Copies of copyright clearance

The Marlborough Building

383 Holloway Road

N7 0RN

15/08/2014

Infectious records/ Alt-j

Infectious Music
1st Floor
47a Frith Street, London
W1D 4HT

Dear Mr Korda Marshall,

I am requesting for copyright permission to use the whole of: Breezeblocks by alt-J.

I am an A-level Media Studies student and for my Advance Portfolio I will be part of a group working to produce a promotional package for the release of a new album track. I would like to request permission to use ‘Tessellate’ for this project.

The finished will not be made publically available and will be used solely for coursework purposes. The holder of the original copyright will be fully acknowledged in the finished project.

If you do not hold the rights for this song I would be grateful if you could forward this request to the appropriate person, or return it to me with the contact details in order that I might approach the copyright holder directly.

Yours faithfully

 

 

 

 

Jaya Kaur

jayakaur@hotmail.co.uk

 

 

 

The Marlborough Building

383 Holloway Road

N7 0RN

15/08/2014

Moshi Moshi Records/Disclosure

 

8-10 Rhoda Street
London
E2 7EF
UK

Dear Mr Adrian Pike, Michael McClatchey and Stephen Bass,

I am requesting for copyright permission to use the whole of: Voices by Disclosure featuring Sasha Keable.

I am an A-level Media Studies student and for my Advance Portfolio I will be part of a group working to produce a promotional package for the release of a new album track. I would like to request permission to use ‘Voices’ for this project.

The finished will not be made publically available and will be used solely for coursework purposes. The holder of the original copyright will be fully acknowledged in the finished project.

If you do not hold the rights for this song I would be grateful if you could forward this request to the appropriate person, or return it to me with the contact details in order that I might approach the copyright holder directly.

Yours faithfully

 

 

 

 

Jaya Kaur

jayakaur@hotmail.co.uk

 

 

The Marlborough Building

383 Holloway Road

N7 0RN

15/08/2014

Moshi Moshi Records/Florence and The Machine

 

8-10 Rhoda Street
London
E2 7EF
UK

Dear Mr Adrian Pike, Michael McClatchey and Stephen Bass,

I am requesting for copyright permission to use the whole of: Drumming Song by Florence and The Machine.

I am an A-level Media Studies student and for my Advance Portfolio I will be part of a group working to produce a promotional package for the release of a new album track. I would like to request permission to use ‘Drumming Song’ for this project.

The finished will not be made publically available and will be used solely for coursework purposes. The holder of the original copyright will be fully acknowledged in the finished project.

If you do not hold the rights for this song I would be grateful if you could forward this request to the appropriate person, or return it to me with the contact details in order that I might approach the copyright holder directly.

Yours faithfully

 

 

 

 

Jaya Kaur

jayakaur@hotmail.co.uk

 

 

The Marlborough Building

383 Holloway Road

N7 0RN

15/08/2014

Asylum Records/Rudimental

The Warner Building

28 Kensington Church Street

London, W8 4EP

 

Dear Mr David Geffen,

I am requesting for copyright permission to use the whole of: Baby by Rudimental featuring MNEK and Sinead Harnett.

I am an A-level Media Studies student and for my Advance Portfolio I will be part of a group working to produce a promotional package for the release of a new album track. I would like to request permission to use ‘Baby’ for this project.

The finished will not be made publically available and will be used solely for coursework purposes. The holder of the original copyright will be fully acknowledged in the finished project.

If you do not hold the rights for this song I would be grateful if you could forward this request to the appropriate person, or return it to me with the contact details in order that I might approach the copyright holder directly.

Yours faithfully

 

 

 

 

Jaya Kaur

jayakaur@hotmail.co.uk

 

 

 

The Marlborough Building

383 Holloway Road

N7 0RN

15/08/2014

Mercury Records/Chase and Status

Universal Music Direct

364-366 Kensington High Street

Kensington

London

W14 8NS

 

Dear Mr Irving Green, Bob Holman and Berle Adams,

I am requesting for copyright permission to use the whole of: Blk & Blu by Chase and Status.

I am an A-level Media Studies student and for my Advance Portfolio I will be part of a group working to produce a promotional package for the release of a new album track. I would like to request permission to use ‘Blk & Blu’ for this project.

The finished will not be made publically available and will be used solely for coursework purposes. The holder of the original copyright will be fully acknowledged in the finished project.

