TASK 2

A)

Lyric interpretation

this is when the music videos develop the meaning of the song.

Extending or consolidating song’s meaning

when the music video introduces references to the songs lyrics to further push the songs meaning.

Focus on performer 

when the artist is the main focus throughout the whole music video. 

Lighting for mood

this is when the lighting of the music video has been altered to better suit the mood and tone of the song. 

Pace of cuts

when the camera angles change in tune with the music video to keep the video in beat with the song.

B)

special effects such as chroma 

Usher Move - Mountains

Multi-mage

Destiny Child - say my name

Cutting to a beat 

Meek Mill - ima Boss

Miming/Lip-syncing

Ed Sheran - Lego House 

Animation

Gorrilaz - Feel good

Reference to another artist

Kanye west - Gold digger

C)

Narrative

R-Kelly - In the closet

A video that tells a story.

Impressionist

Michael Jackson - Thriller

more about mood and atmosphere than meaning, often uses lots of cutaways and  imagery

Interpretative

Justin Timberlake  - Cry me a river

directly interprets lyrics of song in a visual way 

Surrealist

Lady Gaga - Telephone

weird imagery , seems unconnected with song , often used in videos for instrumental songs and dance tracks

Pastiche / homage 

Jennifer hudgson - Think like a man 

an affectionate  or positive copy of or tribute to another  artist's work, a media genre or product like a TV programme

As Live
the video contains long sections of the band performing

Killing me softly 

CHARITY/PUBLIC SERVICE ADVERTISEMENTS

Individually/pairs

 Plan and create a treatment ( plan ) for a 30 second radio  advertisement for an existing  charity or public service about a social or health issue.

The target audience should be 16-19 year olds .

Your treatment must include the following information  :



Client - macmillan 

Type of client - charity

 Placement more people listen to the radio during the day

        Purposes of advertisement raising awareness of issue

        USP unique selling point - We’ll help you make the choices you need to take back control, so you can start to feel like yourself again.


    Persuasive techniques emotional language, repetition. 

                                          SCRIPT

speaker 1: Do you know anyone with Cancer whether it is a sibling, a friend or maybe even yourself? 

Speaker 2: I was devastated when the doctors told me I had cancer, I was more worried about my kids and my family. How would they cope with all of this? They wouldn't be able to understand they're too young. But thats when I found Macmillion. They gave me the help and support my family and i needed. 

Speaker 1: "Macmillian know how cancer can effect everything and we're here to support you through it. From help with money worriers and advice about work, to someone who'll listen if you just want to talk, we'll be there"

Speaker 2: Thanks to Macmillan my family and I will be supported throughout this process. Most importantly my family have someone to talk to 

Speaker 3:"We’ll help you make the choices you need to take back control, so you can start to feel like yourself again."

Making of Radio Commercial for 

Plymouth City Market

The roles of the two people in the video were:

The man did the editing and the woman did the voiceover

The voice over artist has to consider:

her tone of voice and how clearly she is going to speak            

Roles in a Radio Station 

. Producer - oversee the operation

. voice over artist - to speak the advert

. Sound Engineer - sound and mixing/editing

. Presenter - 

. journalist -

. Studio Manager -

Unit 45 Radio Commercial

Describe 3 types of radio station

1. Internet radio / podcasts – Some stations broadcast 24/7, others are accessible more like podcasts Getting sets on such stations or even shows is reasonably easy by comparison to some of the other formats: Just listen in, spot a gap, and ask. It is perfectly possible to set up your own station or podcast too, and indeed this is how many people get started in broadcasting nowadays
2. College/non-profit radio – Generally these are independent small concerns, where the DJs pick their own playlists entirely – great if you fancy yourself as a tastemaker DJ and want somewhere to flex your musical muscles. Reliability is key here – prove you’ll turn up for your show regularly and get things done without a fuss and you’ll win friends. Make sure to develop personal relationships with the other DJs and the owners before asking
3. Community radio – Related to the above, community stations tend to be intensely local in flavour, and have a wide mix of programming apart from just music. Again, having a name for yourself in your community helps (a club night locally is ideal) and living in the vicinity obviously qualifies you more than an out-of-towner when you’re pitching for a show
4. Satellite radio – Multiplexes like Sirius and XM in the States work similarly to cable TV, in that there are many different stations with their own unique programming. The chances of bagging a show on one of these specialist channels is low unless you’ve got a track record (typically from 1 to 3 above) to wave in front of their noses, and even then is going to take persistence. But if there’s a specialist show you like, you could try and befriend the presenter and land a “guest mix” to get your foot in the door
5. Commercial/national radio – The big stations on your radio dial and increasingly on digital multiplexes. Apart for the unique BBC in the UK, these are owned by media conglomerates and subject to imposed playlist restrictions and other commercial-focuses directives. A show on one of these is a career, not a whim, and takes years of work to attain. However, the night/weekend programming can be specialist, in which case the rules from 4 above may just get you a mix – if you’re very, very lucky