Research: Comparison - "Laura Marling - Rambling Man" & "Ron Pope - Atlanta" - Representation of Gender

I am going to compare the representation of gender within both of these videos, looking at the difference in the way gender is represented depending on the gender of the artist.

Laura Beatrice Marling (born 1 February 1990) is an English folk musician from Eversley, Hampshire. She became prominent with the London folk scene, she has also toured with a number of well-known indie artists in the UK. Her debut album "Alas, I Cannot Swim", and her second album "I Speak Because I Can" were nominated for the Mercury Music Prize in 2008, and 2010 respectively. She also won Best Female Solo Artist at the 2011 Brit Awards and was nominated for the same award at the 2012 Brit Awards.
The music video of hers that I am analysing is for the song "Rambling Man", released in 2010 on the album "I Speak Because I Can". This song was nominated for best original song in the BBC Radio 2 Folk Awards. (Source: Wikipedia)

Ron Pope (born July 23, 1983) is an American pop and rock singer-songwriter. He was raised in Marietta, Georgia, United States, and is currently based in New York City. In 2005, Ron Pope, along with Zach Berkman, wrote the internet hit, "A Drop In The Ocean." From the success of that song, Pope went on to pursue a career as a solo artist. His music is now successful in both America and internationally. Pope released a new album ("Atlanta") on April 17, 2012.
"Atlanta" is the debut single for Ron Pope's new album of the same name. (Source: Wikipedia, YouTube)

In Laura Marling's video, the artists character is shown as a serious artist through the still close up and androgynous clothing. The still close up shot of the artists face makes a direct intertextual reference to Sinéad O'Connor's video for "Nothing Compares 2U", enhancing that the artist should be taken seriously as Sinéad O'Connor was well known for not wearing provocative clothing in order to gain fame.

The way that Laura Marling's costume conceals her neck makes this reference even more clear, as this mirrors the clothing that Sinéad O'Connor wears in her video. This representation of the female role is a convention of the folk genre, as the genre is more about the musical ability and the story behind the lyrics, rather than the appearance of the artist. This is a direct contrast to female mainstream pop artists such as Beyonce who dress in little clothing and dance provocatively. Also, both female artists look straight into the camera, giving an impression of confidence and power.

The male character within this video is introduced as sinister, through the use of dim lighting and shadow. The characters facial expressions throughout the whole video are emotionless, suggesting that the character is detached from his emotions. This clear representation of an emotionless male character is linked to radical feminist viewpoints of male oppression, for example Mary Daly's views on society: "The fact is that we live in a profoundly anti-female society, a misogynistic "civilization" in which men collectively victimize women, attacking us as personifications of their own paranoid fears, as The Enemy. Within this society it is men who rape, who sap women's energy, who deny women economic and political power."

This male character is never shot in the frame with other characters or people. This gives an impression of loneliness, whilst also increasing his sinister qualities as it poses the question of why he is so alienated. The shot of the flock of birds enhances the fact that he is alone, and also their movements mirror the movements of the waves.

Within Ron Pope's video for "Atlanta", the female character is washing her face at a sink, as was the male character in Laura Marling's video. However, due to the drastic difference in lighting and mise-en-scene, the woman is seen to be vulnerable and emotional. This is due to the warmer lighting and the close up shot of her face looking down. This is a stark contrast to the representation of the female artist in Laura Marling's video, as she was seen to be powerful and in control of her emotions.

Although, similarly to Laura Marling's video, the male character/artist is always shot alone in the frame, the way extreme close up shots have been used displays the emotion on his face, whereas with Laura Marling's male character, he seemed emotionless. This makes the audience empathise with the male character, as it is obvious through his facial expression and the lyrics of the song that he is hurt.

What would Michele Maffesoli say about music festivals?

Today, social existence is conducted through fragmented tribal groupings, organised around the catchwords, brand-names and sound-bites of consumer culture. Music festivals are a clear example of this, showing that we live in a "time of tribes" The proliferation of 'lifestyle cultures' has meant that mass culture has disintegrated. This is shown by the increase in popularity of more genre specific music festivals. This fits in with the rise of 'identity politics', as it allows consumers to discover and express their personal identity through their choice of festival.

