Artwork from Owl City's album cover 'The Midnight station' which I can take inspiration from for my album cover to promote Jonny Dylan Hughe's 'Bravery'.
This document discusses costumes, props, and locations for an upcoming indie music video. It describes two beach outfits featuring a white polka dot dress and black playsuit. It also outlines a woodland costume consisting of a white lace dress paired with a black leather jacket. Props mentioned are sunglasses, a silk scarf, and an acoustic guitar. The two main locations are a woodland setting and beach, chosen to fit typical outdoor settings for indie music videos and convey themes of wilderness. A sample beach video clip is included to showcase the planned beach location.
This document provides summaries of 4 different album covers in 3 sentences or less:
The first album cover features a composite image of fingers, a tiger and forest arranged like a flower with people and society references representing the reggae/pop music.
The second is a dark monochrome image of Batman standing in the foreground at a low angle surrounded by fire and destruction, accurately portraying the dark tone of the film's soundtrack.
The third cover is done in a childlike style with colored pencil of an animal figure holding the alphabet, representing an amusing children's song.
The last analyzes two versions of a cover, finding the blue, black and white one to be better due to higher contrast allowing
This image by photographer Nick Ut shows a young Vietnamese girl, Phan Thi Kim Phuc, running down a road after being burned by napalm bombs during the Vietnam War. The black and white photo captures Phuc's pain and suffering to draw attention to the human costs of war, especially its impacts on innocent children. The composition places Phuc alone at the center of the frame in accordance with the rule of thirds. Taken in 1972, the image is one of Ut's most famous and has been shown in exhibitions and publications about the horrors of war to advocate for peace.
The document discusses and summarizes the album covers of four different albums:
1) Cipes and the People "Conscious Revolution" uses a colorful composite image representing the reggae/pop music with vibrant colors.
2) The Dark Knight Soundtrack cover is very dark and monochromatic in blue tones showing Batman in the foreground amidst destruction representing the film.
3) Kimya Dawson's "Alphabutt" is in a childlike style using coloring pencil to represent the children's alphabet song nature of the album.
4) Belle & Sebastian's "Dear Catastrophe Waitress" has two cover versions and the reviewer prefers the blue version for its better contrast.
The document discusses different art techniques including implied lines at the meeting of rocks and ocean, chiaroscuro used to show light and dark values in a graphite pencil drawing, a cool color scheme using green, blue and purple to create a cold feeling, and a complementary color scheme using colors opposite each other on the color wheel such as yellow and purple, green and red, and blue and orange in an acrylic paint and cut-and-paste artwork. Examples are provided for each technique discussed.
Case study analysing the audience for my music video to promote jonny Dylan Hughes' 'Bravery', with comparisons to Alanis Morisette's 'Everything' (2004).
Q1 - In what ways does your music video use, develop or challenge forms and c...jdebenham
油
Q1 - In what ways does my music video, to promote Jonny Dylan Hughes' 'Bravery', use, develop or challenge forms and conventions of real media products?
Narrative Theory applied to Enrique Iglesias' Hero (2002)jdebenham
油
1) The music video narrative follows Enrique Iglesias as a criminal on the run who is hunted by enemies led by Mickey Rourke.
2) It begins with Iglesias and his love interest Jennifer Love Hewitt content but then disrupted by the gang pursuing them.
3) The video references theories about narrative structure and character archetypes. It features stock characters like the heroic Iglesias and villainous Rourke, and follows a pattern of equilibrium disrupted by outside forces driving the story.
Genre theory in The Pogues & Kirsty MacColl - The fairytale of New Yorkjdebenham
油
The document provides background information on the Pogues and the Celtic punk genre. It discusses how the Pogues helped popularize folk punk in the UK in the 1980s. Celtic punk mixes traditional Celtic music with punk rock styles and commonly addresses themes of politics, alcohol, and working class pride. The music video for "Fairytale of New York" references conventions of the Celtic punk genre, prominently featuring drinking and celebrating working class pride through its portrayal of the protagonist overcoming societal restrictions.
Leftfield were a British electronica band known for their progressive house music. In 1999, they released the song "Afrika Shox" featuring Afrika Bambaataa. The music video for "Afrika Shox" was directed by Chris Cunningham and featured breakdancing in an underground parking garage, reinforcing the electronic music genre. However, Cunningham also depicted a dystopian version of New York City using film noir techniques like black and white cinematography to portray the African main character as alienated. The video draws intertextual connections to depictions of isolated protagonists in films like "The Third Man" and the divided city in the classic science fiction film "Metropolis".
