Iconography of the Album Cover

Iconography of the Album cover,' is an article which talks about album covers with an interview with an album designer, Julian House. Together they deconstruct album artwork, its conventions and vaguely analyse iconic artwork. Some interesting points i found were:

"I tend not to think of designs in terms of genre; each specific job exists in its own world."
 This quote caught my attention because usually the artwork would stick to its target audience, which in turn restricts the creative opportunities the designer has. Typically, the album art work suits the genre to appeal to the target audience.

(The artwork) "Can be extremely varied, utilising photos, graphics, typography or any combination of those."
Shows the options I have when creating my digipak, that the focus does not have to be on an image of the artist.

"Who the audience is and how they may respond to it."
The quotes emphasises the importance of the audience, and though the genre does not have to be followed, the designer should be aware of the audience at all times. The audience is the one investing in the artist and buying the album, therefore the album should appeal to them.

He talks about the importance of shadows, light and colour. Showing how they should be acknowledged during the shoots.

"Inspiration from things that they may find interesting, like books, films etc.."
That anything can be used to gather inspiration for the digipak.

Digipak

A digipak is a patented style of disc packaging and typically consists of a book-style paperboard or card outer binding which included a Cd and/or the music video DVD inside. An example of what a digipak template is:

With the actual digipak looking something similar to this:

A successful digipak can be achieved by making sure these points have been referred to:

- Unification, does it portray the content and message that you wish?

With this connection, the audience can feel a sense of belonging to the artist, forming a relationship. This cam be said to be stronger with females (known as fangirls), but it can be formed with anyone if the branding directs the audience directly.

- Is there an information and visual hierarchy?
The main image is the first thing that the audience will focus on, therefore it should be impactful. After this has attracted the attention of the audience member, they will look over the rest of the graphic and take in the connotations and feelings portrayed by the artist.

- Does the design have graphic impact?
The graphic design is important as it needs to have an impact. This is because the CD will need to be able to compete alongside many other CDs, and ours will need to have something special and original to make it stand out so other music labels will take an interest in your music and style.

- Is it appropriate for when you want to attract an audience and the environment in which it will be presented?
Not reaching your target audience will mean that sale targets and recognition will not be achieved.

An example of an iconic logo that stands out is the Rolling Stones' logo, which became one of the most recognisable symbols of the rock genre. It captures the brands rebellious attitude in pushing both sexual and social norms in both their lyrics and off stage antics. It was a key piece of iconography which allowed the brand to be recognised with out their name on their albums.

The Golden Era of cover art design begun in the early 1960s and lasted until the 1980s. During this time the major format for music was the 12 inch play disc or LP. Cover art became a part of the musical culture of the time, Often used to express graphically the musician's artistic intent, it helped connect and communicated to listeners the message or underlying theme of the album. 

Research into Elecro-Pop

       

Adorno and Horkheimer's Culture Industry Theory

The culture industry

Adorno and Horkheimer adopted the term 'culture industry' to argue that the way in which cultural items were produced was analogous to how other industries manufactured vast quantities of goods. They argued that the culture industry exhibited as assembly line character, which could be observed in 'the synthetic, planned method of turning its products.'

They linked their ideate a model of 'mass culture' in which cultural production had become a routine. Standardised, repetitive operation that produced undermining cultural commodities which in turn resulted in a type of consumption that was also standardised, distracted and passive. This can be seen through the show, The X-Factor, that produces singers, but gradually all become mainstream - as it's what makes money, uniqueness is not valued much in the music industry, because it doesn't sell to the mass.

However, their view of cultural production has, often been portrayed as the pessimistic lament of cultural elitists who were dismayed at what they perceived to be homogeneity and vulgarity of mass taste, and who were concerned that the potential for artistic creativity in music, literature and painting had been co-opted and corrupted by the production methods administrative regimes of industrial capitalism. The capitalist corporation seems to enjoy an almost omnipotent form of domination and both the consumers and the creative artist are not separate from, but are directly connected to this system of production.

Adorno and Horkheimer argued that the culture industry operated in the same way as the other manufacturing industries. All work had become formalised and products were made according to the rationalised organisational producers that were established for the sole purpose of making money.

