HOLLYWOOD'S NEWEST STAR

Nearing the end of the second week, only one last bit of research is left to do: the main character. Until now, the story had been the focus, and while it is more concrete now than it ever was, it will not be entirely done until the protagonist can be in it. And they can only be in it if I figure out who they are and what their motivations - their "spine," as Stanton called it in his lecture. Even more, I have to figure out a way to have the character embody the genre characteristics while appealing to a specific public. Let's get to it.

 

Yep, that's me (don't worry, this was a long time ago)

First and foremost, my target audience is primarily older teens to adults. Because I cannot get an actual adult to act for me à la Hollywood, the protagonist will have to be played by none other than me (my sisters refused the offer to star in the production). While this would undoubtedly restrain my target audience - I highly doubt any adult would enjoy watching a 17-year-old playing grown-up - I will choose to simply ignore the shift and pretend that the main actress is not, actually, a teenager. In addition to that, men do not commonly watch female-led movies (with some exceptions, of course; the content and genre of the feature play essential parts in this audience split). That said, yet another limitation is imposed on my ideal public. Regardless, my story is not necessarily a narrative about being a woman. In other words, the gender of my protagonist should not matter to the tale, even though it most likely will impact who watches it. Now You See It's video on the subject was particularly helpful in coming to this conclusion. 

 

Now, in regards to the overall characteristics of the drama genre, the main character has to be flawed. Since drama relates to realism and sensitive portrayals of the real world, the hero has to be human, above all else. That is the appeal of this style, and it's what makes people want to watch the flick until the ending. Besides, dramas aim to elicit strong emotions in response to the ups-and-down in the storyline, and, for that, the protagonist has to endure a series of misadventures. In my narrative, the character is clearly undergoing stress - both self-imposed and extraneous to her - and her downfall is reflective of her imperfections: no one can endure such pressure for endless amounts of time. 

 

From the start, my scientist is rational and lets reason guide her before any intuition. Trophies, medals, and ribbons only work to show how successful her past projects have been and how, as an accomplished person, all eyes are on her to succeed. After so many experiments, this next one was a logical step, not to mention the one she had been drifting towards from the beginning. Deep down, everyone wishes to get praise and validation, and that is no exception among pharmacologists and scientists alike. I do not mean to discredit any who strive to achieve something for "the greater good," yet none can deny the hint of selfishness and egotistical pleasure of being among the best and brightest. That is what motivates my protagonist, though her purpose grows murkier as she gives way to insanity.

 

Having set her mind on this impossible task, she cannot afford to give up. The chemist must prove to herself - and to others - that she is capable of greatness. Still, from that very moment, she is doomed to fail. There is no truth to the pseudoscience, and yet she hopes to uncover one. As I've mentioned, the desire for recognition eventually becomes the need for it to work, for there to be a mystical cure so that all her work would not be in vain - or worse, that she would have made a fool of herself. And so, the scientist plunges into work, firmly believing that she will emerge victorious - if she does emerge at all.

 SOURCES:

Is the film industry doing enough to engage female audiences? (n.d.). Screen. Retrieved February 21, 2021, from https://www.screendaily.com/features/is-the-film-industry-doing-enough-to-engage-female-audiences/5129915.article

MPAA Report 2016: 52% of Movie Audiences Are Women & Other Takeaways. (n.d.). Women and Hollywood. Retrieved February 21, 2021, from https://womenandhollywood.com/mpaa-report-2016-52-of-movie-audiences-are-women-other-takeaways-12320da989b4/

Now You See It. (2019, March 1). Writing Women [Video]. YouTube. https://www.youtube.com/watch?v=5asVUCGmmEE

A. (2018, November 1). Protagonist - Examples and Definition of Protagonist. Literary Devices. https://literarydevices.net/protagonist/

A MORE POLISHED IDEA

After some more thought on the subject, I finally have a clearer view of how to proceed. In fact, the moment of clarity was such that I, fearing that I might forget it soon, had to scribble it on the closest post-it I could find. Below, you can see some of my hectic thought process.

a sneak peek into my thoughts for the project (some are older notes, others came from my recent epiphany)

Before I continue to develop the stream-of-consciousness-like ideas pictured above, I have good news concerning the plot! If you'll recall from one of my previous posts, I listed a few ideas that could serve as possible scenarios for my project. Well, look no further - I have decided! The first concept - which works with the character's ego, the need for success, and the search for the truth - was the more appealing option. They say, "write what you know," and I certainly know the pressure for success. 

