clench his fists.
2:07 - 2:10 - The car is the main focus of the Mid shot taken showing it's flank. It drives off leaving us with a LS of the band sat perched against a wall in a row. The lighting remains very low key.
2:11 - Cut to black.
0:00-0:02 - Long shot of the band on stage in a small pub. A hispanic male police officer is composed in the foreground (out of focus) on the left side of the screen.
0:03-0:09 - A Mid Shot/Close up of Jamie as he begins to sing. The drummer is out of focus and composed in the left hand side of the shot.
0:10-0:11 - A Close Up shot is shown of a hispanic lady wearing an eye patch.
0:12 - 0:13 - Return to the opening Long Shot.
0:14 - 0:15 - A Close up shot is shown of the police officer.
0:16-0:19 - Return to a Close Up shot of Jamie singing, this time from the right hand side focussing on the left side of his face
0:20-0:21 - The camera switches to a mid shot composed from behind Jamie, allowing the audience to see the location and the rest of the characters within it
0:22-0:28 - Return to a the frontal mid shot of Jamie singing
0:29-0:33 - Return to the opening long shot. This time a black female waitress walks through the centre of the shot, from a table to the bar.
0:34-0:35 - Return to mid shot of Jamie singing
0:35 - 0:36 - Extreme Close Up of Jamie's face allowing us to see the beginning of his transformation into a zombie.
0:37-0:38 - Long shot of the band. A new character is composed in the left of the shot in the foreground (from behind and out of focus)
0:39-0:40 - Low angle mid shot of the drummer playing.
0:40:0:41 - Low angle close up of the drummer playing.
0:41-0:42 - Close up of Jamie's face allowing us to further see his transformation
0:43 Return to the same shot as 0:37-0:38
0:44 - 0:45 - Low angle mid shot of the guitarist and bass player side by side playing their instruments.
0:46 - Cut to a close up shot of the guitar player's face from a low angle, emphasising his transformation into a zombie.
0:47 - Mid shot of a man at a table playing cards on his own
0:48 - Return to 0:37 - 0:38 shot, a cleaner walks through the centre of the shot
0:49 - 0:50 - Close up of Jamie's face
0:51-0:54 - High angle mid shot of the drummer
0:55 - Return to shot at 0:44-0:45
0:56 - Close up, low angle shot of the drummer
0:57- 0:59 - Static mid shot of the band playing on the stage
1:00 - 1:05 - Mid shot of man playing pool in the foreground with the band playing behind out of focus.
1:06 - 1:08 - Close up shot of Jamie's bleeding hands moving along the fretboard of the guitar
1:09 - 1:14 - Return to 0:51-0:54, the drummer drops a drum stick half way through the shot
1:15 - 1:19 - Close up of the side profile of an expressionless bystander in the pub
1:20 - 1:23 - Mid shot of the drummer and the bass player fighting on stage behind the drum kit. The drummer pulls off the arm of the bassist.
1:24 - 1:27 - Side profile of Jamie's head as he continues to sing. (His face is now morphing even more aggressively)
1:28 - 1:32 - A side angle mid shot of the drummer using the bass players arm as a drumstick.
1:33-1:34 - An Extreme Close up of the bass players remaining stump (arm) with blood dripping off of it, followed by an extreme close up (action match) of the blood dripping onto the floor
1:35 - 1:40 - Extreme Close up of the snare drum being hit with blood smeared over it
1:41-1:43 - Return to 1:06 - 1:08 (this time with more blood)
1:44 - 1:47 - Long shot of the band continuing to play, all of them are now zombies
1:48 - 1:50- Extreme Close Up of Jamie's right hand over his guitar strings, strumming
1:51 - 1:54 - Long shot of a TV showing dog racing. A black male is positioned in the foreground on the right side of the screen out of focus.
1:55 - 1:57 - Mid shot of Jamie playing with the drummer in the back ground. They possess a half of the frame each - symmetry
1:57 - 2:02 - Close up of the drummers face. An arm enters the screen from behind the camera and pulls off her ear.