Standardisation

Adorno and Horkheimer argued that that al products produced by the culture industry exhibited standardised features. There is nothing 'spontaneous' about culture industry, it has become a routine operation that can be carried out in an office by the application of a specific formulae. Adorno noted that songs that become successful over time are often referred to as 'standards' a category that clearly drew attention to their formulaic character. Songs were based around repetitive sequences and recurring refrains. This was down for commercial reasons, so that the song would be imprinted in the head of the viewer and provoke a purchase. To Adorno the production of bit songs had become a mechanical and manipulative operation motivated by commercial gains.

Pseudo individuality

They were also critical of what they called pseudo individuality. Which meant they way that the culture industry assembled products that made claims to 'originality' but which when examined more carefully exhibited little more than superficial differences. They evoked the image of lock and key, an item that is mass produced in millions, whose little uniqueness only lies in very minor modifications.

Who fits and doesn't fit the theory (as much as possible)



Justin Bieber fits Ardono's and Horkheimer's theory, as he appeals to a standardised and passive audience. He produces catchy sounds that have repetitive sequences (such as 'Sorry.') to provoke a purchase, as it's stuck in the viewer's head.  His character lacks individuality and uniqueness, as he fits the 'perfect' male singer image.







However, Freddie Mercury does not fit the theory, though he produced catchy songs - many fans loved him for his unique and original voice and dress sense. He rejects the theory as his character can not be mass produced.

Major vs. Independent Record Labels

'The Music Industry Crisis'

For most of the 20th century record companies made money by selling angel product - a vinyl, disc or CD. However, this is no longer the case. The rise of the internet and development in technologies have seen the increase of digital sales, illegal downloads and streaming (In 2009, 95% of music was downloaded illegally). Nowadays most want the music on their phone, so will download or stream it - music can be bought of the Apple Store for iphone users and Google Play for android users, or can be streamed through apps like Youtube and Spotify. Some major fans may buy a physical copy of the album, but on a much smaller scale than previous years.

Sales for CDs fall every year, and digital downloads continue to rise.

De-commodification:

A commodity always depends on it's status and it's value on it's relative scarcity; once the reproduction and distribution of that commodity become effectively free, then it necessarily loses that value and status.

Post Modernism

Post-modernism is somethings that's considered old and brought back to the current day/trend, often having a  hint of humour to it. It's said "Post-modernism is a shortcut to mass audience," as it's what people know, but with a twist, easily attracting viewers. Many music videos have used this and referenced old films, this is seen in Madonna's 'Material Girl,' where she references Marilyn Monroe's film 'Diamonds are a Girl's Best-Friend (1953).' More examples would be Backstreet Boys' 'Everybody' that references horror films and Casper (1953) and McFly's 'Transylvania.'

The cycle is experimental -> cannon -> post-modern.

Experimental establishes genre, cannon works with the trend(s) in our cultural understanding and post-modern adds humour once the genre has been exhausted. Development in this can be seen through silent films -> full length talkies -> music videos. Postmodernism links with intertextuality heavily, many artists opting to use one of three types in their music videos. These are homage (imitation to flatter), pastiche (uses the imagery of one text to comment about another) and a parody (a joke/to make fun of).

An example of homage would be Michael Jackson's 'Smooth 'Criminal' which imitates 'The Band Wagon (1953).'
An example of pastiche would be Will Young's 'Switch It On,' which uses 'Top Gun (1989)' to comment on the homoerotic content in the film.
An example of a parody would be Eminem's 'Just Lose It,' the parodies other artists such as MC Hammer and Madonna.

Cross-Media Case Study

Goodwin's Theory and Analysis

 Goodwin's Theory:


- Music videos demonstrate genre characteristics, such as stage performances in a rock video.
- There is a relationship between lyrics and visuals.
- There is a relationship between music and visuals.
- The demands of the record label will include the need for lots of close ups of the artists and the    artist may develop motifs which recur across their work.
 - There is frequently references to notion of looking, such as screens within screens.
- There is often an intertextual reference - to films, TV programmes, etc... An example of this is Snoop Dogg featuring in Orange's advert in 2008.


Analysis, Katy's Perry 'Roar.'

