Lucy O'Donnell

(Upload Images) Named ‘Wet Table’, the band name is representative of how a minor inconvenience, just like a ‘Wet Table’ can result in the complete catastrophisation of a situation, symbolic of teenage angst, which is an idea centralised around the age of the audience I intend to attract. I drew inspiration from the quirkiness of a lot of other pop bands throughout the history of the music industry; from band names such as 'The Monkees' and 'The Kinks' from the 1960s, 'Tears for Fears' and 'Depeche Mode' of the 80s to 'Panic! At The Disco' and 'Vampire Weekend' as more recent examples, I wanted to emulate this style of branding.

To embody the effortless of indie pop, I aim to apply naturalistic and purely amplifying makeup as opposed to heavier and more intense looks frequent in traditional pop on both the female and male figures within the music video. In regards to characters, I plan to solely use young characters in order for the target audience to identify with thus meaning that the music video is more engaging and successful in terms of viewership and resonance. As indie pop artists including Lana Del Rey, The XX and The 1975 commonly adopt dated-clothing, I am going to include more old-fashioned colouring and textures within the costume.

The word ‘spirit’ connotes an animated principle of thinking, feeling or behaving something relative to a fun-loving 16-24 year old audience. From another interpretation of the term, a ‘spirit’ is a supernatural being, often with a non-physical entity; for this reason, I chose to centre the production company logo around the figure of a ghost, after taking inspiration from the stylistic decisions of similar independent production companies such as ‘Fuelled by Ramen’ and ‘Ninja Tune’, which similarly have adopted a more niche aesthetic. Moreover, mimetic of these production company logos, the ‘Spirit Sounds’ logo was illustrated monochromatically, as opposed to garishly, in order to retain a sense of professionalism despite the facetious nature of the design. After researching different production companies, regardless of the content of the logo or any stylistic choices contributing to its design, an element which is consistent through the majority of logos, including...

Through watching multiple music videos of different subgenres connected to pop music, I found elements which I would like to introduce into my future music video project. The music video for The Subways’ ‘We Don’t Need Money To Have A Good Time’, with a similar indie-style to that of my chosen song, I noticed that the fast-paced editing was a feature which I would like to implement. It’s suitable for my future music video as according ‘tunebat.com’, both of these songs have similar beats-per-minute and energy levels. [Frame-Analysis] Moreover, the vivacious colouring is something I would like to emulate within my own music video’s colour palette in order to appeal to a ‘fun-loving audience’. I selected this music video to draw from as, due to the niche subgenre, it had a low budget, which given my own personal limited financial resources, means that I can draw inspiration from the visuals in this music video.

[ Statement of Intent Plan:  Structure of Statement of Intent - Applicant Name: Lucy O’Donnell Design Activity: OCR A Level Media Studies Component 3: Coursework Project Title: ‘Let’s Dance To Joy Division’ Music Video Overview of the project; defining the question which frames your research interests; defining the aims and outcomes of your proposed research; describing how your research relates to a specific aspect of contemporary creative practice. Description of intended work; detailing what you want to make; describing the significant qualities of the material outcome you will produce; describing how the outcomes relate to your previous work. The research; defining the key idea or proposition that you will focus your research on; describing how you will use research (the interpretation and evaluation of information and ideas) to inform the development of the work; listing the key reference and other important sources (which were used to locate the res...

Within music videos are codes and conventions which connect the visuals on screen to the genre. After analysis of various music videos belonging to the pop genre as well as the indie-pop genre, I was able to conclude necessary elements to involve when planning my own. COSTUME: The majority of the time within indie-pop, costume is often not a large part of the music video; in place of this, characters or artists are presented naturalistically in clothing which is more casual and relaxed opposed to the vivaciousness and tight fit of conventional pop. PROPS: Though the use of props depends on the music video’s narrative, there are some which are frequently used within indie-pop; vintage or retro furniture and objects (especially TVs and cameras) are clashing recurrent images with the typically modern surroundings. This acts as a sense of intertextuality in creating a nostalgia, as well as adding to the sense of quirkiness which is valued within this sub-genre. LOCATION: Sc...

The Perfect Indie-Pop Audience Member Age Group: According to research, t his sub-genre of music is typically targeted at people between the ages of 16-24; the fact that the culture of indie pop is considered alternative gives reason for why this sub-genre appeals to this young demographic, as the target audience identify with the music in order to rebel against the archetypal expectations and conventions imposed by society. Gender: There is no drive within this style of music to attract one specific gender due to its stylistic origins from both indie rock and 1960s girl-group pop, meaning that its audience is a mix of both male and female individuals. Social Demographic: Given the age range, typical audience members will likely be studying in Higher Education or University, with preference for art and media-based subjects given their creatively-inclined nature. Psychographic Profiling: Though their stereotypically unconventional appearance of artificially coloured h...

