Institutions research

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Questionaire results and anaylsis

How do you tend to watch music videos?

The fact that the majority of participants admitted that they tend to watch music videos via the internet largely reflects the advancements in technology which have encouraged users to move online, such as the proliferation of hardware. It is interesting, that the majority of those who watch music videos using the internet are under the age of 22 (my own target audience), which in turn seems to reflect a more demanding audience, as they are more likely to switch of from a music video when using the internet than should they be watching a channel where by the songs are chosen for them.

Do you tend to discuss music videos with others?

It appears that roughly equal amounts of people in my study discuss music videos with their peers as don’t. Word of mouth is one way of promoting a music video, therefore it appears that the music video may help or hidner the success of any given track. The idea that a music video should have something a bit different to it which audience members can discuss is here backed up.

Most common reason why the audience watch music videos

The fact that the majority (30% of participants) put escapism and listening to the track at the top of their reasons for watching a music video does largely reveal the two main aims of my target audience when watching a music video. Therefore, although the track does seem to be crucial to them enjoying a video, the idea that they also use it to escape from their surroundings suggests that a strong narrative and picturesque settings are also important. According to the Uses and Gratifications theory (Bumler & Katz) the idea that the audience use texts as a form of escapism is backed up, as is it gratifying their need of a discussion point, having someone to relate too as well as making them feel better about the world around them. The idea that they use this particular text, however for surveillance purposes is contradicted, yet due to the nature of a music video such an outcome is not surprising.

How many music videos do you watch a week?

It appears that the majority of participants watch 3-6 music videos a week, making this aspect of the media quite a prominent part of their lives. Despite the fact that roughly half of those asked do not necessarily fit into the target audience that I have selected (Which may lessen the weight of the evidence presented), the majority do seem to watch music video. Interestingly All of those who watch no music videos at all (3), all of them where over the age of 25, whilst every volunteer who viewed more than eleven were under such an age. As watching music videos seems such a big part of my target audiences lives, they will be very used to consuming such media and their expectation of typical conventions will be high, making the demand from such a target audience much higher.

Does your friends opinion of a music video matter to you?

It appears that in today’s society, those asked don’t seem to particularly care whether their friends like what they like as over 50% insist that they don’t care. However, evidence from apps on the likes of Facebook, spottily and you tube do seem to suggest otherwise. When an internet user “tweets” that they have enjoyed a particular video, for example such a stance is contradicted. It seems that although my target audience may not think that they care what others think, they in fact do, which is also backed up by the spread of word of mouth with regards to interesting videos with big online hits.

How often do you watch a music video, and then re-watch it within the next week?

On a regular basis, the volunteers often re-watch a music video that they have watched a week before hand. This reflects the vast nature of the music video industry, and how easily accessible they are, particularly with advancements within technology. It has been argued by the likes of Anthony Goodwin that such a desire to re-watch short music video sis due to their faced pace, complex narratives and quick editing techniques. Therefore, when creating my video I shall try to ensure that it is has the ability to tempt the audience to re-watch it, as I think that this would greatly improve the text and the impact that is has in promoting the track.

What is the best aspect of a music video?

The majority of audience members seem to enjoy seeing the artists and listening to the track when watching a music video, therefore prompting me to ensure that the artists is as prominent as possible throughout. Interestingly, it appears that they don’t find settings that crucial, however this may just be because they find other things more important not that they don’t value this aspect at all. Besides, often settings add to the sense of verisimilitude, which may be responsible for creating an appropriate form of escapism-something which the audience earlier admitted was one of the main reasons for consuming such a text.

How important are posters/print adverts/ CD covers for music?

It seems that those asked don’t actually place that much importance on promotion of music through print advertising. 40% admit that they rarely even notice them, however this could relate to the idea that audiences are quite passive, and that they receive the data of a media text without any attempt to challenge this. This could be argued is why those barely even recognise the texts, and that they are so used to being “injected” with media and promotions that they don’t believe they are effected by them. The size of the advertising industry also largely contradicts the idea that the business is pointless due to the audiences not really recognising this. With regards to the importance of CD covers, similar arguments can be applied. Although perhaps not as impactful as a music video in promoting the audience and the track, I still think that print advertisements are crucial in establishing an identity, and that these aspects of my project are still crucial.

 What is the most important in promoting an artist/track?

