Fonts:
I wanted the main fonts on my ancillary texts to be cohesive with my main product so they all combined effectively. I used two fonts on my ancillary texts: Yo Lobi and Arsenale White (both from dafont.com). These fonts, I felt, were both bold and aesthetically pleasing, so I knew they would work effectively on my digipak and magazine advert. I also thought these fonts reflected the indie genre and my artist's image well, because they were quite unique and stylish. The reason I used Yo Lobi as the font for the album name 'Foundations', etc. was because it was a brush style font, which linked to my music video as the artist is painting out the title 'Foundations' throughout the video. In this way the fonts looked similar which created cohesion in my promotional package. Arsenale White is a handwritten style font, which I picked because it appeared more personal and original than most traditional fonts. This was the look I wanted for the font of my artist's name 'Juno' as it seemed to give a personal-style touch to the products, as if it was her own unique font or how she actual writes her name. I felt this represented her as having a commitment to her craft (music) and gave her a creative flair, which is typical of an artist of the indie genre.
Colour Scheme:
I created a set colour scheme throughout the promotional package, with pinky-purple, green and yellow being the main colours on my ancillary texts, as well as being the most stand out colours in my main product. I chose these colours after going on color.adobe.com and uploading some of the moodboards I had created during the planning stage of my coursework. This site provided me with lots of different colour scheme ideas, and after experimenting with different colours when making drafts of my ancillary texts, I made my final decision. I felt these colours were bold, eye-catching and combined effectively to make my products look attractive and appealing to audiences. They also reflect the bright, colourful image I wanted to create of my artist in the promotional package, as well reflecting the more specific 'indie pop' genre in the same way. To create continuity of the colour scheme throughout my promotional package, I used specific props, e.g. lemons and coloured balloons, in my music video (main product) which made the colours used on my ancillary texts the most stand out colours in the video too. This continuity was also achieved through my use of the same props (lemons and coloured balloons) as the patterns on the two disc panels of my digipak. In this way, I believe the combination of my products are effective.
Mise-en-scene:
The mise-en-scene I have used helps establish the combination of my products as being effective. Firstly, I used the same props across the promotional package to create cohesion. For example, I use the lemons and coloured balloons as props in my music video, and these also feature as the patterns on the two disc panels on my digipak. Additionally, the artist is seen wearing heart shaped glasses in one scene of my video, so I used them on my ancillary texts too. The main image on both my digipak front cover and magazine advert is a mid shot of the artist wearing the same heart-shaped glasses. I felt this created continuity in my products, which is a crucial factor, as well as establishing the quirky, bright image/representation I wanted to create for the artist, which is also conventional of female artists of the indie genre. I also ensured the artist had the same look in the images on the ancillary texts as she did in the main product. Therefore, I had her wear the same black velvet playsuit for the ancillary text photoshoot, as she wears in multiple scenes of the music video, as well as having her hair down and wavy like she does in the video too. This gave the artist a consistent look and helped give her a set style for audiences to consume. Furthermore, the location of the ancillary photoshoot was in the green room, in which I used the white wall. I did this to make sure the images used on these products had the same look as the majority of scenes in the music video (which were also filmed in the green room), to once again create a cohesive style.
Imagery (cinematography, editing, etc.):
I used conventional style 'imagery' in my products. For example, I used a variety of shot types in my main product, such as close-ups, over-the-shoulder shots, mid-shots, long shots and two shots. The main shot type I used was variations of the close-up (e.g. medium close-up, extreme close-up). I mainly used close-ups during lip-sync scenes due to this being conventional because it keeps the focus of the frame on the artist's lips as she is singing the lyrics. Additionally, because I often used variations of close-ups, I ensured my ancillary texts matched this style, so I took medium close-ups/mid shots for the main image of both my magazine advert and digipak front cover, so there was continuity across my promotional package in this way. In relation to the editing techniques I used, I kept it very simplistic. The main editing transitions I used between scenes were jump cut, wipe and fade, as these felt the most appropriate to use and gave the product a smooth flowing look. I also put overlays on a few scenes, e.g. flash and bloom. This just added a bit of variety to the video without it being too 'in your face' or unnecessary, it also allowed me to show that I do have skills on the editing software (Final Cut Pro). I maintained this simplistic look on my ancillary texts too so there was a cohesive style to the products. For example, I didn't go overboard on the editing of my images on the ancillary texts, I just enhanced and adjusted features such as the brightness, contrast, etc. of the images on Photoshop so they looked more attractive. Therefore, this is how I used imagery to make the combination of my main product and ancillary texts effective.
