ill Manors - Music Video

Forms  How is it typical of a music video?

This music video is typical for its media text as it follows the basic structure of a montage-styled series of performance shots by the artist as well as cinematic shots of actors and dancers rapidly cut in synchronisation to the rhythm of the song. The video integrates various visual effects compatible to the feel of the song as it employs a dark colour grading theme to support the gritty feel of the video and rap song, a decision typical of music videos as this makes an incredible difference to the visuals. The post-production choices also includes the use of computer graphical animation relevant to the context of the lyrics in the song, as well as images of politicians such as David Cameron to visually support the auditory information. The use of graphics is typical in music videos as well as the inclusion of typography directly parallel to the song lyrics.

Another conventional factor of the music video is the use of different settings and locations throughout the duration of the video. The choice of using council estate blocks, street locations and a car-park rooftop are relevant to the song and have a strong visual impact which the audience can understand with the use of these particular locations. Switching locations rapidly throughout the video provides a flashy effect which is in-sync to the rhythm of the music and succeeds to continuously engage the audience as the audience will be keen to keep up with the rapid visual changes. The costumes of the actors and the artist Plan B himself, support the desired socio-political messages to be conveyed as they are all dressed in urban clothing and most significantly - hoodies.

The mise-en-scene of the music video is a spectacular feature of the video because the frames are occupied with rapid movement such as dancing to the violent actions of jumping on cars and smashing glass. The lighting transitions at a full scale from the start to the end of the video from the first to the last quarter of the day which emphasises the cathartic feel of the song as audiences may feel the political comments have been expressed for a long time with no lack of social change yet by the 'night-time' in the video. Props include bicycles, bottles and many weapons associated to the London 2011 riots to emphasise the dominant message of the video.

Representation How does it represent the London riots/rioters?

The very first frame displays a suburban London setting with estates and a grey sky polluted with smoke to reinforce the grim atmosphere stereotype of urban London. One of the upcoming clips displays young adults adopting threatening poses as they walk in outfits associated to 'hoodrats' in London, hence acting as a shorthand for the audience to quickly identify the characters in a short period of time - as theorised by Medhurst. These initial representation of London and it's young inhabitants establishes a reinforcement of negative stereotypes associated with the represented location and people. 

An even more explicit representation is that of chavs, exhibited with the use of on-screen typography to state 'c.h.a.v' as an acronym for "council-housed and violent" which negatively reinforces the stereotype of young adults in the London riots who were referred to as chavs. This is evidently done in a satirical manner as Plan B aims to poke fun at the socio-political instability in London which he argues caused and provoked the riots to begin with. These scenes in the music video demonstrate binary oppositions as explained by theorist Strauss who explained that direct contraries are featured in media texts to emphasise a particular message. The messages in particular are formed by the producer of the music video who would be Ben Drew in association with his production team so the representation of rioters would be dependent on their personal views and the message they aim to convey to the audience. 

The most predominant representation nonetheless is the reinforcement of dominant negative stereotypes linked with young adults, primarily male. The trailer covers numerous scenes displaying large groups of the targeted category shown to be making vulgarous gestures and engaging in anti-social activities such as throwing molotovs and the theft of a television. These are contradictory to Drew's personal beliefs as he himself is from the crooked suburban London origins, however his purpose of implementing these ideologies is to give reasoning for the rioters' actions as the police are portrayed in a negative light throughout the video as well as other powerful social figures such as politicians. 

Audience What audience pleasures does it offer?

One of the primary audience pleasures offered to the audience is that of entertainment. The incredible videography complemented with the soundtrack provides auditory and visual cohesion to the music video which makes it enjoyable to watch. The audience would receive the gratification of enjoyment as they use this particular media text to fulfil the purpose of diversion. 

In particular, it is considerable that the particular music genre of the soundtrack is UK rap so this would appeal to a niche audience. The primary demographic targeted would be mostly males of a CDE demographic who live in London, as the scenes portrayed and the music featured can fulfil the personal identity gratification of this audience. 

