Sunday, September 24, 2023

Case Study - Oppenheimer

 Oppenheimer - 2023


Year: 2023

Director: Christopher Nolan

Distributor: Universal Pictures

Age rating by BBFC: 15 (strong language, sex) 

A woman is briefly hinted to be drowned in a bathtub by an unidentified assailant. There are frequent verbal references to bombing fatalities and victim injuries.

A man has terrifying visions of the end of the world, which feature burning skin, burned bodies, and disease. A nuclear bomb is cautiously prepared by scientists for testing. 

Strong profanity and other expressions are used.

There are a few brief moments of vigorous sex, including nudity of the breasts and buttocks.

The film has an underlying theme of antisemitism in the background of the 1930s and 1940s. There are passing mentions of the Holocaust. There are sexism allusions.

A woman's suicide is described in a way that casts doubt on that version of the events leading up to her passing. 

Controversies surrounding Oppenheimer

The first sexual scene in the film, starring Florence Pugh as Jean Atlock and Cillian Murphy as J. Robert Oppenheimer, generated some of the biggest Oppenheimer controversy. After meeting at a communist party, the two hit it off and eventually have sex. When Jean takes the Hindu text Bhagavad Gita off the shelf during this scene, it's one of the most unexpected scenes in the whole film. They carry on having intercourse as she has Oppenheimer read aloud from the holy book. This is the point in the film where Oppenheimer's real-life TV recitation of the phrase "Now I am become death, destroyer of worlds" appears.

In relation to the Oppenheimer sex scandals, Florence Pugh's nudity has also generated discussion. This isn't because she appeared in the film in her underwear; rather, it's because some nations used computer-generated imagery to hide up some nude sequences. In the theatrical version of the film, Pugh appears nude in a scene where Jean and Oppenheimer are conversing while seated across from one another in a hotel room. Oppenheimer is classed R elsewhere because, in India and other Middle Eastern countries, Florence Pugh appears in a modified version with a black computer-generated garment throughout certain moments.

The omission of Indigenous Americans' involvement in Los Alamos has resulted in another Oppenheimer controversy, similar to how the film omits the Japanese perspective on the atomic weapon. The film dismisses any worries about how the atomic bomb testing site will affect the native people by claiming that they don't reside close to Los Alamos. This ignores the fact that Native American tribes once owned the land on which the place was constructed. Additionally, it downplays the long- and short-term harm that the Los Alamos site has caused to the local tribes.



Friday, September 22, 2023

Case Study - Mulan (Live Action)


 Mulan (Live Action) - 2020



Year
: 2020

Director: Niki Caro

Distributor: Walt Disney Studios Motion Pictures

Age rating by BBFC: 12 (moderate violence) - violence in battle is frequently seen. The battle scenes are drawn out and fierce, and viewers will see people using swords, bows, and arrows, as well as their hands to attack one another. Following conflicts, dead bodies are seen laying on the ground. In the aftermath of violence, blood and wounds are occasionally visible. 

Mild sexual allusions and references are occasionally used. The main character is the target of gender discrimination, but she questions and rejects these beliefs, making it obvious that the movie as a whole does not support them.

Controversies surrounding Mulan

Disney faced criticism in 2020 over the numerous Mulan-related controversies, one of which focused on the film's use of East Turkestan, a region where the Chinese Communist Party is committing genocide against the Uyghur population as well as other ethnic and religious minorities. 

Liu Yifei, the star of Mulan, made comments in favour of the Hong Kong police that provoked condemnation of the movie and a swift call for boycotts from activists in Thailand and Taiwan, among others, as well as Hong Kong pro-democracy protestors. The current situation can be partially attributed to a post Liu published in 2019 on Weibo, the Chinese version of Twitter. During the height of anti-government protests over a Chinese extradition policy, Liu commented, "I support the Hong Kong police," adding, "You can all attack me now. How unfortunate for Hong Kong. Liu clarified her prior statement in a February interview with the Hollywood Reporter, saying, "I believe it's obviously a very delicate topic, and I'm not an expert. I simply hope that this is fixed quickly."