The obvious importance which the participants placed on Music Videos in even promoting an artist/track has really surprised me. It seems that, (with the exception of websites), the audience seem to best respond to physically seeing the artist, suggesting that the image of the star is very important to them. This has made me aware the scale of which a music video can be used for promotion purposes, and that the aim of my main production piece is not just to produce a music video for entertainment purposes, but also to promote and do the artist justice as a whole.

Audience Questionaire

Two weeks ago, I created a questionaire (see below)  with an aim of trying to understand my audience. I asked 20-30 volunteers (of a variety of ages, genders and occupations) to complete the document and now have the results back. It included information about their music tastes, how they find best to/usually obtain the media, their relations with friends, family, what they find most important in a music video as well as questions regarding the promotion of an artist/songs. Although I am aware that only a fraction of the data i have collected will be applicable (include my target audience which is yet to be decided), i hope to see at least some correlation between different types of audiences and their opinions, and to use these to generally gain an understanding of their relations with the music industry, something which I will later expand on after interpreting my data and chosing my specific target audience.

Multi-narrative inspiration

Katy Perry's "Firework" video has greatly inspired me to create a music video following more than one narrative. Despite the fact that the genre of music is quite different, the method of portraying inspirational figures to explore different interpretatons of the song I feel is particularly effective. The fact that the majority of characters are of a young age means that themes of innocence are also brought to light, hopefully evoking sympathy and inspiring the target audience to be as brave as they are. The video clearly explores very current issues withing society, something which only adds to its impact to the suffering of such relateable characters. Such issues are portayed through the variation of intresting characters to include...

• A young boy from a troubled home background
• An insecure girl, with a poor body image
• A bisexual male with little confidence and is bullied
• A girl in hopsital

This leaves the artist as purely that, and does not confuse the character and artist (unlike my previous 2 inspirational texts). Her presence ontop of a high building and extravegent costume, however does suggest that she is a figure to be inspired by, and somebody fro both the characters and audience to look up to. 
Although I'm unsure whether the narratives will be quite as intense and deep as those explored in this music video, I have taken great inspiration from these, and shall definately include more than one narrative in my own project to explore different meanings to the lyrics and track which I am still yet to decide.

Inspirational text 2

Leona Lewis-Happy

http://www.youtube.com/watch?v=KhvG4V90qcQ

The opening shot of this music video is of the artist/characters face, apparently happy and in a celebratory environment. It seems clear from the start that she is at a wedding, due to mise en scene aspects such as the props (confetti) and costume which she is wearing including flowers in her hair. Here, the slow motion affect which has been applied to this head and shoulders shot suggests irony, and that contrary to the name of the song, there is something else bothering the character-providing the audience with an enigma code (according to Straus’ ideas) as to why she isn’t joyful at such an event.

The proceeding shot of the artist (also the character) miming the lyrics of the song in front of a dark setting introduces her as the main figure of the song, and reinforces the idea that contrary to the title of the song, she is not ‘happy’ at all. She seems upset and restless, expressing her emotions through the form of the song. The fact that the majority of lyrics are mimed here establishes a sense of security for the audience-when they see this setting they know that they will be greeted with scenes of the artist singing. Following this we are introduced to shots of the character ‘getting ready’-supposedly we have flashed back from the first scene and the narrative begins. However, it is unusual that we are then greeted by yet more scenes flashing further back in time-to the character getting along particularly well with a male. Sharp editing cuts between such sections of the same narrative creates a fast pace, sense of confusion-possibly reflecting how the character feels about such events. This contrasts of the character being alive, chatty and happy in these shots compared to those is the bedroom suggests that she was ‘once happy’ and hints that she is longing for such a state of mind for return. Lighting is particularly important in constructing this-the ‘sadder’ scenes are set in her dimly lit bedroom whilst the others are outside, in the bright sunlight. This draws great attention to the binary opposites ‘light and day’ and ‘sad and happy’, according to Straus’ ideas of binary opposition being present in order to drive the narrative forward through a sense of conflict.

The following shot including the character moving slowly behind some sort of screen in her bedroom reflects ideas of privacy and lack of desire for others to be around. In theshots of her sitting of a bed, therefore, the audience may feel ‘privileged’ to be part of the story, and be grateful that their supposed curiosity of what was behind the screen has been for filled. Such ideas of privacy and the unknown seem to be present in several music videos of this sort, and is something which I would like to incorporate into my own. The cuts between the two sections of the narrative then continue, yet begin to establish a sense of normality for the audience-hopefully they are beginning to understand the sequence which they are being shown, and can focus more on the story itself than be confused by the order in which such events happened.