To further depth it is noteworthy that the audience would use this media text as a source for information and awareness and they may support and be influenced by the ideologies reinforced by the text. The two-step flow model determines the producers of this music video as the mediator to convey these messages to raise awareness and develop support from the audience.

Institutions How does the music video help to promote the film?

The basis of the music video is to visually support the lyrics and beat of the soundtrack 'ill Manors', which shares the same name as the low-budget film produced by Plan B. This is a form of synergy as the two media texts share similarity to promote one another across different media platforms. The music video is also constructed with many similarities to support the feel and genre of the film, with a relevant setting which is in many ways identical to the grim suburban London portrayed in the film as well as more subtle factors including lighting and costumes. 

The distribution of the music video is primarily through social media platforms, thus enabling the content producer to embed hyperlinks and additional information and graphics to promote the film. The music video may be published on the producer's official website as well as on their YouTube channel to be cross-promoted on social media networks such as Twitter and Facebook. 

Additionally, it is noteworthy that the music video itself features cameos from actors starring in the film. This can help promote the film because the music video will gain further popularity from the inclusion of the cast and the audience may generate interest in the characters portrayed to be more likely to research and watch the film. 

MEST2 Print Brief

AQA MEST2 brief

Research 

Doctor Who - BBC Publications

The title of publication is self-explanatory with the purpose of establishing recognition by the loyal viewers of the TV show Doctor Who. The slogan is located above the title, besides the BBC logo, containing the phrase "CELEBRATING 50 YEARS" to advocate the establishment of the TV show to reinforce the appeal to their loyal audience. The central image consists of three characters from the BBC series, all of which are directly looking at the camera to emphasise the expressed serious emotion which is relevant to the text surrounding which consists of words further connoting the seriousness such as "haunt", as well as the flash line: "THE DAY OF THE DOCTOR!" which has alliteration to make it more engaging. The magazine also harbours an offer to compete to win free "Blu-rays, DVDs, books and CDs!" as well as a free 116-page souvenir issue of Doctor Who magazine. The colour scheme is equipped with mainly darker colours to complement the dark, mysterious feel of the TV show. The name checks of the magazine present the stars of the show: 'Matt Smith & David Tenant', names which are popular, recognised and have a loyal fanbase, thus granting the name-checks with engagement value for the target audience. The overall language is simple and concise, displayed with bold sans serif font families to clearly advocate the short messages to be conveyed. The barcode, date and price is minuscule in comparison to the rest of the magazine as it should be because these features may be hindrances to the design of the magazine front cover. The 'real' target audience for this magazine is evidently enthusiasts of the Doctor Who series, most probably primarily male in the age bracket of 6-13 years.

Front covers of magazines appealing to a similar target audience as E4:




Souvenir magazine example:












Photoshoot

• The front cover of the magazine will display one of the characters out of the four-person main cast.
•  A double-page spread will consist of one main long-shot photo of the four characters, each posing differently and dressed in clothing according to their designated characteristics. 
• The spread may also have individual close-up shots of the cast to complement character profiles for each person. 
• Prototypes (concept):

Ill Manors - Film Review

Londoners have repeatedly witnessed the portrayal of our fellow controversially represented ‘chavs’ behind the gritty blocks of suburban locations such as Brixton, and Forest Gate – homeland of debut director Ben Drew, more commonly referred to by his multiplatinum stage-name Plan B. Drew’s Ill Manors presents an unnerving depiction of the social failings in London with a symbolic multi-strand narrative cleverly structured with the lives of eight characters who indulge in the ruthless, suburban phase of drugs, violence, prostitution and poverty. The film stars Four Lion’s Riz Ahmed, Red Road’s Natalie Press as well as the new-fangled albeit unvanquished likes of Ed Skrein and Lee Allen. Ben Drew develops an explicitly ultra-realistic portrayal of his hometown, one which is identified with the promotional flash-line as one of the “environments (which) are just harder to survive in”. The exposition does not hesitate to instantaneously establish the socio-political messages conveyed by Drew’s production of this urban drama, featuring the expected conventions we’ve already been exposed to by the resemblance of films such as Shank and Kidulthood, films which concentrate on manufacturing a mood of bleakness and anxiety. The composition is adorned with aggressive smokers in hoodies equipped with the stereotypical urban London dialect and lexicon, one which is vulnerable to criticism as audiences may feel overexposed to the repetitive exhibition of this particular facet of London living.