Leftfield were a British electronic music group known for their progressive house style. Their 1999 single "Afrika Shox" featured Afrika Bambaataa and was directed by Chris Cunningham. The music video for "Afrika Shox" reinforces the electronic genre in several ways. It begins with images of a police car's flashing lights that indicate the electronic nature of the track. Scenes of breakdancers in an underground parking garage also demonstrate genre characteristics. The underground location suggests the underground nature of the artist and helps establish the target audience for the video.
This document discusses how the media product uses and develops conventions of real thriller media through its use of locations. It opens in the underground passage of a roundabout in Norwich, drawing on the convention that gritty, unpleasant areas create tension. It also shows the attack on the main character Sam in a suburban area, playing on the idea that quiet suburbs can be associated with crime. The document discusses how these locations draw from other thriller films and their use of claustrophobic, isolated places to build suspense and danger for the characters.
In our thriller opening we have attempted to represent those who live in poverty and are homeless through the storyline of a homeless man named Sam. Sam is presented as emasculated and vulnerable in order to highlight the rising problem of homelessness in the UK. Our thriller opening aims to portray homelessness as an issue that can affect anyone and show how homeless people are often victims of hate crimes. We also represent ethnic minorities as inferior through the protagonist Sam, who is Malaysian, being attacked by the white female character Norma.
This document discusses potential media institutions that might distribute an independent, low-budget British thriller film called "Homeless". It suggests that regional independent cinemas like Picturehouse cinemas would be most likely exhibitors, specifically CinemaCity in Norwich where the film is set. It also argues online streaming services like LoveFilm and Channel 4 or Film4 television would provide good outlets for wider audiences due to their experience distributing similar British films. Mainstream cinema chains and most UK broadcasters are seen as less suitable due to their focus on large, mainstream audiences.
The audience for the thriller film would primarily be 15-24 year olds as the characters are young and deal with issues relevant to that age group like poverty, homelessness, and university fees. Females may be particularly attracted due to the strong female character portrayed in a non-stereotypical way. Ethnic minority groups, especially Malaysian people, would also be part of the target audience as the protagonist is Malaysian and deals with issues like living in poverty as an ethnic minority in Britain. Finally, those interested in gritty thriller genres who enjoy references to other iconic films would appreciate the thriller elements and intertextual references used.
The document discusses how the creators of the thriller opening "Homeless" aimed to attract a target audience of 15-24 year old females. They sought to do this by creating a strong, independent female character named Norma who violently attacks a male, breaking traditional gender conventions. By portraying Norma as a "deviant" yet capable female, they hoped to appeal more to their target audience. Feedback from target audience members, especially young females, was positive about the representations in "Homeless" and their ability to relate to the unconventional female characters.
The document discusses the value of technologies in constructing a media production project. Specifically, it discusses how digital tools were used at various stages:
- An online blog was used to store and share research, plans, and work in progress, allowing for easy access and collaboration.
- Online platforms like YouTube and IMDb provided useful research resources for analyzing films and genres.
- A digital camera captured location scouting photos and practice shots for quick sharing and feedback.
- Mobile phones and Facebook enabled flexible communication between group members.
- Digital cameras and editing software facilitated efficient shooting, review, and construction of the final product.
The document discusses what the author has learned from completing a preliminary task and a larger full product thriller opening task. The author summarizes that they have learned the importance of teamwork, communication, research, identifying camera shots, using genre conventions like cliffhangers, finding suitable soundtracks, and the value of feedback and self-evaluation. The author provides specific examples from their preliminary task and full thriller opening task to demonstrate how their skills and understanding have progressed.
The document discusses targeting a young audience (15-24) for the thriller opening "Homeless" by using a cast of young characters around the same age. This allows the young audience to better relate to the situations portrayed. The theme of homelessness is an issue the target audience can identify with. The main character, Sam, will be particularly appealing as someone suffering similar problems. Referencing real social issues that affect the target audience will create interest and support from them. Choices were also made in costume, lighting, and plot devices to incorporate generic thriller elements and appeal to fans of the genre.