 

Back to the post-it notes, allow me to explain. To begin with, the overall sequence of events in the shoot should aim to establish the setting and some information with regards to the character in a "show-don't-tell" manner. With that in mind, the opening will illustrate (utilizing close-ups, inserts, and cutaways) the workaholic scientist's office. Since they are not yet overcome with their obsession, the shots show the character only mildly frustrated, with several books open and experiments undergoing, but no results. This will help build onto the character's need to be better - there is nothing quite like failure to motivate one to do better, be better. Among the various props used to fabricate the mise-en-scene of the chemist's office/lab, I can use trophies and certificates to demonstrate the many achievements in their life and show how the standards for their work are high. Some of this is only in the background but adds to my protagonist's identity. I also intend to make my own molecules of molecules to accentuate the "scientist" factor (those will be made of polymer clay if my experiments are successful).

 

Throughout the course of my opening, the scientist grows increasingly annoyed at their own inability to produce significant results. Their thinking process and fixation on the subject can be demonstrated with jump cuts, showing the passage of time, and allowing the audience to infer that they are dedicated to the study as they keep coming back to it to test a new hypothesis. The practice of giving fragments instead of the whole story has long been utilized and was among the tips Andrew Stanton offered during his TEDTalk, "The Clues to a Great Story." Stanton called it the "Unifying Principle of 2+2;" don't tell the audience "4," make them conclude that for themselves. And that is what I plan to do.

In addition to the outlining of the opening, I have done research on the topic that drives the main character insane: panaceas, or "cure-alls." From Greek, Πανακεια was the goddess of remedy and healing, whose gifts were put to action with a potion - the panacea. Throughout the years  (even as far back as the Middle Ages) many have tried (and failed) to create the mystical elixir, believed to grant eternal life and cure all illnesses. According to HuffPost, several elements were believed to possess such healing abilities, including mercury, sulfur, iron, copper, and honey, some of which are actually toxic metals. Regardless, alchemists have continued to look for an answer - even accomplished doctors have attempted the pseudoscience. 

With more knowledge regarding the topic, I can now create props and understand my character better, as well as how they would shift into a fictitious discipline, straying so far away from scientific truth.

 

SOURCES:

Panacea. (n.d.). Hellenica World. Retrieved February 20, 2021, from http://www.hellenicaworld.com/Greece/Mythology/en/Panacea.html

Fantozzi, J. (2017, June 20). Elixirs of Life: A History. HuffPost. https://www.huffpost.com/entry/elixirs-of-life-a-history_b_59496f6de4b07e2395ce1007

Stanton, A. (2012, March 6). The clues to a great story. TED Talks. https://www.ted.com/talks/andrew_stanton_the_clues_to_a_great_story#t-1142093

STRIVING FOR PERFECTION

Having decided on my general idea, it is time to finally follow the guidelines and focus on the opening of the movie. Up until now, I have been trying to get an idea of the story I want to tell, and, as seen on my last post, that is almost settled. Now, I plan to analyze how the openings, specifically, foreshadow and develop the movie that is about to come, all the while entertaining the audience. I will be using some of the films discussed before, as well as others that I have watched since then. Here we go.