Even when the movie, whose release was delayed due to the COVID-19 outbreak, debuted on Disney+, the #BoycottMulan hashtag continued to trend on Twitter and other social media sites. Disney+ app downloads have increased by 68% since Mulan's release, but it's unclear how or if the boycott is having an impact.

Sunday, September 17, 2023

About BBFC

What are the roles, responsibilities and powers of the BBFC and who funds them?

BBFC (British Board of Film Classification) aims to help children and families choose well by providing them with the guidance they need to help them choose what's right for them and avoid why's not - quoted from their website. Its responsibilities are to classify films, video tapes and discs, and recently online content. They are the designated body to have legal powers to rate, or occasionally cut or reject media works. 


How do the BBFC regulate films in the UK?

BBFC obtained its right to regulate film in the UK through the licensing legislation. The Video Recordings Act (VRA) in 1984 authorizes them to apply the test of whether content is suitable for watching at home - taking into account the potential under-age viewing (extracted from BBFC website). 

They consider the potential damage to the audience and society (which involves the viewer's behaviour). BBFC pays attention to content depicting drugs, sexual aspects, crimes, and violent behaviours.

They also pay close notice to indecent children images, animal cruelty, obscenity, racial hatred and human rights. The BBFC Compliance Officers analyse and give recommendations on the legality of content. For a specific legal question that requires much more complex analysis, they would reach out to external expert counsel.

Images or elements that are found to be damaging the UK law will be cut out. If the whole product violates the law, then it would be rejected.


Brief history of the BBFC.

BBFC, previously called British Board of Film Censors, was started by the film industry in 1912, when authorities are putting their interests in varying, censorship standards on films. They had the responsibility of classifying films since 1912, and video tapes and discs since 1985. Recently, as we entered the age of the Internet, they also regulate online content. 


What forms of media are regulated by the BBFC and which forms of distribution do they cover?

BBFC is responsible for the national classification and censorship of films that are released commercially in cinemas or DVDs. They also classify video tapes and discs, as well as online content. 


What are the age ratings of the BBFC and what are they allowed to include?

U Universal - Suitable for allAlthough it is impossible to foresee what may distress a child, a U film should be appropriate for audiences aged four and up. It is set in a frame where offers reassuring counterbalances to any violence, threat or horror, which is suitable for pre-school kids. 

  • Dangerous behavior: dangerous or unsocial behaviour which kids may copy.
  • Discrimination: it is doubtful that discriminatory words or conduct will be tolerated unless it is obviously unacceptable.
  • Drugs: references to illicit substances must be infrequent, or serve a clear educational function or convey an anti-drug message appropriate for young children.
  • Language: occasionally using only very mildly offensive language.
  • Nudity: sporadic nudity without any sexual overtones.
  • Sex: only references to very modest sexual behavior, like kissing, are allowed.
  • Threat and horror: any frightening or possibly unpleasant episodes should be modest, brief, and unlikely to cause young children undue concern. 
  • Violence: mild violence could be permissible if the circumstances warrant it (comedic, animated, unrealistic). 

PG Parental Guidance: General viewing, although some scenes might not be appropriate for small children. A child who is eight years old or older shouldn't be alarmed by a PG movie. Any age unaccompanied child may watch, although parents are urged to think about whether the material would offend younger or more sensitive youngsters. 

  • Dangerous behavior: no details on potentially harmful behavior that young kids might copy if it's portrayed as pleasant or safe, or realistic depiction of weapons.
  • Discrimination: discriminatory language or behavior is unlikely to be accepted unless it is obviously unacceptable, in a setting that is instructional or historical, or in a particularly old work that is not likely to appeal to children.
  • Drugs: any allusions to illegal substances or drug abuse must be benign or convey a proper anti-drug message.
  • Language: mild bad language only.
  • Nudity: nudity without a sexual context is acceptable.
  • Sex: sexual behavior may be inferred, but it should be subtle and seldom.
  • Threat and horror: the length or intensity of frightening scenes or circumstances when characters are in peril should be limited.
  • Violence: very mild.

