Hannah Franks, Emily Turton, Oliva Hill

90 Cunnery Rd
MANCHESTER
M1 5XQ
078 2781 2372
Telegraphic Productions
82 Essex Rd
TARVIN
CH3 1RT
079 3026 4394
Dear Telegraphic Productions,
We hand-onheart swear that we have never seen your Secret Tale video
before.
It has to be noted that in the music industry, when labels want to produce a
video, a video commissioner is employed to pick the best work from a group of
directors ideas and then this chosen idea is presented to the band/ artist to see
if they agree. If the band subsequently like the video, the video commissioner
gives the selected director money to make their idea reality. This therefore
concludes that firstly; it is not Psychedelic that should be sued for the making of
their video Come as You Are, it in fact the creators Hannah Franks, Emily Turton
and Olivia Hill. But, despite them being the minds behind the video,
unfortunately Telegraphic Productions, it is still not their fault. We live in a
recycled society you must recognise; all ideas stem from another idea and that
idea stems from someone elses idea. The best creations are merely secondhand strokes of genius, but that definitely doesnt mean that its not okay. It is
okay. Is it criminal that Tom Odells Grown Old with Me stole the Swedish
romance film A Swedish Love Storys video? No. It was genius. This supports the
fact that no, we havent copied your music video, but we cant say that you
didnt in fact copy someone else. In the case that you still dont believe us, here
is some reasons why our video isnt a re-make of yours.
Firstly, I would like to address the fact that we are NOT claiming that our idea is
original. We understand that whether it be conscious or unconscious, we copied
our ideas from other media, or some non-media related formats. Our aim was to
address the reoccurring issue, presented in society, of having a lack of identity.
The fact that we still do not feel accepted to come as we are due to social
judgement and ridicule. Yes, we recognise that this idea has been covered before
(link Ruby Roses short film Break Free, specifically at point 1.00-1.04) but this
is a prime example of where we have used conventions from another video to
create our own. The important ministry of mediating the power of society
through music videos is widely used in music videos, as it gives the audience a
sense of reality and intrigues them. This is clearly an acceptable way of creating
music videos, and highlights that we didnt in fact copy you, we copied someone
else. So they should be the ones suing us, not you.
We were basing our lead singer on the stylings of bands like twin Shadow and
female leads like Blondie and Sia to fit the conventions of real artists in the

genre. This suggests that we were merely following what everyone else is doing
in our genre, which just happens to include you.
Many horror films including Paranormal activity, Hanna and Mama inspired our
wooded outdoor location to connote an eerie and mysterious feel, representing
our gang as intimidating and frightening. Alongside the horror films, we used
conventions for the exterior scenes, from the indie band Twin Shadows video 5
seconds, with the focus on the masked gang, running through the forest; we
used many of the action scenes of this video (the hand-held camera and left to
right pan) to mediated an exciting and high action effect on this small section as
this paralleled with the increasing tension in the song. Twin Shadows, was once
again a pivot for our creative ideas, baring no relation to your video.
Our varied interior locations (yes you have varied locations, but what video
doesnt?) of the bed, shower, bath and floor all connote an emotional and tense
atmosphere, providing a contrasting emotion to that of the gang. We developed
the minimal aesthetics of these locations from a research on Pinterest and mood
boards of locations to create the look we desired. The fact that the lead features
in both of these contexts, means that we were able to develop the convention of
featuring performance and an element of narrative by linking them together
(Archers theory). Our use of this theory is what all music videos should be based
upon, so in actual fact, we both copied Archer. And Im sure he would be flattered
because of this.
The fact that fire is used, featuring the lead singer, suggests that she also had
this kind of aggression and illustrates the meaning of the video (that they are
angry at society for denying them the ability to be individuals). We developed
the fire aspect from looking at videos like Sias Fire Meet Gasoline as we
thought this was very effective at portraying violence to the audience, but by
featuring the lead singer, this meant it didnt feel separate to our video,
developing the idea. Due to Sia being our lead influence, and your lead singer
being a man, we dont really see a connection between the two unfortunately.
The drowning in the bath scenes were developed from Radioheads video No
Surprises where Thom Yorke was seen drowning in a divers helmet. We liked the
interesting use of water, highlighting a struggle, in this video and thought it was
ideal for our video. We thought it would be more fitting, through a symbolic code
(one of Barthes narrative codes), to suggest the social issues suicide to filming
this scene in a bath for this would produce high impact and creating a sense of
verisimilitude, developing the original idea. Once again, despite you focusing on
social issues of not being accepted, we have specifically look at the effects of
this on people, allowing our videos to differ creatively.
Both the interior and exterior scenes featured a contrast from light to dark,
especially when it reaches the flares scene, juxtaposed by the light in the bed
scenes. This provides a direct link to the narrative feature of antagonist versus
protagonist to make the audience feel the same kind of escapism that they
would if they were watching a film. The Wombats Greek Tragedy video also
features this contrast and shows that this is very conventional of music videos to
have film connotations, so you shouldnt feel offended for having film
referencing, everyone does.

