Aims and intentions guidelines (for submission in 2025)

This post is for students who started their coursework in 2024, and will graduate in 2025

What is aims and intentions?

• The aims and intentions essay is a short, one page, 500 word essay
• In it, you explain what you aim to do, how you intend to do it, and how you will meet the brief of the project
• You will use evidence from your research in to music videos and the music industry that you carried out in your production workbook. If you haven't done much of your production workbook, you will have some issues in completing your aims and intentions
• This essay is to be written in the future tense. For example: I SHALL use a rapid fire montage of close up shots to engage the audience, or I WILL make intertextual reference to the horror genre through the iconography of knives, blood and fangs
• 500 words is not enough to write a normal essay. Therefore, you will be using lots of bullet points to cut down the number of words you write. It is completely fine to use LOTS of bullet points!
• In exam board exemplars, every band 5 Aims and intentions essay was at least 550 words, so don't panic about the word count too much. 580 is definitely too much though.
• You will be marked on your accurate use of media language, and your knowledge of representation, industry and target audience
• You will also make reference to appropriate theories. Good ones to use are Barthes, Levi-Strauss, and, depending on your video, various theories of representation 

What was the brief again?

Here is the 2024/5 brief to remind you of what you were asked to make and what you are being marked on:

• A cross-media production for a new artist or band in a popular genre (or subgenre/hybrid) of your choice.
• Create an original music video and associated print material to promote the same artist or band.
• You should create a cross-media production for a record label that is part of a global conglomerate (such as RCA Records or Parlophone Records). Your cross-media production should target a mainstream global audience of 18–35 year olds.
• You must create a convincing brand identity for a new artist that appeals to your designated target audience

Cross media production means your music video AND your magazine. The two must link together!

Digital convergence refers to how digital technology can bring together separate media industries. So for example, your music video could and should be hosted on Youtuber and other streaming services, which means it can be accessed 

You can find the full brief, including details for the magazine unit by clicking here

What do I need to include?

The exam board have provided detailed information, which was provided in your production workbook. But here it is again. Use these bullet points as headings in your aims an intentions! Remember, the aims and intentions essay can use headings an bullet points as you please!

Use evidence from your research into: similar products; the industry context; your target audience, as well as theoretical perspectives, to explain your decisions:

• How and why will you use media language in your cross-media production? 
• How and why will you construct representations of individuals, groups and issues/events? 
• How will you target your intended audience?
• How will your production conform to its industry context?
• How will your cross-media production demonstrate digital convergence?

Cross media production means your music video AND your magazine. The two must link together!

Digital convergence refers to how digital technology can bring together separate media industries. So for example, your music video could and should be hosted on Youtuber and other streaming services, which means it can be accessed 

Haven't I done this already?

If you have completed the whole of your production workbook, then yes, the five slides labelled 'aims and intentions' are your aims and intentions. Just copy and paste. However, I'm not sure many people got that far.

How long will this take?

Honestly? Half an hour to an hour for the first draft. It's short and straightforward, and as long as you have done the research, there won't be an issue. If you have been filling out the workbook, you may have already done it, so just copy and paste it in to a Google doc on your Drive.

What does a good one look like? 

Here are a few examples. Please keep in mind, these are from previous years, when the specification was different. So please make reference to the brief you have been set

Example one

Within my music video, it is my intention to use narrative and performance to convey themes of depression, loneliness and the idea of having to put up a happy front around other people. 

Within my video, there will be –

• Varied editing pace to fit in with the slow beat of the song.
• A range of shot types, such as close ups and establishing shots.
• A subtle but interesting narrative, most of the lyrics taken literally and the shots matching with the lyrics.
• Yellow typography uses intertextuality of Quentin Tarantino films such as ‘Jackie Brown’ and ‘Pulp Fiction’. Use of blood and gore to also link to Tarantino films.
• Using mainly natural light to convey a sense of realism and to convey the sad and dull atmosphere, some shots have brightly coloured lighting.
• Colour scheme to show a contrast between interior settings and exterior settings. Interior setting will have a green tinted, dull, vintage camera effect. The exterior shots will have a bright, saturated effect.