2:03 - 2:04 - a Mid shot of a man sleeping, slouched on a couch with his head resting on his arm
2:05 - Return to 2:02 - continuing to pull off her ear before throwing it away
2:06 - 2:07 - Action match (Mid Shot) of the ear landing in the police officer's drink
2:08 - 2:11 - Extreme Close up (action match) of the ear entering the drink
2:12 - 2:15 - Return to Long Shot of band playing on stage, they are becoming more dormant
2:16 - 2:21 - Mid shot of guitarist tugging at bass player's arm
2:22 - 2:25 - Return to 1:55 - 1:57
2:26 - 2:28 - Close up of drummer's face as she continues to drum
2:29 - 2:32 - Return to 1:16 - 2:21 - he begins to rip his arm off
2:33 - 2:34 - Action match close up - The arm is being ripped off
2:35- 2:36 - High angle CU of Jamie's face singing. Drummer is positioned behind (out of focus) to the left of the screen
2:37 - 2:39 - Mid shot of the bass players remaining arm being pulled off by the guitarist, before being thrown
2:40 - 2:42 - Action Match mid shot of the arm landing on the table of the man playing cards
2:43 - 2:47 - Extreme Close up of the bass players remainder of an arm, blood is drippping from it onto the floor
2:48 - 2:49 - Return to Long shot of band playing
2:50 - 2:51 - ECU of snare drum being hit with blood on it
2:52 - 3:00 - Return to 2:35- 2:36
3:00 - 3:03 - Return to mid shot from behind Jamie showing the pub. There are now less people present
3:04 - 3:05 - High angle (aerial shot) showing the man playing cards with the disconnected hand on the table
3:06 - 3:11 - Jamie's face singing. His face is deteriorating further
3:12 - 3:13 - Return to 1:51- 1:54
3:14 - 3:18 - Long shot of band playing with police officer in foreground. The man who plays cards rises from his seat and walks through the centre of the shot to the bar
3:19 - 3:22 - Mid shot of guitarist and bass player stood side by side. Shot from the right hand side of the players
3:23 - ECU of blood dripping from the stump of the bassist
3:24 - 3:28 - Return to 3:14 - 3:18, the scene looks even more empty now.
3:29 - 3:32 - Mid shot of guitarists side by side. This time taken from the front of the players
3:33 - 3:34 - CU of Jamie's face singing
3:35 - 3:38 - CU of police officer sitting expressionless. (head and shoulders)
3:39 - 3:40 - Return to 3:29 - 3:33
3:40 - 3:49 - Long shot. Jamie puts down his guitar and walks towards the camera to the bar, sitting on a stool just in front of the camera
3:50 - Low angle mid shot of the drummer taking the guitarist's arm and swinging it back behind her head
3:51 - 4:05 - Action match mid shot of the drummer hitting Jamie's head off with said arm. She stands there after remaining expressionless.
4:05 - Cuts to black
The Heat - Jungle
0:00 - 1:05 - A Mid shot is shown of a black male wearing street wear, chewing liquorice in an urban location. The camera begins to slowly pan around him as the beat of the song kicks in whilst slowly zooming out, transforming the shot type into a long shot. The camera continues to zoom out until a second character can be seen in the background (hidden by the dark lighting and slightly out of focus). The first male begins to break dance on his roller skates. He eventually skates out of shot, and his place is filled by the remaining character, who comes to the foreground to dance. The camera continues to track to the left, exposing the first character at 0:50, who is stood in the left of the frame watching his partner dance. At the end of the shot, both characters leave the frame on either side of the frame.
1:06 - 1:12 - The two characters emerge from either side of the Long Shot frame but the shot is composed differently, showing a different area within the urban location. They carry out a well-choreographed dance as the camera slowly zooms in, following their movements.
1:13 - 1:14 - Long shot of the two characters taken from a side angle, continuing their dancing. They are both positioned within the right hand side of the screen, conforming with the 'rule of thirds'
1:15-1:17 - Action Matching long shot showing the two men each filling a half of the screen.
