Music Industry - Miley 2

Learning objective:

To study Miley Cyrus/Music industry Wrecking Ball video with consideration given to Audience responses.

Key words:  

Responses, Laura Mulvey, Male gaze, Patriarchy, Spectacle, Terry Richardson

Laura Mulvey Male Gaze - The male gaze occurs when the camera puts the audience into the perspective of a heterosexual man. It may linger over the curves of a woman's body, for instance. 

The woman is usually displayed on two different levels: as an erotic object for both the characters within the film, as well as for the spectator who is watching the film. 

The man emerges as the dominant power within the created film fantasy. 

The woman is passive to the active gaze from the man. 

This adds an element of patriarchal order. 

Mulvey argues that, in mainstream cinema, the male gaze typically takes precedence over the female gaze, reflecting an underlying power asymmetry.

This inequality can be attributed to patriarchy which has been defined as a social ideology embedded in the belief systems of Western culture and in patriarchal societies. 

It is either masculine individuals or institutions created by these individuals that exert the power to determine what is considered “natural”.

 Over the course of time, these constructed beliefs begin to seem ‘”natural” or “normal” because they are prevalent and carried out unchallenged, thus arguing that Western culture has adopted a hierarchical ideology which sets masculinity in opposition to femininity thus creating levels of inferiority.

Laura Mulvey; Male Gaze theory applied to Wrecking Ball video:

Task 1: Make notes on the slide show above. Bullet points are fine. (Orange books).

Further reading:

1. Patriarchy is a social system in which: males hold primary power; males predominate in roles of political leadership, moral authority, social privilege and control of property; and, in the domain of the family, fathers or father-figures hold authority over women and children.
   The Society of the Spectacle is a 1967 work of philosophy and Marxist critical theory by Guy Debord. Debord develops and presents the concept of the Spectacle.
   When Debord says that “All that was once directly lived has become mere representation,” he is referring to the central importance of the image in contemporary society.
   Images, Debord says, have supplanted genuine human interaction.
2. The video was directed by Terry Richardson. Richardson is known for his provocative photography work with celebrities. 

Home work: Complete the Cloze exercise on The Male Gaze.

(To be submitted on Friday lesson 5)

1. _________________________________________________________________

Audience segmentation.

Task 2: 
Watch the video 'Party in the USA' and write an essay considering the theoretical audience aspects of;

• Appeal and targeting
• Stuart Hall response theories; how can they be applied?
• Uses and gratification (Personal identity, social interaction).

Write up in your orange books.

___________________________________________________________

Task 3: Write a short essay on the representation of the event

Miley Cyrus Twerking at The MTV VMA's

Consider:
Issues of Gender representation. [Mulvey and the male gaze.]
Miley’s changing appearance.
The role of pop stars and their influence on young people

Jameela Jamil interview

"I think the video is much more, if people get past the point that I'm naked and you actually look at me you can tell that I actually look more broken than even the song sounds. The song is a pop ballad. It's one of these songs that everyone is going to relate to, everyone has felt that feeling at one point. If people can take their minds out of the obvious and go into their imagination a little bit and see kind of what the video really means and the way it's so vulnerable and actually if you look in my eyes I look more sad than my voice sounds on the record it was a lot harder to do the video than it was to record the songs. It was much more of an emotional experience."

— Cyrus defending the concept of the music video.

Answers to questions on previous blog post

WHO IS THE TARGET AUDIENCE? 
Primarily, the Miley Cyrus fans that have grown up over the course of her career and have become young adults. Girls of the same age who were formerly fans of Disney's Hannah Montana.

Mainstream audience that connects with the emotions and themes of the song. (Breaking up and relationship issues). This is a preferred audience who accept the message in the text.

New audiences; tapping into the current Lady Gaga fanbase because of the imagery of the costumes and drama provided by the video which is directed by Terry Richardson. Richardson is known for his provocative work with Rihanna. Balanced fans may be sceptical about Miley's work but be attracted to this collaboration. This is a negotiated audience who may not be fans of Hannah Montana but gain pleasure from the new Miley work.

Alternative fans (fandom) may be attracted due to the controversial nature of Miley promotional work.
Potential a new male audience due to explicit nature. 

WHY WOULD THIS APPEAL TO TARGET AUDIENCE? 

Older Miley Cyrus fans - Miley is different from how she was, there is a fresh and new look. 

Sheʼs grown up and matured, talking about things the established audience now connect with. 

Similar to the old Miley because the songs about emotion and love and staying strong, so it stays in a similar demographic. 

New audience - Edgier with Lady Gaga inflfences. 

