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As perfectly demonstrated by the album advertisements for Rihanna's 'Loud', adverts have a conventional order for the placement of text.

The music artist's name will be the largest piece of text and will be at the top of the advertisement as it should be the first thing the audience sees. This will then be followed by the album name and then the release date - going down in size each time and progressing towards the bottom of the advertisement. Album adverts may also include information about a single or two which is featured on the album - this will only happen if the singles have been released prior to the album and are very well-known. For instance, Rihanna's advert mentions 'Only Girl' and 'What's My Name?', both of which are chart singles. As well as this, one of them also features Drake and therefore provides promotion for him acts as an effect piece of synergy.

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Using these advertisements as inspiration when producing my own meant that the final advert for my music artist, uses the conventions of album adverts very well.

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As well as having visual synergy between different products, it is important that there is visual synergy within a single product. For example, album advertisements will conventionally use the same font/s throughout and photos which also have a very clear visual link.

I have followed these conventions by using the font 'Cinzel' for every piece of text on my advert and using a photo for the background which has obviously similarities to the one used on the album cover itself.

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In music videos it is conventional for the camerawork to involve lots of movement; there are usually few, if any, static shots. The movement makes the video instantly more engaging to watch and often links the visual of the music video well with the song it is for.

'Anywhere' by Rita Ora is a very good example of a music video which uses a lot of movement, and as Rita Ora works within a similar genre to our music artist, we took inspiration from some of the shot-types used in her music videos.

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After reviewing the footage we filmed in the first few filming sessions we did, we realised we didn't have enough movement in our shots as we had relied on the use of the tripod too much. After this realisation, we made sure any filming we did from this point on was done with movement in mind. We integrated movement into the shots in two ways: using the camera handheld and moving around the music artist with it (e.g. slowly tracking round her or gradually getting closer/further away), and getting Jada-Kai (who was playing Melia) to move around more within the shots - as the more we filmed, the comfortable she became with this.

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When planning the costumes for our music video, we looked at other female RnB artists and what type of clothing they would often wear. We found that high-end, glamorous fashion was often the style represented in their music videos.

This shot from 'Formation' by Beyoncé perfectly demonstrates her glamorous fashion sense. Items such a fur coats, are something we wanted to use in our costumes for the music video.

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Although we did take inspiration from Beyoncé and similar female RnB artists when deciding what costumes we wanted our music artist to wear, we used a combination of glamorous and casual items. This would make it easier for our audience to identify with our music artist as her fashion style would not unobtainable to her audience - this is especially important when introducing a new music artist to their target audience.

To achieve this balance between glamorous and identifiable with her audience, we decided to use jackets and shoes to represent the high-end fashion style while keeping the rest of her outfit simple with black jeans and shirts, as shown in Pitch Task 9.

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When thinking of ideas for locations we could film in, London Southbank was the first we thought of and it then stuck. We decided it would be a good location as it wouldn't be particularly busy at the time of day we wanted to film (late afternoon/evening) and it has a very particularly atmospheric value that we wanted our music video to have.

In this clip from 'Christmas Lights' by Coldplay, you can clearly see the inspiration we took from the use of this location as we produced a very similar shot for the end of our music video.

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Like in Coldplay's video, we pan across Blackfriars bridge to show the lights of London at night.

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One conventional feature used in many music videos, is a title screen at the beginning of the video. This will often feature both the song title as well as the music artist's name and will be one of the first things shown on screen.

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Different music videos will do this in different stylistic manners - for instance, '24K Magic' by Bruno Mars and 'Wild Thoughts' by DJ Khaled (featuring Rihanna & Bryson Tiller) have the text placed over the moving image.

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Whereas, 'Work' by Rihanna (featuring Drake) integrates the concept of a title screen into the video by having a shot of a flyer which has the song title and music artists printed on it.

