Shot by Shot Music Video Plan

1. Establishing shot of a dated 60s office building from the outside. This shot is in silence. The band’s name flashes across the screen as the protagonist walks across the shot.
2. Close up of him pressing the buzz button. Sound bridge.
3. Long shot of the offices (pan shot). It is revealed the building is a radio station from the studio visible in the background. People are working at the computers, their faces hidden behind the screens. A threatening man strides between the desks. Cuts as this begins.
4. Perhaps a close up of the “mic live” light switching on, volume being turned up, etc.
5. Cuts back to offices. Quick shot of threatening man seen striding between desks in previous shot grabbing one of the workers suddenly, the camera is shaky and violent.
6. This then cuts back to the protagonist in the lobby, who is walking down a hall.
7. Cut back to violent scene, papers are seen flying as he struggles.
8. Cut to a file dropping to the floor (slo mo?). We hear a door slam. Brief silence then broken by the sound of a printer (sound bridge).
9. Close up of a hand writing a note. (“we got the power”). A mysterious hand picks up the sheet and walks away (we hear footsteps) Music starts as this happens (sound bridge).
10. Protagonist’s face reveal as he opens door/turns corridor into offices. He is wearing a mask in the shape of a white sheep. His posture is tired and he is carrying a box of supplies and paperwork, suggesting he is new here.
11. Shot taken from protagonist’s POV. The office workers at the desks all turn to stare at him as he walks into the office to an empty desk. All are also wearing white sheep masks.
12. Close up of his feet walking, someone stands in his path. The camera moves upwards to show a woman, wearing a white sheep mask, however she holds out her hand (perhaps a POV shot of the hand)
13. Close up of the pair shaking hands, we see a note passed from the woman to him.
14. Close up of protagonists face, who looks down to his hand and then turns around in shock
15. Cut to an intimidating man in a wolf mask, who points to the protagonist and then to the now empty desk of the previous person seen carried away at the beginning. The camera is taken below so we have to look up at him, creating an intimidating atmosphere.
16. Shot of the protagonist watching the woman walk away.
17. Cut to shot of the man sitting at his office. Peers round the computer
18. POV shot from round the computer of the wolf mask man shouting at the woman. He abruptly turns to look at the camera, which then quickly disappears behind the computer.
19. Close up of the protagonist’s fists clenched in anger from under the desk, the note crumples.
20. Shot of him opening the note given to him by woman it is the paper seen at the start of the music video, simply reading “we got the power”.
21. Glances down, then looks back again quickly as though in shock.
22. Close up of the file seen at the start on the floor under his desk. He hesitantly picks it up.
23. High angle shot of him glancing round nervously before opening the file.
24. POV shot of him rummaging through photographs of people in black sheep masks, then finds 2 black sheep masks, various radio scripts titled THE REVOLUTION and an identical sheet to the one the woman gave him at the start.
25. Holds the 2 sheets up together. The other is older and more crumpled than the first.
26. Protagonist looks up from his desk in hope, the focus blurs from him to the background, showing the woman sat in the desk opposite from him, they look at each other and stand.
27. Close up of the 2 masks falling to the floor in slow mo.
28. Shot that follows them up from the floor as they stand together. As it passes their hands, they grab each other’s hands. We see they are now wearing black sheep masks as it reaches their faces. Music builds.
29. Together they sprint through the office, tossing up paperwork as they run between the desks. (Unsure whether this will be in slow-mo or not). The other sheep workers are confused, they do nothing but watch the pair (this might be a separate shot showing the workers).
30. As they sprint past the window looking into the station, the boss looks up from his recording.
31. Close ups of inside where he is working, perhaps a script that states to “indoctrinate audience” or a “fake news” report in reference to today’s political issues. Perhaps a song called “control” is playing?
32. He stands and runs from the office to pursue the pair, yelling.
33. They run into a studio, maybe a close up of the door shutting with the studio label on.
34. Shut the door behind them, they both freeze.
35. A wolf looks up at them from the studio desk, shocked and a bit scared.
36. Cut to shot of him being thrown out the door. Falls onto the floor.
37. POV shot from wolf on floor showing the other wolves stood in a circle around him, arms folded.
38. He points to the studio door.
39. Cut to inside the studio. The file is on the desk. The pair are both dancing, playing the song on the radio.
40. Close up of scripts, recording equipment, etc.
41. Cuts to various shots of radios and people listening to the radio and dancing, with sheep masks on. (this will account for more shots) e.g:
42. a girl in her bedroom dancing,
43. a family in a car nodding their heads to the music,
44. person listening with beats headphones (branding)
45. Person with a speaker etc.
46. Cuts back to the head wolf bursting into the studio. Threatening, camera taken from a low angle.
47. The pair are scared, they are seemingly doomed.
48. A hand taps one of them on the shoulder
49. They turn, revealing the office sheep stood together. Their hands go up to remove their white sheep masks. Cuts away before we see their faces.
50. The wolf runs off.
51. Slow mo shot of the masks in the air
52. Close up of the pair holding hands. The sun shines through the shot. They are no longer at the radio station.
53. Finishing shot showing a long shot of the pair stood together on the moors. The song ends.

