Tuesday 26 April 2016
Welcome!
Hi, welcome to my blog, in this space you will be able to see three of my products (Website, digipak and music video), my research and planning, production and evaluation. Through my journey from September to now, you should be able to see the development and transition of all three of my products and how they came to be in their final form. Finally you should be able to view my four evaluation and critical reflection questions with illustrations looking back on my project and reflecting on decisions.
(Sunspots) Final cut
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In this cut I took on board the much appreciated audience feedback and polished some of the timings as well as incorporated some more cross cutting as well as some more frequent and polished layering.
Below is a playlist with my music videos journey and transition through various incarnations and cuts.
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In this cut I took on board the much appreciated audience feedback and polished some of the timings as well as incorporated some more cross cutting as well as some more frequent and polished layering.
Below is a playlist with my music videos journey and transition through various incarnations and cuts.
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Digipak FINAL
This is my final digipak design in which I have included a spine with additional institutional information, the record title, a catalogue number, the band logo. In addition to this I have included a plastic CD holder in my inside panel. In addition to this I have acted on audience feedback and re-positioned and downsized the 'Nothing records' logo into the corner of the back panel. I have also included an "MP3 download" to reinforce the conventions seen on a digipak and emphasize the notion of the consumer "getting more for their money". This increase in value is a prime characteristic of the digipak and it is a fundamental separator from the conventional Jeweled CD.
In addition to this, I have chosen to include several extra artwork in the digipak but have not advertised this on the front as this is not conventional. The extra artwork is alternative shots of the digipak as well as intertextual references to the sunspots music video. This is seen in the image of Kristian wearing the same eye makeup as in the sunspots music video.
*(Separate shots)
In addition to this, I have chosen to include several extra artwork in the digipak but have not advertised this on the front as this is not conventional. The extra artwork is alternative shots of the digipak as well as intertextual references to the sunspots music video. This is seen in the image of Kristian wearing the same eye makeup as in the sunspots music video.
*(Separate shots)
Monday 25 April 2016
Website FINAL
http://josephtomlee.wix.com/nineinchnails
Reflection Q1 Conventions and Representations
This is my evaluation for Q1A+B
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In this vodcast I explore and discuss how my products both challenged and embraced conventions as well as how my products successfully represented social groups and issues. I also failed to mention the essential role reversal of my two main characters and how their gender binaries are an inherent opposition to one another. An example of this would be Orla, who would in this video, be a counter-type due to her passive and emotionless behaviour towards Trent. This is counter-hegemonic and typical as women are stereo-typically overly emotional and weak. This however also applies to Trent who is seen as weak, groveling, emotionally, exposed and vulnerable to his ex romantic interest. This would be a counter-type as his masculinity and built up walls often associated with macho-ism is exposed and even undermined in this video, when he is seen looking up to Orla.
In addition to this, further acknowledgement to the French New Wave of cinema would be due to my frequent use of jump cuts and breaks in continuity. Having risen from the ashes of World War Two and the plight of Nazi occupation, French film makers had witnessed the destructive and captivating power of the Nazi propaganda films, but aimed to break down the conventional boundaries of cinema and jump cuts were a frequent element to this. Much of my jump cuts and break in continuity were products of this.
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In this vodcast I explore and discuss how my products both challenged and embraced conventions as well as how my products successfully represented social groups and issues. I also failed to mention the essential role reversal of my two main characters and how their gender binaries are an inherent opposition to one another. An example of this would be Orla, who would in this video, be a counter-type due to her passive and emotionless behaviour towards Trent. This is counter-hegemonic and typical as women are stereo-typically overly emotional and weak. This however also applies to Trent who is seen as weak, groveling, emotionally, exposed and vulnerable to his ex romantic interest. This would be a counter-type as his masculinity and built up walls often associated with macho-ism is exposed and even undermined in this video, when he is seen looking up to Orla.
In addition to this, further acknowledgement to the French New Wave of cinema would be due to my frequent use of jump cuts and breaks in continuity. Having risen from the ashes of World War Two and the plight of Nazi occupation, French film makers had witnessed the destructive and captivating power of the Nazi propaganda films, but aimed to break down the conventional boundaries of cinema and jump cuts were a frequent element to this. Much of my jump cuts and break in continuity were products of this.
Sunday 24 April 2016
Reflection Q2 Branding
This is my fake radioshow evaluation for Q2.
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1:01- House style
1:40 -Typography
1:58- Gothic costumes
3:00 - Social media
4:20 - Embodiment of NIN and Industrial conventions
1:40 -Typography
1:58- Gothic costumes
3:00 - Social media
4:20 - Embodiment of NIN and Industrial conventions
Saturday 23 April 2016
Reflection Q3 Audiences and Distribution
This is both my responses to the evaluation question 3A: 'How do your products engage with the audience?' And 3B: 'How are your products distributed as real media products?'
This vodcast has been separated into two parts for both 3A and B.
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This vodcast has been separated into two parts for both 3A and B.
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