12A/12 Suitable for 12 years and over: The content in movies with a 12A rating and video works with a 12 rating is typically inappropriate for children under 12. Any person under the age of 12 must be accompanied by an adult to watch a 12A movie in a theater. When taking a child under the age of 12 to a 12A movie, adults should think about whether the movie is appropriate for the young audience member. It is advised to look up the film's content advisory beforehand to help them make their decision. A 12 rated video work cannot be rented or purchased by anybody under the age of 12.

  • Dangerous behavior: no encouraging of possibly harmful behavior that kids might imitate. There should be no glamorization of practical or accessible weapons like knives.
  • Discrimination:  the work as a whole must not condone discriminatory speech or actions, unless clearly condemned.
  • Drugs: drug abuse must be rare, and it shouldn't be glorified or accompanied by comprehensive instructions.
  • Language: may be moderate bad language - strong language may be acceptable, depending on how it is used, by whom, how frequently it appears in the work as a whole, and whether there is any particular contextual reason.
  • Nudity: sporadic nudity without any sexual overtones.
  • Sex: sexual activity may be briefly and discreetly portrayed. Moderate sex references are permitted, but frequent crude references are unlikely to be acceptable.
  • Threat and horror: somewhat frightening scenes with physical and psychological peril. Despite the possibility of some distressing situations, the general mood shouldn't be. Horror scenes shouldn't be used frequently or continuously.
  • Violence: mild violence, but it shouldn't go into great detail. Blood or wounds shouldn't be highlighted, but brief instances of gore may be acceptable if the context allows for them.

15 Suitable only for 15 years and overThe age restriction for viewing a film in a theater is 15. A 15 rated video work cannot be rented or purchased by anybody under the age of 15.

  • Dangerous behavior: self-harm, asphyxiation, and other dangerous behaviors shouldn't focus on specifics that could be duplicated. Considering elements like reality, context, and environment will help determine whether depicting weapons that are simple to obtain is appropriate.
  • Discrimination: although there may be racist, homophobic, or other discriminatory themes and language, the work as a whole must not support such speech or conduct.
  • Drugs: drug use may be depicted, but the overall work must not support or encourage drug abuse (for instance, through thorough training). It is unlikely that it will be acceptable for easily available, very dangerous compounds (such solvents or aerosols) to be misused.
  • Language: very harsh language might be acceptable, depending on how it's used, who's using it, how often it appears in the work as a whole, and any other unique contextual justifications.
  • Nudity: in a non-sexual or instructional setting, there are no restrictions on nudity. Although sexual nudity may be allowed, strong detail is probably going to be brief or portrayed in a lighthearted manner.
  • Sex: while sexual action may be depicted, it is typically done without much detail. Strong verbal references to sexual behavior may occur. Strong references that are made repeatedly, especially ones that include pornographic language, are unlikely to be accepted.
  • Threat and horror: there may be strong threat and horror.
  • Violence: violence may be intense, but it shouldn't focus on causing harm or suffering. Even the most graphic images are unlikely to be tolerated. 

18 Suitable for only adults: A movie rated 18 cannot be seen in a theater by anybody under 18. A video with an 18+ rating cannot be rented or purchased by anyone under 18. Adults ought to have the autonomy to select their own entertainment. But there are exceptions:

  • If the content has been made via the commission of a crime or violates the law.
  • Where a sex work has more graphic depictions of sexual action. Arousal or stimulation of sex is the main goal of sex works. Sex works that are exclusively made up of simulated content are typically considered to be passed 18. R18 will only be used for sexual works with overtly explicit animated pictures, strong fetish content, and other overtly sexual imagery. 

What forms of legislation are relevant to BBFC regulation?

The Video Recordings Act (VRA) 1984 permits BBFC to apply the test of whether content is suitable for watching at home - taking into consideration the possibility of underage viewing - which is what gives the BBFC the authority to regulate film in the UK.

Wednesday, September 13, 2023

Music Video Research - Contemporary

Music Video Research

Delicate - Taylor Swift

Artist:
Taylor Swift began professional songwriting at age 14 and signed with Big Machine Records in 2005 to become a country singer. Swift is the most streamed female artist on Spotify, one of the best-selling musicians with over 200 million records sold worldwide, and the only artist to have five albums with over a million copies sold in the US during their first week of release. Lists such the Time 100, Forbes Celebrity 100, Billboard's Greatest of All Time Artists, and Rolling Stone's 100 Greatest Songwriters of All Time have all included her. 