If you do not hold the rights for this song I would be grateful if you could forward this request to the appropriate person, or return it to me with the contact details in order that I might approach the copyright holder directly.

Yours faithfully

 

 

 

 

 

Jaya Kaur

jayakaur@hotmail.co.uk

 

 

The Marlborough Building

383 Holloway Road

N7 0RN

15/08/2014

Black Butter Records/Clean Bandit

 

BeAt TV, plc.

60 Great Portland Street

London

W1W 7RT

 

Dear Mr Olly Wood, Henry Village and Joe Gossa,

I am requesting for copyright permission to use the whole of: Mozart’s House by Clean Bandit

I am an A-level Media Studies student and for my Advance Portfolio I will be part of a group working to produce a promotional package for the release of a new album track. I would like to request permission to use ‘Mozart’s House’ for this project.

The finished will not be made publically available and will be used solely for coursework purposes. The holder of the original copyright will be fully acknowledged in the finished project.

If you do not hold the rights for this song I would be grateful if you could forward this request to the appropriate person, or return it to me with the contact details in order that I might approach the copyright holder directly.

Yours faithfully

 

 

 

 

Jaya Kaur

jayakaur@hotmail.co.uk

 

The Marlborough Building

383 Holloway Road

N7 0RN

15/08/2014

Domino Recording Company/Arctic Monkeys

Domino recording company

PO Box 47029

London

SW18 1EG

 

Dear Mr Laurence Bell,

I am requesting for copyright permission to use the whole of: Why’d You Only Call Me When You’re High by Arctic Monkeys.

I am an A-level Media Studies student and for my Advance Portfolio I will be part of a group working to produce a promotional package for the release of a new album track. I would like to request permission to use ‘Why’d You Only Call Me When You’re High’ for this project.

The finished will not be made publically available and will be used solely for coursework purposes. The holder of the original copyright will be fully acknowledged in the finished project.

If you do not hold the rights for this song I would be grateful if you could forward this request to the appropriate person, or return it to me with the contact details in order that I might approach the copyright holder directly.

 

 

 

Jaya Kaur

jayakaur@hotmail.co.uk

 

Skills Audit

Some Song Options

As a group, we discovered that we listen to a lot of similar music and plenty of different music. As there are so many more genres of music than there used to be, it allows people to expand their taste in music; something our group knows a lot about. Sticking to the task of choosing a British artist/group, we looked at various British artists, variously modern, to possibly use for our work. By choosing a modern song it will be easier to gather more research on the artist, their label and the song itself. We all discovered that we liked mainstream and independent music, and very quickly realized we like 'House' music.

_________________________________________________________________________

Here are some songs that we discussed/looked at:

'Oliver Helden x Becky Hill - Gecko (Overdrive)' Although Oliver Helden is not British, Becky Hill, who sings the actual song is an up and coming British artist. When we listened to this song we all immediately had great ideas. 

_________________________________________________________________________

'Sigma ft Paloma Faith - Changing' We thought this song was a good option because both Sigma & Paloma Faith are British artists. If we needed to find out information on the song and artists, it would be fairly easy as Paloma is quite famous and Sigma have become quite well known over the Summer'14. 

_________________________________________________________________________

'Rudimental ft Ella Eyre - Waiting All Night' is also a song we all thought would be a good song choice. Something we could be very creative and versatile with in terms of the video. Again, both Rudimental & Ella Eyre are British.

_________________________________________________________________________

The majority of house music videos fit into the 'disjuncture' category. This is a positive and negative thing. It is positive in the sense that we can go as outrageous and random as we want but it is a negative thing as we don't want to overcrowd the video so much so that it looks tacky and almost makes it impossible to edit. 

Music Video Synergy

lip sync

research:mulvey's theory

Mulvey’s theory

Mulvey’s talks about the 'male Gaze' and how music videos and the film audience view characters from a perspective of a heterosexual male.

This means that whilst watching music you realise that the camera tends to focus on the female body for example the breast or the bum. Mulvey’s  main point was that women are used as prop or objects to gain male attention

Mulvey’s theory is mainly seen in R&B and hip-hop songs where mostly male rappers lyrical content focuses on the women’s body parts

The video by French Montana ‘pop that’ is a prime example of Mulvey’s theory, in the video there a loads of girls walking around with minimal clothing showing off they’re breast and bums

Although Mulvey’s theory is correct in most cases but there a some examples of the opposite for example in Nicki minaj’s anaconda video she purposely shows off her body parts.

research:andrew goodwin 'dancing in the distraction factory'

research:what is a music video?

research:mainstream vs indie

Storyboard

Lip Synch Edit Storyboard.

