Keith Negus is a media theorist, who identified two distinct ways of thinking about potential artists from within the music industry. His ideologies are based on the artists image and how their careers are developed, and because of this, how they are marketed towards a specific target audience.
The two ideologies are divided into organic and synthetic artists.
Organic:
- This has a naturalistic approach to artists, and is when the success of the artist has originated from the artist and been nurtured by the record company. The artist has been given time to evolve and progress through their career, whilst their image is being enhanced by the record company.
- Organic artists focus mainly on album sales, and the construction of a successful back catalogue. They target mainly older and more sophisticated consumers, as the image created is normally more suited to this. The profits that are generated by this type of artist tend to be part of a long term strategy by the record company.
Synthetic:
- Synthetic artists have been constructed by the record company, therefore their image, and material are entirely created to suit a particular audience. The artist will be given a short period of time to prove their success before other combinations will be tried out.
- Synthetic artists focus on single sales and to promote first albums. They often target younger audience who are generally less sophisticated. The profits generated by this type of artist tend to be part of an immediate short term strategy by the record company.
Balancing the two:
- In theory, the success of synthetic acts will fund the development and investment in organic acts. Therefore, record companies try to balance the two in order to ensure that they can fund day-to-day expenses as well as making a long term profit.
Promoting Organic and Synthetic acts:
- Organic acts are often promoted as being authentic, both musically and socially. The image seems to be 'unconstructed' and thus entices the right target audience.
- Synthetic artists, are often sold on their appearance or personality and therefore the record companies focus mainly on this aspect of the act. The image is carefully constructed, so that nothing damages the reputation of the artist, as the record company needs to ensure high profit margins.
The video combines all three elements of performance, narrative and conceptual in order to leave a very poignant and memorable image in the audiences mind. The video is mainly centred around a narrative structure thus the video has a definite beginning, middle and end.
The beginning shows that the equilibrium of the narrative is not right, as a dark sinister tone is created. This is done through dim lighting and the heavy rain, thunder and lightening casts an ominous shadow over the pregnant girl lying on the bed. The girl is played by Dido, who features on the track as a singer. It is odd that Dido is playing the girl, but is effective as it creates a connection between all three characters. As the camera pans in through the window, it shows that she is vulnerable and alone. This immediately conjures a dark mood of the piece and this is carried on throughout. The music is also sinister, thus adds tension to the piece.
The protagonist, 'Stan' is then introduced. He is playing the role of an obsessed Eminem fan, therefore when we meet him, he is dying his hair blonde to match his idol's. This establishes the idea that 'Stan' is quite unhinged and that he has taken the concept of star image too far. From the intense bathroom scene we cut to the real star, Eminem. The audience see that he looks extremely similar to 'Stan' and that a load of fan mail has just arrived. This foreshadows what is too come, and leads the audience to sympathise with both 'Stan' and Eminem. The camera tracks downwards, through the floor boards to bring up the image of 'Stan's ' basement. The lightening again causes a creepy mood to be created, and the repeated images of Eminem's face on posters lighted by the flashing lightening adds to the idea that 'Stan' is quite deranged.
The mise en scene of the basement adds to the atmosphere of the video. It matches the idea that Eminem is more attractive to people who shared the same lifestyle he did while growing up. The lyrics add to this concept, as they show that Eminem's fans have numerous domestic problems in common. As an artist, Eminem is trying to entice a wider audience by showing that everyone is the same, and have troubles that need confronting; he is showing that there is little difference between a star and an ordinary person. This makes the audience feel connected with the artist, thus in turn draws them into liking that artist. The basement is full of odd objects, that combined with the multiple images of Eminem creates a weird and potentially disturbing image. The panning shot that displays the images on the wall are then cut back to 'Stan', thus showing the similarities between them and thus accentuating the idea that he is a crazed fan who has taken the concept of star image too far.
The video also uses dramatic irony, as it shows that 'Stan' has no logical reason to hate Eminem, as his letters were lost in the post. This casts a positive light on Eminem, as it shows that he cares for his fans welfare, and that his star image is not who he really is. This entices a wider potential audience, which benefits the artist considerably. Furthermore, the reply Eminem sends 'Stan' and then after he realised that he is dead, conveys how Eminem does not want his fans to take him too seriously, but to just enjoy the music instead of taking it too to heart. This benefits Eminem's star image as it shows to people critical of Eminem, that he is a different person than the image his lyrics creates. Eminem is going against his stage persona in order to showcase the wrongs of star image obsession. #
The video reaches a crescendo with the car falling from the bridge. The equilibrium has reached maximum crisis level as 'Stan' kills himself and his pregnant girlfriend, who is in the trunk of his car. The moment is foreshadowed by the lyrics, as there are numerous references to drowning and this builds up the momentum of the piece until it crashes down as the car hits the water. The heavy rain adds to the danger of 'Stan's' wild driving, and the reference to some of Eminem's previous songs, show that Eminem really does not want his fans to take his music seriously, as it could lead to serious harm. The picture of Eminem attached to the mirror in the car adds to the idea of obsession and as it swings in the bright lights of the cars headlights, a dangerous and creepy atmosphere is created. The image of the sinking car cuts to Eminem, who is shown to be replying to Stan's letter. The glasses he is wearing, symbolise intelligence and his words are caring and compassionate as he urges Stan to get help before he does something stupid. The image of 'Stan's' little brother at 'Stan's' gravestone with bleach blonde hair, shows how far obsession in a star image can go, and that if not destroyed, it can become engrained in a person which can lead to devastating consequences.
