3 Music Video Analysis

Video	5SOS-Want You Back	Paramore-Fake Happy	Ok Go- The One Moment
Which genre? How do you know? What generic features do you see (e.g. dance routine: dance/pop music) Sound – genre, instruments, lyrics, emotion (what do you feel when you listen to it?)	Genre: Pop music because of the upbeat style of music. Instruments: Use of instruments: drums, guitar, piano. Lyrics: the lyrics are about 1 of the band members lost love. The first verse is about not trusting himself to say anything because of all the thoughts swirling around in his head. The lyrics capture the yearning that follows a break-up. Emotion: the emotion of this song is tender as it is reminiscing on a breakup. This could make people who have recently been involved in a break-up listen to the song, a song to listen to after you have broken up. It is an upbeat song so it could be listened to for entertainment.	Genre: pop rock because there isn’t a dance routine. Instruments: there is loud drums and guitar prominent all the way through. Lyrics: the lyrics are very relatable, everyone puts on a fake smile every day and this song helps draw a wide audience. It highlights the ‘fakeness’ there is with social media. Emotion: I feel like I can imagine scenarios of me fake smiling when I listen to this.	Genre: Alternative rock Instruments: Guitar, drums, keyboard, all work in sync with the video imagery. Lyrics: the lyrics help to show that the song is about the celebration of the moments in life where you feel so alive. The lyrics alongside the video shows the chaos and confusion that can all take place in one moment (4.2 seconds).  Emotion: you could feel very mixed emotions when listening to this because there is so much going on in the song as well as the video, you almost feel madness.
Performance/narrative/concept? How much of each? Which parts? (e.g performance in chorus, narrative in verse) How does this link to genre?	Performance throughout the whole song (not just the chorus). It could be concept as well because the video is quite artsy and abstract.	This is narrative because the video seems to tell a story of fake happiness, it isn’t a concept because it is quite easy to understand.	This is a concept video because it is completely abstract, it doesn’t have a storyline and there is no live performance apart from the slight parts where the lead singer sings. This abstract links to alternative rock because the video is alternative itself and the paintballs that drop from the air are similar to the drums in the song.
Representation DRCAGES SETTINGS THEMES	Disability: not relevant Regional identity: no regional identity Class: no particular class Age: the age represented seems to be 20+ based on the ages of the artists. Gender: male gender is represented Ethnicity: Australian/New Zealand ethnicity Sexuality: no sexuality is represented here. There is no use of ‘he’ or ‘she’.	Disability: there is a part of the video where Hayley walks past someone in a wheelchair. Regional identity: Class: Working class/ Upper class/ Lower class- this video shows Hayley roaming through a city (New York) where she passes most types of people showing that fake happiness is in everyone. Age: All ages seem to be represented Gender: Ethnicity: Sexuality:	Disability: not relevant Regional identity: not relevant Class: not relevant Age: 40+ Gender: males are represented as the band are an all-male group. Ethnicity: from what I can see they are from white-ethnicity Sexuality: not relevant
Camera shots – which types? What variety of shots is there? What are shots of? Are there shots of artist? How many? What are they doing/type?	It is a mixture of close-ups, bird’s eye, canted, ped up/ped down. The shots are of each of the band members performing in their box-rooms. Close-ups are used to focus in on each of the band members to show they are all individuals in the band that work together to produce an amazing sound. They are also used to show intimacy with them and the audience. The rooms appear spinning to represent the confusion in their heads and mixed messages the song might have.	It ranges from close-ups, track-in/track-out, the shots start off with close-ups of Hayley in the sunlight. All the shots have Hayley in them as she travels through New York.	Track in/track out, zoom in, the camera seems to pan right for the majority if the video because the camera is following a rough circle which helps to add flow to the video. There is ped up. Right at the start there is a close-up of the man holding the book then the rest of it seems to be mid-long shot. The shots seem to transition between the artist and the artistic work that takes place in the video or both of them together. The whole video is put together using 7 cameras as it would have been impossible to film the event with 1 camera.