The fact that sheʼs shed the persona of Hannah Montana encourages much discussion on social media outlets such as Twitter and Facebook.

According to Uses and Gratification theory, audiences would consume Miley texts in order to construct their own personal identity and to engage in social interaction.

There are also oppositional readers who completely reject the new Miley texts and the messages that are sent, they may feel Miley is a poor role model.

Andrew Goodwin Music Video Theory A2 Media

Music industry - Miley1

Learning Objective: 

To explore the text that is Miley Cyrus, Music industry with consideration given to Audience targeting.


Section B of the A2 Media Studies exam will ask you to discuss audiences. You will do this with consideration given to the music industry and three 'texts' Miley Cyrus, Nirvana, and Madness.

Miley Cyrus - Genre

• Introduction to Miley Cyrus' career:

Here are some interesting links relating to Miley Cyrus:

http://www.mileycyrus.com/

http://en.wikipedia.org/wiki/Miley_Cyrus 

http://entertainment.time.com/2013/09/19/miley-cyrus-marketing-genius/

Miley Cyrus' Wrecking Ball Video:

• MUSIC VIDEO ANALYSIS: 
• Artist: Miley Cyrus 
• Track Name: Wrecking Ball 
• Genre of song: Pop (Ballad/soft rock) 
• Director: Terry Richardson 
• Format: Studio based performance

• 1. INTENTIONS Changing Miley Cyrusʼs “Star Persona” and get out of the Disney stereotype. Previous persona “Hannah Montana”; Innocent and clean cut. Child friendly and comedic. Designed to appeal to young teenagers (12-ish) 
• New Persona: Risque and promiscuous, raunchy and objectified. Explicit. Confident and edgier. Shows that she is now older and grown up. Sheʼs trying to grow with her fans. To promote the single, and Miley Cyrusʼs new image as an artist. Also as a revenue stream, money is generated from views on youtube. 
• REPRESENTATION OF THE ARTIST 
• Confident: not at all shy to be represented so explicitly and be highly sexualized (licking the sledgehammer). Riding a wrecking ball shows her as powerful. Shown as a emotionally hurt and sad person, but still tough, she picks herself up and breaks things to relieve her stress and pain. 
• Angry; A lot of violent imagery, literal destruction and angry facial expression. Fails to lip synch near the end, so busy crying. Wants to look personal and honest. Attempting to take control of her own image and make herself a strong woman using her sexuality. The iconography is usually associated with porn, something that exploits women. 
• RELATIONSHIP BETWEEN MUSIC AND VISUALS 
• Slow and soft opening builds to a crescendo - Music swells for the chorus. Instrumentation: Guitar, studio produced with a digital quality; keyboards and bass. Walls falling down and Miley hitting things are matched to the beats of the music. On the softer parts we see Miley crying against the white backdrop. Simple imagery for a simple song. 
• RELATIONSHIP BETWEEN LYRICS AND VISUALS 
• Video is a literal interpretation of the metaphors used in the lyrics; “Wrecking Ball” “breaking down walls” etc. When the song says “wrecking ball” we see a wrecking ball. Consider Andrew Goodwin's theory. The song is about a broken heart and a broken relationship, and this is shown by the destruction of the wall. She naked because sheʼs striped to her raw emotions. Embracing pain - licking the sledgehammer. 
• VOYEURISM (NOTION OF LOOKING) 
• Licking of the hammer focuses on a sexually explicit intimate moment. High angle close up brings us closer. The explicit nature of the video, makes it obvious the viewer is watching something they shouldnʼt be. Being tantalized and played with, strip tease aspect. Weʼre watching Cyrusʼs raw emotion, distraught and crying.
• INTERTEXTUALITY 
• References to Sinead OʼConnerʼs “nothing compared to you” video, in terms of framing, and OʼConnersʼs delivering the song straight to the camera with tears of emotion. TYPICAL OF GENRE Typical of pop that the subject is love. Different a bit because of how raw the emotions are. Itʼs amped up; usually scantily dressed girls, but here fully exposed. The imagery relates directly and quite simply to the lyrics. Performed directly to the audience. Itʼs well lit and an obvious studio space, not grungy or dirty or handheld. typical pop look. The abstract drama is similar to Lady Gagaʼs style of videos. 
• Task 1: 
• Read the following open letter and make notes on the points Sinead O'Connor raises about audience here. http://www.theguardian.com/music/2013/oct/03/sinead-o-connor-open-letter-miley-cyrus
• Task 2: (Homework, to be submitted Wednesday April 20th, period 1) 
• In 200 - 300 words answer the following questions in relation to Wrecking Ball.

