A necessary ladder to climb when creating our pop video, was to research and evaluate the major conventions of pop video and, make decisions on the possible imitation or subversion of these conventions. Keith Negus (established media theorist) has identified thirteen major conventions that are evident within pop videos. 11 of which have been manifested bellow:
The explicit and unashamed promotion of the artist’s “image” (aesthetic/generic/ideological) as a specific product with a brand identity, ready for mass consumption
The featuring of the artist (almost without exception)
A wide and extensive use of shot types, camera angles and movement
Repetition of reoccurring thematic elements and generically specific iconography (one key element often being dominant and providing the skeletal structure for the promo)
A possible narrative structure
A possible performance element
The flexibility to disregard Realism!
Shots cut tightly to the beat of the track
Use of special effects (lighting, animation, CGIs, in-camera effects)
A carefully constructed Mise en Scene appropriate to the content and tone of the track.
Instant high impact
To make sure that we agreed with Negus, we researched and analysed various pop videos of similar style to our group. These included; Ian Dury and the Blockheads, The Sex Pistols and other bands of that era. We also looked at the famous Martin Scorcse documentary that followed Bob Dylan on one of his earlyer tours, and also his recent Rolling Stones documentary.
We decided we wanted to do two things with our pop video. The first, in the performance; was to follow Negus' conventions of high impact, cutting to the beat, following the rule of thirds etc.. But, in the narrative, which would follow the guys in the band on tour; we wanted a grittyer feel to it, and so used a documentary-style with hand held camera, longer shots and natrul light. In the manner of observational documentary, as outlined by the theorist Alan Hayling, former head of documentaries at the BBC.
Imitating or subverting these conventions will give pleasure the audience in two contradistinctive conditions; according to film theorist Barthes. The first of which is labelled ‘plaisir’ and it entails the act of giving an audience pleasure through the expected. In contrast to this, ‘jouissance’ is when the audience are pleasured through the unexpected which, in this case; through a subversion of media conventions.
The message conveyed through ‘Another Girl, Another Planet’ is primarily a new wave group who, through their distaste of society and institutional order, hope to break formal barriers and encourage joyous and anarchic activity among audiences mainly aged fifteen to twenty five. The video is also constructed to portray their electric creativity and willingness to live their lives with no initial thought of consequence. They are heavily influenced of the punk, new wave and rock n roll bands of the sixties and seventies which is signified through their fashion style and musical direction.
The explicit and unashamed promotion of the artist’s “image” (aesthetic/generic/ideological) as a specific product with a brand identity, ready for mass consumption
The featuring of the artist (almost without exception)
A wide and extensive use of shot types, camera angles and movement
Repetition of reoccurring thematic elements and generically specific iconography (one key element often being dominant and providing the skeletal structure for the promo)
A possible narrative structure
A possible performance element
The flexibility to disregard Realism!
Shots cut tightly to the beat of the track
Use of special effects (lighting, animation, CGIs, in-camera effects)
A carefully constructed Mise en Scene appropriate to the content and tone of the track.
Instant high impact
To make sure that we agreed with Negus, we researched and analysed various pop videos of similar style to our group. These included; Ian Dury and the Blockheads, The Sex Pistols and other bands of that era. We also looked at the famous Martin Scorcse documentary that followed Bob Dylan on one of his earlyer tours, and also his recent Rolling Stones documentary.
We decided we wanted to do two things with our pop video. The first, in the performance; was to follow Negus' conventions of high impact, cutting to the beat, following the rule of thirds etc.. But, in the narrative, which would follow the guys in the band on tour; we wanted a grittyer feel to it, and so used a documentary-style with hand held camera, longer shots and natrul light. In the manner of observational documentary, as outlined by the theorist Alan Hayling, former head of documentaries at the BBC.
Imitating or subverting these conventions will give pleasure the audience in two contradistinctive conditions; according to film theorist Barthes. The first of which is labelled ‘plaisir’ and it entails the act of giving an audience pleasure through the expected. In contrast to this, ‘jouissance’ is when the audience are pleasured through the unexpected which, in this case; through a subversion of media conventions.
The message conveyed through ‘Another Girl, Another Planet’ is primarily a new wave group who, through their distaste of society and institutional order, hope to break formal barriers and encourage joyous and anarchic activity among audiences mainly aged fifteen to twenty five. The video is also constructed to portray their electric creativity and willingness to live their lives with no initial thought of consequence. They are heavily influenced of the punk, new wave and rock n roll bands of the sixties and seventies which is signified through their fashion style and musical direction.
We chose to imitate all conventions relating to the original rock and roll/punk bands of a nineteen sixty’s London. There outfits, all of which are ragged and torn, show their disregard for formal attire and hygiene. This shot also imitates the convention of a performance element, one where the band performs in a make bel
ieve dimension (usually a setting that resonates with their personal style, in this case: an urban street of hallucinogenic proportions) in order to promote the band in their ideal environment. This exhibits their personalities not only though their mannerisms, musical creation and style, but through the constructed area where they are placed, proving to be yet another tool at our disposal. The lighting of the shot was chosen because it was thought to be aesthetically pleasing if not something that appears to have spawned from a ‘drug trip’.
ieve dimension (usually a setting that resonates with their personal style, in this case: an urban street of hallucinogenic proportions) in order to promote the band in their ideal environment. This exhibits their personalities not only though their mannerisms, musical creation and style, but through the constructed area where they are placed, proving to be yet another tool at our disposal. The lighting of the shot was chosen because it was thought to be aesthetically pleasing if not something that appears to have spawned from a ‘drug trip’. The party scene was shot ‘hand held’ imitating the convention of a narrative structure but also 
ostensibly giving the audience the eyes of one of the party goers: a ‘point of view shot’. This encourages the audience to relate to the bands ideals and enforces one of the bands main goals which was to promote the erratic party life-style and therefore spread anarchy. “I am an anarchist!” – Sid Vicious, the Sex Pistols.
ostensibly giving the audience the eyes of one of the party goers: a ‘point of view shot’. This encourages the audience to relate to the bands ideals and enforces one of the bands main goals which was to promote the erratic party life-style and therefore spread anarchy. “I am an anarchist!” – Sid Vicious, the Sex Pistols. 
Conforming to the convention that is the explicit and unashamed promotion of the artists’ image was done through another narrative element; behind the scenes ‘documentary’ style footage of the band on tour. One shot shows a band member sleeping on the tour bus, conveying the hard work that the band also incorporates into their lives, that makes them so tired and a shot of London, demonstrating the areas and journeys they travel/travel to on a daily basis.
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