Statement of intent

In my music video, meaning will be constructed primarily through visual style rather than a conventional linear narrative. The video will consist of slow-motion performance and atmospheric imagery, including beach and water sequences alongside footage filmed in the London Underground. This fragmented structure deliberately challenges Todorov’s theory of narrative equilibrium and resolution, instead prioritising mood and thematic ambiguity. This approach targets my audience’s preference for aesthetically driven and interpretive content, commonly found in contemporary ballad music videos.

Cinematography will play a key role in communicating emotion. I will use close-ups and slow motion to intensify aesthetics and visuals, these close-ups and slow motion will intensify emotional expression, positioning the artist as intimate and authentic, reinforcing audience connection. This reflects Andrew Goodwin’s theory that music videos demonstrate a relationship between music and visuals, while also appealing to audience expectations for emotionally synchronised imagery. A blue colour grade will unify the contrasting locations, reinforcing the subdued tone of the track and creating a recognisable visual identity. The beach and water imagery will connote reflection and emotional depth, while the enclosed Underground spaces introduce visual contrast through confinement and repetition, symbolising emotional duality. My website products will reinforce this aesthetic through cohesive and recognisable visual branding. The homepage will foreground concert photography and embedded video content, using low-key lighting and a restricted colour palette of blues, purples and black to maintain continuity with the music video. Spotlight imagery will position the artist as the central focal point, ensuring visual consistency across platforms. The shows page will open with a live performance clip before presenting tour dates in a structured and conventional layout, guiding users through the site in a clear and accessible way. This balance of aesthetic design and usability reflects contemporary audience expectations for both visual appeal and functional navigation in artist websites.

In the music video, the female performer will function as a visual focus rather than a narrative-driven protagonist. Through controlled performance, direct address and close-ups, emotion will be conveyed through expression rather than action. This representation emphasises emotional vulnerability and introspection, avoiding stereotypical or overly sexualised portrayals often associated with female artists. The contrast between open natural landscapes and enclosed urban environments will symbolise themes of freedom versus isolation.  Allowing audiences to construct their own meanings, in line with Stuart Hall’s reception theory. While a preferred reading of introspective femininity is encoded, audiences may form negotiated interpretations depending on their own experiences.

On the website, the artist will be represented primarily through performance imagery. The use of live concert photography constructs the artist as professional, authentic and performance-driven. The combination of intimate, controlled visuals in the music video and dynamic performance imagery on the website creates a balanced representation of both emotional authenticity and artistic authority, appealing to audience expectations of relatability alongside professionalism.

My target audience is primarily 16–25 year olds who engage with music culture through digital platforms such as YouTube and TikTok, as well as live music events. This audience is likely to be drawn to emotionally expressive, visually cohesive content that allows for personal interpretation. The absence of a fixed narrative encourages active audience engagement, aligning with Stuart Hall’s theory by enabling varied readings of the text. The website incorporates interactive elements such as embedded video, a sign-up feature and tour date listings, which fulfil audience needs in line with Blumler and Katz. These include entertainment (through video content), personal identity through identification with the artist and social interaction through attending live events. The shows page encourages participatory culture by guiding users from viewing performance content to purchasing tickets, reflecting contemporary expectations of audience involvement.

Furthermore, both products reflect current music industry practices. The website functions as a promotional and commercial hub, encouraging streaming, ticket sales and merchandise purchases. This demonstrates an understanding of the industry’s reliance on cross-platform promotion and direct-to-audience marketing in a digital, convergent media landscape. The integration of links between platforms reflects modern patterns of media consumption, where audiences expect seamless movement between content. The music video also follows key conventions of the ballad genre, including slower pacing, emotional performance and symbolic imagery, ensuring it remains recognisable and marketable. At the same time, its non-narrative structure allows it to stand out aesthetically within a digital market. 

Overall, my music video and website work together to construct a cohesive and distinctive artist identity. Through the consistent application of media language, clear representation, audience targeting and awareness of industry practices, my products effectively balance creativity with commercial viability.