1:18 - 1:19 - The camera is positioned further back, presenting a further long shot of the two men continuing to dance on their skates
1:20 - a Mid shot is used following the initial dancer. He is in the centre of the shot in the foreground, whilst his partner is placed in the background and is static, admiring the dancing of the other character.
1:21 - 1:27 - Return to the Long shot of the two males dancing occupying half of the frame each. The dancer on the left hand side drops to the floor after finishing his solo dance, initiating the other male to begin
1:28 - 1:31 A low level mid shot shows the dancer on the floor. The camera moves again, slowly zooming out before zooming back in.
1:32 - 1:44 - Return to the previous shot. In this shot, the dancer on the floor gets up before continuing to dance. The camera slowly zooms out.
1:45 - 1:53 - Close up shot of the original dancer, showing his joyous facial expression as he continues to move. Towards the end of the shot, the focus is pulled and he falls out of focus
1:54 - 2:00 The same shot is used with the other dancer. There is a small zoom, and the dancer's face fills more and more of the frame.
2:01- 2:06 - Return to the long shot of the two dancers. This time the angle is slightly different, and it is shot from more of a side view.
2:07 - 2:08 - Long Shot showing the two dancers from the side. Their faces cannot clearly be seen.
2:08 - Mid shot of the initial dancer as he twists
2:09 - 2:16 - Return to long shot of the men dancing. The camera movement remains minimal but it is present, with a small track to the left.
2:17 - A Mid shot action match of the men, again taken from a side profile angle.
2:18 - 2:25 - Return to generic long shot. This time the camera zooms in towards them, keeping the shot original despite the regularity in which it appears in the video.
2:25 - Long shot of the men dancing from the left hand side. The composition is effective and the location is established well.
2:26 - 2:32 - Generic long shot of dancers, however, this is a slightly more close up camera position. The dancers fill the frame from head to toe.
2:33- 2:40 - Long shot from a side view. The camera is slowly tracking to the right.
2:41 - 2:46 - Mid shot of the two dancers. They begin in the centre of the screen, and end in the left half as the camera tracks to the right throughout the shot.
2:48 - 2:54 - The men both come into the long shot from the left side of the screen. After carrying on with the dance, they exit from the same part of the frame.
2:55 - 3:12 - Cuts to the two dancers symmetrically composed, sitting on a sofa. The camera zooms out, taking the shot from a mid shot to a long shot.
Lovesick - Peace
0:00 - 0:07 - CU of a cigarette being held. The camera tilts upwards presenting a black female smoking the cigarette. There is a focus pull and she becomes sharp. 'PEACE' appears in the centre of the screen in white text
0:08-0:10 - High angle mid shot of two sets of feet walking in a dark room. Intense/focussed low key lighting. 'LOVESICK' appears.
0:11-0:15 - CU of the back of guitarist Doug's head as he walks forward. Low key lighting continues. As he walks forward the rest of the band come into shot - also walking forward.
0:16 - 0:19 - LS of the band walking out the back door of a club to see the aforementioned black smoking female sitting on a bonnet of a car (in the foreground)
0:20 - 0:23 - CU of woman's face on the bonnet. Initially out of focus and focussing on a woman in the driver's seat, however a focus pull occurs, reversing this.
0:24 - 0:25 - CU of the bands head and shoulders (stood in a line). The shot is composed so they each occupy a quarter of the frame space and a peace logo is situated centrally.
0:26 - 0:28 - Return to CU of woman's face. She breathes out smoke.
0:29 - 0:32 - Side profile of the singer walking towards the car with the other band members following. This is a CU which turns into a Mid Shot as the camera zooms out. The woman then appears in the centre of the shot and becomes the main focus.
0:33 - 0:36 - Low angle MS of singer singing the lyrics whilst sat on top of the car roof. The car is now moving and is in a tunnel.
0:37 - CU of the driver carrying out a gear change using the gear stick inside the car
0:38-0:40 - Return to the shot of the singer singing on the car roof.
0:41 - CU of the speed-ometer in the car, showing a speed increase
0:42-0:45 - Long shot of the car reversing quickly back before spinning round to drive in a forward direction. The camera tracks the car as it drives.
