Requesting Copyright Permission - Letter

Parlophone Records           

Keith Wozencroft

43 Brook Green

London

W6 7EF

United Kingdom

Dear Mr. Wozencroft,

I am writing to inform you about a possibility to request permission to use Tinie Tempah's track - Pass Out for our media project. We a group of students from City and Islington Sixth Form College based in North London, we will be working to produce a promotional package for the release of a new album track. The finished project will NOT be made available publicly and will be used solely for coursework purposes. The holder of the original copyright will be fully acknowledged in the finished project. If you do not hold the rights for these songs, I should be very greatful if you could forward this request to the appropriate person, or reply to me with the contact details in order that I might approach the copyright holder directly.

Yours Sincerely,

Bartek Walczak

Lip Sync Tutorial

During the process of lip syncing we should have made our shots more complex and developed our editing to a higher standard. Our main challenge was for Neto to change his style in front of the camera from the thriller which we did last year to a more confident and straight-up character who was willing to sing in front of a camera.

We learned to how use various tools such as the razor blade and markers. This helped us develop our knowledge of the program to a larger extent. The difference between editing the thriller in comparison to the music video is that we have to use a more variety of shots, more complex editing as well as matching the sound track to Neto's lips. 

Summary of the Andrew Goodwin Theory

Andrew Goodwin feels that traditional narrative analyses doesn't really apply to pop videos. The reasons for the different narrative structures are as follows:

- Pop videos are built around songs - and often songs don't pose traditional narrative structures.
- Pop videos use the singer both as a narrator and as a character.
- The singer often looks directly at the camera: this is an extension of performance and trying to involve the viewer at home with the performance.

Often pop videos are based on a high amount of repetition. Images in the video are repeated frequently, the way the song is structured - rhythm are formed in a certain way for the viewer to become familiar with the genre.

However, some videos are different. The visualisation of a song may go beyond the original meaning. Some videos are constructed in a certain way to make the viewer want to watch it continuously. According to Goodwin it can be said that there are three types of relations between songs and videos:

- Illustration: this is where the video tells the story of the lyric. Dance is often use to express feelings or emotion in a song
- Amplification: this occurs when the videos introduce new meanings that dont contradict with the lyrics, but add meaning. 
- Disjuncture: this means there is limited connection between the lyrics and the video itself.

Overall pop videos have easily recognisable elements. A feature could be the way mostly women are represented as a object of male desire. However, artists such as Beyonce present themselves for males to look at although there is a difference they tend to look back at the viewers and seem to be passive.

Vladimir Propp's Theory Applied

Vladimir Propp was a was a Russian and Soviet formalist scholar who analyzed the basic plot components of Russian folk tales to identify their simplest irreducible narrative elements.

His famous theory involved this:

CHARACTERS

1. The hero (seeks something)
2. The villain (opposes the hero)
3. The donor (helps the hero by providing a magic object)
4. The dispatcher (sends the hero on his way)
5. The false hero (falsely assuming the role of hero)
6. The helper (gives support to the hero)
7. The princess (the reward for the hero but also needs to be

protected from the villain

8. Her father

In this video 'This is my life' by Edward Maya is a good narrative whereby the audience can understand the story. Though the video is simple which firstly involves the narrator and main character Edward Maya driving his car into a parking lot and getting out while being mobbed by paparazzi just before a live show. In addition, this is cut halfway with another shot involving him on the streets but everyones roles around him are being reversed as if they are living life backwards. This is backed up partially by 'Re5' of Propps Theory.

Preparation:

P1. A member of the family leaves home
P2. A prohibition or rule is imposed on the hero
P3. The prohibition or rule is broken
P4. The villain makes and attempt at reconnaissance
P5. The villain learns something about his victim
P6. The villain tried to deceive the victim to get possession of
his/her belongings
P7. The victim unknowingly helps the villain by being deceived or
influenced by the villain

Complication:

C1. The villain harms a member of the family
C2. A member of the family lacks or desires something
C3. This lack or misfortune is made known; the hero is given a
request or a command and he goes on a mission or quest
C4. The seeker (often the hero) plans action against the villain

Transference:

T1. The hero leaves home
T2. The hero is tested, attached, interrogated and, as a result,
receives either a magical agent or a helper
T3. The Hero reacts to the actions of the future donor
T4. The hero uses the magical agent
T5. The hero is transferred to the general location of the object of
his mission or quest

Struggle:

S1. The hero and the villain join in direct combat
S2. The hero is branded
S3. The villain is defeated
S4. The initial misfortune or lack is put right

Return:

R1. The hero returns
R2. The hero is pursued
R3. The hero is rescued from pursuit
R4. The hero arrives home or elsewhere and is not recognised
R5. A false hero makes false claims
R6. A difficult task is set for the hero
R7. The task is accomplished

Recognition:

Re1. The hero is recognised
Re2. The false hero/villain is exposed
Re3. The false hero is transformed
Re4. The villain is punished
Re5. The hero is married and crowned

This video by Mario is a perfect example of Propp's theory being put into play. A majority of the theories above can be applied to this specific video.