Recently, I have watched Darren Aronofsky's Black Swan (2010), which has a rather interesting start. Unlike the other movies on my list, this long feature begins in a dream sequence, using the character's subconscious to introduce the audience to the story. Given that the thriller borders on psychological, establishing the protagonist's values and ideology through the sequence can be very useful. Not only that, but since the film concerns ballet - more specifically, Tchaikovsky's Swan Lake - it is only fair that the audience is introduced to this familiar tale. Still, there is more to the scene than just the choreography and stupendous acting: the shots, editing, and mise-en-scene work together to set the tone for the piece, with extreme opposites and very fluid movement. Nina's white costume, for instance, represents both the white swan and her innocence, which is corrupted throughout the narrative. This dark influence, too, is foreshadowed in the first few minutes: Rothbart soon appears, robed in black (not unlike the original costume for the character) and manipulates Odette/Nina to his liking. The long take captures the two as they dance, and the lighting, simulating the stage, places the evil character in almost full darkness - only the back light traces his outline. From this point on, the use of computer-generated imagery drives the scene towards the thriller genre, with actual monsters haunting the character. Nonetheless, given that it is a dream sequence, the "transformation" into nonhuman creatures is subjective, and a mere representation of Nina's feelings.

the opening of Black Swan

The most notable aspects of how the Black Swan opening conveys a message is the manipulation of mise-en-scene. Yes, other factors play an important role in establishing the tone, as discussed in my previous paragraph, but, above all, the color and lighting (as well as composition) develop the character enough for the dream sequence to end in such a way that, by the time it is over, the audience already knows Nina.

Using a dream sequence could allow me to communicate my character's ideals in a short amount of time. Because I cannot portray the full descent in mere two minutes, I have to find a way to drop clues as to the fact that it will happen. With that in mind, this type of opening could come in handy: it effectively develops themes that will be relevant in the story. However, I am not sure if this type of scene absolutely fits the story I am trying to tell. The idea still remains in the back of my mind, though - maybe I will reconsider it.

The second on my list is Whiplash (yes, again). Many have made the comparison between the two movies - in fact, I have even based some of my research on a video analyzing the similarities of both films. That said, I will begin by pointing out the differences between the two openings. 

I will admit, it is much easier to define what both have in common than to point out divergences, but it is possible. To begin with, the genre itself is different, as well as the tone. Whiplash, a drama, focuses on the relationships between characters in a realistic manner - not as idealized or introspective as the dream sequence of Aronofsky's 2010 film. By showing Andrew and his soon-to-be instructor, Fletcher, only in different shots (never in a two-shot), the connection between the two characters - as well as the rift between the two - is established. Though the colors in the opening of Chazelle's film are not so starkly contrasting as the black and white of the ballet, the greenish-yellow, metallic lighting also relates to the subject of the segment. That is, shot and composition take the spotlight on this segment, although many post-production techniques are also employed.

the opening of Whiplash

It is worth noting that, above all other parallels between the movies, the greatest similarity is in the story, and how, even in the first few minutes, the object of the protagonist's obsession is already presented. In fact, stories of the kind usually tend to begin with a demonstration of the factor that will drive the protagonist beyond their limits - this is seen in the aforementioned movies, as well as in Pi and Zodiac (dir. David Fincher, 2007), the latter which, despite not showing the main character in the opening, showcases the case on which he fixates.

Knowing that, and following the precious advice given to me during my personal meeting in class - "don't overwork it" -  I should concentrate on bringing my character's work into the scene, only at the end hinting at the impending ruin. Of course, with the mise-en-scene, I could create "red flags" or other elements that indicate the obsession, but, overall, this piece should focus on establishing the protagonist as a passionate scientist (possibly to a dangerous extent). Based on the openings I have seen, color and lighting also seem to be key factors in conveying meaning and entertaining the audience, so I will try and work with that. The editing, too, can help communicating a message - Whiplash, for one, uses quite a few whip-pans. Until then, I will try to clarify my vision for the opening and work on the more technical aspects.