Research: "Ben Howard - The Wolves" Analysis

Benjamin John Howard (born 24 April 1987) is an English singer-songwriter, born in West London. He moved to Totnes, Devon when he was 8 and is currently signed to Island Records. Howard was raised by musical parents who exposed him to several of their favourite records from singer-songwriter artists from the 1960s and 1970s including Joni Mitchell and Bob Dylan, by whom he was strongly influenced.
This is the music video for the song "The Wolves" from his debut studio album "Every Kingdom". The song was released as a single on 3 June 2011 as a digital download in the United Kingdom. It entered the UK Singles Chart at number 97. The song was written by Ben Howard and produced by Chris Bond.

The video sets up the genre with a slightly out of focus, low angle mid shot of the band walking towards the camera. The composition of this shot is particularly interesting, as the sun is behind the subjects, creating a silhouette effect. This creates an enigma, making the band seem anonymous. This is in keeping with the genre, as folk music began as being defined as music where the artist is anonymous. Also, the idea of travel links to folk music as it was old English travelling musicians who picked up folk music. This is shown not only in Ben Howard's video, but also in "The Cave" by Mumford and Sons as the band ride around on vespa bikes.

Throughout the video, there are obstructions within the frame, such as doors and microphone stands. This adds to the idea of the artists anonymity as you cannot clearly see them, enhancing the enigma and the links it creates to the origins of the genre. The lighting in this particular shot is very dark, added to by the sepia tone, which makes reference back to film noir, such as The Third Man.

This reference to film noir is continued with chiascuro lighting behind the artist. As the lighting is behind, this creates the same silhouette effect as was at the beginning of the video, however in this the artists face is visible.

This is an intertextual reference of the iconic shot in The Third Man, where Harry Lime emerges from the shadow of the doorway with only his face visible.

There are several shots showing the artist exploring an old ruin and dancing. This adds a more human, playful aspect to the artist, which is in keeping with the light tone of the song. This relates to the genre as it makes the artist seem relaxed and free, and folk music is often associated with freedom, again linking back to its origins of travelling musicians.
The video also shows the artist and band performing and recording the song. This allows the audience to feel more involved in the creation of the track and feel more connected to the artist and thus the lyrics and meaning behind the song.

Research: "Frank Turner - If Ever I Stray" Analysis

Frank Turner (born 28 December 1981) is an English folk/punk singer-songwriter from Meonstoke, Winchester. Initially the vocalist of post-hardcore band Million Dead, Turner embarked upon a primarily acoustic-based solo career following the band's split in 2005. To date, Turner has released four solo albums, two rarities compilation albums and four EPs. Turner began recording for his new album England Keep My Bones, in January 2011. It was released on 6 June 2011 in the UK, and 7 June 2011 worldwide.
This is the music video for the song "If Ever I Stray", released on 29th August 2011. (Source: Wikipedia)

Media Language
The extreme long shot used towards the beginning of the video suggests that the artist is isolated. This is changed as the song develops to a warmer orange filter, to represent the more optimistic outlook of the lyrics.
Also, as the pace of the song develops, so does the pace of the cuts. they become more frequent and jumpy as the tone of the song changes to a more positive, upbeat rhythm.
The mise-en-scene within this video towards the beginning is very sombre and melancholy, created by the blue filter on the lens. This reflects the feeling behind the lyrics, as the beginning of the song talks of feeling defeated. Another video that uses the technique is Beirut's video for the track "Elephant Gun".

This video also plays on focus, showing the artist both in and out of focus. This connotes isolation and confusion. This is a technique also used in Ben Howard's video for his track "The Wolves".


Location
The vast open seascape not only acts as a cultural signifier for England as it typifies Britain's stereotypical weather conditions, but also references to the photography work of Hiroshi Sugimoto. Sugimoto states "Mystery of mysteries, water and air are right there before us in the sea. Every time I view the sea, I feel a calming sense of security, as if visiting my ancestral home; I embark on a voyage of seeing." This is in keeping with Frank Turner's ethos of patriotism, as it talks of the security of ancestral home.

There is also an old castle in the background behind the artist, showing more English heritage and history.