Recap of my lesson in June

In the lesson s before summer we learnt  about the ‘grid for recording conventional feature of music videos’ and wrote loads of factors down to help us shoot our music video later that Autumn.

Feature of camerawork:

·       Shot in base tracks

·       Camera movements- panning, tracking, crane ect

·       A wide variety of shot types and camera angles

·       Shots mainly focus on artist or band

·       Close ups on artist, band and instrument (if in the video)

Features of editing:

·       Edit to the beat

·       Pace matches track

·       Repeated shots

·       Cuts between base tracks

·       Linear/non-linear structure

Features of mise en scene:

·       Artists performance

·       Variety of locations and costumes

·       Location suit genre

·       Styling of costume, hair and make-up suit genre

·       High key lighting

Features of generic signifiers:

·       Clothes

·       Location

·       Pace of editing

·       Style of choreography

·       Age of artist and performers

Features of creativity and innovation:

·       Referencing other media (cross media conversion)

·       Style of camerawork and editing

·       Performances

·       Locations

·       Props and costumes

Costume, Setting and Prop

Laura Mulvey Theory

"In a world ordered by sexual imbalance, pleasure in looking has been split between active/male and passive/female. The determining male gaze projects it's fantasy onto the female figure which is styled accordingly" - Laura Mulvey, 1992

Laura Mulvey quote suggest that the male opinions of females in how they appear, act and portray themselves is the way in which society actually represents females. This would be shown in a music video through the camera embodying a males desires and the camera showing male things that attract male audiences. This theory is shown in the majority of pop videos.
Laura explains that woman are seen in two different lights mainly. One being a hopeless and powerless female and the other being just a sexual object only in the video to satisfy the dominant male.
Mulvey comment that woman's roles in media were often portrayed as scarred in need of constant support and depending on the male.
Furthermore as she looks at the situation over the years developing she mentions contrastingly that the woman are now fighting back, challenging the males dominant role in the media and also the traditional views of gender status.

These are some examples of music videos that now challenge the original theory of the males powerful status above women:

Beyoncé - Run the world

 

Nicki Minaj - I am your leader

 

copyright letter

Analysing A Music Video

Analysing music video

The video that I am going to analyse is ‘Ain't Worried about Nothin’
By a rapper called French Montana. 

The video is from the Hip Hop genre which is evident through many features in the video, such as the colour palette, costume and props. Furthermore what makes the genre so clear is the costume of the artist and the other characters in the video; we see the characters wearing flashy expensive chains, watches, shades, caps, rings and so on. And this is seen on the artist throughout the video. 

Additionally the location is mainly in the middle of a road in New York but is also filmed in a car park. It was clearly filmed during the night and at sunset so the lighting was relatively dull, but contrastingly the use of props such as bright painted sports cars brings a more visually stimulating effect on viewers. 

The setting shows the artist performing his song whilst a crowd circles around him. We see a sort street party theme, which is very common in this type of music video.  

Favourite Previous Students Music Video

Review previous students video

My favourite music video of previous student was the group who had: Khadeeja, Romy, Andreia, Luke.

I think this music video was very successful due to multiple reasons. firstly I think one thing that really made the video so strong is that the group shot A wide range of different base tracks which allowed them to edit the video more broadly also allowing them to chose from a wide variety of clips.

 Additionally what really appealed to me was the fact the the main singer was in sync with the vocalist which saw the video run smoothly. The range of different locations and shot types kept me interested in the video and made me want to watch on.  

21. Khadeeja, Romy, Andreia, Luke from 283goswell on Vimeo.

Carol Vernallis Theory

Carol Vernallis 

Carol Vernallis studied closely the editing of a music video also the camera work. Through her research she found that edits in music videos appear much more frequent than in films. Additionally she found that may stand out as dis-juncture and the editing appeared to have a rhythmic basis the linked with the song on lyrics. 

A music video that clearly showed Carol’s studies were correct is Rizzle Kicks ‘Lost generation’, in this music video we see clear editing during the scene when the group are dancing outside the scene is edited in slow motion. 

Further more near the beginning we see jump cuts when Harley alexander-sule is buttering and toasting his bread. It clearly jumps from him buttering the bread putting it in the toaster and him eating a slice. Additionally the main close ups we see are of the artist, the effect that this brings is that it makes the audience feel part of the video as well as engaging them.