In my music video I will be representing young people/teenagers who deal with mental health issues such as depression. I will do this by creating a binary opposition between the shots filmed inside versus the shots filmed outside. The inside shots will show the real emotion with dull, low-key lighting and the use of mise en scene such as blood and broken TVs. To contrast, the outside shots will be saturated and colourful, being filmed on a fisheye camera to represent other people. The inside shots are to represent when the artist is alone and being true to her emotions and the outside shots are to represent how people act happy around other people even when they’re not feeling that way. Some of the inspiration for this type of mise en scene such as the blood from the eyes came from scenes from Uma Thurman, creating even more intertextuality with Quentin Tarantino films.

I will appeal to my target audience of teenagers, especially those who struggle with mental health issues, since the actor is a teenager and represents some of the reality of what it’s like to deal with those issues. Mental health is a big and important discussion among young people and teenagers so i will play into that target them specifically. 

My video will conform to industry standards in the sense that it will include both narrative and performance elements and will include stereotypical elements of an indie music video such as slow paced editing and vintage mise en scene. However, my music video will subvert from industry standards by only featuring one person throughout the music video. 

I will use cross-media production to demonstrate digital convergence by creating a magazine front cover and a double page spread. I want to crest visual interest using mise en scene such as unusual costumes and props. The interview will be a very open and down to earth one, talking about things such as the artists experiences with mental health issues to link to my music video content. The photos will reflect the individuality of the artist to conform to the convention that celebrities are fashion toward and unique individuals. 

Example two

In my music video I will attempt to incorporate a complex narrative and performance, which includes key themes of depression, death, delinquency and identity.

I aim to conform to the industry standards by including these elements of a stereotypical alternative gothic song, which confronts / protests important social issues, such as mental health, as well as producing a memorable and unique video that attracts attention.

I will be including a male actor as the main subject present throughout the music video, tasked with instrumental syncing and posing for unique unsettling shots. The main subject is a white middle classed European teenager, who is inspired through 80s and 90s Gothic culture, with the representation of him being a stereotypical young adult being altered as the setting and performance changes, which represents the drastic emotions young adults face in current times, such as mental health, suicide, identity, morality and stress.

Here are some key techniques, focuses and ideologies that I will implement:

• Mixture of both close up and mid shots to convey the emotions of the artist.
• Colour grading of film to represent different emotions, such as blue symbolising depression / greyscale representing death.
• Hard cuts and ECUs to keep audience's attention and to make audiences feel unsettled / disturbed.
• Multiple film locations which represent different emotions, death and depression in the graveyard, distress and madness in the garden.
• Foreign narrative to inject the emotions of confusion and darkness into the audience's mind.
• Colour schemes that conform to the Gothic genre, with an vintage video overlay which represents the 80s / 90s Gothic culture.

Lots of the inspiration for my ideas came from analysing the music videos "Forgiveness" by Alice Glass and "Kasvetli Kutlma" by SPA, both include seemingly unrelated and unique shots, which created an overall mood of unease and darkness. I was fascinated with the idea of film appearing like it was recorded on a vintage VHS recorder, with the distorted effect connotating the emotion of confusion young adults face in modern times.

I believe that my product will appeal strongly to a young adult audience, as the cast included are shown to be stereotypical of a young adult. The alternative melancholy music and blunt dark themes both play into current teenage culture, where mental health and identity are large topics of discussion.

I will demonstrate cross-media digital convergence by producing a magazine front cover and double page spread, which will promote my video, as well as focusing on the themes presented and the artists themselves. I will use this opportunity to promote my artist and I plan to create a featured article that explores the artist's past experiences with the issues represented within my music video. 

I will encode the themes and ideologies referenced above in my magazine, through the use of the mise-en-scene, costumes will conform to the Gothic stereotype, dressing actors in black clothing to represent depressed emotion. 

I will be using media language to challenge / reinforce perceptions of stereotypes surrounding mental health and Gothic culture, referencing Stuart Hall's representation theory.

