Practice exam on music videos
Practise Exam
‘Music Videos are a tool that use media language to create representations about artists. Discuss with reference to your two close study products’
Music videos are seen as a promotion or advertisement of the artist. It creates a representation of an artist to market to an audience. This is reinforced through editing, cinematography and mise en scene.
2.) How is Billie Jean promoting Micheal Jackson?
(back this up with evidence from cinematography, editing, mise en scene)
Billie Jean is talking about the issues with black celebrities in the medias eye and how they are treated different than normal celebrities. in the lyrics it talks about a girl named billie Jean that has said some things about having a child with him even though she is faking it.There never was a real Billie Jean. The girl in the song is a composite of people his brothers have been plagued with over the years. He could never understand how these girls could say they were carrying someone’s child when it wasn’t true. we can use intertextuality to show that he is like a god and he can't be touched when it comes to people making things up about him or his brothers.
Conclusion… (Reword the introduction)
Stuart Hall suggests that audiences often blur race and class which leads to people associating particular races with certain social classes.
He suggests that western cultures are still white dominated and that ethnic minorities in the media are misinterpreted due to underlying racist tendencies. BAME people are often represented as ‘the other’.
He suggests that western cultures are still white dominated and that ethnic minorities in the media are misinterpreted due to underlying racist tendencies. BAME people are often represented as ‘the other’.
Hall outlined three black characterisations in American media:
· The Slave figure: “the faithful fieldhand… attached and devoted to ‘his’ master.” (Hall 1995)
· The Native: primitive, cheating, savage, barbarian, criminal.
· The Clown/Entertainer: a performer – “implying an ‘innate’ humour in the black man.” (Hall 1995)
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