Filler shots should represent office life and the idea of monotony, for example:
a person repeatedly turning a sheet over in a photocopier – he could later be shown ripping up the sheet in joy when they take over the radio?
the wolf pointing to a board showing a graph of rising income
close ups of radio equipment in use (mic, sound bar/ levels, computer mouse/screen etc.)

Music Video – Plot Summary

The protagonist has a new job at a local radio station. He lives in a strict capitalist society; “sheep” ran by “wolves” (symbolised by animal masks in the video). Another “sheep” has been fired from his position for being involved in an attempted revolt, and the protagonist has taken his place. As he enters, a woman passes him a note via shaking his hand. The boss points to his desk. Whilst working on researching content for the station, he spies a file under his desk, left by the previous sheep. He picks it up to discover plans for the revolt, along with 2 new identities (black sherep masks). The note the woman gave to him reads the same message as one in the file, which is the title of the song (“We Got the Power”). He then gives the woman one of the new identities and takes the other for himself. Together, they run from the offices and to the radio studios, where they plan to inspire revolution to the public.
After hijacking a studio, they play a message of revolution (the song used in my music video)as scripted in the files live, which, indeed, sparks revolution amongst listeners (I will have a montage of shots showing this). However, their plans seem foiled when the men in charge burst into the room. However, the workers in the offices stand up to them, inspired by revolution, and the show continues.

Similar Set Products and Inspiration

Several similar style products to my chosen music video narrative helped to inspire my idea. For example, Avicii’s “levels” is also set in an office and revolves around the common dance music video convention of portraying dance as something “contagious”. other music videos that further inspired me include Coldplay’s “paradise” and “look right through” by storm queen, which includes a man dressed as a tiger doing professional dancing. Whilst any dancing in my music video will be by no means professional and will be more similar to the comical dancing seen in “levels”, I liked the concept of using alternative costume in my music video to incorporate social and political contexts. Exploring how political messages have been incorporated into dance music videos in the past, I was heavily inspired in particular by Swedish House Mafia’s “Save the World” which follows the narrative of a group of dogs stopping various crimes around the city such as protecting a woman from violence, stopping a man from robbing a bank etc. this aligns with political themes of my music video, in which justice and equality play key roles

Music Video – Initial Ideas

my music video will revolve around the political message of the media today, which many would argue is becoming too corrupt in a modern world as mass media companies such as Disney are regulating more and more of the things we consume.
I will use the underlying political themes in my music video as my USP, as I believe this is highly relevant today with controversial events such as brexit and Donald Trump affecting peoples, especially young peoples, lives. Moreover, young people are arguably more politicaly aware than ever before with social media sites such as Twitter covering and offering a wide range of opinions on political events. This will therefore draw in my target audience, as they are more likely to view these events as negative unlike an older population whose views align more with these political events.
The music video will take place in a radio station, in which I will film it at my local community radio station where I volunteer. The story will revolve around 2 characters, one (protagonist) who is obviously different from the rest of the workers (I will symbolise this using masks). The other is the love interest and is seemingly the same as the other workers, however turns out to be like the protagonist by the end. The bosses of the office are the antagonists who attempt to stop the pair from taking over the previously biased and corrupted radio station in order to distribute real and positive news, which is what the narrative of the video will revolve around.
I will use masks of animals that are typically viewed as being rivals or as opposites of each other (e.g rabbits/chickens and foxes, lions and zebras, cats and dogs). I have also explored the idea of using intertextuality to reference George Orwell’s animal farm and have an office ran by pigs with the workers being sheep and the individual being/becoming a black sheep in reference to the common metaphor. So far I like this idea the most, as I feel Orwell’s famous novel ties in really well with the political messages my video will aim to convey, however I have decided to use wolves as opposed to pigs to make the link to the novel less obvious.