Genre:
David Chandler (2001) argues that the word 'genre' comes from the French for 'kind' or 'class'. Therefore, genre refers to a distinctive type of text. This relates to my products as I ensured I adhered to the conventions of the indie genre in both my main product and ancillary texts, so my promotional product was part of the distinctive type of the indie genre. For example, I used specific outfits and quirky props to establish my artist as having a unique and colourful style, which is conventional of female artists within the indie genre. My products are also very simplistic, e.g. everyday locations used (such as the park), due to having a low-budget, which is typical of the indie genre because indie artists belong to independent record labels, who do not have the funding of the mainstream 'big 3'. Furthermore, Barry Keith Grant (1995) stated that all genres have sub-genres, which are more specific categories that allow audiences to identify them via familiar and recognisable features. My promotional package relates to this in that my artist is not only of the indie genre, but, more specifically, the indie pop genre. Kate Nash, the original singer of the song 'Foundations', which my music video is set to, is also part of the indie pop genre, so I thought it was appropriate for my artist to identify with this genre too in order for her sound and style to match cohesively. This sub-genre was also a contributing factor when I decided upon the colour scheme for my products, as the use of brighter, more eye catching colours (like the ones I used) is typical of the indie pop genre because of its more upbeat sound and nature, in comparison to indie rock, in which artists would have used more dark simplistic colours.
Theory:
In order for the combination of my main product and ancillary texts to be effective, I inevitably adhered to certain media theory. This means my products link to aspects of narrative, representation and audience theory, as well as genre theory which I explained in the paragraph above.
Narrative Theory:
Sven Carlsson (1999) stated that music videos fall into two rough categories: performance clip and conceptual clip. My main product is a mix of both performance and concept, interpreting the conventions of both. For example, Carlsson highlights that performance based music videos can include filmed song (e.g. lip sync), dance or instrumental performance and there is more than one setting performed in, which links to my product because I used lip-sync performance in the majority of my video, and this style performance takes place in the green room/studio and home setting. Conceptual clips can be either narrative or art/abstract based, and my product revolves around the loose narrative/concept of a dysfunctional relationship. In this way I followed Carlsson's theory, as my product has a 'visual story that is easy to follow' which is a feature he identified of narrative based videos. My product also links to Michael Shore's (1984) theory of music videos, to an extent. He stated that music videos are recycled styles and 'surface without substance'. My product relates to this, especially in terms of mise-en-scene. For example, the locations used are very standard/expected of an indie music video, e.g. park scenes are found in existing videos, such as Bombay Bicycle Club - Always Like This. I also incorporated clothing, hair and make-up looks from real life artists, such as Haim, who inspired me to have my artist's hair (which was luckily very long) down with a wavy/natural style in the majority of the video. Karen O, Kate Nash and Grimes were also inspirations when it came to adapting a 'unique' look for my artist, which in fact shows that despite the audiences believing my artist has her own style, it is actually copied and adapted from other artists. This is also found with my use of heart-shaped glasses, which actually came into style due to Kubrick's poster for his film adaptation of Lolita, and has also been worn by the likes of Katy Perry, so they are not really an original feature. Therefore, my product is in fact a mixture of recycled styles. However, this is not necessarily a negative thing because I feel it shows an appreciation and knowledge of culture and other media forms. It also allows audiences to relate and identify with my product because modern audiences are active and will recognise aspects of other media forms within my product, and due to me including styles from within the indie genre, this may be appealing to my target audience. On the other hand, my product goes against Shore's theory when he states that music videos are decadent and adolescent male fantasies. There is no form of self-indulgence in my music video, as I conformed to conventions of the indie genre, e.g. everyday locations, simplistic style, etc. all of which link to the fact that independent record labels have a low-budget. There is also no direct link to the 'male-gaze' because I disagree with the idea that media texts should be produced in a way that appeal to males above all else. In fact, the target audience for my music video was mainly female, so it would have been useless to adhere to 'adolescent male fantasies'. Furthermore, Andrew Goodwin (1992) states that in music videos 'narrative relations are highly complex' and as audiences, we respond to the same media texts in different ways depending on our own understanding of culture. This relates to my product in that it is set around a loose narrative/concept: a dysfunctional relationship. However, I have left it open to audiences to interpret certain scenes in the video in whatever way they want. For example, the juxtaposed 'flash back scenes', e.g. the artist and the boy sat on the park bench, to the artist sat on the same bench alone. These scenes can either be consumed as 'then vs now' or 'expectations vs reality', it depends on the views and values held by different audiences, and may be affected by the experiences they have had in life. In addition, my music video does not conform to the conventional linear narrative structure which is suggested in Todorov's equilibrium model, in which the narrative contains a beginning, a disruption, then a resolution. As previously stated, I simply provided the audience with a loose narrative/concept, then left the video relatively open to interpretation. The inclusion of flashback scenes not only create this unconventional structure, but also almost create a sense of nostalgia and fragmentation, which suggests my main product contains elements of post-modernism too.