WHO IS THE TARGET AUDIENCE? 
WHY WOULD THIS APPEAL TO THE TARGET AUDIENCE 

_______________________________________________________________

Exam Section A approach

Learning objective: How to approach section A of the A2 exam.

This is what the front of an A2 Media Studies exam paper looks like:

This is what the next page of the A2 Media Studies exam paper looks like:

Section A of the exam questions are based around text. You should answer section A with responses on TV industry texts that we have looked at, Luther, Life on Mars and Common.

On the front page, you should write TV Industry in the box (Media Industry Chosen) alongside box A.

______________________________________________________________________________

Below is a selection of questions from Section A of the A2 Media Studies exam:

You will be asked to answer one question from this section.

SECTION A: TEXT 

Answer one question from this section. You must refer to the three main texts you have studied in each answer. 

Either, 

A1. Explore the different ways in which people are represented in your three main texts. [30] 

Or, 

A2. How typical are your three main texts of their genre? [30]

______________________________________________________

Either, 

A1. Explore the narrative structure of your three main texts. [30] 

Or, 

A2. ‘Most texts today mix genres.’ How true is this of your three main texts? [30]

______________________________________________________

Either, 

A1. To what extent do your three main texts challenge genre conventions? [30] 

Or,

 A2. Explore the key gender representations in your three main texts. [30]

______________________________________________________

Either, 

A1. ‘All media representations are constructed.’ Discuss with reference to your three main texts. [30] 

Or, 

A2. ‘Media texts contain complex narratives.’ How true is this of your three main texts? [30]

______________________________________________________

Either, 

A1. Explore the different representations of either men or age within your three main texts. [30] 

Or,

A2. How important are characters to the narrative of your three main texts? [30]

______________________________________________________

Read the questions thoroughly before starting to plan your answer.
You need to know about genre conventions, representation and narrative in regards to the three texts. (Luther, Life on Mars and Common.)

______________________________________________________

You will need to plan your response to these questions. 
This will make writing your answers easier and you will avoid losing 'silly' marks.

Task 1: Look at the diagram below. Make a note of the three concepts and the sublists;
Genre - Narrative - Representation (three lists). Leave enough space (half a page) so you can clearly put your ideas about each text.

Task 2: 

Using key terms found on this blog, consider what you will write about with regards to the three texts you have studied if approaching a genre question. 

Bullet points for each of Luther, Life on Mars and Common. Submit at end of today.

• Signifiers - All media 'texts' have signs and signifiers which send specific messages to the audience. In some cases we hardly think about how we read these signs. The use of colour for example to suggest.. mood.. atmosphere.. meaning.
  Signifiers: show, suggest, mean something to an audience

• Conventions - What are the conventions of a TV Crime Drama? Program titles Title sequences Lighting Camera Angles Characters Storyline/ narrative How do we know it is a TV Crime Drama? 

• Iconography - the visual images and symbols used in a work of art or the study or interpretation of these.

‘Iconography is an important aspect of genre. We expect to see certain objects on screen when we see a particular genre, for example, in a Western, dusty lonely roads, saloon bars, cowboy hats and horses, jails, sheriffs badges, guns, etc.. 

• In a modern horror film, we expect young girls, ‘normal’ objects, use of dark and light, etc. These ‘genre indicators’ are called the iconography of the mise-en-scene or genre.’

http://dls-media-as-1314-joshroberts.blogspot.co.uk/2013/09/iconography-of-crime-drama.html

Below is an interesting take on Luther:

Below are some exemplar plans: 

Audience
What affects the way in which an audience responds to a programme, e.g. age, culture, gender, situation, etc.? • Audience theories: uses and gratifications. This theory suggests that audiences ‘use different media texts for different reasons’: • For entertainment and diversion – audiences consume some media texts in order to escape from everyday life. This also suggests that audiences do not have to experience literal reality but can become equally involved in a story world that is believably fantastical if it offers escapism. Audiences like to become involved in the solving of the crime along with the detectives. • For information and education – some media texts are consumed by audiences when they want to know what is going on in the world or to find out information about other areas of the world. • For social interaction – some media texts are ‘of the moment’ and are discussed by the audience as they happen. This is sometimes referred to as ‘water-cooler’ television. Audiences watch the programme so that they can then use the experience to talk to others. An example would be when audiences go on social networking sites and tweet after the last episode of a series, giving their opinions on what has happened. Here, the audience response is immediate, and to be involved it is essential to keep up to date with the programme. This happened after the last episode of Sherlock. • For personal identity – this is the idea that audiences will gain pleasure from some media texts because they are able to compare their lives and circumstances with those featured in the particular text. The appeal of the programme may be that an audience can empathise with a particular character in a situation and be involved with how they handle it.