0:46 - 0:48 - Close up of the singer counting to recite the lyrics now in the back seat of the car. The rest of the band are also in the back seats and can be seen in the shot
0:49- 0:51 - Cut to a long shot taken from on the car bonnet, with the whole of the inside of the car in shot, showing the band, the driver and passenger.
0:52 - 0:54 - Return to the shot of the singer on the car, this time the shot is in slow motion.
0:55 - 0:58 - Extreme Long Aerial Shot of the car doing a manoeuvre on an empty road. It remains in the centre of the frame
0:59 - 1:04 - Quick cuts of the aforementioned main sequence shots; singer on car, CU of singer in back seat
1:05-1:06 - return to ELS of car drifting in road. The main light source is from the car headlights.
1:07 - 1:13 - A lower angle mid shot of the singer on the roof of the car. This time he doesn't recite the lyrics and the lighting is of a lower key. It is in slow motion.
1:14-1:15 - The singer returns to the back seat of the car - CU
1:16 - Same ELS of car drifting. This time it drives out of shot
1:17 - CU of gear change
1:18 - 1:19 Mid shot of the car driving past the camera. It drives through a puddle and a watery effect is relayed onto the shot imitating a wet camera lens.
1:20 - 1:24 - LS of the car driving directly towards the camera before turning off to the right.
1:25 - 1:26 - MS showing the contents of the car with the singer central on the back seats, continuing to sing.
1:27 - MS of the car driving into the shot before stopping abruptly in front of the camera.
1:28-1:29 - LS of the car from the front. The headlights turn off.
1:30 - 1:32 - CU of singer singing in back seats
1:33 - 1:35 - CU showing an opened door on the parked car
1:36 - 1:37 - Return to 1:25 - 1:26 shot.
1:38 - MS showing the singer exiting the car. The camera is placed adjacent to the rear door.
1:39 - 1:44 - CU of singer singing in back seat
1:45 - 1:46 - Silhouetted MS of the singer on top of the car. Lighting is very low. The camera is moving around the subject
1:47-1:49 - Cut between the close up of the singer in the car to the more zoomed out mid shot encapsulating the cars contents. The singer still recites the lyrics.
1:50-1:51 - Repeat of 0:52 - 0:54
1:52-1:54 - Long shot showing the band walking in the background with the car in the foreground. We can see them through the windscreen and rear view window.
1:55-2:05 - Combination of the centralised/main shots. CU of the singer in the car, coupled with the MS of the whole car and CU of the singer's face on top of the car
2:06 - CU of the singer in the back of the car in the centre. Two of his bandmates are either side of him. He reaches out towards the camera and appears to clench his fists.
2:07 - 2:10 - The car is the main focus of the Mid shot taken showing it's flank. It drives off leaving us with a LS of the band sat perched against a wall in a row. The lighting remains very low key.
2:11 - Cut to black.
Tuesday 13 October 2015
Music Video Institutions - Kieran Panchal 9652
A Music Video Institution is a company or organisation who produce or create a music video for an artist. Often a music video will be produced by an artist's music label. These are usually large conglomerate companies who are integrated horizontally, allowing this to easily take place. However, there is also a large market for niche freelance film makers to make modern music videos. Often doing this will ensure a differentiated and less commercial product, as many independent film makers, generally speaking, will focus their work on creativity, concepts and art rather than producing a video that is most likely to guarantee a return for the company.
NABIL
http://www.nabil.com
Nabil Elderkin is a freelance Director/Photographer raised in Australia but based in Los Angeles. As well as creating visuals for a variety of media platforms and advertising campaigns, Nabil is a freelance music video director. He now has many employees working for him, with the start up of the company 'N E Direction'. The company's portfolio is vast and previous clients include Foals, Alt-J, The Weeknd, Bon Iver, Kanye West, Nicki Minaj, Skrillex, Arctic Monkeys and Frank Ocean.