Costume

The artists costume represents the conventional clothing of old English travelling musicians, linking to the origins of the folk genre and also reinforcing the culture of the artist. The fact that the artist has no shoes is particularly significant because it not only links to the stereotype of travelling musicians but, along with the slightly open shirt, it suggests that he is comfortable in his environment, again emphasising the patriotic theme.

Research: "Leftfield - Afrika Shox" Analysis

Leftfield is a British electronic band formed in 1989 in London, England. From 1989 to 2012, Leftfield was a duo of artists and record producers that consisted of Neil Barnes and Paul Daley (formerly of The Rivals, A Man Called Adam and the Brand New Heavies). In January 2010, Barnes resurrected the band name and having toured the world for a couple of years is now writing new material for a third album. Daley has declined to be involved and is focusing upon his solo career.
This is the music video for the song "Afrika Shox", the first single released from their album Rhythm and Stealth. The song featured vocals by Afrika Bambaataa. It was written by Neil Barnes, Paul Daley, Afrika Bambaataa and Nick Rapaccioli and produced by Leftfield and Nick Rapaccioli. It was released on CD and 12" on 6 September 1999 on the Hard Hands record label, published by Chrysalis Music. The song was their highest charting single, reaching #7 in the UK Singles Chart.(Source: Wikipedia)

Conventions of the dance/electronica genre are displayed instantly via the immediate shot of urban settings. This suggests the genre using cutural signifiers for New York, as dance/electronica was founded in urban America. The grey block-like buildings also connote the "warehouse party scene" of the late 1980s, which popularised the genre. The fact that the buildings shown are the twin towers adds an extra layer to the meaning of the video for a modern audience, due to the terrorist attacks that occurred in 2001.

The flashing lights of the police car reflect the lighting of the rave/clubbing scene in which dance/electronica music is most commonly played in modern day. However, a contrast is created due to the rave scene being based on freedom and the police car suggesting oppression and a chaotic society. Politics are clearly important to this band, as the band's name 'Leftfield' suggests that they are part of the left wing party. This is reflected in the way they represent New York as a dystopia and the themes found within the narrative, suggesting that they believe racism and inequality are still apparent in the USA.

The main character is shown as isolated and broken off from the rest of society, mainly through the camera focus being on the main character and the surroundings and other people being out of focus. This continues the theme of racism and inequality as all the other characters in the video are white. There is a sense within the video that the character is similar to an animal, for example when he is first shown, he emerges from the shadows of an alleyway. This connotes the way in which black people were, and in some cases still are, treated like animals in the USA. The way that the character is stumbling around the city and his facial expressions of confusion give the impression that he is alienated, amplified as his stumbled, jittery movements look inhuman.

The white characters within this video react to the main character in a highly negative manner, looking at him with expressions of disgust and hatred. The white characters clearly see themselves as higher in the ranking of society. For example, a middle aged white man looks up from his newspaper when the main character is calling out for help, however has no expression of empathy or concern, but a look of annoyance.

This theme is entirely turned around at the end of this video. As the main character stumbles into an underground car park, he comes across a group of white males break-dancing. As this form of dance originated within black culture, it creates irony in that the video has constructed a view of white people being racist against the black main character, and yet then shows white people engaging in activities that originate from black culture. This could also suggest that the white people are ignorant, as they hold negative feelings towards the man and yet still incorporate aspects of his culture into their own lives, almost without noticing.

Research: History of Folk Music

Here are some interesting things I found whilst researching the history of folk music:





In the strictest sense, English folk music has existed since the arrival of the English people in Britain after 400 CE. The Venerable Bede's story of the cattleman and later ecclesiastical musician Caedmon indicates that in the early medieval period it was normal at feasts to pass around the harp and sing 'vain and idle songs'. Since this type of music was rarely notated, we have little knowledge of its form or content. Some later tunes, like those used for Morris dance, may have their origins in this period, but it is impossible to be certain of these relationships. We know from a reference in William Langland's Piers Plowman, that ballads about Robin Hood were being sung from at least by the late 14th century and the oldest detailed material we have is Wynkyn de Worde's collection of Robin Hood ballads printed about 1495.
reference: http://en.wikipedia.org/wiki/Folk_music_of_England

Planning: Audience Profile