Researching the genre of the song 'Mad World' was more difficult than I thought because the song has been use under several genres.
The song was it was first written by a band called Tears for Fears who are an English pop rock duo who were mainly mainstreaming in the early 1980s. The genre of the song 'Mad World’ however is Electronic pop or alternative. When released this was tears for fears’ third single and the first one to hit the charts reaching number 3 in the UK in November 1982.
the same song was later covered by Gary Jules who is an American singer songwriter and his cover version of the song mad world was chose to be recorded for the film Donnie darko, it then became the Christmas number 1 in 2003. The genre for this cover of the song is different from the first version as it is in the soft rock genre and has been labelled as a feel good song.
Gary Jules’ version of the song was also used in the trailer for computer game gears of war. The genre of this video game is a third person shooter which is again completely different than the previous two genres covered. When watching the advert for the video game the song seems to almost have an 'watering down' effect and puts a softer feel to the game allowing you to feel for the soldier roaming the deserted streets until me meets his fate at the end of the trailer.the song Mad World is used at the ending of the film Donnie Darko.
Donnie Darko is a Drama/Thriller film about troubled teenagers who is plagued by visions of a large rabbit that manipulates him to commit a series of crimes after narrowly escaping a bizarre accident.
finally the song is used in series 5 of the hit American medical drama House. House who is played by Hugh Laurie. The drama is based on House M.D who is a medical genius with abet of a dark past who seems to blame other people for his problems. Most of the episodes revolve around the diagnosis of a primary patient and start with a pre-credit sequence set outside the hospital, showing events leading up to the onset of the patient's symptoms. The typical episode follows the team in their attempts to diagnose and treat the patient's illness, attempts that often fail until the patient's condition is critical.
All of the above represent the song Mad World as it has featured in a film and a medical drama, Donnie Darko and House, The video game trailer for Gears of War and was written and sung by Tears for Fears originally before the cover version reached the Christmas number 1 spot. To produce what is going to happen in the lyrics we have looked at what happens in all of the aspects that it features in and made our own synopsis.
Monday, November 23, 2009
Monday, November 16, 2009
Music videos
the music video we are making is based around a narrative which portrays the messages which can be seen in the music videos above, it will present the values and mood of the song rather than focusing on the artist. The Video will be set in various different locations that are involved with everyday life seen through a series of flashbacks throughout the narrative.The narrative is centralised around the protagonist, 18 year old Robert Roswell who has been knocked down by a careless driver who leaves Robert Dying all alone in the middle of the road. On his death bed the audience are given a glimpse into his sad and lonely life seen through a range of flashbacks. In the last scene the narrative comes back to the present were we see him close his eyes for the final time. We have chosen to use a narrative to portray the song because we feel that it will have a more powerful and effective impact on the target audience and also will create a melancholy and sombre mood to better compliment our song choice. the whole idea of this music video compliments the videos above as it is almost a compilation of their styles of filming.
Tuesday, November 3, 2009
LIIAR
L - language
Media Language, this is an ‘umbrella which describes the ways audiences read media texts through understanding the formal and conventional structures. The media literacy also describes our ability to read write in this extended sense of language’
The language that that the audiences see in a music video are the messages the video puts across to the consumer when they watch it like family values or moral support and ethics. The text used is communicating a message to the audience. The message that is being shown in the text throughout the music video can help people to relate with real life problems and issues.
I - Institution
The institution create media texts to entertain the audiences but there main goal from the product is to make a profit. Institution nowadays is linked to audiences as the consumers are also becoming producers of texts themselves. One more way in which they are linked is in the way that audience is targeted by the institution. At the moment there is a lot of democratisation which means the institute is allowing more people to produce media texts.
I will also be playing the role of the institution as I’m producing a music video in a group along with Emma Hirst and Ben Underwood which makes us all the institution of the media text in this project. We all will have a substantial amount of knowledge of what our target audience is and what they want from the video from the questionnaires we have produce. This will help us make sure it meets the consumers wants and needs and fits into their expectations of the product.
I - Ideology’
the Ideology is a shared system of values and beliefs, media is now produced by individuals who each have there own values and beliefs which go in to the text as it interests them.
The ideology of the music video I am making has my own values and beliefs in it which interests me, starting with the song choice, I have chosen this song because it is a song which I like and a song which interests me. This will make it easier for me to work with as I am working with something I like.