Example three

In my music video, I intend to use close-up camera shots of the character’s faces to display to the audience the emotions of the characters they are all portraying in the narrative. For example there will be the following close-up shots:

• angry and heartbroken shot of the performer
• shot of the character who has been cheating looking guilty
• shot where the character who is having the affair looks at her love interest and mouths 'I love you'
• several shots of the performer and his ‘girlfriend’ laughing and smiling together 
• beat-matched shots
• video interprets the lyrics as the song is about infidelity and the narrative mirrors this
• In the magazine there will be simple, yet effective close-up shots of the artist and long shots to show the artist’s costume. The costume and location for the magazine photoshoot will be reserved, to a certain extent, to reflect the artist’s selling point of being relatable, however they will certainly show that the artist is a star and the centre of attention in the photos. 

·      Performance and action scenes will be mid shots

·      Setting scenes will be long shots

Colour scheme will not be too bright, as it will fit the mood of the song and the narrative. Predominantly:

• Whites as a background so artist stands out in shot
• Black and white shots of artist lip-syncing to suit the darker mood of narrative and song
• Saturated and vibrant greens to emphasise ‘present day’ shots
• Faded, brown tinged shots to emphasise ‘past’ shots
• The artist’s costume in the video will be one to set him apart from the other characters (for example in the argument scene the performer’s costume is brighter than the girlfriend’s), however nothing too out-there, as the artist needs to remain relatable to the target audience. 

The social group I will be representing will be young, working-class men and this is shown by:

• relatable, inexpensive and not extravagant costume to fit group stereotype
• locations such as garages for backgrounds of scenes 
• no focus on hair and make-up for the artist, as it’s not typically associated with group stereotype

I intend to target this audience by:

• Using a song by an indie/rock artist, because this is a genre typically enjoyed by the social group in question
• Topic of the song - infidelity - is something understood and often experienced by people especially in this age group so is relatable for audience
• Colour scheme not being anything too bright and quite dark in places, because young people could be put off a music video if it is so colourful, as it may appear childish - damaging artist credibility

The music video production will conform to its industry context, because it

• is approx. 3 minutes 15 seconds in length, which falls between the 3 minutes and 3 and a half minutes expected of the typical music video 
• has fast-paced editing to transition between scenes and shots 
• has a variety of locations 
• has an element of artist performance
• follows a narrative that is not complex and will be easy to follow

The music video will be consumed by an audience who will watch it on their mobile phones, TVs and computer devices, therefore this is digital convergence. This is evidence of the film industry combining itself with digital technology for the consumption purposes of its audience, e.g. if the video is streamed through YouTube.  

I will also display digital convergence through:

• the music video and magazine both being edited digitally using online platforms, tools and software 
• in my magazine article, I will include the social media handles of the artist, so that fans can engage with the artist digitally
• a link to the magazine's website for further reader-artist(s) engagement and interaction

How does media language construct representations in 17 Going Under by Sam Fender?

Conventions of indie rock

• Historically, ‘indie’ refers to being in an independent
• Focus on guitars, with a twangy and jangly sound
• Straightfoward and unobobtrusive drums
• Characterstic voices with regional accents 
• Sometimes the use of brass and orchestral instruments to fill out the sound
• Upbeat and spiky 