Song:
The song "Delicate" is from her sixth studio album, Reputation (2017). Together with producers Shellback and Max Martin, Swift composed the song. Inspired by events in Swift's personal and public life, the lyrics show the fragility of the narrator as she wonders if her reputation will have an impact on the budding romance. The song "Delicate" is a synth-pop and electro-pop ballad with vocoder-manipulated vocals.
The song's music video had its world premiere on March 11, 2018, at the iHeartRadio Music Awards. It was directed by Joseph Kahn and shot in Los Angeles.

Things I like:
Things I specifically like about this music video is the way Taylor raised voice about true happiness when one doesn't care about what others think, illustrated through herself dancing carelessly in front of the public regardless of her reputation of a celebrity.

Camera work:
- Zoom out at the beginning: to show the expressions of the main character before the setting of the situation around her, emphasizes how she feels about the situation.
- Panning: showing the expressions of people through the point of view of the main character as she passes the journalists and interviewers, emphasizing how popular and famous she is.
- Tracking shots: to follow the movements of the main character as she dances carefreely through the crowds.
- Wide shots: to show the setting that the main character is in, which indicates once again how she doesn't care to dance and do what she wants in such a "luxurious" and crowded place. Wide shots also help with performances as Taylor did many dancings throughout the music video.
- Mid shots: showing Taylor's interactions with other people when she tries to figure out if they can see her or not.

Mise-en-scène:
- Flash lights: depicts camera flashes of paparazzis and journalists, emphasizing the world of celebrities and famous figures.
- Costumes: everyone is wearing very chic and high-end fashion (suits, dresses), showing that they're all high class or work in a very professional luxurious condition.
- Yellow lighting: usually used in restaurants and very high-end places.
- Vintage and old-money background: depicts the world of rich and famous people, those that value image and reputation.


It's My Life - Bon Jovi

Artist: 
Bon Jovi is an American rock band formed in 1983 in Sayreville, New Jersey. The band currently consists of singer Jon Bon Jovi, keyboardist David Bryan, drummer Tico Torres, guitarist Phil X, and bassist Hugh McDonald. Original bassist Alec John Such left the band in 1994, and longtime guitarist and co-songwriter Richie Sambora left in 2013. The band has been credited with "bridging the gap between heavy metal, rock and pop with style and ease".

Song:

Things I like:
TECHNICAL ASPECTS
- Camera: 
- Mise-en-scène:

Nonsense - Sabrina Carpenter


Complicated - Avril Lavigne


OMG - NewJeans


Gangnam Style - PSY


Hit Me Up - Binz



Music Video Analysis: She Ain't You - Chris Brown

 She Ain't You - Chris brown (Colin Tilley, 2011)


CONCEPT, PERFORMANCE, AND NARRATIVE

The music video is majorly consists of dancing performances of Chris Brown and the dancing crew, in front of very eye-catching neon-lit background. Chris is seen to be wearing suits that pay tributes to the late Michael Jackson from some of his famous dancing pieces (Smooth Criminals). 

CAMERA WORK

There might be instances of multiple exposures or split screens, where different scenes or perspectives are shown simultaneously. This technique adds a layer of visual complexity and can convey multiple narratives or emotions at once. The video likely incorporates shots focusing on dance routines, showcasing the performers' choreography. These shots may involve wide angles to capture the entire dance sequence or close-ups to highlight specific movements.

MISE-EN-SCÈNE

Chris Brown is seen wearing suits (intertextuality to Michael Jackson), which satisfies the codes and conventions of R&Bs - characters wearing fashionable and inviting clothing. The background is a wall of neon lights, which indicates the modernize and luxurious setting. Hard-key lighting was used to reflect clearly the clothing and to further emphasize the performance.