TV Industry - Genre, Narrative and Representation

The exam will ask you to discuss Texts. (Genre, Narrative and Representation)
You should approach this with consideration given to the TV Industry texts we have looked at; Luther, LoM and Common.
You will need to show good knowledge of the narrative devices used in TV crime drama with specific references to the shows we have looked at.

_________________________________________________________________

TV Industry - Narrative

Crime has always been a popular TV drama narrative because:

• The good vs evil binary opposition is easily recognisable and dramatic.
• We like to try to solve the crime along with the detective, enigmas keep us hooked.
• The disruption (crime) and restoration of equilibrium (capture and punishment) offers reassurance that the police keep our society safe and that the government will protect us.
• Dominant (hegemonic) ideologies are upheld - crime and lawlessness do not pay, the law prevails.
• These are audience pleasures provided by this format.

Task 1: 

Consider the question below

How do the narrative devices in your chosen texts offer audience pleasures?

Write bullet points based on the TV crime dramas we have looked at (Common, Luther and Life on Mars) with regards to narrative devices. Be specific.

____________________________________________________________________

TV Industry - Genre

How do the chosen texts use genre conventions?

You should open your response by outlining what is to be understood by the genre conventions of TV Crime drama.

Give consideration to the following:
Settings, usually well known places or cities which are dangerous places.
Titles, can give a clue to the genre, CSI, Sherlock, Sweeney. 

Mise-en-scene can include genre conventions, blood, X-Rays, weapons, fingerprints, police tape, sirens or cars...(discuss the Luther titles here).

Characters are divided into types; crime solvers, criminals, victims. 

Propp's characters can usually be applied here. 

Say how the different types can be identified, white coats, stethescopes, rubber gloves for forenzic experts. Say that these stereotypes are expected by the audience.

That they are cliches used to get a message across quickly.

At the end of the episode/series the crime is solved and the criminal usually is punished. 

Lead characters will often have a back story, and will weave their personal life in to the narrative. There is usually mystery involved, or some sort of puzzle, so that the audience can try to figure it out themselves. 

Almost always ends on a cliffhanger to keep the audience watching the next episode. 
Binary opposites are often used to keep the audience interested.
Don't forget audio codes such as sirens and often a humming sound to make the audience uncomfortable.

Consider the ideological implications of conforming or challenging the standard conventions of TV crime drama.

Be specific about the episode we looked at:  LoM-Genre | Luther - Genre | Common-Genre

Task 2: 

Write bullet points based on the TV crime dramas we have looked at (Common, Luther and Life on Mars) with regards to genre conventions. 

Consider if the shows conform or challenge the conventions of the genre.

_____________________________________________________________________

TV Industry - Representation

Understanding the concept of representation is essential at A2 level. 

You must be able to go beyond a simplistic discussion of stereotypes or positive and negative representations.

To analyse the impact of representation in media texts you must be aware of the context and the purpose of representation within the text. There are some key questions you must be able to consider:

• How has the world represented in this media text been constructed?
• What ideas and values are being communicated in the text? In this case by McGovern and the BBC.
• Who is the target audience of the text? How may different audiences respond to the representations contained within the text? Who will accept and who will challenge? (Consider Stuart hall here - Preferred, negotiated and oppositional readers).
• What messages are contained within the text? How might these messages impact upon the audience?  How might Common, for example, impact upon a teenage viewer?

Crime and the police

Let the examiner know that you are aware of how characters are usually represented in TV crime drama.

Some dominant ideologies about the police:

• Good
• Authoritative
• Powerful
• Male
• Moral
• Upholders of the law

Equally, dominant ideologies about crime and criminals are:

• Bad
• Marginalised groups (the unemployed)
• Must be punished
• Social decay

However, gradual changes in society, coupled with certain events (Hillsborough) have led to a gradual erosion of respect for authority and different perceptions of the police have emerged...

• Incompetent
• Corrupt
• Racist
• Female

Luther - Representation | Common - Representation | LoM - Rep |

Task 3: 

Consider how representation of age and gender are constructed through visual and technical codes.

Do the texts we have looked at show positive or negative representations?

Do they show an awareness of the context and the purpose of representation within the text.

Coursework Completion

Learning objective: To familiarise with coursework submission deadlines

Coursework should be submitted by Wednesday March 23rdth.