Editing – How are camera shots edited? What is the pace like? How does the editing fit the music	The pace is fast, it cuts to different shots quite rapidly especially during the chorus as this is where the pace of the song is faster.	Later on, there is a jump-shot of her walking down an alley as she reaches the sunlight. Hayley starts at a slow pace as she sings the slowest part of the song. Then there is a colour flash and she starts to speed up as the music speeds up, Hayley seems to dance more when the chorus starts.	This is brilliant for editing because the whole video is in slow-mo after they show what actually took place at normal speed in 4.2 seconds. There are 16 seconds in the video where the lead singer lip syncs after the guitar scene in real time to show the importance of human contact.
Mise-en-scene – comment on costume, setting, hair, props, make up, facial expressions etc How does this fit genre?	Costume: all wearing casual clothing to show that what they are singing about can happen to anyone who is listening, it doesn’t just have to be some famous band members. Lighting: there seems to be artificial lighting in the video and brightly coloured lighting to help differentiate the different band members. Actor: all 4 band members (Luke Hemmings, Calum Hood, Michael Clifford and Ashton Irwin) they are acting as themselves in the video while they perform. Make-up: none of them are wearing drastic make-up to add anything to the video. Props: there are homely things in each of the rooms showing that it is lived in, this helps to represent every-day life so the audience can empathise. Setting: each artist has their own colour themed box-room. I think they appeared in these box-rooms to prove they are changing as a band, the audience can see each different band member in a different setting to show how each of them are changing.	Costume: Hayley is wearing a colourful sequin bodysuit and bright yellow sneakers, which highlights that she is fake happy, she has a happy façade even when she isn’t on the inside. Lighting: all the way through there seems to be high-key lighting Actor: Hayley Williams Make-up: she is wearing very simplistic make-up with a bold lipstick. This links in with one of the lyrics; ‘See, I’m gonna draw my lipstick wider than my mouth’ to suggest she looks like she is smiling more than she actually is. Props: warning sign, trash can lid,  Setting: Hayley is walking through New York and she passes many situations. She is shown walking past people exercising, people viewing tourist attractions, man playing keyboard, generally people getting on with their daily life. The weather seems to be sunny (showing that you can still be fake happy even when the sun is shining).	Costume: the band members are all wearing grey monotone clothing which seems to be done to accentuate the vibrant colours of the paint and props in the video. Lighting: high key lighting Actor: the actors in this video are the band members acting as themselves doing crazy abstract actions, eg flying through the air with paint thrown on them. Make-up: none of them are wearing make-up. Props: there is a massive use of props in this video. Firstly, you have the man holding the book of pages with the lead singers face singing on it, and all the cans of paint behind him, buckets of paint, painted melons, glass screen, balloons, guitars, trampolines. Without any of these props the whole colourful image would not appear as all the props are used to create the colourful video. Setting: the setting is a plain white room which is done to highlight the colour in the video making it stand out.
How does the artist want to be seen? Does it link with any of their other videos? Who does the video appeal to?	The video firstly appeals to any 5SOS fans. The video appeals to people who have been through a break-up.	Hayley wants to be stand out in front of all of the crowds. The song tries to show that everyone is fake happy yet it is quite ironic in the video because she seems to stand out as the only one with fake happiness.	The band members want to be seen as inventive and creative artists who almost put on a show for their viewers. The colour in the video definitely links with their other videos and also the sense of an optical illusion is prevalent in their other videos. I think the video appeals to anyone who wants to be satisfied as it is very satisfying how the sequence of the video works.

