Skip to main content
Emili Sande still shots

Image one -
Streets of London with cars and a tree, eye level shot. Emili Sande is on the left hand side looking upwards. This connotes that she is looking up to heaven linking with the name and meaning of the song. The mise-en-scene connotes Emili Sande’s identity with London as it is her home.

Image two -
Close up shot of Emili Sande, yet she is not looking directly into the camera, suggesting the focus of the video is not on her star persona, rather the meaning of the song. The miss-en-scene of a window out looking the rougher parts of London shows she is apart of the reality.

Image three -
Located in the Tube which is iconic to London and she is centred in the frame using the rule of thirds. This suggests she is a part of the realistic side of London and is a normal person making her identifiable instead of admirable as she is not  ring perceived as a star.

Image four -
A little boy is sitting on stairs in an apartment building setting again suggesting the poorer side of London as apposed the the wealthier parts typically presented by other stars and the media. She has included the youth to link to the message of the video by conveying innocence and presenting different groups in society in order to associate herself with these groups.

Image five -
Emili sande is on a balcony overlooking the view of London with sun and clouds heavily shown to symbolise heaven. She is singing upwards suggesting she is singing to heaven. The focus isn’t on her face suggesting her looks aren’t important and focuses on what she is singing to and about which is more important.

Comments

Popular posts from this blog

The big issue research - What is the big issue?       A street newspaper. Who set it up?           Founded by John Bird and Gordon Roddick whos aim was to dismantle poverty by creating opportunity, through self-help, social trading and business solutions. When and who was it first published by?        September 1991, Dennis publishing What is it's circulation?        83,073 (UK) How is it financed?       social enterprise, funding comes directly from vendor sales. This pays for the magazine to be produced and distributed across the UK so it is available for vendors wherever they need it. (purchase for £1.25 and sell it for £2.50 How is it different to other newspapers/magazines?       Not for profit (social buisiness) What is the contents of the big issue?        political journalism, entertainment and sport. How can you buy it?...

Minecraft exam Question

EXPLAIN THE SIGNIFICANCE OF ECONOMIC FACTORS IN THE GAMING  INDUSTRY.  USE MINECRAFT TO SUPPORT YOUR ANSWER.  Ownership affects a products production, distribution and circulation. Specifically in the case of Minecraft when it was originally owned by creater Markus Perrson under the company Mojang a niche company with a small budget. This affected production in that it was produced to be a sandbox game and only distributed via PC. Minecraft was not officially released until November 2011, therefore was supported by word of mouth to circulate amoung the niche audience of programmers and moders. In 2012 Minecraft became multidevice available on xbox. The ownership of Minecraft changed when it was sold for $2.5 billion to microsoft, a large conglomerate in the gaming industry. under this new ownership production has changed as versions of the game on Nintendo switch and nintendo DS are available to download. With the gaming industry worth $100 billion microsof...

LFTVD Question 3

The differences in the codes and conventions of long form television dramas reflect the different attitudes and beliefs of the audience that consume them. This is because LTVD’s need to create content which caters to their target audience such as mass audiences and niche audiences. In order to be successful. Netflix is an international company which services are available in 190 countries, therefore the codes and conventions need to appeal to the range of values in different countries. Differently DR’s codes and conventions appeal to a niche Nordic audience as it’s a small public service broadcaster, requiring a licence fee to create this content. Netflix however, needs more subscribers by appealing to a wide audience. Netflix hybridised genres including sci-fi, buddy, teen romance, coming of age and horror in the making of stranger things to appeal to its mass audience which contains viewers with different values and interests. Steve Neal’s genre theory is applicable to stranger thi...