Certain aspects within the ideology are common sense and are just generally there, this is known as hegemony. They are hidden in such a way that it seems to be natural. For example the hegemony within my music video is the stereotypical people who appear in each scene such as the students in the school scene etc.
A - Audience
‘A collective group of people reading any media text.’ The Audience is the consumer of the product and one of the most important aspects when you are producing the media text because it is crucial that the audience enjoy what you are creating otherwise no money is going to be made if it isn't consumed.
The audience which my music video is aimed at are older teenagers to young adults as I feel this is who the genre of the music is more aimed towards. R - Representation ‘Society and social groups within the society’ My media text will be representing certain messages about the group of people that it represents.
The social group which is being represented throughout the video is teenagers even though the video is aimed perhaps at an older audience. The age of the main protagonist in the music video is a student at school around 17 or 18 years old.
R - Representation
‘Society and social groups within the society’ My media text will be representing certain messages about the group of people that it represents.
The social group which is being represented throughout the video is teenagers even though the video is aimed perhaps at an older audience. The age of the main protagonist in the music video is a student at school around 17 years old, we decided to do this so that we can relate to the idea more and put more of our own ideology into the project.
Media Language, this is an ‘umbrella which describes the ways audiences read media texts through understanding the formal and conventional structures. The media literacy also describes our ability to read write in this extended sense of language’
The language that that the audiences see in a music video are the messages the video puts across to the consumer when they watch it like family values or moral support and ethics. The text used is communicating a message to the audience. The message that is being shown in the text throughout the music video can help people to relate with real life problems and issues.
I - Institution
The institution create media texts to entertain the audiences but there main goal from the product is to make a profit. Institution nowadays is linked to audiences as the consumers are also becoming producers of texts themselves. One more way in which they are linked is in the way that audience is targeted by the institution. At the moment there is a lot of democratisation which means the institute is allowing more people to produce media texts.
I will also be playing the role of the institution as I’m producing a music video in a group along with Emma Hirst and Ben Underwood which makes us all the institution of the media text in this project. We all will have a substantial amount of knowledge of what our target audience is and what they want from the video from the questionnaires we have produce. This will help us make sure it meets the consumers wants and needs and fits into their expectations of the product.
I - Ideology’
the Ideology is a shared system of values and beliefs, media is now produced by individuals who each have there own values and beliefs which go in to the text as it interests them.
The ideology of the music video I am making has my own values and beliefs in it which interests me, starting with the song choice, I have chosen this song because it is a song which I like and a song which interests me. This will make it easier for me to work with as I am working with something I like.
Certain aspects within the ideology are common sense and are just generally there, this is known as hegemony. They are hidden in such a way that it seems to be natural. For example the hegemony within my music video is the stereotypical people who appear in each scene such as the students in the school scene etc.
A - Audience
‘A collective group of people reading any media text.’ The Audience is the consumer of the product and one of the most important aspects when you are producing the media text because it is crucial that the audience enjoy what you are creating otherwise no money is going to be made if it isn't consumed.
The audience which my music video is aimed at are older teenagers to young adults as I feel this is who the genre of the music is more aimed towards. R - Representation ‘Society and social groups within the society’ My media text will be representing certain messages about the group of people that it represents.
The social group which is being represented throughout the video is teenagers even though the video is aimed perhaps at an older audience. The age of the main protagonist in the music video is a student at school around 17 or 18 years old.
R - Representation
‘Society and social groups within the society’ My media text will be representing certain messages about the group of people that it represents.
The social group which is being represented throughout the video is teenagers even though the video is aimed perhaps at an older audience. The age of the main protagonist in the music video is a student at school around 17 years old, we decided to do this so that we can relate to the idea more and put more of our own ideology into the project.
History
With the arrival of the sound films and talkies in 1926, many musical short films were produced.
Vitaphone shorts (1926–30), which were produced by Warner Bros, featured many bands, vocalists and dancers. The series entitled Spooney Melodies was the first true musical video series. The shorts were typically about six minutes in duration, and featured art deco style animations and backgrounds combined with film of the performer singing the song. This series of shorts can arguably be considered to be the earliest music videos.[1]
Animation artist Max Fleischer introduced a series of sing-along short cartoons called Screen Songs, which invited audiences to sing along to popular songs by "following the bouncing ball". Early 1930s cartoons featured popular musicians performing their hit songs on-camera in live-action segments during the cartoons.