Nonetheless, Ill Manors overcomes this with an impressive plot structure, constructed similarly to Tarantino’s Pulp Fiction, acknowledged for it’s multi-strand narrative to present an overview of the community represented. The actors succeed in their assignments regardless of their inexperience to the lights and cameras, a factor which merely emphasises the authenticity of Drew’s opus as to the backgrounds of the characters are correspondent to the dramatic depiction of the characters’ lives as they intensively engage in a psychological wrestling match between morals and intentions. More specifically, Aaron, who we are most primitively acquainted to at the beginning of the film, is faced with a moral dilemma of receiving a four-digit sum which will benefit him to supress the negative repercussions of his poverty-stricken lifestyle, righteously however, he chooses not to conform to the predictable decision of trading a mother’s abandoned baby for the offered payment – instead he is adamant on defying dominant associate Ed, and is determined to find the baby’s biological mother.

The narrative concludes with an interweaving involvement of the majority of the eight characters as a consequence of the many events contributing to the dramatic build-up. A mother is reunited with her kin and Aaron is placed in a cab driven by Drew’s cameo as the driver, a powerful closing metaphor to suggest personal development and self-regulated revolution as he chooses to evade from the unforgiving streets of Forest Gate. The cab escapes the trails of criminals such as Chris who is eventually persecuted despite of the insinuation that he has reformed, exhibited with dynamic cinematography as he throws a pistol into the Thames besides the East London landmark – The O2 Arena. Despite of this moral choice, in effect he is irrespectively overcome by the force of the law, a narrative decision which implies that a criminal life in London will inevitably lead to it’s warranted consequences. This political message is conveyed cinematically with a series of rapid cross-cuts which resultantly present the cyclic social hopelessness and dysfunctional system in which newer generations are helplessly sucked into.

In essence, Ill Manors can be credited as a bar-raiser for UK-based urban dramas, a claim which is justified exceptionally as a breakthrough production within the film industry. Earning wins for best cinematography as well as the 2012 Coup de Coeur and 4 award nominations including BFI’s ‘Best achievement in production’ award – marking an overall thriving response received directly from the connoisseurs of filmmaking. The captivating performances by the actors successfully elicit emotions such as empathy within the audience as well as outrage because of the sociopathic behaviour presented by the actions of the characters as they commit deeds ranging from merciless torture to the prostitution of a heroin-reliant young lady to kebab shop owners in exchange for a double-digit payment. Ben Drew manipulates this production with no doubt of the genre as all expectations are fulfilled with the harboured emotionally pulverising mood and atmosphere, conveyed with the elements of dynamic POV shots placing the audience’s throat within the grip of criminal Chris’s hands, as well as being positioned on the other side of younger Chris’s trigger. This theme of childhood and loss of innocence is featured thoroughly throughout the film’s narrative as flashbacks for the 8 primary characters are sequenced in scenes displaying hardship and self-evaluation by the characters, presenting a sense of conscience which the audience can empathise for and to some extent: pity their helpless lives. Plan B’s auditory involvement with the use of a contextually corresponding soundtrack serves as an effective means of enhancing the intent of storytelling, most particularly due to the aggression and passion apparent in the rap form of music to accompany on-screen gore and violence. Despite Ill Manors not being a particularly marketable motion piece, I would recommend it to younger audiences, most specifically Londoners as they are bound to themselves being relevant to the events depicted within the film. The production echoes the devastatingly realistic political messages concerning class and the social system in British suburbs – messages which are inevitably cyclical to the lifeline of metropolitan London until the gunshots and screams are heard clearly enough to torment the powerful figures of the portrayed society – one symbolical of many worldwide. 