14 th Floor Recrds Warner Music UK 28A Kensington Church Street London, Greater London United Kingdom W8 4EP Dear Sir/Madam, I am writing to request permission for the use of the material cited below which I intend to use for my A-Level Media Studies Non-Assessment Exam music video. The material will be used for non-profit educational purposes in which I would by grateful to receive permission to use without fee. Please could you sign below to consent to the use of the song ‘Let’s Dance To Joy Division’ by The Wombats for my music video and authorise that the song can be used for this production. You can contact me with your response at  13ODonnellL@wealdgs.org  to arrange relevant agreements. Thank you for your consideration, Lucy O’Donnell Confirmation signature: _______________________ Unfortunately, throughout the period in which I made the music video, I did not receive a response. However, given that I was using this materia...

'Let's Dance To Joy Division' - The Wombats - 3:01 Minutes Released on the 8 th of October 2007 and featured on The Wombats’ album ‘A Guide to Love, Loss & Desperation’, ‘Let’s Dance To Joy Division’ still has prevalence today; a factor which helped decide on this song was the Metro article ‘Why are we still obsessed with The Wombats’ ‘Let’s Dance To Joy Division?’, published in January 2019. ( https://metro.co.uk/2019/01/23/still-obsessed-wombats-lets-dance-joy-division-8381883/) Not only did it appeal to young audiences contemporary to its original release, but given the prevalence of the band today exemplified by their future tour dates and festival placements, including Reading & Leeds 2019 as well as Glastonbury 2019, this song is suitable for the brief’s 16-24 year old target audience given that this demographic is similar to the crowd that you can find at similar events. The Liverpudlian band identify as Indie Pop or New-Wave-Pop with a uniqu...

Within the production of a significant music video, the director devises the movie-in-miniature’s structural and stylistic visuals in collaboration with the artist. For successful auteur music video directors including the following individuals, their forward thinking visual fringes ensured their success today: (1) Spike Jonze Although best credited for his original features such as ‘Her’ or ‘Adaptation’, Spike Jonze has helmed a number of music video projects with a range of artists including The Chemical Brothers, Arcade Fire and björk. From analysing various pieces of his work, it is apparent that, unlike other directors, Jonze’s productions are flexible and inconsistent with shot types, colouring, lighting and visual aesthetic in order to adapt with the values of the artists and their songs. From the minimalism of Kanye West’s ‘Only One’ with its limited mise-en-scene and muted colouring to the vivaciousness of björk’s ‘it’s oh so quiet’, it is clear that his musical...

Given that pop music has become a culmination of differing sounds and styles as a result of the influence of different movements, pop artists are similarly a broad spectrum of sub-genres. For global record company 'SONY Music', this still applies. To analyse and identify the diverse blend and bridge SONY has made between genres and sub-genres I have produced a visual web of the stylistic affiliations a collection of SONY's signed acts offer: Despite the fact that each of these artists have a shared connection with pop music as their main musical denominator, this diagram illustrates that many of these artists can also be defined by more-niche styles, thus showing that pop-acts, including those signed to SONY, are not 'shallow' or 'trivial', in contrast with the opinion of high-arts audiences.

Unlike other genres, pop music is difficult to define, as it is a culmination of elements and influences from various music styles.  Originally a term which simply described whatever music was popular at the time, pop music has gradually become its own entity. It was created to attract as wide of an audience as possible, leading to the interpretation by high-arts individuals that it is ‘shallow’ or ‘trivial’. However, songs belonging to this genre are carefully crafted to appeal to large audiences. The first of three revolutions, the 1964 British Invasion was led by the Beatles into what became one of the leading forms of popular music in the modern world. By the early 1960s, the UK had developed a viable national music industry and created considerable impact on the development of the wider genre and on popular music in general. Pop music continued to expand and develop new fusions between genres in the 2000s; whilst having lower international music presence in countries such a...

SONY Music Entertainment SONY Music Entertainment is an American global music conglomerate founded in 1929, which is home to some of the most commercially successful artists including Beyoncé, Michael Jackson, Johnny Cash and AC/DC. The company is the second largest of the ‘Big Three’ record companies; it lies behind ‘Universal Music Group’ and ahead of ‘Warner Music Group. It has a music publishing division of the company, ‘Sony/ATV’, which is the largest in the world. Moreover, SONY Music Entertainment co-owns the British Entertainment Company ‘SYCO Entertainment’, meaning that SONY operates some of the most successful reality television programs, such as ‘The X Factor’ and ‘_ Got Talent’. The Structure of SONY The History of SONY Music Entertainment