In the shots of the character being caught in the rain, seasonal elements help to create a dull atmosphere, whilst also suggesting how the character feels in the other section of the narrative. Her negative expression adds to this. However, a noticeable change to her mood can be seen when the male once again appears, acting as her ‘knight in shining armour’ whilst she seems to be the ‘damsel in distress’ and needs to be saved. Such ideas of these roles needing to be for filled in order to create a narrative can be seen from Prop’s theory. A slight admiration for this male on behalf of the audience therefore seem to come to light, as he seems to making happy and ‘saving’ the character whom we have been introduced to and likely to have formed some kind of relationship with. This is an attitude which will later be challenged by events later in the narrative.

As the pace of editing slows down slightly, we cut to images of the artist-but this time she is singing in the setting of the narrative! Such boundaries between the artists and the character begin to be destroyed. The audiences ‘bond’ with the woman whom is featured in both aspects of the text therefore may become stronger, as the audience are prompted to like her. It is also here that the audience may begin to be drawn to the connections of the lyrics to the narrative and draw greater meaning from this. In such scenes of the character/artist miming the words, her costume helps to add to her character. She seems natural, innocent and perhaps ‘easily damaged’-once again adding to her overall image and the audiences relationship with her. The target audience of this video are likely to be of a similar age to the character, if not younger. Therefore, they may use the text, and her character as a sense of personal identify (according to Blumler & Katz Uses and Gratifications theory) and as a means of comparing themselves to her, perhaps leading to admiration of sympathy.

The cuts between the characters getting ready in her bedroom then continue, whilst in the other section of the narrative, she can be seen having fun with friends at night. The camera work continues to be unsettled; reflecting the hectic and confused nature of the situation, whilst several smiles on the behalf of the woman following encounters with the male continue to build up the relationship between the audience and the couple-he seems to be making her happy. It is here, however that we realise that in her bedroom, she is wearing a wedding dress. This may confuse the audience slightly and once again provide an enigma code-why is she getting dressed for a wedding yet not happy and whose wedding is it? Once again, her costume proves crucial in even raising such questions, and the white traditional colours presents her in a positive light-suggesting innocence and therefore evoking sympathy for the obviously dull situation of the character. This is backed up by the representation of the character which can be seen, particularly in the following shots of her socialising and eating food. Here, she is presented as a sociable, friendly person, heightening the impact of her hidden sadness. During these food scenes, themes of a different culture are also explored. Rather romanticised, these are explored through props such as the foods in which the characters are indulging as well is in settings, and such ideas come to light on several occurrences throughout the video.

When the character then makes her way to the wedding which we have been introduced too, the characters are forced to take note of the fact that they are ‘back to where they started’ with regards to the narrative by a repeat of the opening shot of the entire music video (in slow motion of the character with confetti). Here, the audience are provided with a moment to reflect upon the storyline, and think about what they have come to learn since first being introduced to the character-yet it is very likely that they are in fact no further forward with the enigma code initially presented, something which is then satisfied in the climax of the video.

A pair of close-up shots are particularly significant later in the video-of the character touching the males hand and then two other hands exchanging rings (supposedly in the wedding ceremony). The rings seem to symbolise unity and love. This may also provide the audience with a moment to draw from their own cultural experiences, and connote the idea of a wedding being a happy, fun event (although ironically this is contradicted) and is a common feature of any narrative according to Barthes Cultural code.

A significant moment later in the narrative coincides with the music, and adds to the dramatic representation of the situation. The man who the audience have grew to understand as being the ’saviour’ is the one getting married, perhaps leading the audience to resent the man for being the root cause of the main characters issues. Other shots of the parallel narrative which we have been following show the situation from the perspective of another female, as the audience realise that the wedding is that of the man and the main characters friend. Here, themes of betrayal and confusion are brought to light, and audience members are provided with an opportunity to reflect on their own experiences where they have felt how the character seems to and relate to her. Further hidden meanings within the lyrics may also become apparent, as the audience realises the extent to which the song is applicable to the characters situation-something which they may have expected as according to Anthony Goodwin, a strong link between the lyrics and events of screen are common of any music video.

 The final shot of the artist miming the lyrics draws a conclusion to the music video and narrative, but an overwhelming light source emitting from the close-up seem to reflect ideas of ‘a light at the end of the tunnel’. Despite quite a negative narrative being depicted by the lyrics of the song, the ending seems quite hopeful, and the audience may be greeted with a  sense of relief at understanding that ‘life goes on’ despite ‘not being happy’ and seek inspiration from the strong nature of the character-something which I would like to mirror in my own project.