SOURCES:

Miyamoto, K. (2018, May 8). A Simple Way to Make Dream Sequences and Flashbacks Work. ScreenCraft. https://screencraft.org/2018/05/08/simple-way-to-make-dream-sequences-and-flashbacks-work/

The Art of the Dream Sequence. (n.d.). The Criterion Collection. Retrieved February 18, 2021, from https://www.criterion.com/current/posts/5606-the-art-of-the-dream-sequence

News Desk. (2021, January 29). Swan Lake | Ballet Story, Characters, Music & Performances. The Ballet Herald^TM. https://www.balletherald.com/swan-lake-ballet/

IMDb. (2010, December 17). Black Swan (2010). https://www.imdb.com/title/tt0947798/

Lessons from the Screenplay. (2016, November 22). Whiplash vs. Black Swan — The Anatomy of the Obsessed Artist [Video]. YouTube. https://www.youtube.com/watch?v=ba-CB6wVuvQ&t=652s

Movieclips. (2015, December 8). Black Swan (2010) - Nightmarish Dance Scene (1/5) | Movieclips [Video]. YouTube. https://www.youtube.com/watch?v=Kd-81VRVQXw&t=6s

IMDb. (2007, March 2). Zodiac (2007). https://www.imdb.com/title/tt0443706/

EUREKA!

Hello, my dear readers! I come with exciting news: I finally have an idea for a plot! A vague-ish idea, but it's still a start! Before I get into it, yes, I am aware we are limited to the two-minute opening; still, knowing what happens throughout the story helps me get a better idea of how to begin, and how to foreshadow and develop the story and its components. And so, without further ado, I present to you my idea:

A desperate or obsessed chemist/pharmacologist loses themself in trying to create a panacea - others insist it's alchemy, but the scientist has to do it.

Now, there is a lot to work with based on this. What motivates the scientist to attempt this impossible task? Why do they feel obligated to do it? The cliche answer is evident: a sick partner. But I don't want this to be another sick-wife story, with hospital room scenes and soap opera conflicts. Not to mention, I don't really have access to a hospital where I could shoot the scene. This leaves me with a few options, all of which still need finessing: 

1. The scientist feels obligated to create the medicine "for the greater good:" not only will many benefit from the chemist's actions, but they will be held in high esteem, and recognized by his hard work. This can involve conflicts regarding the character's ego and need to be the best - a man vs. self conflict seen in some of the case studies (Black Swan, Whiplash, Jekyll and Hyde the Musical). In addition to that, the want to uncover a "truth," as opposed to wanting to save themself or someone else, can be observed in yet another of the case studies - Pi.

2. The scientist feels obligated to create the medicine because they believe they are sick. In other words, a hypochondriac chemist tries to cure themself - since they believe they are always unwell, or that another illness is just around the corner, they want to prevent themselves. Of course, because they are not really infected, the medicine never seems to work. That, and the fact that panaceas don't exist. With this idea, it is possible to get into the more psychological aspects and work with the main character's own impending sense of doom (that they have to get it right to save themselves)

3. The scientist feels obligated to create the medicine because they (or someone else but not their partner) are actually sick. This idea introduces a time-sensitive plot that generates tension (though it falls mainly under the "thriller" genre, as seen on my last post). Nonetheless, the "illness" aspect is a major theme in dramas, and although I do like the idea of a tragic ending, I do not want the deterioration or worsening of a character's illness to be the main conflict.

this is the "vibe" I'm going for when I talk about someone slowly losing it

It's a tough choice, but I will let my research decide which fits best, and which is the story I want to tell. As of now, I am tending more towards the first two ideas (as seen by the presence of actual case studies supporting them), but I am not certain if the "common good" is enough of a motive to drive someone past the point of no return. 