The document discusses the representation of gender and social groups in the author's thriller opening. Contrary to stereotypes, the male character Sam is portrayed as emasculated and the female character Norma is deviant and controlling. Sam represents the rising issue of homelessness in the UK as research shows homelessness can affect anyone. Norma refers to femme fatale characters commonly seen in 1930s film noir. The opening aims to highlight struggles faced by those living in poverty or on the margins of society.
The document discusses the representation of gender, homelessness, and young people in the opening of a thriller film. It aims to challenge stereotypes by portraying the male character Sam as emasculated and the female character Norma as deviant and controlling. It also aims to highlight the real issue of rising homelessness in the UK by portraying Sam, a seemingly ordinary man, becoming homeless. Statistics on homelessness and films depicting real experiences of homeless people informed this realistic portrayal. The opening further comments on the difficulties today's young people face, relating Sam's homelessness to high unemployment rates and costs of living that affect many youths.
An independent, low-budget British film about social issues would likely be distributed by smaller institutions targeting niche audiences, rather than mainstream channels. It would have a limited release in independent cinemas like Picturehouse theaters, rather than large chains. Specifically, the film discussed would plausibly premiere at CinemaCity in Norwich, as the film is set there, just as other locally-set films have premiered in their filming locations to attract local audiences interested in familiar settings. The film would also see distribution on DVD and streaming platforms to expand its audience beyond its theatrical run.
This document discusses how the media product uses and develops conventions of real thriller media through its use of locations. It opens in the underground passage of a roundabout in Norwich, establishing gritty and unpleasant locales associated with crime. It also features a suburban location where the protagonist is attacked, playing on viewer associations between quiet suburbs and criminal acts. The locations aim to create a sense of claustrophobia, fear, isolation and danger for the protagonist in line with conventions from films like The Third Man and Wild at Heart.
The document discusses how the media product uses and develops conventions of real thriller media through its use of locations. It opens in the underground passage of a roundabout in Norwich to create a gritty atmosphere, and later moves to a residential area where the main character is attacked, playing on the thriller convention that quiet suburbs can be associated with crime. It aims to generate tension and fear in viewers by incorporating tight, enclosed spaces like tunnels that are used in other thrillers to similar effect. It develops suspense throughout the opening by making the main character's journey to his resting place treacherous, using techniques like staircases that create a lack of escape in other thrillers.
Narrative Theory applied to Enrique Iglesias' Hero (2002)jdebenham
油
1) The music video narrative follows Enrique Iglesias as a criminal on the run who is hunted by enemies led by Mickey Rourke.
2) It begins with Iglesias and his love interest Jennifer Love Hewitt content but then disrupted by the gang pursuing them.
3) The video references theories about narrative structure and character archetypes. It features stock characters like the heroic Iglesias and villainous Rourke, and follows a pattern of equilibrium disrupted by outside forces driving the story.
Genre theory in The Pogues & Kirsty MacColl - The fairytale of New Yorkjdebenham
油
The document provides background information on the Pogues and the Celtic punk genre. It discusses how the Pogues helped popularize folk punk in the UK in the 1980s. Celtic punk mixes traditional Celtic music with punk rock styles and commonly addresses themes of politics, alcohol, and working class pride. The music video for "Fairytale of New York" references conventions of the Celtic punk genre, prominently featuring drinking and celebrating working class pride through its portrayal of the protagonist overcoming societal restrictions.
Leftfield were a British electronica band known for their progressive house music. In 1999, they released the song "Afrika Shox" featuring Afrika Bambaataa. The music video for "Afrika Shox" was directed by Chris Cunningham and featured breakdancing in an underground parking garage, reinforcing the electronic music genre. However, Cunningham also depicted a dystopian version of New York City using film noir techniques like black and white cinematography to portray the African main character as alienated. The video draws intertextual connections to depictions of isolated protagonists in films like "The Third Man" and the divided city in the classic science fiction film "Metropolis".
Leftfield were a British electronic music group known for their progressive house style. Their 1999 single "Afrika Shox" featured Afrika Bambaataa and was directed by Chris Cunningham. The music video for "Afrika Shox" reinforces the electronic genre in several ways. It begins with images of a police car's flashing lights that indicate the electronic nature of the track. Scenes of breakdancers in an underground parking garage also demonstrate genre characteristics. The underground location suggests the underground nature of the artist and helps establish the target audience for the video.
