CONSTRUCTION: Location Recce

 

We decided to use Silvermere golf course as our final location for the Mad Hatters Scene

 

The mise-en-scene works well for our Alice In Wonderland scene due to the woodland foreground and mystical features eg. clock hammered into the tree. Roland Barthes distinguish the difference between connotation and denotation he quotes 'denotation is not the first meaning, but pretends to be so; under this illusion, it is ultimately no more than the last of the connotations (the one which seems both to establish and close the reading), the superior myth by which the text pretends to return to the nature of language, to language as nature' (Barthes 1974, 9). In our scene we decided to use the woodlands because it connotes madness. In Midsummer nights dream the characters are referred to being  'we are mad within this wood'. in our scene, to a certain extent, we are trying to recreate this atmosphere of madness which contrasts the reality and normality of the 'real world'. the mis-en-scene helps portray this madness through the woodland trees, the small carved wooden statues, and the hammered clock on the tree

 

 

 

CONSTRUCTION:TABLE SCENE (SCENE 1)

Today we started filming the first scene of our music video of the couple sitting opposite each other at a dining room table.
Our main objectives:

• candle-lit romantic lighting that delivered atmosphere but also clarity
• convincing lip synching using ECU
• sharp focus

Our outcomes:

• good atmosphere in candlelit scene 
• concerns about sharpness of focus
• successful lip-synching

One of the outcomes of feedback was not to use the lip-synching shots of the male singer. The candlelight worked well to create a magical atmosphere.

CONSTRUCTION: Burning ash scene

PLANNING: Filming at school

 Yeah, you, you wreck me cuts to reality, close up of girls tears, boys hands clenched (filming against a white background using studio lighting)I put you high up in the sky-(performance shot) close up (filming against a white background using studio lighting)
And now, you're not coming down
It slowly turned, you let me burn-girl standing behind fire, mean't to look like she is burning and metaphorically inside

I never hit so hard in love-cuts to powder paint being thrown, slow motion, drum kit being hit, white room (song xperia advert) (studio lighting, white sheet, extreme close up)
All I wanted was to break your walls
All you ever did was wreck me
I came in like a wrecking ball-powder paint

PLANNING: MISE EN SCENE

VIEW PAGE HERE!

I used Pinterest to collect images of our location, props, and costumes

Here is my Pinterest 

 

PLANNING: STORYBOARD

WATCH HERE!

PLANNING: Script for my video presentation

I access online news articles such as The Time Newspaper. I also follow on Twitter, The Times rock and pop critic Will Hodgkinson. 

 



 

 

PLANNING: AMATEUR V PROFESSIONAL

In Avril Lavigne's music video, Alice,  it portrays Avril as transitioning between a reality and dream world. The dream world portrays Avril wearing a long gothic dress, whereas the reality shows her wearing everyday, normal clothing.
We, too, are planning on having our artist transition between a reality and  fantasy-dream like world. However, in our video, the reality world represents the artists true feelings and emotions about her break -up, whereas the fantasy world represents a happy, ideal state of mind

In Rihanna's music video, Stay, there are many extreme close ups of her singing, as the camera lingers on not just her lips, but on other features, including her eyes. In our music video, we plan to film many extreme close-up shots of our artists lips as she sings, and of her eyes. These extreme close-ups include tears falling from our artists eyes and are being used to convey a sense of emotion that the viewer can also share.

We are Never Ever Getting Back Together by Taylor Swift includes shots of the couple fighting. Our music video is also about a break up, and we have decided to also include a few seconds shot of our couple fighting. Unlike Taylor swifts music video which is quite playful, we have decided to take a more serious approach to the filmed shots.

Cher Llyods music video With Your Love also contains images and shots which follow a fairy-tale like story. In this shot, Cher Llyod is bottling up a 'love potion' which she then puts in her 'magic' pot later to cast a spell. In our music video, we are also taking a fairy-tale like approach, and  using this idea of a 'love potion' to represent the captivating and uncontrollable love our artist has for her 'man'. We are going to have a close up of the man handing the girl the love potion.

Gabrielle Aplin makes use of good lighting in her music video, The Power of Love. She uses fairy-lights to create a very serene and peaceful environment as she sings about love. We have decided to use similar lighting for when our artists enters this 'dream like' world. In one of our shots, we also plan to use fairy-lights to create a happy, romantic and peaceful setting showing a time when the couple were still together. In other shots, we might just use sunlight to create a mesmorising and dream like world which our artist occasionally enters into.

The music video Don't Come around here no more, by Tom Petty,  follows the storyline of Alice and Wonderland by including shots of Alice meeting the caterpillar and shots of her at the mad hatters tea party. We also plan to follow the story line of Alice and Wonderland to represent our fairytale/dream world. Our artist will also be dressed in an Alice and Wonderland costume and will  'attend' a mad hatters tea party, however this tea party isn't used as anything but to represent this fairy-tale world and follow the story line of Alice.

 

PLANNING: CALL SHEETS 3

PLANNING:CALL SHEETS 2

PLANNING: CALL SHEETS