Nabil's directoral approach is very unique, and his style can be easily recognised. In particular, conceptual and narrative music videos are his forte. With Nabil's music videos, it is obvious that the mise-en-scene is always very carefully crafted, and particular attention is paid to smaller aspects in the production, such as choreography, lighting and location, each of which build up to create a strong mise-en-scene and atmosphere within the video. In addition, I am especially fond of the emotional attachment that Nabil creates between the audience and character, and i am keen to emulate this in my own production.
In contrast, as aforementioned there are many large conglomerate institutions that create music videos. Many of the production units are subsidiaries of large record label institutions, meaning it is possible for cross media convergence to occur and for the different divisions of the company to work together easily and symbiotically. The main record label companies that produce music videos are EMI, Universal, Sony Music and Warner Music Group. Due to the vast range of artists that these companies accommodate, there is nothing in particular that connects their music videos together, as they can be so varied. Usually however, they will recruit external and usually reputable directors and producers to carry out the productions, although they will be funded by the label.
EMI
NABIL
http://www.nabil.com
Nabil Elderkin is a freelance Director/Photographer raised in Australia but based in Los Angeles. As well as creating visuals for a variety of media platforms and advertising campaigns, Nabil is a freelance music video director. He now has many employees working for him, with the start up of the company 'N E Direction'. The company's portfolio is vast and previous clients include Foals, Alt-J, The Weeknd, Bon Iver, Kanye West, Nicki Minaj, Skrillex, Arctic Monkeys and Frank Ocean.
Nabil's directoral approach is very unique, and his style can be easily recognised. In particular, conceptual and narrative music videos are his forte. With Nabil's music videos, it is obvious that the mise-en-scene is always very carefully crafted, and particular attention is paid to smaller aspects in the production, such as choreography, lighting and location, each of which build up to create a strong mise-en-scene and atmosphere within the video. In addition, I am especially fond of the emotional attachment that Nabil creates between the audience and character, and i am keen to emulate this in my own production.
In contrast, as aforementioned there are many large conglomerate institutions that create music videos. Many of the production units are subsidiaries of large record label institutions, meaning it is possible for cross media convergence to occur and for the different divisions of the company to work together easily and symbiotically. The main record label companies that produce music videos are EMI, Universal, Sony Music and Warner Music Group. Due to the vast range of artists that these companies accommodate, there is nothing in particular that connects their music videos together, as they can be so varied. Usually however, they will recruit external and usually reputable directors and producers to carry out the productions, although they will be funded by the label.
EMI
- Founded in 1931
- Revenue: £1.072bn
- Artists: Coldplay, Lily Allen, David Guetta, Iron Maiden, Kylie Minogue, Katy Perry, Snoop Dog, Pink Floyd, 30 Seconds To Mars
Universal
- Founded in 1934
- Subsidiary of Vivendi
- Claims to be largest global label
- Revenue: $6.5bn
- Artists: Kanye West, Taylor Swift, Lady Gaga, Enrique Iglesias, Avicci, Maroon 5, Lil Wayne, Jay-Z, Adele, Metallica
Sony
- Founded 1929
- Formerly known as SONY BMG
- Revenue: $4.8bn
- Artists: Calvin Harris, Shakira, Britney Spears, Avril Lavigne, Celine Dion, Kelly Clarkson, Alicia Keys, John Legend, Plan B, ASAP Rocky, Mark Ronson
Warner Music Group
- Founded 1958
- Artists: Ed Sheeran, Madonna, Wiz Khalifa, David Guetta, Jason Derulo, Red Hot Chilli Peppers, Charlie XCX, Led Zeppelin
- Revenue: $2.87bn
- Parent Company: Access Industries
Saturday 3 October 2015
Research Report - Kieran Panchal 9652
My main reason for choosing to discount creating a trailer is because generally, the nature of trailers means that it will not allow to create a continuous narrative piece. As previously mentioned, my preferred method of video production involves creating emotional connections with the characters. From my research, i found that most trailers are edited in montage style in order to give a greater overview of the entire film. Doing this would not allow for me to create a sustained engagement with my audience, as there would be too much enigma code to make sense out of the narrative.