Analysis

• The use of long shots throughout the video connote loneliness and isolation. Tgis is further reinforced through the use of composition, with Fender presented in the centre of an emty and deserted street 
• The master shot of fender standing in the deserted street is made notable through his continued ascension throughout the video. This shot was achieved through at least one crane, and the connotation here is that Fender is rising above the situation, and drawing attention to the social injustice experienced by working class people in the NE of England. Additionally a polysemic mode is constructed here, with the symbolic suggestion that Fender has been made powerful through his difficult upbringing. 
• Throughout the video, Fender is seen wearing a short sleeve button up shirt. This shirt has connotations of working class identity. It is literally a work shirt, and features the company logo CROWN ELCTRICAL COMPANY. However, it is also stereotypical of working class young men, and constructs a relatable mode of address to working class young men. By avoiding the high fashion stereotypes of certain ppstars, Fender adequately the serious undertones of the song
• A binary opposition is constructed between shots of fighting and shots of hugging. The fight scene is shot in a confusing style, ith fast paced editing that cuts away from injury deatial, therefore allowing the video be distributed on youtube
• The buildings in the mastershot are stereotypical northern terraced houses, and have connotations of poverty and working class 
• A complex binary opposition is constructed between themes of deprivation and the MES of nature, and beauty
• Constructing refers to how something is made, by the producers of  a media product. Representations are ideological perspectives that have been presented again by the producer using media language. 
• The setting of the dull, stereotypically working class terraced housing cnnotes Fender’s working class background and his hardworking pesona.It also reinforces the difficulty of his life, his past, and growing up in the North East
• As the song progresses, the editing becomes faster, and the length of shot becomes shorter and shorter. This speed of editing has the effect of constructing a more exciting mode of the address for the audience. 
• A clear narrative is constructed that is separate from the master shots of Fender performing. While it is unclear exactly what is going on, the narrative focuses on working class individuals, as identified through their outfits
• There are a range of costumes, all of which are highly conventional, and even stereotypical of working class identity. Fender’s selfless white shirt has connotations of work, and working class identity, and also indicates that Fender is an authentic individual
• Authenticity is extremely important to Fender’s brand identity 
• Fender flys above the streets of North Shields, in a shot which is possible through a crane, and in doing so, constructs an important representation. By being situated above the MES of the stereotypical working class streets, Fender looks on in reflection and reminiscence, remembering the bad times
• The CU shots of Fender’s face are repeated throughout the video, and connotes his importance and popularity. This sense of popularity is reinforced through the MES of Fender surrounded by crowds of inhabitants of North Shields. Dressed in casual and relatable clothing, the video is clearly relating to a young and working class audience 
• A dull colour palette is selected, and favours mainly greys and browns. This selection reinforces the ideology that North Shields is a dull and depressing place to live. Furthermore the desaturated colours are connotative of realism, authenticity, and sadness
• The settings selected are not symbolic of exclusivity, but instead are all places where people can naturally commune. This includes a beach, the streets, parks and roads. While locations are bleak and unglamourous, they connote a sense of youth and working class inclusivity. 
• A binary opposition is formed between inclusivity, with crowds of people, and isolation, especially in the master shot of Fender floating above the isolated and empty terraced street.
• There is a relative lack of interior shots, with a sole shot of a mother looking out in to the street. This is highly evocative of being young and working class, and having a sense of rootlessness, and having nothing to rely on.
• The rapid fire editing that represents the fight scene provides audiences with an exciting narrative
• While we are positioned as a working class youth in this video, the representation of working class youth will provide an exciting sense of escapism for middle class people 
• Towards the end of the video, a shot of a vape sitting on a table is highly connotative of youth representations and working class representations, and therefore would be relatable to Fender’s audiences

Exploring the Lyrics of 17 Going Under

• I was far too scared to hit him/But I would hit him in a heartbeat now - Being older and more confident, Fender fantasises about hitting somebody from long, and feels regret and remorse at not being violent 
• She said the debt, the debt, the debt… - the repetition here shows Fender’s poverty and the endless cycle that clearly affected his youth 
• Cold Septembers, the distances we covered/The fist fights on the beach, the bizzies round us up - the bizzies refers to the police, and represents the policies in a negative and disrespectful 
• See I spent my teens enraged/Spiralin' in silence - Clearly angry at himself, Fender remembers his angry teen years and the frustration of them
• “Arm myself with a grin” this clear coping mechanism has connotations of weapons, war and violence
• “I remember the sickness was forever/I remember snuff videos” - referring to videos of actual death and murder, Fender may be referring to how teenagers may share horrible videos with each other
• I see my mother/The DWP see a number - The Department For Work and Pensions decide who does and does not get benefit payments, and the reperursioons for those who rely on this. The song has clear social realist tendencies 
• “The DWP see a number” - the department for work and pensions are the government body that are in charge deciding who gets Jobseekers allowance and other payments. Many families rely on befits, especially in areas of material deprivation. This line gives the song a social realist quality
• Do it all again next week - the lifestyle of poverty is bleak and repetitive 
• I remember snuff videos - a recording of someone dying, this violent and upsetting image gives the song a bleak atmosphere 
• That's the thing, it lingers/And claws you when you're down - angry thoughts can liger, and can cause problems later 
• The fist fights on the beach, the bizzies round us up - Newcastle slang, and again helps target a northern audience? A disrespectful mode of address
• “Shifting gear” - selling drugs, a sign of financial desperation
• Canny chanter, but he looks sad/God, the kid looks so sad - a reference to the singer, who is clearly chatty, but is also depressed. A highly depressing and personal song 

Made in the Royal Navy - advert mini analysis

How are social groups represented in this advert? Click here to view!