Music Videos

Genre
Instruments
Lyrics
Emotion

Camera-
Frame
Angle
Movements

Mise en Scene-
Costume
Lighting
Actors
Make-up
Props
Setting

Sound-
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D
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V
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Editing
Screen time
Transitions
Order
Pace
Special effects

Charity/Shelter Powerpoint

Charity Print Advert

Charity Adverts

What do these terms mean? And how are they related to advertising?

	Definition
Legal	Permitted by the law.
Ethical	Relating to moral principles or the branch of knowledge dealing with these.

Recap – who are the ASA? What do they do?

The advertising Standards Authority. This is a self-regulatory organisation of the advertising industry in the UK. It cannot interpret or enforce legislation.

Read through the ASA codes specially aimed at charities. Highlight and summarise the key findings that charity advertisements must adhere to

Charity advertisements: An understanding of advertising content

Read and highlight the information below. Summarise what you have learnt in the table.

The Ideal Victims

●      Charity campaigns constitute a very unique type of advertising, since they attempt to generate action on the behalf of the sufferers.

●      In order to serve this cause, these texts attempt to manipulate the audience’s internal emotions and intend to generate responsibility and feelings of compassion or sympathy using images of suffering others.

●      According to Kinsey (1987) advertisers have a longstanding awareness of the fact that images of particular sufferers can be especially effective in getting audience’s attention.

●      Taking into consideration the fact that the proximity created by the media constitutes both social and physical approximation, and donating is a form of pro-social behaviour (any action intended to help others - the desire to help others with no expectation of reward), spectators may feel more inclined to donate when particular sufferers are presented.

●      Christie (1996: 384) defines the ‘ideal victim’ as a ‘person or a category of individual who when hit by crime, most readily is given the complete and legitimate status of being a victim’.

●      Höijer (2004: 517) notes that in general, children, mothers and the elderly are more suitable as ideal victims than men, since solely in the case that victims are identified as genuine and real, and thus are connected with innocence, they comprise candidates for compassion.

●      Pictures can generate compassion for two reasons: these victims are perceived as more vulnerable by respondents and thus deserve their help, or respondents may feel more compassionate about these sufferers through their own experience of being more open or vulnerable.

Negative versus Positive Appeals

●      A considerable number of consumer research studies agree that negative information and images are more attention-grabbing and convincing than positive communication efforts

●      The effectiveness of negative appeals is mainly attributed to the fact that they are more likely to breach spectator’s expectations, by moving beyond messages that are framed in a positive way, thus generating greater scrutiny

●      These appeals render the viewer a witness of the horror of suffering

●      When people are confronted with threats of undesirable future social alterations, they tend to adjust their behaviour in an attempt to deter the threat, which most of the times leads them to support the cause of the charity

●      On the other hand, the use of negative appeals has been the subject of severe criticism. At the centre of these critiques is the argument that these images, by dehumanizing the sufferers, are for the most part responsible for causing sentiments of compassion fatigue to the audience

●      However, despite criticisms against them, evidence suggests that this is still the most efficient way of appealing for imperative action – hence its long-lasting existence in the public communication of suffering

●      ‘Positive appeal’ campaigns reject the representation of sufferers as helpless victims and focus on their agency and dignity.

●      Advertisements incorporating positive messages are more effective since they result in the spectator feeling more favourable towards their subject

●      Moreover, positive appeal images offer the spectators the opportunity to watch the results of their actions. Getting to see that their actions can actually lead to substantial change in the sufferers’ lives, highly motivates viewers to undertake the actions suggested by the advertisements

●      However, ‘positive appeals’ approach is not without disadvantages. It has been argued that these images as well, generate a different type of-compassion fatigue. Showing smiling faces of children, creates an impression that ‘everything is already taken care for’ (Small, 1997: 581-593), while these images may ultimately lead to inaction based on the assumption that ‘these are not really people in need’

Type of Action

●      Most times charity advertisements request for monetary donations so as to fund the work of NGOs. These requests can be segmented into requests regarding a specified amount, requests for an unspecified amount, requests for a bequest etc.

●      Loyal donors that develop long term relations with aid organisations are more likely to respond positively to any type of request, than those who are uncommitted

●      Requests for money that do not specify the amount are less likely to generate positive responses, since donors consider them as less concrete and trustworthy.

●      When the donor is only given the opportunity to respond to suffering by offering money, this could impede his/her moral response.

●      Particularly significant to the issue of audience’s reaction to humanitarian appeals is Cohen’s research on denial (Cohen, 2001; Cohen & Seu, 2002). Taking a different approach, Cohen focuses on what he calls the ‘black hole of the mind, a blind zone of blocked attention and self deception’ (Cohen 2001: 6), referring to the different ways of avoidance people use to shelter themselves from unpleasant realities and their responsibility towards the sufferers. Following Van Dijk (1992), Cohen crucially asserts that denial may appear in different forms: from defensive strategy to a strategy of normalisation and neutralisation.