In addition to the brainstorming, I have also continued watching films from my list on the first post, and taking notes for each. Mostly, I tend to focus on how the story is told through the lens of a different genre, but I have also begun to take notes on the main character and their motives, trying to find shared characteristics I can base myself on to build my protagonist.

taking notes on each of the movies

SOURCES:

Masterclass. (2020, November 9). Guide to Movie Subgenres: 42 Subgenres in Film. https://www.masterclass.com/articles/guide-to-movie-subgenres#10-comedy-subgenres

Genius. (n.d.). Jekyll & Hyde: The Complete Work (1994 Concept Cast) by Frank Wildhorn. https://genius.com/albums/Frank-wildhorn/Jekyll-hyde-the-complete-work-1994-concept-cast

GENRE LOCATED

 (I think, since everything will be regarding the portfolio project from now on, there is no need to put it in the title again. Welcome to the new era)

So it is decided: I will do a drama. But, of course, the decision did not come without research on the topic. Allow me to explain.

For the past few days, I have watched some of the movies listed on my previous post, taking notes on how the character development was done in each genre. Of those movies, some fall under the category of drama, others of thriller, and some even shifting into horror, according to the IMDb. The ones I watched most recently were Darren Aronofsky's Pi (1998), and Damien Chazelle's Whiplash (2014). 

The former follows an obsessed and paranoid mathematician, Max Cohen, whose work gets lost amid insane theories about mystical connections. The film also includes aspects of religion and the Kabbalah, the obscure art of interpreting the Torah - which has much to with mathematics, given that every Hebrew letter is a number. Cohen's development is retrograde: he gets worse as the movie goes forward. Throughout the course of the story, we see Max's mentor disapprove of his unhealthy practices, and discourage his search - which, in turn, only causes the mathematician to work harder to find the "truth." Still, though the story itself is that of obsession, much of the film works with violence as part of the hallucinations - not only to showcase how the character sees the world, but also to create tension and scare the audience - there are rather gruesome scenes included in the flick, appealing more to the "thriller/horror" genre than to drama. The more abstract portrayal of insanity gets the spotlight in the narrative, and is used to portray the genre conventions.

Whiplash, on the other hand, has a narrative much more grounded in reality. Andrew, a young drummer, pushes himself to unbearable extents to be "one of the greats" while continuously being put down by his abusive instructor. The character's development is dictated both by "environmental forces" - his family, his fellow bandmates, his teacher - and by his own need to be the best, to prove himself capable of being among the big names of jazz. The film uses several techniques to capture Andrew's (and the other musicians') anxiety, showing the effect that Fletcher, the teacher, has on them. But I will get into technical aspects later; this post is about the storytelling characteristics. The film follows the student engaging in several self-destructive practices, putting his own sanity on the line and sacrificing everything in the name of achieving perfection. As opposed to Pi, the story focuses fully on the character's struggle to be recognized, to receive some sort of validation. Although the mental aspects are clear - it is obvious that the manipulative nature of Fletcher has made its way into Andrew's head - there is no "hallucination," and the story is far more realistic. This, of course, plays into the concept of drama: a more humane story focused on the characters instead of a mysterious concept, and focused on character development. Whiplash also uses many other institutional conventions for drama, including eliciting strong emotions from the audience. 

As additional research, I have looked into some genre characteristics for each style of storytelling, shown below: 

 

Overall, I believe drama allows me to explore a more character-driven plot (even though the product will be only 2 minutes long), and I do not have to conform to thriller conventions, for instance, which would not produce the effect I intend for the project to have on audiences. It is not meant to scare audiences, or entertain by means of violence. Rather, the emotional turmoil should be the principal aspect of the film, and that should be translated into the film opening.