Email Requesting Copyright Clearance

Requesting permission from 'Logic' for the use of his tracks via Facebook.

Kayes Khan 13 September at 18:25

Hi there, My names Kayes Khan, I'm a student of A Level Media Studies at City & Islington Sixth form college in North London, and for my Advanced Portfolio, I will be working in a group to produce a promotional package for the release of a new album track.

I would like to request permission to use one of your tracks called 'The future' or possibly Your other songs depending on what my group mates agree with, for this project. The finished project will NOT be made available publicly and will be used solely for coursework purposes. The holder of the original copyright will be fully acknowledged in the finished project. If you do not hold the rights for these songs, I should be very grateful if you could forward this request to the appropriate person, or reply to me with the contact details in order that I might approach the copyright holder directly.

 Thanks,


Kayes Khan k_khan93@hotmail.com

Logic Mc 14 September at 11:47 Report

Il have word with producer and get back to u asap bro
but yea by all means u can use it

letter requesting copyright clearance

 Netinho Domingos
To info@dirteestank.com



hello my name is Neto Garcia Domingos and i would like to request permission to use one of Dizzee Rascals songs which is strictly for educational purposes which my mediaproject and will not be posted on youtube or any other site of the kind.

Andrew Goodwin's theory

Andrew Goodwin feels that traditional narrative analyses don't really apply to pop videos There are a number of reasons for this but it isn't because pop videos are trying to be avant garde - it is just that they approach narrative from a different angle to novels and films.
Reasons for narrative structures are as follow:

1. Pop videos are built around songs and often do not pose traditional narrative structures (normality - problem -resolution)

2. The pop video uses the singer both as narrator and as a character

3. The singer often looks directly at the camera - this an extention of (music hall) performance and trying to involve the viewer at home with the performance.

Pop videos also rely on repitition. Often the video repeats images in the way the song repeats choruses or lines.

Disjuncture : This is where the lyrics and video have little connection with eachother.

 Illustration in this case is used very well as the setting and clothes in which the artist wears demonstrates the songs genre as well as props such as a  hat, bandana and jewellery . Furthermore the lyrics and music video very much correspond with eachother. 

 

Andrew Goodwin's Theory

In Andrew Goodwin's theory, he pointed out 5 key aspects which he wanted the audience to spot when watching music videos:  Through beats, Seeing the Narrative and Performance,  the Image Relation of visuals to the song and finally, the technical aspect of music videos. 


Through the beats, we are looking at the music itself. Goodwin suggests us to take into account the structure of the song. Moreover, the voice is crucial as it gives a trademark/idea of the song and who it is. The music video can also work out to be telling a story; so the artist telling it and us listening.


Most songs don't give us a complete narrative. Hearing it first time will only give us assumptions as to what the song really is.


The audience need to believe that the video is authentic and so the artists lip sync and other actions must be perfect. 


Andrew Goodwin also believed technical aspects hold the music video together through use of camera work, movement, angle, mise- en -scene editing, sound and special effects.


 Speed, camera movement, editing ,cutting and post production are all forms of use of camera. Lighting and colour help set moods and emphasise key moments of the song for dramatic effect Mise-en-scene, the setting of music videos is vital, it needs to look authentic to attain professionalism . 


Beats, music videos use cuts to go with the beat or rhythm making the video more entertaining.

Video Analysis - Lowkey - 'Terrorist'

This video is from a political UK rapper named 'Lowkey'. This controversial and somewhat disturbing video is bringing light to the worldly matter of terrorism. Moreover, the video uses a technique whereby Lowkey is portrayed as a terrorist with a very tired and scruffy look as well as a beard. This is a stereotypical view on terrorists which is represented in the media today. He is being questioned vigorously by another man, who is also Lowkey but a clean shaven, 'suited and booted' version with glasses. Lowkey is the narrator in this video but this video is, for a majority of the time, using controversial archive photos of past events and is exposing the effect of war on innocent civilians. This is most probably the main intention of the video as it was released on September 11th. The dark setting depicts that this is a hip hop/rap video and most videos of this genre are usually made to be sinister. This is not a mainstream video or song and is referred to as 'underground hip hop' as rappers such as Lowkey are not signed to a record label and are also referred to as 'unsigned'.

Dizzee Rascal - Holiday - Analysis

In the Dizzee Rascal video "Holiday" the narrative revolves around a specific female at which the camera is voyeuristic to and the artist is both the participant and the narrator. This genre is urban, what indicates this is the way that the music video is layed out and the lyrics. The females in the music videos have barely any clothes on whereas the males are more clothed, the camera also tends to focus more on the females bodies than there actual faces furthermore representing that this is an urban genre.