This song is by Kodaline, and is called 'High Hopes'.
This music video is purely narrative, as it does not include images of the band singing, or their instruments. The lyrics match the storyline of the video, and make the audience go on an emotional journey with the two characters whilst the song is playing as a non diegetic soundtrack. Thus the star element of the piece is the two characters, instead of the band itself. This suggests that Kodaline want their audience to believe and feel their lyrics, rather than rely on an extravagant performance.
The video begins with a wide establishing shot, that shows a middle aged man trying to fill his car with smoke so that he can suffocate to death. The car is an isolate spot thus shows that the man is desperate and his emotions are raw and painful. The middle aged woman then runs over the hill in a wedding dress, with her supposed fiancée trailing behind her. The fact that this is story about going back and choosing the person you really love is easily conveyed, as the two characters develop their relationship as the song builds to a crescendo. The age of the characters is interesting, and suggests that Kodaline want to attract a wide audience, and not just younger fans.
The shocking factor of the ex-fiancée shooting the two characters is unexpected and ruins the peaceful bliss like tone that has been previously represented. This however, does link with the song, as "the world keeps spinning around" shows the two characters alive and together in hospital, even after being shot. It changes the tone and mood of the video, into something more thoughtful and poignant so that the audience are left feeling connected with the characters and as a result with the song and the band.
This is the music video for the song 'Little Lion Man' by Mumford and Sons. It is from the genre of folk rock thus there are certain aspects of this video that link to the stereotypes of this genre.
The video is purely a performance, with the star element being the lead singer. The band are lip syncing whilst playing their instruments, thus linking to the genre of it being all about the making of the music. There are numerous close up images of the bands instruments, and them singing thus accentuates the idea that it is more about the making of the music rather than an extreme over the top performance. The wide sweeping shots show the band to be performing on a stage to no crowd, despite the building being reasonably large. Again this emphasises the idea of them believing more in the power and pleasure of the music, rather than the performance.
The muted light and silhouettes used creates a soft atmosphere that goes with the lyrics. As the song intensifies and reaches a crescendo the lights become brighter and bolder, thus conveying the raw emotion of the words used. The handing lights from the ceiling create the idea of a local bands gig, and not a global stage. This makes the audience feel included and creates an intimate relationship between the song and the audience. The song is about a man who "fucked up" his relationship and how his "heart is on the line". The soft dim lighting conjures a feeling of desperation and that the band is pouring their heart out alone. But as there is no audience shown, the individual viewing the video is made to feel like the sole viewer thus again creating an intimate nature. The band is putting emphasis on the lyrics of the song, as to them, this is the key element of their work.
The band is dressed in soft colours, with waistcoats and denim which link to the folk and rock genre their music belongs too. This goes with the setting and the lyrics and again allows the audience to focus on the lyrics of the song, rather than the performance aspect.
This is a Miley Cyrus song, called 'We Cant Stop'.
Miley Cyrus, who was a Disney Channel child star has re launched her singing career by changing her image. She has transformed from an innocent young girl to a successful rebellious music star. This change is clearly portrayed in this video, and the audience is supposed to feel shocked whilst also revelling in the idea of nonconformity.
This song has a strong narrative element. It shows young adults partying hard, and breaking many of societies conventional rules. This links with the songs lyrics 'This is our party, we can do what we want to'. Many of the images shown are quite strange and therefore accentuate the theme of rebellion from the norm, and not caring about what others think about you. Some of these images include, dancing life sized teddy bears strapped to people backs, dolls, stuffed animals being treated as real pets, and a cross made out of French fries. The image of a girl shopping her pretend fingers off, is equally odd, but yet entices the audience into the world of being yourself, despite what others expect of you.
The star element of the video is the artist, Miley Cyrus. She lips syncs throughout and there is no show of any instruments used throughout. To emphasise the rebellious theme she is dressed in
skin tight white outfits that leave little to the imagination and her dance moves are equally provocative thus are challenging the images of her as a young girl. The close up camera angles on certain key areas of her body are mainly targeted towards male viewers, therefore again implying that she is openly trying to provoke her male audience. The open display of tattoo's, alcohol and sex are all part of this anarchic star element that Miley is putting forward. The use of literally a 'money sandwich' is shown and links to the idea of not caring about anything but having a good time. The use of gold chains, big nails and gold rings are part of the pop culture and show a degree of wealth and 'gangsta' image. The other people in the video are equally sexualised and thus are shown to be involved in this nonconforming behaviour.
There is product placement at the beginning of the music video. There is a beats speaker which is suggested to be playing the track that everyone is dancing too.
After sitting the AS Media Studies exam, we have now turned our attention to learning about the music industry. This will be a change from film, but hopefully just as interesting.