The early animated films by Walt Disney, his Silly Symphonies, were built around music. The Warner Brothers cartoons, even today billed as Looney Tunes and Merrie Melodies, were initially fashioned around specific songs from upcoming Warner Brothers musical films. Live action musical shorts, featuring such popular performers as Cab Calloway, were also distributed to theatres.
Blues singer Bessie Smith appeared in a two-reel short film called St. Louis Blues (1929) featuring a dramatized performance of the hit song. It was shown in theatres until 1932. Numerous other musicians appeared in short musical subjects during this period. Later, in the mid-1940s, musician Louis Jordan made short films for his songs, some of which were spliced together into a feature film Lookout Sister; these films were, according to music historian Donald Clarke, the ancestors of music videos.[2]
Another early form of music video were one-song films called "Promotional Clips" made in the 1940s for the Panoram visual jukebox. These were short films of musical selections, usually just a band on a movie-set bandstand, made for playing. Thousands of soundies were made, mostly of jazz musicians, but also of "torch singers," comedians, and dancers. Before the Soundie, even dramatic movies typically had a musical interval, but the Soundie made the music the star and virtually all the name jazz performers appeared in Soundie shorts. The Panoram jukebox with eight three-minute Soundies were popular in taverns and night spots, but the fad faded during World War II.[citation needed]
Musical films were another important precursor to music video, and several well-known music videos have imitated the style of classic Hollywood musicals from the 1930s to the 1950s. One of the best-known examples is Madonna's 1985 video for "Material Girl" (directed by Mary Lambert)[3] which was closely modelled on Jack Cole's staging of "Diamonds Are A Girl's Best Friend" from the film Gentlemen Prefer Blondes. Several of Michael Jackson's videos show the unmistakable influence of the dance sequences in classic Hollywood musicals, including the landmark John Landis clip for "Thriller" (at the time, the most expensive music video ever made) and the Martin Scorsese-directed "Bad" which was influenced by the stylised dance "fights" in the film version of West Side Story[4]
In 1956, Petrushka, directed by John David Wilson for Fine Arts Films aired as a segment of the Sol Hurok Music Hour on NBC. Igor Stravinsky conducted a live orchestra for the recording of the event. In 1957, Tony Bennett was filmed walking along The Serpentine in Hyde Park, London as his recording of "Stranger in Paradise" played; this film was distributed to and played by UK and US television stations. According to the Internet Accuracy Project, disk jockey-singer J.P. "The Big Bopper" Richardson was the first to coin the phrase "music video", in 1959.[5] It is no coincidence that the rise of popular music was tied with the rise of television, as the format allowed for many new stars to be exposed that previously would have been passed over by Hollywood, which normally required proven acts in order to attract an audience to the box office.
[edit] 1960–1967: Visual innovation
In the late 1950s[6] the Scopitone, a visual jukebox, was invented in France and short films were produced by many French artists, such as Serge Gainsbourg, Françoise Hardy and Jacques Dutronc to accompany their songs. Its use spread to other countries and similar machines such as the Cinebox in Italy and Color-Sonic in the USA were patented.[6] In 1961 Ozzie Nelson directed and edited the video of "Travelin' Man" by his son Ricky Nelson. It featured images of various parts of the world mentioned in the Jerry Fuller song along with Nelson's vocals. In 1964, Kenneth Anger's underground experimental short film Scorpio Rising used popular songs.
In Canada, for Singalong Jubilee, Manny Pittson began pre-recording the music audio, went on location and taped various visuals with the musicians lip-syncing, then edited the audio and video together later. Most music numbers were taped in studio on stage, and the location shoot "videos" were to add variety. [7]
One of the earliest performance clips in 1960s pop was the promo film made by The Animals for their breakthrough 1964 hit "House Of The Rising Sun". This high-quality colour clip was filmed in a studio on a specially-built set; it features the group in a lip-synched performance, depicted through an edited sequence of tracking shots, closeups and longshots, as singer Eric Burdon, guitarist Hilton Valentine and bassist Chas Chandler walked around the set in a series of choreographed moves.
