This week, continuing and furthering our knowledge on music video auteurs we began to look at other famous directors, Chris Cunningham and Spike Jonze. 

Today I focused on the work of Spike Jonze, looking at his various accomplishments throughout his career. I noticed that like Fincher, Jonze did not begin his reputation in the music video industry. He started out in magazine publication, which then gave me another insight to just how wide the media industry really is.

After looking at Michel Gondry, I looked at equally well known auteur David Fincher. 

I was interested in researching his career, as I had already heard his name from directing the fight club in 1999, a film a very much admire. 

I found that studying David Fincher highlighted the importance of having at least some expertise in as many areas as possible, because the media is such a wide industry, and he is an example of how you can work in so many different areas. I looked at the celebrities he worked with and analysed his reputation. I discovered Fincher is best known for introducing his own personal style to any work he took part in. 

This week we began looking at the work of famous Auteurs such as David Fincher and Micheal Gondry. 

I focused on award-winning Michael Gondry today and found out a lot about his various progressions in the music video industry. I found it really interesting to learn about how Michel Gondry became a director, and thought it was interesting to look into how his personal interests may affect the styles used in his work.

Gondry started off as a drummer, in a French rockband until he was 'scouted' by worldwide artist Bjork. He went on to work for companies such as MTV and directed many A list artists videos, and also worked with equally famous music video auteur, Chris Cunningham.

I think it is really valuable to learn about how and why these directors became who they did, and this has helped me to understand how a director establishes a certain style. 

This week I have been able to fully understand the impacts and effects of music video codes and conventions, and feel I have an in depth perspective of the stereotypical music video.

I think that now I know exactly what is expected of music videos, I will find it easier to abide with these conventions, or challenge these real media forms more realistically.

After looking at the technical features of codes and conventions last lesson, today we began researching the role played by symbolic features. 

Today we continued our understanding on codes and conventions. We were taught about the two separate elements included in most stereotypical music videos; symbolic and technical. 

We focused on the technical aspects of music videos, looking at how equipment and technology can be used to construct meaning. 

Firstly we looked at how camera angles can affect the way in which the audience see the character on screen, and looked at voyeuristic shots of women which could be associated with Laura Mulvey's male gaze.
We then looked at how editing with different paces and styles could also affect the audiences overall perception of the production. For example, a fast pace matching a fast song would create a tense, exciting sense. 
Finally, we considered the role played by sound, non-diajetic/diajetic, genre etc and gain

Today we discussed in class the idea of music video codes and conventions lightly. Sir made us put on the board several typical characteristics of music videos, for example a narrative story and lip syncing. 

We then went on to discuss the use of codes and conventions in media in general. 


The lessons outcome was the understanding of the definition of codes and conventions in the media in general; 
•  The media construct reality. 
•  The media have their own forms, codes and conventions.  
•  The media present ideologies and value messages.   
•  The media are business that have commercial interests.  •  Audiences negotiate meaning in media.