Thursday 23 February 2017

Julia Kristeva: Intertextuality

Julia Kristeva is a Bulgarian-Frenchphilosopherliterary criticpsychoanalystfeminist, and, most recently, novelist, who has lived in France since the mid-1960s. She became influential in international critical analysis, cultural studies and feminism after publishing her first book, Semeiotikè, in 1969. Her sizeable body of work includes books and essays which mainly address intertextuality, semiotics, and abjection

Kristeva coined the term intertextuality. According to Kristeva,  intertextuality maintains that a text “cannot exist as a hermetic or self-sufficient whole". She argues that the author compiles the text by reading other texts and the text becomes available to the audience in a process of reading. 
Julia Kristeva's contribution to the notion of intertextuality is immense. She not only
coined the word intertextuality but substantially stressed the importance of the potential
dynamics that lay within the text. Text is not a unilinear entity but a heterogeneous
combination of texts. Any text is at once literary and social, creative and cultural.
They are culturally and institutionally fashioned.
Julia Kristeva's contribution to the notion of intertextuality is immense. She not only
coined the word intertextuality but substantially stressed the importance of the potential
dynamics that lay within the text. Text is not a unilinear entity but a heterogeneous
combination of texts. Any text is at once literary and social, creative and cultural.
They are culturally and institutionally fashioned.



Kristeva assumes that a text is compiled as an assortment of quotations and is assimilation and a make over of another. In “The Bounded Text,” Kristeva deals with the process of creating a text outside the already present discourse. She explains that the authors are not original and do not create anything from their texts from original minds but compile from the already existing texts. 

There are many ways in which our music video has intertextuality, which I have discussed in my post on general conventions of music videos and what we did

Below you can find the link to a create paper on Julia Kristeva's Concept of Intertextuality. 

https://www.researchgate.net/publication/273771676_TextTexts_Julia_Kristeva's_Concept_of_Intertextuality

Friday 17 February 2017

Todorov's 5-Part Narrative Formula

WHAT I HAVE LEARNED + WHAT I CAN APPLY

Todorov is a Bulgarian/French historian, literature critic, philosopher and sociologist. In 1996 he created a theory which he believed to be able to be applied to any film. He was convinced that all films followed the same narrative pattern.

The following where the 5 stages of his theory:
  1. state of equilibrium - where everything is as it should be
  2. disruption of the equilibrium through an event in the film
  3. recognition by the characters that there has been a disruption
  4. An attempt to repair the disruption
  5. reinstatement of the equilibrium
In our music video we have a clear state of the equilibrium, where our male and female protagonist are still happy, having a smoothie together during the summer. Whereas there then is a disruption of the equilibrium later on when they fight. Often in music videos there aren't the full 5 parts of equilibrium and therefore our music video only contains 2 parts. 

Podcast 18



SR/KO/BV

Wednesday 15 February 2017

KO: RECORD LABEL: Bring Me The Horizon

Bring Me The Horizon have worked with multiple record labels:
BMTH have realest 5 studio albums, 3 of which where by Visible Noise which is a British independent record label. In 2013 their album Sempiternal was realest by RCA and their newest album That's The Spirit use two labels which are RCA and Sony. RCA is owned by Sony Music whos parent company is Sony Corporation.

Tuesday 14 February 2017

Production Schedule UPDATE 6

This is the 6th update of the production schedule I created. It includes the tasks that we have completed so far, and the ones which are still to be completed. I always like to use color coding since it gives me a great overview of what still needs to be done. 
After last time it has changed only a bit, because Kristian didn't manage to edit the rough cut for the 10th of February so he will edit it for the 1st of March after the holidays, since we focused on the digipack and website more and Kristian's PC hasn't been working. The plan is that he will now edit the following dates that are below. 


Friday 10 February 2017

Podcast 17



SR

This is our 17th weekly podcast. This week we spent a lot of our classes talking about different theorists. We especially focused on intertextuality by Kristeva and discussed in which ways our music videos has intertextuality. Intertextuality is the process of creating references to any kind of media text via another media text. On our blogs you can clearly see what intertextuality we have in our music videos. The reason why we did this is because intertextuality is one of the common conventions of music videos and the first evaluation question is focusing on conventions. Next week we will be working on evaluation questions and during the holidays we intend to edit, work on digipack and website and finalise our evaluation questions. 

Thursday 9 February 2017

KO: Audience Feedback 5: YouTube: Throne Rough Cut 4

We got some feedback on our video "Throne Rough Cut 4" from some students in our class.



Summarize what there points where:
  •  Use more special effects, e.g. color correction
  • Improve lighting
  • make sure lip-syncing is good for ever shot

Friday 3 February 2017

Audience Feedback 4: Throne Rough Cut 4

This is some of the audience feedback we got from our teacher and our fellow year 13 Media students.



The points our teacher addressed included:
  • return to shots more often (Crosscutting
  • some occasions where it cuts well to the beat - needs a few more
  • impact points where it is not visually representive
  • pool scenes are a bit all over the place should be placed better
  • experiment more with special effects
  • more colorpowder scenes because they look good
  • try to use color flicker effect/ flicker effect
  • color correction to enhance the color
  • more narrative: cooking scenes or scenes where the couple sit on a swing set 

Podcast 16



KO

This is our 16th weekly podcast where I (Kristian) discuss our ruff cut and new merchandise as well as our trip to the green screen room.

Rough Cut 4: Throne

This is the 4th rough cut that I created for our track Throne. It contains 2 minutes and 30 seconds worth of footage. 
Some of the things that I have changed include to switch the narrative around so that it is a more linear narrative rather than fragmented narrative

Besides that I added in some more pool footage, because it is a good element of the music video as well as the color powder. I changed the look of the pool scenes by adding an effect called Tint, whereafter I then changed the color slightly so it would look more realistic and as if it was an ocean. Andrew Goodwin's theory on 6 features of a music video outlines that one of the main features of a music video is that there is a link between the visuals and the lyrics. This is what I intended to create with the pool scenes. There are several times where the singer is singing about "lost in the ocean" or "blue", which then fits well with the underwater footage. 

Also, I took some of the running scenes out because some audience had argued that there were too many running scenes. I also tried to edit more to the beat and bring in some of our green screen footage that we filmed last Tuesday. My post on green screen goes into detail about what exactly we did that day and which type of footage we got.

TECHNOLOGY: Dolly

This week we experimented using a dolly. The spider dolly is just three wheels which you then connect any tripod to. Using this you can get some very smooth shots but we encountered one problem which was that there was a small crack in the ground and when the dolly went over it the camera shock a bit.  We did not use a track that the dolly was on but that might have eliminated the problem we encountered.

If you  use this on very even ground then it should work fine but if you are outside where there might be pebbles or gravels than there is on point as the footage will look even more shaky than if you where to do hand held. It was good to experiment with  and if used right can look very good.