Ill Manors trailer analysis

1. What are the typical codes and conventions of film trailers - what information is usually provided?

Typical conventions of film trailers include the inclusion of institutional information. This is usually featured with the use of animation clips of production companies and associates at the start and end of the film. The final frame is usually the release date of the film with social media links to support the promotional campaign of the film. The overview of the trailer would consist of a background track parallel to the genre of the film - i.e. a crime/drama film may use rap music, whereas a rom-com may use pop music. The track would be edited to support the clips displayed, using mise-en-scene consisting of key props and costumes to give a short-hand exhibition of the overall feel of the film. Another key convention is the implementation of text-on-screen with catchy slogans and flash-lines to develop excitement for the film's narrative. Other text-on-screen includes critic reviews to support the film's excellence and present it as a credited production. 

2. How are trailers distributed? 

One of the most common methods of distributing film trailers is via YouTube channels such as ones created for the particular film/sequel, as well as channels designated for trailers, if not those owned by production companies such as MGM or Universal Studios. YouTube also stream trailers in the form of ads before videos. Trailers are also exhibited before films are screened in cinemas as well as on TV channels during commercials. 

3. How does the Ill Manors trailer use trailer conventions?

The trailer commences with text-on-screen with a general quote making a socio-political comment about geographic location and quality of life. This continues onto a close-up of a man knocking the door, featuring mise-en-scene of the man's urban attire and following shots to display the surrounding 'environment' as described in the text-on-screen. The complementing background track derived from the rap genre supports the inclusion of a time-lapse exhibiting shot, over which text-on-screen shows a critic review quote by institution TimeOut. The audio composition also includes key dialogue from the film which underlays the cuts between cinematic scenes from the film. Midway within the trailer consists of animations for the institutions Revolver Entertainment and Microwave, as well as director Ben Drew's personal logo 'Plan B Enterprises'. The remainder of the trailer displays rapid action shots from the film as well as more critic review quotes and text-on-screen intended to further develop narrative engagement. The trailer concludes with the key conventions of the film name 'Ill Manors' being revealed with animated text as well as a frame displaying the release date of the film as well as social media links to support the promotional campaign and act as action cues for audiences to engage with the film pre-release.

4. Who is the target audience? Does it have a unique selling point or use particular techniques to appeal to the audience? Consider the way the scenes are edited together – does the trailer give away any clues about the narrative? Are the main stars visible in the trailer? Is there information about the director of the film? Is there information about therelease date? Is a narrator’s voice-over used? Why?

The target audience of the film 'Ill Manors' can be identified as a primarily male audience from the UK, most particularly appealing to Londoners aged 14-25. The unique selling point of this film could be the relevance of the film's narrative and composition of film conventions to mimic urban London lifestyles. Films as such there is a lack of in the UK because of the overexposure of high-concept Hollywood films, ones which Londoners can not relate to. This is explained by the theory of uses and gratifications proposed by Blumler & Katz, suggesting that audiences may appreciate a media text as they can find 'personal identity' and be able to relate to the messages advocated by the particular media text. This is also relevant to the struggler's psychographic profile and the messages conveyed within the trailer associated to life in poverty-stricken suburbs of London.

  The scenes are edited together to exchange rapidly between shots of characters, props and locations to give away the context of the narrative as a gritty story consisting of drugs and violence. The director of the film: Ben Drew is named with the use of text-on-screen using his stage-name, "from visionary artist Plan B"; his Plan B Enterprises logo is also included. There is a lack of a voice-over, this is however substituted by text-on-screen as well as dialogue audio extracts from the film. The trailer concludes with the release date and social media information.

 The mise-en-scene is manipulated with regards to costume and make-up as the actors are dressed in urban clothing and many shots display blood and other forms of gore such as scars on the actors. This demonstrates Medhurst's short-hand theory of representation as the stereotypes of urban Londoners are featured in the trailer to instantaneously induce assumptions of the film's narrative and genre in a short amount of time. The exhibited scenes of the trailer display shots such as some of drugs and a prison cell as well as one which shows a young woman leaning into a car dressed in revealing clothing - immediately adhering to the stereotype of a prostitute as shown by the body language and costume of the actor. It can be argued that her revealing attire satisfies the theorised male gaze of an audience as suggested by Gill, regardless of the severity of prostitution - a feature adding to the psychopathic mood of the film. 