• Extremely fast paced editing constructs an exciting montage of a young man’s life. In particular, this advert represents working class men and boys in the North of England. The stereotypically run-down housing is anchored by the MES of busy and densely packed streets to construct a stereotypical representation of working-class men in the north of England . 
• However, as the advert progresses, a binary opposition is constructed between the bleak images of Carlisle, and the exciting and dramatic images of international travel. This binary opposition, it is suggested that the north of England is both boring and undesirable. This highly relatable and even manipulative mode of address has proven highly successful in encouraging young men to join the navy through a life of freedom and opportunity.

How are representations of gender encoded through media language in the video to Formation by Beyoncé?

• The range of portraits on the wall behind white dress Beyoncé constructs a complex representation of womanhood. It suggests the conflation of both the past and the present to suggest that not much has changed in terms of the treatment of black women 
• There are huge portions of the video that solely focus on women. The mid shot of Beyoncé dancing in the narrow corridor of the old-fashioned house constructs a sense of female empowerment, and the idea that B is more powerful when ‘dancing in formation’ 
• Beyoncé is wearing a red, vaguely 19th century costume that is nonetheless heavily sexualised. Her legs and chest are emphasised through the cut of the costume. This self-sexualisation connotes confidence and empowerment, yet also clearly appeals to the male gaze and ultimately targets a wider audience
• Constructed through a range of binary oppositions, this representation is highly complex and even polysemic
• The contrast between Beyoncé in the hallway and Beyoncé stranded on the police car opposes confidence with vulnerability
• The white dress and the red dress are completely contradictory. The red dress is highly revealing, with the colour red symbolising passion, yet the white dress has connotations of purity and modesty. Once more, a complex representation of femininity
• Her dance movements are jerky and aggressive, which constructs an ideology that women are not vulnerable, and can fight their own battles: a clear binary opposition to the shot on top of the police car
• While the time period of some of B’s costumes are indeterminate, one thing that links them is that they are often very revealing. With the red costume, her breasts and buttocks are emphasis through the cut of the costume. This is somewhat stereotypical for the representation of pop stars. By appealing to the male gaze, B chooses to self-sexualise. Far from a negative representations, this sexualisation could be empowering, demonstrating her confidence in her own appearance. However it can also be argued that she is cyclically seeking validation. 
• B’s dance movements are distinctive and precise. Almost like a marionette puppet, Beyoncé is making symbolic reference to themes of control, and her past career when she essentially did exactly what she had to do to succeed as a black woman in mass media popular culture. Furthermore, the anchorage of the lyrics “I like my negro nose with Jackson 5 nostrils” connotes Beyoncé's journey and her acceptance of her black features and her promotion of black beauty

Bonus - themes of conflict

• Conflict between race is constructed through the lyrics of the song. The lyric ‘albino alligators’ refers to white people symbolically, and not only does this line present a damning representation, but also makes reference to an animal common in Louisiana. 
• Conflict is constructed between black communities and the US government. This is constructed through the MES of the empty police car falling into the flood waters, symbolically encoding empty promises and a sense of helplessness. 
• Conflict is constructed between Beyoncé, a multimillionaire celebrity, and the impoverished streets of New Orleans. While B is not mocking this location, her presence still forms a binary opposition, that makes for striking visuals, although some might question her authenticity 
• Themes of conflict are also constructed through the blunt and confrontational lyrics that address appropriation of black culture, as well as celebrating black identity
• The lyric “My daddy Alabama/mama, Louisiana” self represents Beyoncé as a southern black woman with a complex heritage, and constructs a sense of authenticity