1. Callum Hind

2.  A black and white, low key colour theme is used at the beginning video with Radio
'crackling' effect and audio voice over introducing the song. The colour theme and
voice over has been used appropriately in order to distinguish that the song itself
is from an older musical era (1960's) and the video is presented in an old
fashioned style, with a 'modern twist'. This initial black and white colour scheme
demonstrates the synergy between the music video and website ancillary
contributing to the old fashioned 'feel' within the mise-en-scene. However the
transition to the contrasting brighter colours that are used throughout the rest of
the music video provides continuity with the album cover/ back cover and
insert/digipack ancillary products; as the images are also presented in bright
colours in contrast to the black and white used on the website homepage. This
also represents the shift from black and white movies to coloured movies during
that era.

3.  The fast repetitive jump cuts used within editing throughout our music video
during instrumental periods are done so to keep in sync with fast pace of song.
Although this isn't an obvious link, it can be described to have similar
characteristics to the 'slideshow' used on website home page, as it shows jump
cuts of our album ancillary photography to a similar effect; contributing to the
continuity.

4.  A smart, 'suited and booted' dress theme is used within the music video for
myself, and fellow members of the group. We also decided to use the same attire
for the ancillary photos, again linking to the continuity within all our media
products. Since smarter clothing such as what we were wearing, was considered
the norm in the 1960's era, we felt it was important to reflect this image within
our album work in order to attract an older, as well as a newer target audience;
and to contribute to the band recognition. The audiences would see the way we're
being presented on our album cover and then recognise our image when watching
the music video. The way we’ve demonstrated the iconography within our clothing
choice can be referred to Hall’s reception theory. We, as the producers of our
media products have a ‘preferred dominant reading’ that the clothing is trying get
a message across to the audience, that it is of a ‘pop’ genre, set in the 1960’s; but
with a modern twist. A different audience however, perhaps one from a different
culture may in fact perceive the media products in an entirely different way to
how we intend; having an ‘oppositional reading’ according to Hall’s theory.

5.  We filmed in various urban, old fashioned locations in a town environment. To
embed this old fashioned theme into the audience’s mind, we used lots of
establishing shots throughout, including the jump cuts to present the
surroundings in the music video; showing references to the 1960's era. Combining
this with our other media products, the locations in the video are also featured
within the album's photographs/ artwork, included on the album front and back
cover. This defines the synergy between the music video and album
ancillary, creating similarities for the audience to familiarise themselves with.

6.  All three band members are attempting to act at certain points within the music
video comically, incorporating humour; appealing to an audience by engaging
playful nature. All three actors are also used on the album covers and website
clearly distinguishing they are the band members. Not only does this again
contribute to the continuity but it provides band identification, by showing the
members faces frequently. Clearly linking to its previous ‘pop’ genre in the 1960's
(However, now considered more of an 'indie' genre), as record label's demanded
the focus to be upon the artist/ band members; to market them.

7.  The idea of media convergence can be applied to all our media products; the
music video, website ancillary and album product (digipack). This is because due
to technological advances in online systems and devices such as mobile phones,
computers, tablets etc. it has allowed the average media consumer the ability to
access all the media content on one device. In our case for example, on a mobile
phone the consumer has free access to watch our music video on the media
sharing site 'Youtube'; buy the music video and/or album on an application such as
Itunes and visit our website using a mobile's internet function. This function of
convergence will promote marketing and band awareness, increasing our
recognition. It is important to consider that this style of marketing could not have
achieved in the 1960's era due to technological advances not having been
invented, like we have available today; reinforcing that our media products are a
modern take on 1960's material. Relating this concept to Mcquail’s ‘Uses and
Gratifications’ theory, an audience may consume our media products purely for
entertainment purposes in order to gain an emotional release. The reasoning
behind voluntarily seeking out our products on a range of devices could also go
further for social reasons, as the audience may want to integrate with others for
social interaction. They may wish to identify with friends by watching the music
video in order to gain a sense of belonging and have something in common. All
common reasons for media use, particularly within a ‘pop’ genre.

8.  The fonts used throughout each of our media products was ‘Berlin Sans FB’, similar
to the font used for our logo. Unfortunately we couldn't use exactly the same font
on our website due to the Wix website creator not having it available. However we
feel we found one that is similar and therefore appropriate to the website, one
that is similar to the band logo and text within our album work, digipack etc. We
also designed our own band logo which we used on all our media products in
order to keep the continuity. However, the band logo is coloured black on our
album cover and white on the website. This is partly down to the fact Wix only
allows certain colour schemes, so we didn't have a choice other than to leave it
white on the website so that it stood out clearly defined. This can be justified as it
suggests a subtle link between the black and white effects used at the beginning
of the music video and image on the website homepage as previously stated.
EXAMPLE OF THE FONT ‘BERLIN SANS FB’

9.  The Kinks logo was not originally standardised, as they frequently changed the
design in accordance with their album. In our case, we have standardised our
band logo, ensuring it’s the same design for all our media products. This
demonstrates the development in standardisation within the music industry. Also
it is important to make note of the fact we used a similar font for our logo to the
Beatles original logo. This demonstrates intertexuality. We found this font on the
website ‘dafont.com’. This would have been considered acceptable within the
1960’s as we are aware that bands would often mimic other stylistic ideas.

10.  The mise-en-scene presented within the front and back cover of the album links to
the narrative within the music video. This is because the girl (Georgia) is stood
behind the band members whilst looking back at them it. This insinuates that the
girl knows they're there but doesn't want anything to do with them, hence
appearing as she's walking away. Linking this to the music video, the narrative
consists of the three band members, Jem in particular, the main protagonist
character trying his hardest to get the girls attention; but she doesn't appear
interested. Instead she is in love with another male, Tom; being portrayed as the
antagonist, due to him being Jem's 'competition'. We attempted to emphasise
these ideologies in the narrative into both our music video and digipack to
continue the continuity across all our work.