This document discusses how the media product uses and develops conventions of real thriller media through its use of locations. It opens in the underground passage of a roundabout in Norwich, drawing on the convention that gritty, unpleasant areas create tension. It also shows the attack on the main character Sam in a suburban area, playing on the idea that quiet suburbs can be associated with crime. The document discusses how these locations draw from other thriller films and their use of claustrophobic, isolated places to build suspense and danger for the characters.
In our thriller opening we have attempted to represent those who live in poverty and are homeless through the storyline of a homeless man named Sam. Sam is presented as emasculated and vulnerable in order to highlight the rising problem of homelessness in the UK. Our thriller opening aims to portray homelessness as an issue that can affect anyone and show how homeless people are often victims of hate crimes. We also represent ethnic minorities as inferior through the protagonist Sam, who is Malaysian, being attacked by the white female character Norma.
This document discusses potential media institutions that might distribute an independent, low-budget British thriller film called "Homeless". It suggests that regional independent cinemas like Picturehouse cinemas would be most likely exhibitors, specifically CinemaCity in Norwich where the film is set. It also argues online streaming services like LoveFilm and Channel 4 or Film4 television would provide good outlets for wider audiences due to their experience distributing similar British films. Mainstream cinema chains and most UK broadcasters are seen as less suitable due to their focus on large, mainstream audiences.
The audience for the thriller film would primarily be 15-24 year olds as the characters are young and deal with issues relevant to that age group like poverty, homelessness, and university fees. Females may be particularly attracted due to the strong female character portrayed in a non-stereotypical way. Ethnic minority groups, especially Malaysian people, would also be part of the target audience as the protagonist is Malaysian and deals with issues like living in poverty as an ethnic minority in Britain. Finally, those interested in gritty thriller genres who enjoy references to other iconic films would appreciate the thriller elements and intertextual references used.
The document discusses how the creators of the thriller opening "Homeless" aimed to attract a target audience of 15-24 year old females. They sought to do this by creating a strong, independent female character named Norma who violently attacks a male, breaking traditional gender conventions. By portraying Norma as a "deviant" yet capable female, they hoped to appeal more to their target audience. Feedback from target audience members, especially young females, was positive about the representations in "Homeless" and their ability to relate to the unconventional female characters.
The document discusses the value of technologies in constructing a media production project. Specifically, it discusses how digital tools were used at various stages:
- An online blog was used to store and share research, plans, and work in progress, allowing for easy access and collaboration.
- Online platforms like YouTube and IMDb provided useful research resources for analyzing films and genres.
- A digital camera captured location scouting photos and practice shots for quick sharing and feedback.
- Mobile phones and Facebook enabled flexible communication between group members.
- Digital cameras and editing software facilitated efficient shooting, review, and construction of the final product.
The document discusses what the author has learned from completing a preliminary task and a larger full product thriller opening task. The author summarizes that they have learned the importance of teamwork, communication, research, identifying camera shots, using genre conventions like cliffhangers, finding suitable soundtracks, and the value of feedback and self-evaluation. The author provides specific examples from their preliminary task and full thriller opening task to demonstrate how their skills and understanding have progressed.
The document discusses targeting a young audience (15-24) for the thriller opening "Homeless" by using a cast of young characters around the same age. This allows the young audience to better relate to the situations portrayed. The theme of homelessness is an issue the target audience can identify with. The main character, Sam, will be particularly appealing as someone suffering similar problems. Referencing real social issues that affect the target audience will create interest and support from them. Choices were also made in costume, lighting, and plot devices to incorporate generic thriller elements and appeal to fans of the genre.
The document discusses the representation of gender and social groups in the author's thriller opening. Contrary to stereotypes, the male character Sam is portrayed as emasculated and the female character Norma is deviant and controlling. Sam represents the rising issue of homelessness in the UK as research shows homelessness can affect anyone. Norma refers to femme fatale characters commonly seen in 1930s film noir. The opening aims to highlight struggles faced by those living in poverty or on the margins of society.
The document discusses the representation of gender, homelessness, and young people in the opening of a thriller film. It aims to challenge stereotypes by portraying the male character Sam as emasculated and the female character Norma as deviant and controlling. It also aims to highlight the real issue of rising homelessness in the UK by portraying Sam, a seemingly ordinary man, becoming homeless. Statistics on homelessness and films depicting real experiences of homeless people informed this realistic portrayal. The opening further comments on the difficulties today's young people face, relating Sam's homelessness to high unemployment rates and costs of living that affect many youths.