SOURCES:

Roberts, E. (2017, March 27). Codes and conventions of the drama genre. SlideShare. https://www.slideshare.net/esmeroberts/codes-and-conventions-of-the-drama-genre

BBC. (n.d.). Dramatic conventions - Drama elements - GCSE Drama Revision. BBC Bitesize. Retrieved February 12, 2021, from https://www.bbc.co.uk/bitesize/guides/zqx3wmn/revision/6

IMDb. (2014, October 15). Whiplash (2014). https://www.imdb.com/title/tt2582802/

IMDb. (1998, July 10). Pi (1998). https://www.imdb.com/title/tt0138704/

Drama Films. (n.d.). Filmsite. Retrieved February 12, 2021, from https://www.filmsite.org/dramafilms.html

WJEC. (n. d.). Genres and generic conventions. Retrieved February 12, 2021, from 

http://resource.download.wjec.co.uk.s3.amazonaws.com/vtc/2016-17/16-17_1-14/Section%201%20Generating%20ideas%20for%20stories/Resource%201%20Exploring%20Genre/Activity%202%20Add%20example%20films%20to%20the%20genres.pdf

Reich, J. (2017, July 11). 2. What Is Genre and How Is It Determined? – Exploring Movie Construction and Production. Pressbooks. https://milnepublishing.geneseo.edu/exploring-movie-construction-and-production/chapter/2-what-is-genre-and-how-is-it-determined/

Ramirez, R. (2020, July 6). Secrets of the Thriller Genre. Story Grid. https://storygrid.com/thriller-genre/

Gilbo, S. (n.d.). Thriller Conventions: The 10 Things Every Thriller Novel Needs. Savannah Gilbo. Retrieved February 12, 2021, from https://www.savannahgilbo.com/blog/thriller-conventions

PORTFOLIO PROJECT: IT BEGINS

At last, we arrive at the moment everyone's been waiting for: the Cambridge Portfolio Project. I will admit, I have been thinking about the film opening project for some time now (and I am very excited about it), but I still don't have a very clear idea in mind. Hopefully, as the weeks go on and I actively invest in research, I will be able to obtain a more concrete idea. As for now, I will tell what I have.

A theme that always piques my interest is the good old descent into madness. The anguish at seeing a character become obsessed to such an extent that it takes over their lives is almost unbearable; still, there is something cathartic about being able to pin all your worries and anxieties on someone else - someone fictional - and watch as they attempt to grapple with them. It is quite grim, but none can deny the relief they feel after watching the movie: "thank God that's not me." And, of course, it's always fun to watch movies that elicit strong feelings.

For that reason, I intend to go in a somewhat similar direction, telling a story of obsession and ruin, venturing the realms of thriller, drama, or suspense - the particular genre is still to be decided. What I do know, however, is what I want to avoid: supernatural conflicts and schizoaffective disorders. The former simply for taking the attention away from the psychological aspects I plan to focus on, and the latter because it is not my story to tell. Being that I do not experience any type of delusion, I feel that it is not my place to tell the story of someone who does - not to mention, portrayals of mental illness in the media often come across as offensive, or propagate misconceptions. So I will keep away from that.

For the time being, I am working on compiling a list of films that could help me get a better notion of the genre (pictured below).

some movies that relate to the concept I was discussing earlier. Watching and taking notes on how the genre portrays the characters' rise and fall can help me get a better idea of how I can communicate a similar story in a fitting style. In addition to that, watching films that follow a storyline I do not want to follow also helps me understand what I want to avoid.

MUSIC MARKETING: THE RESULT

an in-depth look at the R&B Marketing Project

In class, we were asked to create an artist with base on four songs provided to us. The songs, assigned randomly to us, embodied a certain genre - in our case, R&B. Upon listening to the tunes, our group decided on Shai's "If I Ever Fall in Love," hoping to create an artist who could transform the sentimental tune. But in order to understand who would fit the profile, we needed to study the genre itself. And so, our work began.

STEP 1: RESEARCH

More than simply knowing where to look for inspiration, we needed to know what to look for. What is R&B? The music style has been documented as early as the 1940's, emerging - and diverging - from the Blues, which had been around for some time already. Its main characteristics were the contagious beat and personal touch to lyrics, culminating in a rather humane genre to encapsulate an artist's sentiments.  In its early days, Rhythm and Blues was popular mostly among African-American audiences; it is only natural that this music, a mix of sentimentalism and "a beat you can dance to," would come to talk of social justice. R&B evolved side by side with the Civil Rights movement in the 50's and 60's - the fight for justice motivated many to put yet another personal struggle into lyrics, celebrating Black culture in a time of oppression.