A Very Brief History of Dance Music

House/dance music is a genre of electronic dance music originating in the American city of Chicago in the early 80s. At the start of this new craze, this genre was generally dance based music, which was then characterised by repetitive 4/4 beats and the rhythms were mainly provided by drum machines, off beat hi-hat cymbals and synthesized baselines. Now this genre has moved on, but has still kept several of these core elements. This has manifested into fusion sub genres, the likes of euro house, tech house and electro house. relating to the themes in my music video, dance music is a genre dominated by young people and began in popularity within the queer and black communities of urban Amereica.

typical conventions of a dance music video

The most common music videos for House music tend to have messages about dancing, love, sexuality, and drugs all underpinned with repetitive arrangements and a steady bass drum beat. They often play on common media codes such as the male gaze, with some music videos featuring scantily clad women performing seductive dance moves, used to attract and appeal to a male audience. Sometimes, a group of people will feature in a video free styling in a circle with people watching them showcase their talent. This is because the themes of the songs are usually about dance, since the purpose of dance music is that the beat of the song is supposed to motivate a person to dance. Similarly, a common code &convention of house music is the home of dance/house music, Ibiza, therefore music videos of this genre usually incorporate this in some way, perhaps using footage of the DJ playing the song in an Ibiza location, most commonly a nightclub. In contrast to this, however, the DJ who produced the song typically doesn’t appear in dance music videos, as the narrative or dance performance is usually the main focus of the video.

•Music videos for house/dance tend to not have many codes and conventions; this allows more freedom when creating an idea for a video.

•common themes include love, sexuality, having fun, and things a young audience could relate to.

•The videos tend to feature clubbing scenes, women with minimal clothing, jumping/dancing around, pools, UV paint, drinking etc. The atmosphere is usually wild and crazy to help connote the atmosphere of a party.

•Dance videos are often played in clubs to inspire and encourage people to dance and they often have routines that are recognisable.

• if following a narrative format, they normally follow random narratives that are usually only loosely linked to the lyrics and the artist is typically absent from the video. My music video will follow a narrative format, so I will thus intend to follow this convention.

queer theory

Queer theory: the idea that identities aren’t fixed and do not determine who we are. It can encompass anyone on the margins of society, in terms of race, religion, sexuality, disability etc. people who do not conform to conventions expectations of society = queer. When queerness is represented it should be positive but not pandering to “normal” society or conventions.
The theory arose from the 1990s post-structuralist work of theorists such as Judith Butler, David Halpin and Eve Sedgewick. Queer theory ultimately developed from feminism and gender studies.
Queer Theory is not another name for lesbian and gay studies. Whilst it incorporates some aspects of gay and lesbian studies, its main concerns apply to other, broader areas of sociology and cultural theory.
Queer is by definition whatever is at odds with the normal, the legitimate, the dominant.
Queer Theory rejects conventional or mainstream behaviour. This includes sexual identity, but also identities of ethnicity, disability and gender. It rejects the nature of theories or identity based on binary oppositions like male/female gay/straight and argues there is another space outside which is termed “queer”.
Theorists studying or supporting Queer Theory believe that identities are not fixed – they are fluid and changing, not only amongst different people but within the same person at different times.

Stuart Hall

The theorist Hall was concerned by just how powerful the media has become in the modern world, being a Marxist and initially a follower of hegemonic theory. Hall’s work covers issues of hegemony and cultural effects, taking a post-Gramsci stance. For Hall, culture – the mass communication products produced by a society – is not something to appreciate or study, but a critical site of social action and intervention, where power relations are both established and potentially unsettled.
He argues against Gramsci’s theory by arguing that when consuming a media product, people can withdraw different connotations than intended from the text, as we are independently thinking people with a wide range of differing opinions, perspectives and events that could draw unintended inferences. His model of encoding/decoding is used to describe this:
The encoding of a message is the production of the message, the creation of the media product, in which it is created with a particular meaning connoted.
The decoding of a message is how the evidence interprets the media text’s message. These interpretations can either be:
DOMINATED – agree with product message
NEGOTIATED – accepts some of the message
OPPOSITIONED – rejects message completely, are against the message#
The message is ultimately meant to be decoded by audiences so that the dominant reading emerges as the clearest connotation of the text (the preferred or hegemonic meaning). However, audiences will always have more complex and varying interpretations and meanings that can be withdrawn from the product.
Reception theory – we have the capability to negotiate, or even reject media texts completely. This is the opposite of what ideas such as Gramsci’s theory and the hypodermic needle model would have us believe. In other words the process of the signifier or sign to the signified or what we connote from the sign is different for everyone. This can be further developed to include Morley’s theory, in which he begins to focus on what types of people (e.g., left /right wing, feminist, etc.) would have certain shared connotations of various media texts.