CODES AND CONVENTIONS

The music video consists of dancing performances with neon light in the background, which indicates the vibrant and glamorous of R&B songs. Chris Brown is also seen to be wearing very conventionally stylish suit, which is an attracting pulling factor towards the selectivity of certain audiences of this music genre. A couple of footage showing a female wearing very revealing clothing also satisfies the sexual iconography of R&Bs. There is also a female singer singing along side Chris, allowing him to come across as "charming", attracting potential viewers. 

INTERTEXTUALITY: TRIBUTES TO MICHAEL JACKSON

Brown pays tribute to Michael Jackson throughout the music video, and according to Lewis Corner of Digital Spy, "Brown has also choreographed a selection of iconic Jackson-inspired moves for the song's dance routine." "Dedicated to my biggest inspiration of all time... I Love You," the video's opening line reads. Brown then makes an appearance wearing a white suit a la the 1980s and a black fedora as he performs a choreography with male and female dancers in front of a neon-light wall. Jackson's attire in his music video for "Smooth Criminal" from 1988 was compared to Brown's outfit, which attracted attention.

Saturday, September 9, 2023

Music Video Analysis: Where Is The Love - The Black Eyed Peas

 Where Is The Love - The Black Eyed Peas (Michael Jurkovac, 2003)

"Where Is the Love?" is an R&B/Hip-hop song by American hip hop group the Black Eyed Peas, released in 2003 as the lead single for their third album, Elephunk. This is a conceptual driven video that enacts primary social and historical contexts center on how terrorism, racism, and war are harming our global community. It discusses bombings, terrorism, many forms of discrimination, and the kinds of principles we are not teaching today's youngsters, as well as the representation of the black community in our society. 

CONCEPT, PERFORMANCE, AND NARRATIVE

This is a conceptual music video, but also has a narrative of the black community, with many representations through symbols that emphasize the title of the song "Where Is The Love". Additionally, many other depictions of racial discriminations were also described through its mise-en-scène. It also features The Black Eyed Peas performancing in many footage.

CAMERA WORK

Many close-ups portraying faces of children were seen throughout the music video, as it may reinforces the message of love and peace (which could be emphasizes when youngsters are involved). Hand-held cameras were also used as it helps creates such shakiness, demonstrates the movement of a society, when people are seen putting on question marks, helps creating a revolutionary atmosphere for the viewers. A long camera angle, was used in the scene where it lets the audience see William and the graffiti on the wall behind him, saying "We are not minority". There are some zoomings here and there into the crowds, showing the group of people who are running to hang up question marks here and there on the streets, emphasizing the change people are trying to make in this society.

MISE-EN-SCÈNE

The question mark is the motif that runs through the music video. Numerous traits of this symbol are used to develop a concept. Because it is a particularly prominent shade of red in the otherwise washed-out film, the question mark literally represents the most vibrant sign. The spectator is prompted to consider the symbol's deeper meaning by this fact. The inclusion of this symbol, which appears in the song's title "Where is the Love," makes it clear that the video is asking its audience a question. 

The majority of the young people in the opening scenes of this music video are black, and the portrayals of black people in this scenario are generally not positive. The majority of the participants are black and wearing dark clothing with hoods. The fact that they are all wearing hoods suggests that the black adolescents have plans to commit significant crimes because this clothing choice is one that we would generally connect with criminals. It creates the idea that all criminals in America are people of color, which over time will help to distinguish the stereotypical "criminal" in the minds of young audiences who continue to watch this music video.

Young black people are seen hastily sprinting through the heart of Los Angeles, seemingly away from approaching police cars. Again, the viewer is immediately alerted by this that they might be crooks or thugs. The Black Eyed Peas are trying to reach young people, but this representation is extremely derogatory to them, and the fact that only one race is being stereotyped negatively may have a negative impact on them. They may pick up on the representations that are being promoted in the opening scenes of the music video along with the stereotype and not want to associate with black people in general. However, looking at a prefered reading perspective, the artists would want us to acknowledge how discriminated the black community had been portrayed in our society (specifically the United States).