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Our music video makes use of this convention by putting the title of the song at the beginning of the video. However, rather than overlaying the text onto the moving image, the moving image has been put inside of the text. Developing the convention in this way, makes the beginning of the video more interesting whilst still maintaining the standard editing techniques used in the industry. Using this style of title screen also gives the music artist her own stylistic fingerprint as the audience will associate this type of title screen with Melia's brand image.

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Twice, in our music video, we used creative cutting (1:42 & 2:35). This develops the forms and conventions of music videos as cutting to the beat is extremely conventional yet not many music videos flicker the same shot - whereas we have repeated a short section of a shot just as the lyrics do the same.

We have also used slow-motion throughout our video (predominantly in the outro) as this effect appears quite commonly in music videos. Not only does it make the video more interesting to watch but it also seems to make the audience view the music artist in a more idealised manner if they have been shown in a slow motion shot.

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Media theorist, Andrew Goodwin identified three different types of music video structures; illustration, amplification and disjuncture.

Our music video uses the style of amplification, meaning it introduces new layers of meaning than may have been understood from just reading the lyrics but does not contradict the lyrics. The music video amplifies the lyrics by showing the music artist alone - emphasizing the message of her career being about her, shown primarily in the line "one day they gon' love me."

An example of a real media text which uses amplification is 'Love The Way You Lie' by Eminem (featuring Rihanna).  The video shows a toxic, abusive relationship between two people which creates a juxtaposition between the narrative and the title of the song.

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However, unlike 'Love The Way You Lie' our video is a performance and does not follow a narrative structure; therefore, making it a more unconventional version of an amplified music video. Our music video primarily has shots of the music artists performing the song.

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Feminist theorist, Laura Mulvey examined the way in which females are typically represented in music videos and proposed the theory of the male gaze. This is when audiences are forced to look at women and the events that happen to them through the eyes of a heterosexual male which often results in an oversexualised style which depicts dominant males and submissive.

This is particularly prominent in genres of music such as RnB and Hip-Hop whose music  videos often feature oversexualised, objectified women who play no relevance to the lyrics of the song.

The example below is from 'Ups N Downs' by Snoop Dogg.

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Although our music video does represent our music artist as a relatively glamorous women who clearly cares about her appearance, Melia is not sexualised in any way - therefore, making the music video unconventional in the way it represents women. The music artist is also the only person seen in the video which eliminates the possibility of having dominant and submissive characters. The lyrics also seem to represent the music artist as quite a dominant personality as she sings about taking control of her career.

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It could, however, be argued that the chorus of the music video represents the music artist in a sexualised manner by including many shots which only show her lips. Mulvey refers to this as dismemberment of the female body - where shots of specific body parts are used in order to separate a woman's personality and humanity from her body.

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By varying the location in which the music artist is seen throughout the video, a visual structure has been created. Not only is each section of the song filmed in a different location, but as the video continues, the  time of day changes - the video shows a progression of time from day (intro and verse 1) to night (outro).

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Intro & verse 1 - Southbank, daytime

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Chorus - Home studio

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Verse 2 - Barbican Centre, evening

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Outro - Carousel, night-time

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There are two main ways of using costume in a music video.
- One is changing the costume for each section (e.g. verses and chorus)
- The other is changing costume several times in each section throughout the video. Often, the chorus will still have a different set of outfits to maintain a visual structure.

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An example of a real life media text which uses the first structural editing technique is 'Stay With Me' by Sam Smith. As soon as the song transitions from the first verse and into the chorus, a new costume is introduced. This gives a clear indication to the audience that this is a new section of the song.

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However an example of a real media text which uses the second, slightly more unconventional, structural editing technique is 'Thrift Shop' by Macklemore & Ryan Lewis (featuring Wanz). This video has a large and fast succession of costume changes throughout the entirety of the video.

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One way in which my music video follows the convention of having a visual structure, is the use of various costumes. Each verse, as well as the chorus, shows the music artist wearing a different costume. This provides visual structure for the audience and means each section of the song is easily identifiable by what the music artist is wearing.

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Verse 1 (00:17)

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Chorus (00:56 & 01:50)

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Verse 2 (01:13)