Antonio Gramsci’s Hegemonic Theory

Hegemonic theory suggests that within a capitalist society, those in power keep their higher status through controlling ideology via media control. Gramsci poses to us a question of why those controlled in this type of society accept it rather than fight against it. To an extent, his theory proves this argument as valid as we ultimately assist and support hegemony, arguing how those who do control the media or are wealthy (e.g. Bill Gates, Richard Branson etc.) are “worthy” of wealth because they worked hard and therefore “earned it”. Moreover, we are fed the cultural ideology by the media that it is acceptable for some to be rich and some poor, therefore those in power or control ultimately indoctrinate us to have these ideologies and this social structure is therefore seen as the norm. Every aspect of the media informs us that the way things are in society’s structure is okay.
Gramsci argues that we are ultimately determined by capitalist ideals and how we succeed financially, for example getting an education in order to get a well-paying job in the future. Since we actively follow and support this system, why would we be motivated to rebel against it? Overall, hegemony remains in society so long as the media continues to control our views and ideologies.
Opposition to hegemony – in the 80s and 90s music became revolutionary, with songs crying out for change within society. This different aspect of media use therefore inspired reform, however this radical inspiration for change is not currently present in society today.
Hegemonic theory opposes the ideas expressed in Karl Marx’s theory around capitalism, in which Marx states it will develop up to the point that the poor overthrow the government and change the system. Hegemonic theory contrasts this by arguing that the rich remain in power and the system continues by using the power they have to control the way we think through the media products we consume. We therefore ultimately believe capitalism is a positive thing and have no reason to rebel against it.

conformation bias and the media’s influence

Conformation bias means favouring information that confirms previously existing beliefs or bias. It is a tendency to search for, interpret, favour and recall information in a way to interpret or support an individual’s beliefs or hypothesis. People will focus on the evidence that only support their point of view as opposed to looking at both sides of the argument.

Conformation bias can be used in media texts via providing the needed “proof” that would support these viewpoints. For example, newspapers especially may portray an individual or event in a certain way that could support one’s bias. Conformation bias therefore influences what media texts we consume, for example someone who supports the Brexit movement would typically read right wing newspapers such as the Daily Mail that are in favour of Brexit and therefore feed onto that person’s conformation bias as opposed to more left wing newspapers such as The Guardian which were not in favour of Brexit and so gave evidence against it.

newspaper analysis – The Big Issue

The Big Issue is a street newspaper founded in September 1991 by John Bird and Gordon Riddick. The weekly newspaper comes in magazine format written by professional journalists to then be sold by the homeless or those in danger of becoming homeless as means to help provide them with a sustained and legitimate income. The newspaper is a social business, with the objective of supporting the homeless into reintegration into mainstream society. The magazine is owned by a non-profit organisation, with its work being funded through advertising and cover price sales. Since 2012, the magazine has focused more on campaigning journalism and broader features. The magazine has a current circulation of around 125000 copies each week in the UK however is also published in other continents such as North America and Africa. Its slogan is “a hand up, not a hand out”, referencing the way it supports those in need.
The target audience will typically be of a young-middle age as generations above this bracket typically hold more prejudice against the homeless. Much of the Big Issue’s articles have a more unprofessional style front cover and often include references to pop culture, which would therefore possibly draw in an audience of around this age as they will understand the references and will therefore be more motivated to purchase. Readers typically fit a higher social group (72% of readers fit into the ABC1 category) in order to have money to spare to buy the magazine unlike the CD bracket who would be more concerned about saving the money due to having less income. They will typically be based in cities and urban areas such as London in particular as this is typically where there is a higher percentage rate of homelessness and therefore more opportunities to purchase the magazine. The target consumer should hold a concern about social issues such as homelessness and will therefore be motivated to buy the paper in order to feel a sense of support towards helping the issue. Their views will therefore be more socialist and left wing. Looking at evidence from the sire YouGov, the majority of Big Issue readers are in socially orientated professions, such as civil society and charity (16.5%), community and social care (23%) and government and civil service (28.2%).
The Big Issue has been at the centre of controversy during its lifetime, even amongst other worldwide street newspapers that criticised the business model. In other street newspapers the homeless themselves are employed to write and edit the newspaper, ensuring they contain campaigning issues revolving around the interests and needs of the poor and homeless. Publishers of these papers, especially in the US, have criticised the Big Issue for being overly commercial and having a professional design that’s content is imitating of mainstream newspapers in order to generate a bigger profit rather than focusing on campaigning and spreading social awareness. Founder John Bird argues that it is “possible to be both profitable and ethically correct.”
There are approximately 2000 vendors of the Big Issue in the UK, 500 of which are based in London. 90% of vendors are male and over half of vendors are supporting families. Average weekly revenue is £100. Sales of the magazine peak at Christmas, with 250000 being sold from the usual 82000 purchased weekly. Vendor opportunities include corporate placements, work in magazine distribution, work experience and training of new vendors.
Some people argue it is unfair when the Big Issue has main stories focusing on rich celebs and luxury lifestyles as the homeless people who sell the papers will see this. Moreover, some argue the Big Issue is more of a marketable magazine rather than a magazine that will raise awareness of the “Issues” it is there to support.