Throughout the years, however, its sound has evolved (though the themes themselves remain largely unchanged). Borrowing from and influencing a variety of different styles, R&B consolidates itself as the broad term it is today. In fact, the Rhythm and Blues of the 21st Century ranges from Pop to Indie to Rap - and we have the case studies to prove it. 

As instructed, we looked into four different artists from two different record labels: Republic Records and Glassnote Records. The former is a subsidiary of UMG, one of the giants of the music industry. In its 26 years of existence, Republic Records has represented a variety of artists, from the Jonas Brothers to Nicki Minaj. Among their lengthy catalog are two of our picks for "R&B Models:" Drake and The Weeknd.

Ad illustrating Drake beside the Sprite cans

 

Drake, as opposed to many in the music industry, began on TV, already having somewhat of a basis to build onto. Already on the good eyes of the public, the singer was able to participate in a variety of events, and partnered with several companies on different occasions. That is, already being a figure of relatively high status, corporations could benefit from having Drake be the face of a product, and he would, too. With such profits in mind, synergy was adopted as a major marketing strategy - one example noted by our group was his collaboration with Sprite for a commercial and the subsequent release of commemorative cans featuring Drake's lyrics.

The Weeknd

The Weeknd was yet another artist whose marketing strategies inspired our own. Particularly, the singer's brand was a focal point in our research. To begin with, the celebrity (who was recently the headliner for the SuperBowl's Halftime Show) is a relatively discreet person. Unlike other artists, The Weeknd keeps most of his personal life to himself, allowing his songs to speak for him. Additionally, despite removing his private information from the equation, he still speaks from experience, using music to promote both his Ethiopian heritage and his feelings with regards to many topics - heartbreak, drugs, love, and others. The Weeknd's ideology much inspired our group in creating our artist, The Unknown - what matters is not who sings the song, but what is sung. Still, of course, the lyrics and melody are never devoid of sentimentalism or the personal touch common to R&B. Even secretive personalities express themselves somehow.

We had now seen one side of the spectrum: high-profile artists signed with a major label. Though our second pick for a records company is not as "low-profile" as it may seem - in fact, it was regarded as one of the top alternative labels - it is certainly less well-known than UMG's offspring. Glassnote Records, founded in 2007 by Daniel Glass, is most commonly known for its indie artists. Despite our artists being content creators for the R&B genre, they fall under the alternative end of the umbrella term that is modern-day Rhythm and Blues. 

snny's album, Otito

The first of our second batch of artists is snny, an artist whose indie roots are quite prominent. More than just experimenting with the sound of this contemporary R&B, snny uses it to reflect his style and story. In fact, the artist's whole brand is focused on the intimacy between him and his audience, to whom he grants entrance into his history coming from the Ivory Coast. As opposed to anonymous artists such as The Weekend or The Unknown, snny prided himself in opening up to the audience, both through lyrics and through other projects. Particularly, the singer released a short film about his life and journey from his homeland and how it felt to return there. From his case study, we gathered information on promotional practices and distribution - the latter being distinct from any other explored in our research. Snny, as a smaller artist, made his songs available on free platforms as a way to gain exposure. SoundCloud and BandCamp are not the usual means of distribution, given that platforms such as Spotify or Apple Music are much more profitable. And indeed, snny's music is also available on major websites; still, the interactivity of fans with the artist is necessary in order to first establish himself as an influential person in the industry - or, if not influential, at least minimally well-known.

Childish Gambino in "This is America"

Also under Glassnote's wing is the bigger artist Childish Gambino, whose strategies were also main factors in our own marketing plan. Donald Glover innovated the genre, bringing even virtual reality into play. The highly technological acts were used not only to awe the audience, but also to promote interaction. Childish Gambino's campaign not only made use of GIFs and apps, but also hid secret messages in each of the artist's creations, motivating the fans themselves to look for deeper meaning in all of Glover's moves.