Students will submit three pieces of linked work comprising: 

• A research investigation focused on one or more of the following concepts: Genre, narrative, representation. (1400 – 1800 words) 
• A production which arises out of the research 

Candidates are required to submit a production which should develop from and be informed by the candidate's research investigation. This production must be in a different form from the AS production.
Audio-visual productions should be up to 4 minutes in length (depending on the nature of the production). Print-based productions (or their digital equivalent) should be a minimum of 3 pages.
Digital media (other than audio-visual productions) and print-based productions must be individual. 

Audio-visual productions can be produced either individually or in groups (maximum 4). 
Group tasks must offer appropriate opportunities for each candidate to demonstrate an individual
contribution.


An evaluation which explains how the research has informed the production (500 – 750 words) 

The production must be accompanied by an individual evaluation which explores how the production has been informed by the research undertaken into the relevant media concept.
The evaluation can be produced in any appropriate form such as:
• a discursive essay (with or without illustrations)
• a digital presentation with slide notes (such as a PowerPoint)
• a suitably edited blog.

• This has a clear focus. it MUST explore how the production has ben informed by your research findings. It MUST NOT be a discussion of the production process or of strengths and weaknesses. 

• It can include bullet points and annotated images to support the points you are making.

• The research findings and primary research texts must be referred to throughout the evaluation.

Evaluation

The evaluation is very different in content and structure to the Report you produced at AS level. You must be aware of this and establish the correct focus. 

This is NOT an evaluation of the process but an evaluation of the link between your research investigation and your production. The evaluation must focus on the key decisions that you made as a result of your Research Investigation findings and how they impacted on your production work. 

For example, the evaluation may focus on your key findings and then highlight areas within your production or it may focus on key elements used within the production and relate these back to your research findings.

How do I demonstrate the links between my Research Investigation and Production?

Think of four or five key elements that you found out as a result of your research investigation.

This will help you to focus your evaluation.

Identify clearly how you then used these in your own production. These could be particular camera shots , layout and design, narrative construction, genre codes and conventions, visual codes, iconography.

Visually demonstrate the links. For example, include an image of your magazine front cover alongside a magazine cover that you have analysed in your investigation. 

Also refer to the secondary sources you used in your investigation.

Example of an opening of an evaluation

For my MS3 coursework, I carried out an investigation into the representation of young people in British film. This investigation was focussed on two texts; Billy Elliot and Eden Lake. As a result of my investigation I discovered;

• The effect of mediation and construction techniques on the representations in the two films.
• 
  
• The determination of representation based on genre
• 
  
• The issue of youth representation as a product of stereotypical ideologies of youth culture.

To present my findings I produced a trailer for a social realist film focussing on two young men trying to make their way in the music business. I aimed to create a product that conformed to the conventions of its genre whilst challenging the traditional representation of young people apparent in this genre.

Assessment
This unit will be internally marked and externally moderated, assessing AO2, AO3
and AO4.

Candidates are required to submit:
• a research investigation (1400 – 1800 words): 45 marks
• a production (informed by the investigation): 45 marks
• a brief evaluation (500 – 750 words): 10 marks

Each of the three pieces of work will be assessed separately and then combined
to achieve a total mark for the unit.

Evaluation exemplar work:

Key representations and conventions

Learning objective: To consider what key representations means.

You will be asked about representations in your MS4 exam.
Straight away you should consider stereotypes. The two go hand in hand as a vehicle for your exploration of the concept.
You need to know the difference between representations and stereotypes.
How stereotypes can be harmful and why they are constructed by media producers.

Points you could cover if asked about representations are:

Gender - typical and stereotypical.
Issues - things like police attitudes and approaches. Be specific about the texts we have looked at.
Places - think how the places in your texts are represented. London, Manchester and generic Northern town.
Ethnicity - Revise the work we did on the representation of ethnicity.
Nationality - what does it mean to be British in these texts?

Apply theory when you are discussing key areas of representation. Laura Mulvey for example.

You will be asked to explore genre conventions within the texts you have studied.

Discuss why genre conventions are used and why they appeal to audiences, 

To explore means to write discursively. To cover a variety of points such as:

How typical are the genre conventions used in the text? What expectations would the audience have from the conventions you point out?

What iconography is there?

What characters/character types?

Discuss the storylines and plots. See my slideshow from yesterday.

Settings and locations.

Mise en scene.

Use of dialogue, music, language used.

Use of technical codes.

Genre conventions of crime dramas

Learning objective: In MS4 you may be asked how your chosen texts use genre conventions

Your chosen texts are from the television industry and the texts are Luther, Common and Life on Mars.

Task 1:

View the slide show and consider the three texts we have covered.
Make notes about how genre conventions are used in these texts.

Crime dramas from aashley79