We tried to emulate the long-short-long or contrasting shots technical code in our

music video so that it didnt become boring or too similar. Through looking at
multiple music videos, we came to the conclusion that this principle isn't
necessary for every single shot (as seen in the Sia video), however it is seen
across most of the shots in stereotypical music videos, so we used this technique
to communicate a sense of verisimilitude. Here it is clear that conventions of
videos are used to allow the audience to recognise the genre and we do not
believe this an area you should be fussing over.
We put most of the emphasis on portraying emotion in the close up shots to
make the emotion clear to the audience in an illustrative way. We used this
convention from the 5 Seconds Twin Shadow video as their use of emotion is
many convey through close up to extreme close up shots. From this video we
also we inspired to feature many slow panning shots (0.08-0.15) to make the
video feel as if it is always moving and prevent it from looking too static. As Twin
Shadow used slow motion to create this effect, we developed this by doing it in
normal speed, so that the performance and lip syncing would still be at the same
time and to the same slow pace of the song. So yes, slow motion is a common
effect in our videos. Well done, you know how to work editing software. But yet
again my 8-year-old niece uses Video Star to the same effect, so accusing her for
copying is similar to accusing us.
Throughout our video we tried to incorporate many music video theorists
conventions so that or video would be realistic and fit in with other music videos.
We follow many of the rules that Andrew Goodwin suggests are essential to
creating a good music video. We featured the notion of looking during many
aspects of our video; at points 0.04-0.07 and 0.36-0.39 there is direct eye
contact with the audience from the lead singer, enabling the audience to feel
closer to her and create more empathy towards her. This aspect is used
frequently through many music videos: Taylor Swift, Blondie and Radiohead,
highlighting that it is a common convention that is used to bridge the temporal
and situational gap between the performers and the audience. At points 0.561.00 and 0.19-0.23 in our music video the notion of looking is one again featured
but through a mirror this time; either looking from the mirrors point of view or
from the side looking at her looking into the mirror. This aspect is also seen in the
Ruby Rose Break Free video and in many other music videos to mediate an idea
of self- criticising and realisation, which is what is being portrayed in our music
video.
Goodwins rule of having a link between the music and visuals is also seen in our
video as the cutting rhythm is matched the majority of the time, apart from the
odd cut to give the video some variation. This puts greater emphasis on the
music and sells it better to the audience, making them enjoy it. This again is
seen in the Twin shadow and used this aspect to give the video the same pace in
which this video emulates. The emotion shown by the singer also provides a link
between the music and visuals, as at points 2.15-2.17 and 2.34-2.36 in the song
there is screaming and the singer is shouting underwater, allowing a direct link
to the music. Many indie music videos use emotion to connote the atmosphere of
the song like Catfish and The Bottlemens Kathleen where Van McCann portrays
his aggression in the visuals that link to the fast pace of the song. We developed
this idea by creating a more upsetting emotion through the female and

aggression through the gang, as these allow the audience to recognise the
stereotypes for women. However, by having her as one of the gang, this also
contrast the stereotypes, challenging typical representations to the audience.
Laura Mulveys theory of the male gaze is also seen through one of Goodwins
rules in voyeuristic treatment of the female body. At points 0.05-0.17 and 1.321.36 the female body is seen to be focused on as the slow pan up her body and
the crawling towards the camera both highlight how men look at women, with
the aim to attract men to the video and provide structures which mediate gender
divisions. This is commonly seen in indie music videos as in The 1975s video
Girls there is many images of voyeuristic treatment of the female body to
attract the male gaze by featuring bare skin and heavy makeup. We challenged
this convention, through the singer portraying the motif of emotion, throughout
the video through messy makeup to suggest shes been crying, which is used to
transmit to the audience her sadness to being unaccepted in society and this is
done to show men that women feel pressure to conform to these feminine
stereotypes.
We challenged Archers theory that strong link is needed between performance
(with instruments) and narrative as we only have a singer and a sense of
narrative to back up the emotion connoted in the video. We thought this would
match the mood of the song and present a type of story that is contrasting to
Archers theory, but still made sense to the audience.
So, theory is a massive factor that is accounted when making music videos; it
allows us creatives to fit in and contrasts at the same time. How can you know
what is conventional if you dont know the conventions to begin with? Your
creation would have no selling factor and no reference to audience, Equalling
poor sales. So, obviously we all have been guilty is following conventions or
copying as you would put it to make money. Guilty as charged.
We based our lead singer on other female leads in indie/ rock band like Blondie
and London Grammar as these show an atypical female lead in the indie/rock
genre. We wanted to use this contrasting idea as we thought it was empowering
for new female artists and present the brand identity of the duo. We decided to
only feature Lily from the band in the video as Marina is the producer for the
song and thought to follow the conventions of these other female leads, to only
feature her in the song. This also meant (as Debbie Harry does through many of
their music videos) Lily is able to create a relationship with the audience and fit
one of Goodwins rules of having close ups to create an identity for the singer
and Svens theory of the singer becoming a televised bard, as a singing
storyteller for the audience. As we have already stated, your lead is male, our
key influence couldnt have been specifically your artists as there is a gender
boundary preventing that. This once again highlights that we HAVENT COPIED
YOU, we copied someone else.
Editing was a big part of our video as this provided a clear link to the indie genre.
Catfish and the Bottlemens Kathleen was our many video of where we got the
idea to use colour effects and overlapping; we wanted to use these techniques
frequently 0.39-0.4, 2.00-2.03 and many other times) as from looking at
Kathleen we though this key element is what mediates interest and heightened
emotion, which is what we wanted to recreate in out video. You only use slow