The wall graffiti that reads "We are not a minority" makes the argument that people of different races shouldn't be prohibited from being friends with one another. It argues that black people are the focus of racial inequity because it features a black member of the Black Eyed Peas. Technical elements, like the long camera angle for this particular sequence, work well since they let the audience see Will.i.am and the graffiti on the wall behind him. This could imply that this race has experienced racism in society the most, and it also supports the idea that black people in early 21st-century civilization were less important than white people. 

EDITING

There seems to be not much noticeable editing techniques used in the music video. Color grading was used to make the colors more contrast and achieve much rougher look to the video, making it more serious and street-like look. Additionally, there are also specific scenes where heavy grains were added to indicate the used of old hand-held cameras, in which shows that there are people that are recording the movement of this group of people, to spread to message of a peaceful world.

CODES AND CONVENTIONS

This specific R&B music product is very different from the other general music videos of the same genre. Often, R&Bs depict the more appealing, glamorous and sensual side, which helps providing the sexual pleasure. Where Is The Love approaches a very different plot, as it displays peace and love, without any image portraying sexual aspects or such alternatives. This is considered to be a breaking codes and conditions point, where the director doesn't follow the same patterns of codes and conventions of a genre.



Saturday, September 2, 2023

Music Video Analysis: Kill Bill - SZA

Kill Bill - SZA (Christian Breslauer, 2023)

The song "Kill Bill" comes from SZA's second studio album, SOS (2022). The martial arts film duology Kill Bill: Volumes 1 and 2 (2003–2004), which centers on an assassin named the Bride and her desire to destroy her ex-boyfriend, was the inspiration for the song's title. The lyrics of the song address SZA's fantasies of killing an ex-boyfriend and his new girlfriend out of jealousy, mirroring the plot of the movie. The music video is heavily narrative driven and it also embraces multiple Tarantino references as for intertextuality. And some of the other ones as well and some

CONCEPT, PERFORMANCE, AND NARRATIVE

The music video follows a narrative thoroughly. The video kicks off with a group of assassins attempting to murder SZA subsequent to her break up with her ex-partner. The following scenes show SZA's determination in killing her ex, indicating through her practicing with figures and toys before actually killing him, and showing off his heart as if it's her reward and marks the end of the revenge. Also, the narrative was shown clearly as the music video uses the Andrew Goodwin's Theory of links between the music and the visuals. The visuals and the lyrics incorporated together to deliver a full plot of female rage and revenge.

CAMERA WORK
Close-ups were frequently used to depict the alluring expressions of SZA, or to emphasize the lips (helps creating sensual effects on viewers) which relates to the genre characteristics of R&Bs. Wide-shots were used to portray fighting scene, which depicts clearly the violence. Additionally, mid-shots were helpful in both showing the expressions of SZA, as well as having enough space to display revealing parts of the body, which gain contributes to the intimate feels. Zooming shots were used twice, first when the character is practicing throat cutting in the dojo, and second when she finished killing of her ex and holding his heart, narrowing the attention from the background (portraying the violation of blades and blood), to the emotions of SZA, representing her dark, twisted mind.

MISE-EN-SCÈNE
Bearing in mind that the narrative of the music video follows a revenge plot, therefore the colors involved are principally dark colors (black), to embrace the ferocity, while is also due to the influence of the Tarantino references. Red color was displayed at many scenes at the later part, representing anger and violence. SZA wears red outfits while doing very savage activities (riding a motorbike at high speed, fighting with assassins, and finally killing of her ex), is a representation of female power. The appearances of weapons (knifes, blades, swords) are very regularly, as they depict the act of killing and to emphasize once again the idea of "taking revenge". Low-key lighting was merely in use, drawing the attention to a dramatic, dim hue that shows of the dark, isolated side of the female character, and to maintain the intimate atmosphere.

EDITING
Initially, SFX was used for the gun shooting scene at the very beginning. Then, one noticeable thing about the Kill Bill is a short animation scene where the actual violence took place. The scene was suddenly animated to reduce the depiction of censored contents (blood and violence), and to further differentiate fantasy (unrealistic scenes) and the reality to sensitive audience, those that are the most vulnerable according to the Effects Model (children who haven't fully developed yet). Additionally, there are also many transitions of sliding over during when she is putting on clothings to prepare for her attempting revenge.