The Ideal Victim	To be able to manipulate audience’s internal emotions, adverts use images of suffering others. Images of particular sufferers can be effective in getting the audience’s attention. Donating is a form of pro-social behaviour. Spectators might feel more inclined to donate when particular sufferers are presented. Ideal victim= ‘person or a category of individual who when hit by crime, most readily is given the complete and legitimate status of being a victim’. Hoijer says in general children, mothers and the elderly are mores suitable ideal victims than men because they are connected with innocence and they comprise candidates for compassion. Pictures can generate compassion: 1)    Victims are perceived as more vulnerable and respondents feel they deserve help. 2)    Respondents feel more compassionate towards the sufferer’s due to their own experience.
Negative versus Positive Appeals	People agree that negative information/images are more attention-grabbing and convincing than positive efforts. Negative appeals are more likely to breach spectator’s expectations by moving beyond messages. Negative appeals make the viewer a witness of the horror of suffering. When people are confronted with threats of an undesirable future, the tend to adjust their behaviour to be able to deter the threat eg. Support a charity. HOWEVER, people say negative appeals dehumanize the sufferers. People still say that it is the most effective at appealing for imperative action. Positive appeals reject the representation of sufferers as helpless victims and focus on their agency and dignity. People say charities with positive messages are more effective because they result in the spectator feeling more favourable to the subject. Positive appeal images offer the spectators the opportunity to watch the result of their actions, their actions might lead to a substantial change, this can motivate audiences to get involved with the charity.
Types of Actions	Most charity advertisements request for monetary donations. Loyal donors who develop long term relationships with aid organisations are more likely to respond positively to any type of request unlike those who are uncommitted. Requests for money that don’t request a specific amount are less likely to generate a positive response because donors consider them as less concrete and trustworthy.

Look at the following charity advertisements. Using all your knowledge of advertising – legal and ethical issues, the law, advertising techniques, the 4Ps, USP, advertising content – annotate why these charity adverts were banned.

Charity Advertisement	Analysis
	This advert is very graphic and quite disturbing. The use of the baby is meant to represent innocence and it is showing that poverty is poisoning this purity. Also by using a baby, the charity is showing that they need spectator’s help and donations because the baby cannot fend for itself as it has no control yet. I can see that this advert has now been banned by the ASA because the image is very distressing, moral people can see that this image shouldn’t be advertised because it us uncomfortable to see.
	The use of the child, again represents innocence and the cigarette is tainting this goodness. I can see why this was banned because the image is quite distressing and if parents of young children were to see this, it might worry them and cause discomfort. Saying something like ‘eating meat increases the risk of heart disease and cancer’, this is quite a bold statement because meat still has its benefits, it should say have meat in moderation. The bold comment makes them sound over confident and not 100% correct so this might annoy viewers and put them off the advert.
	This advert is less graphic than the other two adverts but still uses the child to gain empathy from the spectators. The use of the writing on the child isn’t nice to see because it looks like the child is just used as a scrap piece of paper to graffiti on. The writing ‘Say it with hate this Mother’s Day’ is very bold and clear to see and the full stop at the end connotes that they want to put a stop to this. However, the advert is quite unclear and difficult to understand what it is actually advertising because there is no logo/symbol of the charity.   FATHERS FOR JUSTICE

ASA 2012 Report

People in the UK had a number of concerns about charity adverts they saw on TV; these were:

•       can go too far in their portrayal of violence, suffering or hardship

•       often make people feel guilty or uncomfortable in a way they considered inappropriate, especially ones [that are graphic] distressing and even offensive

•       [graphic/shocking ads] are particularly problematic if encountered unexpectedly or repeated excessively

•       Targeted their children (in particular animal welfare ads) and put pressure on parents to donate money or do something about the issue

•       Appear on children’s channels

•       Prompted children to ask parents to adopt pets from shelters

•       Affected children emotionally or led to conversations that were not necessarily age-appropriate

Look back at the advertising techniques that are successfully used in adverts. Which ones do you think apply specifically to charity adverts? Why?

 

Using an innocent body (child, mother etc.) seems to be prevalent in all of them because to pulls at the audience’s heart strings.  The writing seems to be direct so the audience feels as though they are being directly spoken to/targeted, which makes them more likely to donate money. People that are used in the adverts all look unhappy therefore making spectators think if they donate money, they will be happier.