motion and an overlap in one frame of your video. Yes, we have a similar effect,
but doesnt Catfish too? It is clear that you havent researched your field and
have jumped to false conclusions.
The contrast of the white shirt and black hoodies in the different locations meant
that we were able to present a clear juxtaposition in emotions and impact in the
video, as the white connotes the womans vulnerability and the black connotes
the gangs danger. Both of these stylings were very minimal as we didnt want to
over complicate the aesthetics. Once again we look to the Twin Shadow video for
the idea of the masks and weapons and for we thought this was generic
conventions for gang representation, not only in indie videos, but all music
videos and films (like Kill List- where we got some of the cult/ gang inspiration for
their portrayal of deindividuation) so the audience can recognise the
representation were trying to create. Minimalism and use of props have been
done before. Minimalism is a part of modern aesthetic and props, well, they are
used to emulate, life. Life has props. Videos have props. You have props. We have
props. We are representing life, thats how it goes.
I know you are only hustling us about the video but whilst we are on the matter, I
thought I could highlight my digipak and magazine advert, just to avoid any
future confusion.
The simplistic design of my digipak came from looking at Foster the People, The
Kooks and The Royal Concept as they all feature little text but have a bright/ key
colour scheme. I took my main inspiration for the colour scheme, photography
and layout from looking at artwork of Blondie and The Royal Concepts
Goldrushed as I though the use of bright colours to attract the audience is the
best way to create am impacting first impression. I thought the use of coloured
images was very conventional of the indie genre, with the intent to be unique, so
this is why I decided to use this technique for my final digipak. The use of
minimal typography in a thin font was taken from The Royal Concept and Foster
the People for the back and inside panels as I saw this as a convention of the
indie genre that portrayed a cool and modern styling, which I liked. I developed
the positioning of the barcode from the Goldrushed album as I thought it would
look more aesthetically pleasing to put it in the central bottom than the top right
for the layout of my back panel, but kept the same sizing as I thought this looked
the right size. For the CD of my digipak I developed the style of The Kooks album
Inside Out CD, as I really liked the way the bold font cut off the sides and was
very eye-catching to the audience. I thought this would look better with the same
background as my back panel, for then the panels would match and make my
product adhere to the generic conventions of digipaks. I also developed the way
they put information about the band on the left inside panel for my digipak as I
thought this allowed the audience to feel more familiar with how the album was
created and who was involved. I developed this by only featuring it in the bottom
right hand corner as this had the best clarity around the bright image. The
barcode, Terms and Conditions, the Record labels logo and the band/albums
name and catalogue number are all used on my digipak as theyre are there for
legal reasons and fit into the conventions of a digipak. I conveyed the structures
which mediate the indie genre through the song names of shut the world and
1966 as I used the convention of numbers from The 1975 and shot the night
from The Killers, due to the fact they relate a sense of originality for they are

completely unsystematic. Here, repeatedly you can tell that I used various piece
of inspiration for my digipak and none of that was from yours.
Again following a minimal styling of having the main focus on the images of the
singer, my digipak matches the cd design aspect of my magazine advert, so that
the products are easily associated with each other, boosting sales with the
familiarity. This is a generic convention of all ancillary products for artists (for
example Kasabians Kasabian album where they use the same conventions) to
allow them to show synchronicity throughout and why I decided to do the same.
By featuring our own record label logo typical features of songs and items
included with the album, this also followed the conventions of magazine adverts
and makes it fit within the product genre. I developed the colour scheme of
Kasabians album from monotonal to bright and eye-catching, to match my
digipak and have the same unique styling. I challenged the magazine adverts I
looked at (Florence and the Machine, The Drums, The Vaccines and The Pigeon
Detectives) by featuring the duos social media information as a feature of
modern advertising and to promote the band further. I understand that this
feature is not original to my magazine advert, as many of the more recent
adverts will feature this promotional aspect to fit in with modern day lifestyles.
So it is obvious again that copying is a strong sales technique and genre
technique, so you should probably take a leaf out of our book, but then again,
not too many, otherwise well have to sue you. Joking.
Overall, Telegraphic Productions, we are flattered that you think that our creative
juices were constructed due to your music video. However, sorry to inform you,
but they didnt. Though, even if they did, this process is a nature formation of
how media is made and will continue to influence media formats for many years
to come. We propose that you come to terms with this process and politely suck
it up.
Thank you,
Hannah Franks, Emily Turton and Oliva Hill (not Notion Productions or
Psychedelic).