CODES AND CONVENTIONS
Considering that R&B is heavily targeted towards the younger audience, the iconography usually tends to promote sexuality, multiple sexual aspects were inserted. For instance, the main character (SZA), is seen to be wearing very revealing clothing, specifically at the ending where she is supposedly not having clothes on. Low-key lighting plays an important role in creating an intimate sentiment. Multiple close-ups and mid-shots were involved to convey the "alluring" expressions of the artist, which once again to reinforce the tempting atmosphere of R&B songs, and enough to display the appealing parts of the body.


INTERTEXTUALITY: TARANTINO REFERENCES
The intertextuality was shown clearly through a various references of Tarantino's films. 
The song "Nobody Gets Me," by SZA, is featured in the opening seconds of the video, which then shows a clip from "Kill Bill" starring Uma Thurman and Elle Driver from Budd's trailer. The action-packed video also includes various tributes to Tarantino movies, like a fight scene at the House of the Blue Leaves and animation by O-Ren Ishii. The R&B singer is hanging in shibari (Japanese bondage) as "Seek and Destroy," another song by SZA, plays at the end of the clip.
The video follows SZA as she reenacts a condensed version of the events of Kill Bill Vol. 1 and Kill Bill Vol. 2. The animated sequence in Breslauer's video is modeled after the anime director Kazuto Nakazawa and production company Production I.G.'s work on Kill Bill Vol. 1. Vivica A. Fox, who played the role of Vernita Green in the aforestated movie, also makes a brief appearance.  


USES AND GRATIFICATIONS
Entertainment: Kill Bill involves lots of entertaining aspects, initially is the music, then comes the participation of action-packed scenes, which were majorly influenced by the movies of Tarantino. Sexuality was also promoted greatly in the product, as there are many scenes of the character wearing attractive revealing clothing, which could be an attractive pulling factor towards the selectivity of certain audiences. Additionally, as the music develops through a narrative, it could provide an enticing watching experience as the plot develops.

Personal identity: female empowerment and self-love after a failed relationship were highly stimulated, even though it was promoted through violence practices (which could provide a negative effect). Female might find the video aids them through a heart-break, as it values high self-esteem subsequent to a break-up, through scenes of SZA riding a motorbike and confronting her ex-boyfriend. Therefore, it makes the female audience feel better about themselves. 

Social interaction: Kill Bill had achieved many success on the charts and on social media (noticeably TikTok). As "Kill Bill" spends its 21st week at the top of Billboard's Hot R&B/Hip-Hop Songs chart, SZA has made history with her hit. Even though the fad has been around for a while, there is still a huge demand for sped-up music on TikTok. With a huge amount of young people interacting with TikTok everyday, they would certainly look up the music video for such popular song on YouTube, to benefit their sense of connection and to avoid FOMO (fear of missing out). 

EFFECTS MODEL:
As had been concerned beforehand, even though the music video does great at promoting female empowerment and raising the female audiences' self esteem and recognizing their identity when going through a such relatable experience: break-up, the way it delivers the message could be a bit controversial. The emphasization of the main character taking a revenge on her ex by killing him, could be an encouragement for women to enact violence on their ex-partner, as they're influenced that such actions are savage and powering. 

About Me

My name is Nguyen Khoa Bao Ngoc. This is my final year in highschool, and here is my Advanced Portfolio for A level Media Studies. This is where I'll be displaying my coursework, which includes case studies, and my entire production process.

Previously in Grade 11, my final product was a film opening in the genre of thriller. I spent most of the first semester on coming up with ideas, writing scripts, preparing storyboards and planning for props and filming sets. Onto semester 2, this was where the hard work kicking in. Fortunately, it was only a film opening, so it didn't take me more than 3 days to finish my filming. However, my schedules were clashed with the As Level Mock Exams, so I think I could've executed a much better job if I've managed my time more efficiently. 

This year entering my A level course, I'm expecting to improve my coursework, which includes blogger and my final production, as well as my paper grades.

Evaluation Questions - Critical Reflection

 How do your products represent social groups or issues? Music videos are more than just catchy tunes and flashy visuals, they're a refl...