An independent, low-budget British film about social issues would likely be distributed by smaller institutions targeting niche audiences, rather than mainstream channels. It would have a limited release in independent cinemas like Picturehouse theaters, rather than large chains. Specifically, the film discussed would plausibly premiere at CinemaCity in Norwich, as the film is set there, just as other locally-set films have premiered in their filming locations to attract local audiences interested in familiar settings. The film would also see distribution on DVD and streaming platforms to expand its audience beyond its theatrical run.
This document discusses how the media product uses and develops conventions of real thriller media through its use of locations. It opens in the underground passage of a roundabout in Norwich, establishing gritty and unpleasant locales associated with crime. It also features a suburban location where the protagonist is attacked, playing on viewer associations between quiet suburbs and criminal acts. The locations aim to create a sense of claustrophobia, fear, isolation and danger for the protagonist in line with conventions from films like The Third Man and Wild at Heart.
The document discusses how the media product uses and develops conventions of real thriller media through its use of locations. It opens in the underground passage of a roundabout in Norwich to create a gritty atmosphere, and later moves to a residential area where the main character is attacked, playing on the thriller convention that quiet suburbs can be associated with crime. It aims to generate tension and fear in viewers by incorporating tight, enclosed spaces like tunnels that are used in other thrillers to similar effect. It develops suspense throughout the opening by making the main character's journey to his resting place treacherous, using techniques like staircases that create a lack of escape in other thrillers.
APM event hosted by the South Wales and West of England Network (SWWE Network)
Speaker: Aalok Sonawala
The SWWE Regional Network were very pleased to welcome Aalok Sonawala, Head of PMO, National Programmes, Rider Levett Bucknall on 26 February, to BAWA for our first face to face event of 2025. Aalok is a member of APMs Thames Valley Regional Network and also speaks to members of APMs PMO Interest Network, which aims to facilitate collaboration and learning, offer unbiased advice and guidance.
Tonight, Aalok planned to discuss the importance of a PMO within project-based organisations, the different types of PMO and their key elements, PMO governance and centres of excellence.
PMOs within an organisation can be centralised, hub and spoke with a central PMO with satellite PMOs globally, or embedded within projects. The appropriate structure will be determined by the specific business needs of the organisation. The PMO sits above PM delivery and the supply chain delivery teams.
For further information about the event please click here.
How to Configure Flexible Working Schedule in Odoo 18 EmployeeCeline George
油
In this slide, well discuss on how to configure flexible working schedule in Odoo 18 Employee module. In Odoo 18, the Employee module offers powerful tools to configure and manage flexible working schedules tailored to your organization's needs.
How to Setup WhatsApp in Odoo 17 - Odoo 際際滷sCeline George
油
Integrate WhatsApp into Odoo using the WhatsApp Business API or third-party modules to enhance communication. This integration enables automated messaging and customer interaction management within Odoo 17.
Effective Product Variant Management in Odoo 18Celine George
油
In this slide well discuss on the effective product variant management in Odoo 18. Odoo concentrates on managing product variations and offers a distinct area for doing so. Product variants provide unique characteristics like size and color to single products, which can be managed at the product template level for all attributes and variants or at the variant level for individual variants.
Blind spots in AI and Formulation Science, IFPAC 2025.pdfAjaz Hussain
油
The intersection of AI and pharmaceutical formulation science highlights significant blind spotssystemic gaps in pharmaceutical development, regulatory oversight, quality assurance, and the ethical use of AIthat could jeopardize patient safety and undermine public trust. To move forward effectively, we must address these normalized blind spots, which may arise from outdated assumptions, errors, gaps in previous knowledge, and biases in language or regulatory inertia. This is essential to ensure that AI and formulation science are developed as tools for patient-centered and ethical healthcare.
2. The artwork for this album cover consists of an animated ocean theme image. The gentle wash of
light blue, green and turquoise colours helps to establish the wistful tone of the artists music. The
track Bravery which I am promoting for Jonny Dylan Hughes would greatly suit the use of
aesthetically pleasing colour that this album artwork makes use of. I can take inspiration from this
for my album artwork, in which I believe that the album art could incorporate an image of the
protagonist facing towards the seascape, which could make use of a similar blend of colours to help
establish the electropop genre.