Andrew Goodwin Theory

Andrew Goodwin theory 

Andrews theory was that, music videos usually tend to include a demonstration of typical genre characteristics. 
For example: videos with expensive cars, 'bling', lots of money usually appear in rap videos, where as live stage performance videos are typically shown in rock and metal videos.

Andrew Goodwin identifies 5 key aspects of music videos, these are:

•  Thought beats - seeing the sound
• Narrative and Performance
• The Star Image 
• Relation of Visuals to Song
• Technical Aspects of Music Video 

It looks at the music itself and takes into account the structure of the song e.g. chorus/verse. Additionally the voice of the song, the artists voice is extremely unique and acts as a form as identification. 
Goodwin also points out the artists mode of address, he explains how songs can be as stories where the artist tell a story through the video or the lyrics.

Music video function

What is the function of a music video?

A music video is a short film/clip integrating music with images, produced to promote an artist. Most music videos are usually made and used as a marketing device intended to promote the sale of the single or album.
A good example of a music video is the song ‘Good life’ by Kanye West ft T-Pain. The reason I think this is such a good example of a music video is because there are many different shots throughout the video with a large amount of editing. All of these aspects keep viewers interested in the video as it is very colourful and vivid.

The main colour palette of the video is black and white as the characters are only shown in these colours, but the use of special effects disturbs this and brings a much wider range of colours to the video creating a fun and exciting experience for viewers to watch.  

Mulvey's Theory

Carol Vernallis' Theory

Andrew Goodwin's Theory

Andrew Goodwin saw the purpose of music videos to be for 'visual pleasure'.

His theory links to most music videos because the audience enjoy the atmosphere and energy of the music video. This means it becomes memorable and makes you want to listen to the song more. Also, the repetition of the lyrics and scenes in videos and uniqueness make the video significant and somewhat embed it into the audiences minds. Particularly if the video is exaggerated and abnormal, the audience will talk about it more truly fulfilling its promotional purpose. 

Illustration:

Amplification:

Disjuncture:

Functions Of A Music Video

Copyright Clearance Letter

Skills i developed in AS

The technical skills I have developed in th AS year

• Edit my video using Final Cut Pro.

• Filming using a variety of different shot types such as long shots, close ups and extreme close up.
  
• Adding a voice note over the video using final cut. 
• Analysing in depth 4 technical areas: Mise en scene, Camera, Editing and Sound. 
• Using  creative commons to avoid copyright.
• Using special effects in my videos such as fades, black and white etc. 
• Learning how to use the camera and camera equipment effectively. 

All of the skills i learnt really helped me to create my final outcome in the AS year. This year I plan to use the skills i have learnt in my AS year in my music video and additionally further development of skills as well as learning new skills which will further my understanding and strength my skills and abilities.

What i learned in June

What we learned in June

During the end of the AS year In June we briefly began to look in to what we would be doing in our A2 media lessons, so we began to research and look at different music videos. Then in the lesson  we watched music videos from a variety of different genres in order to gain knowledge about conventions of music videos. We made notes on the videos looking at the artist, setting, location, costume and colour palette. We watched a video called 'You know you like it' by Aluna George. The target audience is clearly teenagers aged 15 and over. The pace of the video is very fast with a lot of energy, overall the colours used are neutral to providing a bright setting for the video.

Technical Skills Developed In The AS Year

During the AS year, I developed many skills 

that I know will benefit me in this 

years coursework. My knowledge on various

technical elements was initially limited,

however I gradually learnt about 

different technical skills and how 

effective they can be if used correctly.

Some I use better than others and prefer 

them but I've learnt to apply them

to the tasks given and I am able to evaluate 

and justify why I have them and where I have used them. 

The technical skills I have developed are:

• I have learnt how to edit using Final Cut Pro.
• Filming enough so that when it comes to editing, I can go over the footage and see what is usable and what is useless. 
• Focusing on Mise en scene, Camera, Editing and Sound. 
• Different shot types and the effective they are and how much they add to filming.
• The use of creative commons to avoid copyright.
• Editing skills such as slow motion, black and white, focus and even blurring the background. 
• Using artificial sounds to make them sound realistic. 

These skills have proven effective in making my final product for last years task. This year I am hoping to compare the further development of skills like I did in the previous year with my prelim and my final product. This will allow me to see my strength and weaknesses with technical skills throughout the past year and this year.