5. How has the genre of the film been represented through characters, settings, lighting, colour, music/dialogue, camera shots/movements/angles and editing?

The locations featured in the film trailer include the setting of a typical low-cost London suburban house which establishes the assumable financial state of the film's main character, who is displayed knocking on the front door. The trailer also exhibits the setting of a penitentiary, eliciting assumptions of crime being relevant to the film's story-line which is confirmed with the presentation of a basement. The general lighting involved in displaying these locations is usually crepuscular such as that in the basement, whereas outdoor daytime scenes have the typical daylight of London, associated with dullness and monotony. The genre of the film is explicitly established within the initial 20 seconds of the film, solely with the display of the characters and locations.

A time-lapse exhibiting shot is used to show East London - the overall setting of the film, in it's metropolitan glory with the incandescent lights in the night-time. The colour correction used throughout the trailer's duration is generally unsaturated and darker to support the gritty feel of the film's genre, which is now indubitably determined as crime/drama. The only characters with dialogue in the film's trailer are male, a decision which may represent the patriarchy within the society of crime, otherwise referred to as the 'underground' - a structure which is controlled by sociopaths who manipulate and use women for prostitution and drug-related crimes. The characters generally appear to be from a CDE demographic and are dressed and spoken accordingly. This is supported by the under-laying audio tracks of dialogue extracts from the film which consists of vulgarity and aggressive vocal tones. 

The editing cuts rapidly in the form of a montage throughout the overall duration of the trailer to support the desired action-packed, riveting feel of the film. It is noteworthy that Plan B's career in music is apparent to the trailer's editing because the cuts are synchronised to the drum beat of the background rap music - which is commonly associated to crime/drama because of it's upbeat rhythm and generally aggressive lyrics. The editor also reverses the play of particular clips in time with the rhythm of the song for visual impact to support the audio. Camerawork throughout the trailer is used to effect accordingly to the mise-en-scene displayed, thus objects such as a watch and pen are shown with extreme-close-ups, whereas settings such as East London's O2 Arena are shown in landscape with an establishing shot. The majority of shots are stationary, however exceptions such as POV shots are shakey and to support the dramatic impact of the trailer as one for a crime/drama film.  

Introduction to Media Index

Media institutions, Media forms, Media representations, Media audiences

September 2014 > Media forms > Key Concepts - MIGRAIN PowerPoint - 10/09/2014

September 2014 > Media forms > Lighting


September 2014 > Media forms > Analysis - Nike print advert on slide 28 of the Key...

September 2014 > Media forms > Film Poster Analysis - 12/09/2014

September 2014 > Media forms > 'Reading an image'

September 2014 > Media forms > Film language | Mise-en-scene analysis 

September 2014 > Media forms > 12C Sound presentations and homework

September 2014 > Media institutions > Institutions in the media: The BBC

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October 2014 > Media forms > Cinematography tasks

October 2014 > Media audiences > New TV show: Brief Pitch 

October 2014 > Media forms  > Cinematography research/revise tasks

October 2014 > Media institutions > CoolBrands® - Brand values

October 2014 > Media forms > Narrative Blog Task

October 2014 > Media institutions > Brand values task 100-10-1

October 2014 > Media forms > Editing analysis task

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November 2014 > Media audiences > Young & Rubicam's 4Cs Values Segmentation

November 2014 > Media audiences > Psychographic Profiles - Reformers (w/ Ahmed Ismail)

November 2014 > Media forms > Film language test - Learner response

November 2014 > Media audiences > Blumler & Katz - Uses and gratifications theory

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December 2014 > Media audiences > Audience Theory questions

December 2014 > Media audiences > Dependency theory - questions

December 2014 > Media representations > Representation of women

December 2014 > Media representations > Representation of women collage 

December 2014 > Media representations > Representation of teenagers collage