Vitaphone shorts (1926–30), which were produced by Warner Bros, featured many bands, vocalists and dancers. The series entitled Spooney Melodies was the first true musical video series. The shorts were typically about six minutes in duration, and featured art deco style animations and backgrounds combined with film of the performer singing the song. This series of shorts can arguably be considered to be the earliest music videos.[1]
Animation artist Max Fleischer introduced a series of sing-along short cartoons called Screen Songs, which invited audiences to sing along to popular songs by "following the bouncing ball". Early 1930s cartoons featured popular musicians performing their hit songs on-camera in live-action segments during the cartoons.
The early animated films by Walt Disney, his Silly Symphonies, were built around music. The Warner Brothers cartoons, even today billed as Looney Tunes and Merrie Melodies, were initially fashioned around specific songs from upcoming Warner Brothers musical films. Live action musical shorts, featuring such popular performers as Cab Calloway, were also distributed to theatres.
Blues singer Bessie Smith appeared in a two-reel short film called St. Louis Blues (1929) featuring a dramatized performance of the hit song. It was shown in theatres until 1932. Numerous other musicians appeared in short musical subjects during this period. Later, in the mid-1940s, musician Louis Jordan made short films for his songs, some of which were spliced together into a feature film Lookout Sister; these films were, according to music historian Donald Clarke, the ancestors of music videos.[2]
Another early form of music video were one-song films called "Promotional Clips" made in the 1940s for the Panoram visual jukebox. These were short films of musical selections, usually just a band on a movie-set bandstand, made for playing. Thousands of soundies were made, mostly of jazz musicians, but also of "torch singers," comedians, and dancers. Before the Soundie, even dramatic movies typically had a musical interval, but the Soundie made the music the star and virtually all the name jazz performers appeared in Soundie shorts. The Panoram jukebox with eight three-minute Soundies were popular in taverns and night spots, but the fad faded during World War II.[citation needed]
Musical films were another important precursor to music video, and several well-known music videos have imitated the style of classic Hollywood musicals from the 1930s to the 1950s. One of the best-known examples is Madonna's 1985 video for "Material Girl" (directed by Mary Lambert)[3] which was closely modelled on Jack Cole's staging of "Diamonds Are A Girl's Best Friend" from the film Gentlemen Prefer Blondes. Several of Michael Jackson's videos show the unmistakable influence of the dance sequences in classic Hollywood musicals, including the landmark John Landis clip for "Thriller" (at the time, the most expensive music video ever made) and the Martin Scorsese-directed "Bad" which was influenced by the stylised dance "fights" in the film version of West Side Story[4]
In 1956, Petrushka, directed by John David Wilson for Fine Arts Films aired as a segment of the Sol Hurok Music Hour on NBC. Igor Stravinsky conducted a live orchestra for the recording of the event. In 1957, Tony Bennett was filmed walking along The Serpentine in Hyde Park, London as his recording of "Stranger in Paradise" played; this film was distributed to and played by UK and US television stations. According to the Internet Accuracy Project, disk jockey-singer J.P. "The Big Bopper" Richardson was the first to coin the phrase "music video", in 1959.[5] It is no coincidence that the rise of popular music was tied with the rise of television, as the format allowed for many new stars to be exposed that previously would have been passed over by Hollywood, which normally required proven acts in order to attract an audience to the box office.
[edit] 1960–1967: Visual innovation
In the late 1950s[6] the Scopitone, a visual jukebox, was invented in France and short films were produced by many French artists, such as Serge Gainsbourg, Françoise Hardy and Jacques Dutronc to accompany their songs. Its use spread to other countries and similar machines such as the Cinebox in Italy and Color-Sonic in the USA were patented.[6] In 1961 Ozzie Nelson directed and edited the video of "Travelin' Man" by his son Ricky Nelson. It featured images of various parts of the world mentioned in the Jerry Fuller song along with Nelson's vocals. In 1964, Kenneth Anger's underground experimental short film Scorpio Rising used popular songs.
In Canada, for Singalong Jubilee, Manny Pittson began pre-recording the music audio, went on location and taped various visuals with the musicians lip-syncing, then edited the audio and video together later. Most music numbers were taped in studio on stage, and the location shoot "videos" were to add variety. [7]
One of the earliest performance clips in 1960s pop was the promo film made by The Animals for their breakthrough 1964 hit "House Of The Rising Sun". This high-quality colour clip was filmed in a studio on a specially-built set; it features the group in a lip-synched performance, depicted through an edited sequence of tracking shots, closeups and longshots, as singer Eric Burdon, guitarist Hilton Valentine and bassist Chas Chandler walked around the set in a series of choreographed moves.
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