In my opinion producing a media text with the main purpose to persuade an audience, generally allows for less opportunity to create a narrative which would in turn create a strong emotional attachment with the audience. From my research of television advertisements, the majority of texts are not based around single, chronological narratives, but instead are montages, focussing primarily on pushing a product upon the audience, rather than telling a story to the audience. Although there are many types of adverts that do allow this, I feel that creating a plot-driven music video would give me more opportunity to connect with the audience, taking them on a journey through story-telling, creating a greater emotional reaction when my product is watched.
Primary Research
When carrying out my primary research, I ensured to gain both quantitative and qualitative data. I did this from receiving responses from approximately 40 respondents, focussing primarily on my target audience - 16-30 year olds of both genders. This primary research revealed a great deal of information about the direction in which i should take my product. As a part of my preliminary planning, I conducted a variety of primary research. One way that I did this was by creating a questionnaire as a means of finding out the preferences of my target audience. My questionnaire contained 14 questions, allowing me to obtain both qualitative and quantitative data, through the use of both open and closed questions. When conducting my research I ensured to ask 40 people, ensuring to focus mostly on my product’s target audience (both male and female 16-25 year olds).
82% of my respondents consider listening to music an immersive experience. This means that they believe that watching a music video together with listening to a song is a stimulating experience. This coupled with 95% of respondents suggesting that a well-constructed music video can enhance the listening experience, means that it is particularly important for the music video to enhance the audio. This also means that generally people are appreciative of a well-constructed music video, and believe that the on-screen visuals and use of sound work together as one to create an intensified experience. From analysing these results, I will ensure to plan my video to compliment the audio as much as possible. I will most likely do this in post-production when editing the product, matching and timing the visuals to the sound as much as possible.
The response for the question was exceptionally insightful for me, as I was not yet decided upon a music video type to create prior to this research. The respondents of my questionnaire considered hybrid music video types to be of their preference, with over 20 respondents favouring this option. From this point, it was important for me to narrow down which music video types to combine within my hybrid. I then asked my respondents their opinions on including narrative and performance within music videos, concluding that 87% of respondents consider narrative elements important whilst 60% also favour performance aspects within video. Taking this into account, I decided to create my hybrid product from both performance and narrative video types, in order to
This was an imperative question for me as some
of my initial ideas contained fairly explicit content, in the form nudity. I was fond the idea of experimenting with this as it would represent purity and give the impression of freedom. My audience feedback suggests that the vast majority of my viewers would feel comfortable consuming a music video product that would have explicit elements. Of course, this also suggests that there would be certain audience members who may feel uneasy at this prospect. As a result of this, I will ensure to keep the explicit content minimal and will not allow it to be dwelled upon.
In my opinion producing a media text with the main purpose to persuade an audience, generally allows for less opportunity to create a narrative which would in turn create a strong emotional attachment with the audience. From my research of television advertisements, the majority of texts are not based around single, chronological narratives, but instead are montages, focussing primarily on pushing a product upon the audience, rather than telling a story to the audience. Although there are many types of adverts that do allow this, I feel that creating a plot-driven music video would give me more opportunity to connect with the audience, taking them on a journey through story-telling, creating a greater emotional reaction when my product is watched.
Primary Research
When carrying out my primary research, I ensured to gain both quantitative and qualitative data. I did this from receiving responses from approximately 40 respondents, focussing primarily on my target audience - 16-30 year olds of both genders. This primary research revealed a great deal of information about the direction in which i should take my product. As a part of my preliminary planning, I conducted a variety of primary research. One way that I did this was by creating a questionnaire as a means of finding out the preferences of my target audience. My questionnaire contained 14 questions, allowing me to obtain both qualitative and quantitative data, through the use of both open and closed questions. When conducting my research I ensured to ask 40 people, ensuring to focus mostly on my product’s target audience (both male and female 16-25 year olds).
