There is synergy through the repetition of font style to the artist’s various other products. The san serif font incorporates a modern-feel which contrasts with Lana’s vintage persona.

The cover of the album features a ‘parental advisory’ label which is necessary as it recognises the explicit content of the product however, this is juxtaposed by her constructed persona as it imposes that she is sophisticated and would conform to the old-fashioned ideals that she’s channelling through her appearance. It creates a binary opposite as the lyrics are explicit and quite risqué.

The monochromatic theme incorporates a homage to the old-fashioned black and white style.

A vintage, dated car can be recognised in the background of the music video, reinforcing Richard Dyer’s star theory as it’s an on-going representation of herself. Her image can be recognised as a large part of her marketing scheme as it’s something that audiences can recognise her by.

As her star-image is a focus point of marketing, it isn’t necessary for her name to be printed across the front of the digipak; audiences can very easily identify her.

Very often within her products, there are many shadows around her face and eyes which are signifiers of the mystery that she withholds as a result of her appearance and work. The direct mode of address through the

use of her eye contact and facial

expression connotes a sense of innocence

but also seduction, acting as a binary

opposition as she desires attention.

Whilst the camera language and costume would suggest an implication of equality and relativity to her audience, the car contrasts this as it acts as a portrayal of opulence.

The background for Lana Del Rey’s CD has a violent feel to it due to the harsh contrasting colours; as the album is called “Ultraviolence”, there is an intertextual reference and homage to A Clockwork Orange as ‘ultraviolence’ means horrible, horrible violence.

The colours of the disc greatly juxtaposes the colour palette of the digipak cover as it’s very monochromatic. As a result, the CD is made to stand out; the CD is the key part of the digipak as it holds the soundtracks. Simultaneously, the great contrast could act as a surprise as the audiences wouldn’t expect such a difference from the rest of the digipak.

Very often, an artist from the pop or indie-pop genre would have a CD with very limited design or colours in order to keep it as a statement piece; Lana’s CD is breaking this convention.

There is an act of synergy through the CD to Lana’s various other products; the album ‘Born To Die’ features two red roses on the disc.

There is text going around the outline of the disc in a very small font as audiences will not actually be required to read it, however it’s necessary for copyrights.

Whilst the image is saturated in colours, it’s also slightly faded which incorporates continuity to the rest of the digipak, through it’s old-fashioned photography polaroid feel and grainy filters.

There is an intertextual link, through the use of the hydrangeas on the disk, to one of Lana’s soundtracks featured on the album named ‘Old Money’.

There is continuity on the back covers image of the monochromatic, grey-scale filter to the front cover. As this filter connotes an old-fashioned feel of the album, it signifies that the feelings expressed through the soundtracks are representations and reflections of her past.

The typography is aligned to the right side of the case in order to make the artist the central image, making sure to reinforce her star image; the digipak doesn’t feature Lana’s name as audiences can recognise her through her appearance and persona. Due to this lack of name reference, it’s important that she is a main focus point whenever possible and a dominant figure on the image.

There is elaborated continuity through the use of the dated car, connecting the back cover image to that of the front. It’s creates a homage to comics due to it being as though she’s moving through the images to get to various points.

The use of the grey-scale, graining filter reinforces the intertextual reference to 1950s photography and polaroid's, assisted by the low quality image.

The font style has been continued from the front cover in order to add to her icon as it’s a memorable house style which has been used on various products throughout her work in the industry.