The music video proves Goodwin's theory, following many of his points. At the beginning of the video, the title 'Roar' appears, followed by a tiger's roar - showing there's a relationship between music and visuals. Throughout the music video, this occurs, every time Perry sings "Hear me roar," the audience will quite literally, hear a tiger roar. The audience will also see a tiger, in the reflection of the water or 'made' by fireflies during the video; showing the relation between lyrics and visuals. Towards the end of the video, Perry sings the lyrics "louder than a lion," as she 'roars' louder than the tiger and tames it. She lip syncs the lyrics during the video, showing another relation between the lyrics and visuals. However, she is often alone in the video, showing she is the star and this is her song.

The video has many close ups to show her emotions, and in turn to create a relationship between her and the viewer. The most notable close up is at the beginning, when Perry makes eye contact with the camera - drawing the viewer in and to make them sympathise with what happens shortly after. There is also notions of looking during the music video, during the beginning we see the male take a selfie, only through the screen - suggesting the audience isn't suppose to see it. Then later on, Perry is showering and the camera is hidden behind leafs - yet gain suggesting the audience shouldn't be looking at what they're seeing.

Technical Codes: Cinematography and Editing

Cinematography

- Camera movement may accompany movement of the performance, walking, dancing etc... But, it may be used to create a more dynamic feel to stage the performance. For example, circling the band as they perform.
- Close-ups predominate, this is mostly because of the size of the screen - but, also the desire to create a sense of intimacy for the viewer. It also emphasises the commodity on sale, not just the song, but the artist themselves.

 Editing

- The most common form of editing associated with the music promo is the fast out montage, rendering many of the images - impossible to grasp on the first viewing, thus ensuring multiple viewing.
- There are videos which use slow pace and gentler transitions to establish mood. This is particularly apparent for the walk of many female solo artists; as they have a broader audience appeal.

Example: The Verve - Bittersweet Symphony.

Cinematography:

- Tracking backwards/forwards with the performer centred.
- PoV shots of the people he is barging out of the way.
- Handheld close ups, use of a steady cam.
- Over the shoulder.
- Depth of field, allowing the audience to focus on him.
- Low angle mid shot of the group of men, establishes the end of the narrative.

Editing:

- Filter, blue/negative hue and saturation. Links to the title of the music video, adds a cold atmosphere.
- Fast and frequent cuts.
- Continuity editing.

From this music video, a clear narrative is given to the audience. The performer, who is clearly upset/moody, is knocking over anyone in his way.  

Development of technical codes:

-The key innovation in the development of the modern music videos was the recording and editing processes - along with the development of a number of related effects such as chroma-keypr green/blue screen.
- The advent of high quality colour videotape recorders and portable video cameras enabled many pop acts to produce promotional videos quickly and cheaply in comparison to the relatively high cost of film.

In the 1990s, a number of technical codes became common:

-The most common form of editing (associated with the music promo) being fast cut montage.
- Many images shown in quick succession, impossible to grasp on the first viewing.
- Split screen
- Colourisation
- Non-representation
- Lack of edits

However, as the genre developed, music video directors increasingly turned to 35mm film, as their preferred format. While others opted to mix film and video.

History of Music Videos

-The invention of film and cinema brought about the possibility of combining music and moving images.
-Advances in technology have turned the music video into what it is today. But, you might be surprised at where it came from.
-Surprisingly, music videos have been around since the 1920s. Many jazz musicians of the time, such as Bessie Smith, made short films to accompanying popular songs.


Bob Dylan - Subterranean Homesick Blues

1965: Bob Dylan filmed Subterranean Bluesas a segment for D.A Pennebahe's film, 'Don't look back' - widely identified as one of the first modern music videos.

The video features a boy holding cards with the lyrics of the song in it, with him positioned on the right side of the screen - so, it's easier for the viewer to read. The camera is slightly shaky with the people in the background getting on with their lives. The video is done in one shot, with a lack of editing.

Pop music TV shows.

1970: The record industry discovers TV shows, they decide it is a great opportunity to promote their artists.
They focus on producing short 'promos.' Early music videos which started to replace the live performance of the artists on the TV-stage.

Queen - Bohemian Rhapsody
1975: Bohemian Rhapsody, was ground breaking video released by Queen. It marked the beginning of the video era and set the language for modern music videos. The video is considered one of the first to used advanced visual effects.

The video is experimental, using effects and lighting to revolutionise the music video industry. It shows a mix of studio and live performances. Scenes fade into one another, with many cuts that show the transition from on focus to another.