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Strauss believed that throughout a film the themes are more important than the order in which things happen. This theory can also be used in music videos. He believed in binary opposites which state that everything has an opposite equal. For example Man VS Woman, Good VS Evil, Dark VS Light. I decided to play on these binary opposites by contrasting what the audience feels, with how the protagonist feels. The audience views most of the music video through the eyes of the protagonist. This puts them in their shoes, so when the protagonist is first seen waking up, the audience has to empathise with them but then when we show the turning point in the film the viewer also empathises. This supports the hypodermic needle model as I change the mood of the audience without them knowing. Also, as the video is in first person, this can also be viewed through a VR headset, creating even more of an impact on the audience.

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Although all music videos are different, some of the same genres (or sub-genres) have the same icons. For example, many pop songs are set in bright, sunny locations to make the audience feel joy when watching the video. For example, 'Best Day of My Life' which plays at the beginning of my video is set in summer, using the bright lighting to enhance the viewers positive emotions. This may also mean that when listening to the song, these happy feelings are triggered. I followed this convention by choosing to film my music video in Disneyland (and some additional footage from Tenerife). I also used a lot of different mise-en-scene which gives the connotations of going on holiday. I had a scene where my character is packing his suitcase which is an icon with connotations of holidays. Everything from the 'escape' advert at the beginning to the long shot of the castle at the end shows that the protagonist is happy. I also used pathetic fallacy to show this by using colour correction to make my scenes look bright and carefree.

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Music videos don't have to stick to any codes and conventions.  Music videos don't have to have the same expectations of realism for continuity compared to other forms of media such as films, or TV. This allows more freedom and creativity. They don't need to have a narrative so they can literally do whatever they want. When creating a music video, you don't need to worry about continuity or whether it could actually happen. Even if you make a narrative music video, you don't have to make sure that continuity is always the same. Someone can go from London to LA within a shot with no explanation. However, some music genres do try and follow some codes and conventions, so that the audience can recognise the genre, or artist. For example, the mise-en-scene in a pop video is usually bright and vivid, whereas grime music videos are often darker. My music video follows the rock/pop sub-genre, which typically includes a narrative, performed by the artist/band. In my music video I follow these conventions by making my music video a narrative.

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In what ways does your media product use, develop or challenge forms and conventions of real media products?

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In what ways does your media product use, develop or challenge forms and conventions of real media products?

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These two points have been linked together as they often impact one another. very often the quicker the pacing of the song, the shorter the shots, and the quicker the editing is. In my music video there is a collection of shots which keep getting quicker, resulting in them only being on the screen for a frame towards the end. This is because the pace of the music starts to speed up. Editing is very important as the music must fit in with the editing if that is the intended purpose. People can often tell if a shot is out of time, and this can make the difference between a professionally made and a poorly made music video.

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My music video starts with three short establishing shots showing the awful, windy weather. This pathetic fallacy represents the protagonist's feelings as he is tired of his life and wants to escape reality. This is then follows by a close up of him sat on his bed on Instagram on his phone. This shows, as John Fiske (1987) wrote, 'genre reflects the zeitgeist' as often people use social media to escape what they are doing. As he continues to scroll we can see on his screen the memes which appear. These are used as an icon to show the characters age and allow the target audience of teenagers to realise that this is a stereotypical teenager. We then see an 'Escape' advert come up, and when it is clicked on the teen disappears. After this we see that the teen has been transported somewhere with a close up of the phone dropping onto the bed, and the long take of the phone.

After a couple of blurry POV shots the song starts to play. From now on the rest of the video is shown from the teen's POV. Also, an enigma code is shown in the top left of the screen. The battery symbol is one of the few hidden codes which are put in the video to show that this isn't his experience. Barthes identified this as an 'enigma code'. The song starts in black and white until he turns on the light. I tried to use this to show that at first, he doesn't understand what's going on, until he turns on the light and realises that he's back in his room. I wanted to make it look as though nothing has changed. I use the 'everyday' shots of him making a cup of tea and making his cereal to show that he is oblivious to what has happened. This is until he gets a mysterious package which contains money when he opens it. He then uses this money to go on holiday, as we see in the next scene of him looking at where to go. I decided to shoot this scene in a different room to try and intrigue the audience. As we can see there are many icons in the background representing a girls room, and we haven't seen any other characters yet. We then go to the overhead POV shot which shows the character packing his suitcase. From this shot we get to understand more of the character. Everything is laid out neat, everything has to be perfect as he places it in his suitcase. He hasn't learnt how to let loose and relax yet.

As we change from the chorus to the second verse, we see the shot of the plane flying above the clouds. This is one of the main shifts in the music video, as this is when the protagonist decides to leave his home and his bad life to go somewhere better. The next shot is of them on a train going to their chosen destination. We are still unaware of this, although we've been given small hints throughout such as the Disneyland website shown earlier, and if you look carefully the coin he picks up towards the beginning is also from Disneyland. This shot is also the first time we see the girl he's with. However, we only see the side of her face. This is because I wanted the audience to be able to relate to the main character, and by hiding their faces, the audience can give them their own, making the video more personal. This is also why in the next shot of them walking down the hotel room, we only see the girl from behind. We then see a match-on-action shot of the character opening the door for the first time, to walking into the room. This non-continuity editing is used which changes the time in the shot by a couple of days. This is because I wanted to show how messy his room is, unlike his suitcase earlier on. Since he has gone away he has learnt to forget about everything and do as he feels. We then see a long shot of outside his hotel room, as he looks around, appreciating his view.

I wanted to give the audience a couple of final, obvious clues before revealing where we were, so I showed a long shot of inside the DIsney Studio and a shot of inside Tower of Terror. After this I revealed the location by showing the protagonist and his girlfriend walking towards the entrance at both day and night. These jump cuts were used to create a link between the lyrics and the visuals, as we hear the words 'right here right now' in the background while he is with her all the time. After this we have a gradual fade to black. As the tempo and volume of the music also fades. This is where we have the fast cuts. This creates a temporal relationship between the music and the visuals on screen between the use of fast jump cuts. The quicker the pacing of the music, the quicker the jumps are and the shorter the shots. Until each shot is only one frame long, and we get the build up until we see the fireworks explode. We then get to the shots of the rides I used fast blurs to create the transitions between them. These shots work really well when the video is watched on a VR headset, as you feel like you're actually there. After these action shots of the rides, we see a couple of shots with characters in, as they are an icon of dianeyland. And then I finish the video with a walk towards the castle and a fade out. This is where the video should end, but to add one final twist I shows the character taking of his VR headset, as none of this has been real. This is why the battery has been going down throughout the video.