comparison – The Guardian and the Daily Mail


Ownership – The Guardian is owned by a trust (the Scott Trust) in order to ensure that their content is as reliable and unbiased as possible. All profit made is reinvested into journalism and helps ensure journalistic freedom through portraying a supposedly unbiased and non-profit based perspective on world events.

In contrast, the Daily Mail is owned by the Daily Mail and General Trust, however the paper is profit based, made to benefit an owner. The profit goes to a member of the British aristocracy – Viscount Jonathon Hamsworth, chairman and controlling shareholder of the Daily Mail and General Trust. Day-to-day editorial decisions for the newspaper are usually made by a team around the editor, Paul Dacre.

Political stance – The general nature of The Guardian newspaper is considered a left wing newspaper, with 38% of readers supporting the Liberal Democrats and 48% supporting the Labour party in a survey from 2005. The newspaper’s reputation as a platform for liberal and left-wing opinions has led to the use of the epithets “Guardian reader” and “Guardianista” for people holding such views, or as a negative stereotype of the middle class audience who widely read the newspaper. This would demonstrate The Guardian as being quite biased towards left wing views despite claims made on the supposedly unbiased newspaper The Guardian was intended to be. Throughout the majority of the British elections The Guardian clearly showed their support for the Liberal Democrats and the Labour party, siding with Labour on Britain’s most recent election in summer 2017.

The Mail, on the other hand, is notoriously right wing, supporting the Conservative party in all recent general elections. While the paper continued to support the Conservative Party during the 2015 general election, the paper urged conservatively inclined voters to support UKIP in areas where UKIP was the main challenger to the Labour Party, suggesting the Mail is against left wing ideals.

Readership and circulation – A study carried out in 2014 showed that the total weekly readership for The Guardian is about 744,000 adults (15+). This has dropped significantly from the previous number of 1,124,000 readers in March 2010. The Guardian has a headline circulation of around 199,672copies. This has a month-on-month change of around +0.10% and a year-on-year change of about -1.93%. On a Saturday the circulation typically increases to about 363,667 copies sold

. A Study carried out April 2014 to September 2014 showed that the Mail has a total weekly readership of around 3,833,000adults, higher than that of the Guardian. The circulation of the Daily Mail stands at an average of 1,511,357 copies.

Target audience – the main target audience for The Guardian consists of young- middle aged adult males, as by September 2014 577,000 of 744,000 readers were over the age of 35 and 55.9% of all readers were male. From this evidence I would therefore come to the conclusion that the average buyer would fit into an ABC1 category (55.4% total, 70.2% of sample, according to data provided by the site YouGov) and would typically be middle class as well as male and over the age of 35, as the majority of people who still daily buy newspapers are older and typically use the internet less as well as having leisure time and money to spare in order to buy and read the newspaper. In terms of political stance, readers of the Guardian tend to hold left wing views, which support’s the newspaper’s reputation for holding a liberal stance.

Based on its readership statistics, the Daily Mail’s target audience is lower-middle-class British women. However, the paper’s promotional gimmicks, prizes and contests, and low price make it appealing to lower-middle-class readers in general; therefore in terms of applying a social group to the audience it can vary despite being mainly within the ABC1 category. The Daily Mail was the first newspaper in the United Kingdom to provide articles directed specifically at women. As of 2013, almost 55 percent of its readers were female, making it the only British paper with a majority female readership. Its online branch, Mail Online, focuses on celebrity news and controversial topics, and one of the major features of both the printed and online versions of the paper is a section called Femail. The majority of Daily Mail readers live in the London, the South Coast and Yorkshire. Whilst London were primarily Labour in the last election, the South Coast and Yorkshire were largely conservative, perhaps demonstrating the mail’s right wing stance and influence on readers.