Representation Theory:
In relation to representation, my products actually go against the concept of Laura Mulvey's 'Male Gaze' theory. I took a feminist stance when creating my promotional package so purposely avoided objectifying and sexualising women. This was due to two reasons: I disagree with the objectification of women in the media as it is unnecessary and belittling, and it would not have matched the indie genre of my products as it focuses on the music and a unique image, not mainstream ideas. To ensure I did this, I avoided using camera shots that focused on specific areas of the female body, e.g. close-ups or extreme close-ups of the bum, breasts, etc. I also opposed the male gaze by having a female artist as the main/dominant one across my promotional package. For example, the main images of my ancillary texts are mid shots of the female artist, and the artist is usually in the centre of the frames in my main product and she features a in a lot more scenes than the male. Therefore, this goes against Mulvey's point that men are the dominant power within the created film fantasy. I felt my products were effective due to this because it makes them more appealing to my target audience, who are female teenagers with an interest in the indie genre. This specific group are more likely to have similar ideas to me when it comes to the rejection of the male gaze due to the rising awareness and understanding of feminism in society, especially amongst the younger generations. On the other hand, I conformed (to an extent) to Richard Dyer's Star Theory, in which he argues that artists/celebrities are constructed by institutions for financial reasons and are built to target a specific audience. I created/modified my artist based on what would appeal to my target audience/demographic. I did this by using mise-en-scene across my promotional package that reflected the indie genre, e.g. the heart shaped sunglasses the artist wears. I also took inspiration from real life female indie artists when creating an image for my artist because I knew they had been successful in establishing themselves as artists and appealing to specific audiences, so I modified her representation in this way too. This links to Dyer's point that artists have a feature that differentiates them from everyone else because I used lots of different elements of existing artists (e.g. similar hairstyles to Haim and similar clothing to Kate Nash) to establish a unique and creative style for my artist, which audiences could consume. However, I go against Dyer's theory in that I did not create my artist for financial gain. 'Juno', as part of the indie genre, is meant to be in the music business for her love of music and creativity, which I tried to get across in my products, e.g. the inclusion of lip sync to focus on the lyrics of the song, and the mixture of different art forms within my products. The general sales of her products would not be the main issue if I was to publish the promotional package, my main aim was to create an original artist that specific audiences can consume and identify with, with a mutual passion for music, and I believe my products are effective in this way.
Audience Theory:
When looking at Bulmer and Katz's 'Uses and Gratifications' theory, the combination of my products effectively fulfil two of the audience 'needs' they highlight. Firstly, 'personal identity' is established for the audience through my product due to age, gender and style of my artist. Although I created 'Juno' to have a unique style, she appears to be a relatable and down-to-earth style character. This is reflected through the loose narrative of my video and how she appears to react in certain situations. Also, within the video she is reflecting on herself and her situation (e.g. literally during the over the shoulder shot of her looking into the mirror) which mirrors the way audiences reflect on themselves through the media. Therefore, because I established a relatable artist in my products, it appeals to/attracts my target audience as they can consume and identify with it. Furthermore, my products can be linked to Stuart Hall's 'Reception Theory'. Hall argues that different spectators/audiences decode texts in different ways. The three ways he identifies are: the dominant/preferred reading, the negotiated reading, and the oppositional reading. The dominant/preferred reading of my promotional package would be for audiences to watch it, interpret it, relate to it and like the continuous style across the products, possibly leading to them purchasing the album. The negotiated reading could possibly be that certain audiences only like some aspects of the products, e.g. they may like the music of the artist but not like the style/aesthetics of the overall promotional package. Additionally, the oppositional meaning would be that the audience do not like the products at all and would not purchase the album, maybe due to dislike of the style and genre or maybe because they cannot relate to the narrative/concept being addressed in the main product. Also, this theory relates to my products due to them being very open to interpretation, as I provided a loose narrative/concept (as I have previously mentioned) in the video and then allowed there to be freedom for the audience to apply their own ideologies and experiences to my texts and interpret them however they please.
Therefore, these are the different ways I used media theory in the combination of my main product and ancillary texts in order for them to be effective.
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