The first question that I asked was the favourite music genre of the respondent. This was important for me, as the song choice is arguably the most important factor in a music video, as it provides the base of the whole product to work around. From analysing the results, I found that the most popular music genre was Indie/Alternative music, followed by ‘Other’. This coincided with my own music genre preference, helping me to narrow down my genre choice to ‘alternative’ and therefore enabling me to decide upon my song choice to Festival by Sigur Rós.
The sample that I asked when carrying out my questionnaire considered the location of the music video to be very important, with the majority of respondents suggesting that it is of 8/10 importance on the Likert scale. Due to this, we have decided to ensure that we prioritise the location of our shoot, and use a particularly unique setting. This means that I will have to pay particular attention to putting as much effort and observation as possible into the location scouting process. It is assumed that this will help to improve the experience of viewing for the audience, as it will help the escapist/fantasy aspect of the narrative come to life.
The response for the question was exceptionally insightful for me, as I was not yet decided upon a music video type to create prior to this research. The respondents of my questionnaire considered hybrid music video types to be of their preference, with over 20 respondents favouring this option. From this point, it was important for me to narrow down which music video types to combine within my hybrid. I then asked my respondents their opinions on including narrative and performance within music videos, concluding that 87% of respondents consider narrative elements important whilst 60% also favour performance aspects within video. Taking this into account, I decided to create my hybrid product from both performance and narrative video types, in order to
suit my audience’s content preferences.
This was an imperative question for me as some
of my initial ideas contained fairly explicit content, in the form nudity. I was fond the idea of experimenting with this as it would represent purity and give the impression of freedom. My audience feedback suggests that the vast majority of my viewers would feel comfortable consuming a music video product that would have explicit elements. Of course, this also suggests that there would be certain audience members who may feel uneasy at this prospect. As a result of this, I will ensure to keep the explicit content minimal and will not allow it to be dwelled upon.Friday 2 October 2015
Sigur Ros/Festival - Biographical Information and Target Audience - Kieran Panchal 9652
Sigur Ros
Sigur Rós are an Icelandic Alternative/post-rock band from Reykjavík, who have been active since 1994. Known for their ethereal sound, frontman Jónsi Birgisson's falsetto vocals, and the use of bowed guitar, the band's music is also noticeable for its incorporation of classical and minimalist aesthetic elements. The vocals are sung in a fictional language known as 'Hopelandic' which is a fictional variation of Icelandic. Sigur Ros claim that they communicate their messages through the medium of this fictitious language in order to allow each individual viewer to interpret the lyrics in their own way. The band is named after Jónsi's sister Sigurrós Elín.
As of 2012 SIGur ros have released six albums, plus one remix album (von brigði - recycle bin). the first album, recently given a worldwide release for the first time, is called von (hope). frequently unrecognisable from the bulk of their subsequent work, von is an experimental and ambient work.
festival is a build-up track that is 9:05 minutes in length, and is 5th on the album "Með suð í eyrum við spilum endalaust". The alternative track is sung in 'Hopelandic', with bowed guitars and ambient sound being prominent for the first 4 minutes 30, when the drums are introduced and instruments build up to create a large sounding post-rock track.
Audience
It is generally difficult to quantify a target audience for a music artist. This is particularly true with Sigur Ros's genre as there would not necessarily be a specific demographic that may be associated with Alternative/Post-Rock music, due to it's broad nature. Generally, due to the aspects of complexity and minimalism within many of the band's songs it may be argued that it would take an older audience to appreciate the genre.
In 2007, 'Heima' was released. This was a movie documenting Sigur Ros' summer of 2006, following their journey back to Iceland to play a series of shows on a free tour. The documentary premiered in Iceland at the Reykavik International Film Festival, and since has sold over 5,000 DVD copies, earning it a gold award under the Video Certifications.
One way that we can get a rough idea of the demographic interested in the band is analysing the reviews on The Internet Movie Database for the film. The graph above shows the demographic of the respondents who have submitted reviews of Heima. From looking at this we can see that the ratio of males to females to rated the documentary is highly uneven, with males outnumbering female respondents by around 5 to 1. However, it should be considered that although proportionately females are of the minority, their mean rating is higher at 8.9 in comparison to 8.6 from the male audience. This could suggest that females find more enjoyment in the genre and music.