With the knowledge we gathered from the research, we focused on building a brand that would represent our genre.

 

STEP 2: BRAINSTORMING

In hindsight, perhaps if we had given ourselves more time to brainstorm and build a concrete brand, it would have been easier and more effective to produce for The Unknown along the way. 

Our first idea was a tentative approach to the anonymity - not a full-face mask, but a decorative one. The purpose was not to hide the face, but a mere prop to add to our singer's persona. Quickly, the idea was discarded and replaced by a much more solid one, one with a purpose. The Unknown bridges the gap between full anonymity and the touch of humanity to every song. Although no one really knows who is the person behind the mask, all can relate to their lyrics - and this, as mentioned before, is a pivotal aspect of R&B.

The development of the brand took some time, and such delay (and maybe a bit of trouble with communication within our group) may have caused later parts of the project to be rushed. Nonetheless, we had a general idea, and, with that, I set on to produce a logo. Below are some of the working designs:

 

an attempt at a "speedpaint" of me creating a logo

possible logos created on IbisPaint X

the first version of The Unknown's current logo, made on Microsoft Word

some shots from the storyboard

At this point, storyboarding also became a focal point. As per the premise of our project, we were required to create music video to the tune assigned at the beginning. Here, we were faced with another issue. The brand, which I described at the beginning of this segment, was still in the process of consolidating itself. The storyboards done in this step were only of minimal influence on the final product. Only some factors were addressed both in the draft and in the actual music video - among them, colors were maintained throughout, given that blue is intrinsically connected to The Unknown's whole brand. In making the storyboard, I looked at some R&B music videos: Usher's "I Cry," Kia Marie's "Fog," Ella Mai's "Trip," Jhené Aiko's "The Worst," and India Shawn's "Moving On."

STEP 3: PRODUCTION

The production step in our project meant more than just filming the music video. We had to fabricate an online presence real enough to emulate that of an actual artist. Our group divided the work: one of them would work on creating Instagram, Snapchat, and other social media accounts, while I made the website. Using website-makers, I created The Unknown's page. Taking inspiration from H. E. R.'s, Alicia Keys', and The Weeknd's own webpages, I attempted to promote our artist and his song. Also in the website, as discussed in the previous stages of our project, we would include clues regarding the singer's identity. These can be seen on the bottom of the "home" section, as a series of pictures. Below are some of the products of this step:

creating the website on Wix

The website. The merch seen here was made on Microsoft Word.

the Instagram page created and edited by one of our group members

Through Zoom metings, we also managed to discuss what we would do with regards to the music video. We agreed on meeting live - though, of course, abiding by the guidelines so as to keep everyone safe. We recorded everything in one day. The editing, on the other hand, was a process.

STEP 4: POST-PRODUCTION

The editing process was done mostly by the group member with the most experience editing. Knowing the pecise techniques, he edited together the clips, and (again through Zoom) the group met to discuss where to place text, shots, and other components of the final music video. Here is the full clip:

 

STEP 5: PRESENTATION

creating the PowerPoint

The presentation was a combined effort of our group. Some of the presentation was done simultaneously with other parts of the project - notably, the website and media pages. For that reason, the research put into the production step was also featured on the slide show, which was shared with all members. Along with the Google Slides file, the group shared a "presentation script" so everyone would know the theme in each slide, and which I would edit afterward to fit the overall aesthetic. Since this step is the conclusion of our whole process, each member talked about the part they worked on, selling the purpose of our artist. 

CONCLUSION

With the collaboration of the group, we managed to create a final product that represents the research we have put into the genre. That is not to say that it did not have its flaws: communication and time management were major issues. And yet, we have learned useful information about patterns of consumption and distribution among the genre - a factor common to various types of media, and is thus, quite helpful in Media Studies. Besides, it is true that we learn from our mistakes, and so a valuable lesson also comes from this project: always plan in advance.