After this, we can observe the ages of the reviewers/audience. From doing this we can see that the most popular age demographic was between 18 and 29 with 3109 of the 6732 users being within this age range. Following this, users between 30 and 44 were also plentiful with 2526 users being of this age range.
Overall, from analysing this data we can gather an approximate target audience for Sigur Ros fans and therefore for the music video that i am proposing to construct. Generally, the most prolific demographic of viewers are males between the ages of 18 and 44. This is of course a very broad target audience, however, this is typical of the genre, as this type of music can relate to and be enjoyed by such a vast number of people. Although these figures may not be completely representative of the target audience for the band's music, I believe that this data offers a strong portrayal of the most popular viewer demographic.
Sigur Rós are an Icelandic Alternative/post-rock band from Reykjavík, who have been active since 1994. Known for their ethereal sound, frontman Jónsi Birgisson's falsetto vocals, and the use of bowed guitar, the band's music is also noticeable for its incorporation of classical and minimalist aesthetic elements. The vocals are sung in a fictional language known as 'Hopelandic' which is a fictional variation of Icelandic. Sigur Ros claim that they communicate their messages through the medium of this fictitious language in order to allow each individual viewer to interpret the lyrics in their own way. The band is named after Jónsi's sister Sigurrós Elín.
As of 2012 SIGur ros have released six albums, plus one remix album (von brigði - recycle bin). the first album, recently given a worldwide release for the first time, is called von (hope). frequently unrecognisable from the bulk of their subsequent work, von is an experimental and ambient work.
festival is a build-up track that is 9:05 minutes in length, and is 5th on the album "Með suð í eyrum við spilum endalaust". The alternative track is sung in 'Hopelandic', with bowed guitars and ambient sound being prominent for the first 4 minutes 30, when the drums are introduced and instruments build up to create a large sounding post-rock track.
Below is a section taken from the official Sigur Ros website's FAQs. This is evidence that Sigur Ros' tracks are free from copyright, unless used for commercial purposes. Subsequently, I will be able to use the band's tracks in my product, as it will not be created for commercial purposes, meaning it adheres to the guidelines proposed.
Audience
It is generally difficult to quantify a target audience for a music artist. This is particularly true with Sigur Ros's genre as there would not necessarily be a specific demographic that may be associated with Alternative/Post-Rock music, due to it's broad nature. Generally, due to the aspects of complexity and minimalism within many of the band's songs it may be argued that it would take an older audience to appreciate the genre.
In 2007, 'Heima' was released. This was a movie documenting Sigur Ros' summer of 2006, following their journey back to Iceland to play a series of shows on a free tour. The documentary premiered in Iceland at the Reykavik International Film Festival, and since has sold over 5,000 DVD copies, earning it a gold award under the Video Certifications.
One way that we can get a rough idea of the demographic interested in the band is analysing the reviews on The Internet Movie Database for the film. The graph above shows the demographic of the respondents who have submitted reviews of Heima. From looking at this we can see that the ratio of males to females to rated the documentary is highly uneven, with males outnumbering female respondents by around 5 to 1. However, it should be considered that although proportionately females are of the minority, their mean rating is higher at 8.9 in comparison to 8.6 from the male audience. This could suggest that females find more enjoyment in the genre and music.
After this, we can observe the ages of the reviewers/audience. From doing this we can see that the most popular age demographic was between 18 and 29 with 3109 of the 6732 users being within this age range. Following this, users between 30 and 44 were also plentiful with 2526 users being of this age range.
Overall, from analysing this data we can gather an approximate target audience for Sigur Ros fans and therefore for the music video that i am proposing to construct. Generally, the most prolific demographic of viewers are males between the ages of 18 and 44. This is of course a very broad target audience, however, this is typical of the genre, as this type of music can relate to and be enjoyed by such a vast number of people. Although these figures may not be completely representative of the target audience for the band's music, I believe that this data offers a strong portrayal of the most popular viewer demographic.
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