2. Andrew Goodwin's 7 Features of Music Videos
1. Music videos demonstrate genre characteristics. (e.g. stage performance in metal videos,
dance routine for boy/girl band, aspiration in Hip Hop).
2. There is a relationship between lyrics and visuals. The lyrics are represented with images.
(either illustrative, amplifying, contradicting).
3. There is a relationship between music and visuals. The tone and atmosphere of the visual
reflects that of the music. (either illustrative, amplifying, contradicting).
4. The demands of the record label will include the need for lots of close ups of the artist and the
artist may develop motifs which recur across their work (a visual style).
5. There is frequently reference to notion of looking (screens within screens, mirrors, stages, etc)
and particularly voyeuristic treatment of the female body.
6. The artist may develop motifs or iconography that recur across their work (a visual style)
7. There are often intertextual reference (to films, TV program mmes, other music videos etc).
4. Music videos demonstrate genre characteristics. (e.g. stage performance in metal
videos, dance routine for boy/girl band, aspiration in Hip Hop).
Young and Beautiful can be categorised under the genre of indie rock. The dark yet touching song is
played in a way that creates mystery to the audiences ears, making them feel captivated within the song.
The music video itself matches the song and genre of it, as it is conveyed in a dark, slow and simple way
creating a mysterious, dated and melancholic affect making the audience relate to the song by
wondering whom it could be about. In many alternative rock music videos a colour scheme of a dark
nature with hints of bright colours is used to create dated and natural looks and a dull but captivating
atmosphere. This is used within the video therefore this idea can be applied to ‘Young and beautiful’.
The way the music video is kept very simple only showing either the orchestra or Lana herself matches
the style of the song as it to seems very simple however when the beat is more abrupt the lighting goes
from black to red to enhance the idea that the song has more emphasis and meaning at that point. Lana
Del Rey when seen in the music video could be seen to match the typical idea of a female artist, she
appears very girly, wearing red lipstick and her hair seeming to be perfect, making her look very pretty.
5. There is a relationship between the lyrics and visuals (Either illustrative,
amplifying or contradicting)
As stated previously the music video is very simple. The orchestra is seen mainly throughout the video which has no real
connection the lyrics. However Lana is seen in a close-up singing when the chorus is sung, creating a more personal feel
to this part of the song. The chorus is repetitive starting with the lyrics “ Will you still love me “ again reinforcing the
idea of it being a more personal part of the song as lyrics are very direct using first person pronouns.
When Lana sings the lyrics “the
pretty face and electric soul” she
is seen to gesture her face by
placing her hand on her chin,
this therefore connects the lyrics
and visuals together at this
point.
Another connection can be
seen to be made when
Lana sings “Dear Lord when
I get to heaven…” although
she is not seen in this shot
the composer is with his
hands up, which in a way
suggests he is pointing to
heaven as the common
belief is that heaven is
above us.
6. There is a relationship between music and visuals. The tone and
atmosphere of the visual reflects that of the music. (either illustrative,
amplifying, contradicting).
• Although the music and visuals can be seen to be amplifying by
repeating the scenes of visuals which has no connection with the
music.. There is a illustrative point of the video which is that the
orchestra is mainly seen within the music video therefore holding a
connection with the music and visuals due to the music being played
by the orchestra itself. The music is very melancholic, mysterious and
dark, this is portrayed also through the visuals through very dark and
dusky lighting and hence the atmosphere of what the song also
creates is reinforced through the visuals.
7. The demands of the record label will include the need for lots of close
ups of the artist and the artist may develop motifs which recur across
their work (a visual style).
The demands of the record label of lots of close ups are met. Nearly
every time Lana Del Rey is in a shot it is a close up of her face,
emphasising her red lips and dark eyes.
The technique of only using mainly close up when the artist is seen,
creates a more personal and connecting music video to the audience. It
allows them to feel like they are being sang to directly and they feel her
pain she brings through the melancholic vibe she creates through the
way she looks at the camera, with emotion in her eyes and some what
sorrow facial expressions.
8. There is frequently reference to notion of looking (screens within
screens, mirrors, stages, etc) and particularly voyeuristic treatment of
the female body.
• Whenever Lana is seen within the music video
her lips, eyes or curvaceous figure are
highlighted. This therefore meets the idea of
the voyeuristic treatment of the female body,
although the highly sexualised parts of the
female body are not highlighted the eyes and
lips of a women are seen to be a promiscuous,
flirty feature and hence she is seen to be
promiscuous in a subtle way, this is
emphasised by Lana wearing bright red lipstick
making her lips seem even more promiscuous
due to the colour red to be seen as a
sexualised colour. When a full shot of her is
seen you can see the outline of her
curvaceous figure, although this image is seen
in a dark setting making it not completely clear
the fact it is emphasised even a little bit
reinforces the idea of the voyeuristic
treatment of the female body in this music
video.
9. The artist may develop motifs or iconography that recur across their
work (a visual style)
“Young and Beautiful” matches the style of other Lana Del Rey music
videos. She often uses the feel of dark, mysterious, misty affect and
vintage themes within her music videos. Creating a more dated music
video which suggests Lana's music and look is inspired by dated music.
10. There are often intertextual reference (to films, TV programmes, other
music videos etc).
• There is an intertextual reference between Young and beautiful and
the film The Great Gatsby. The retro and dated feel to the music video
matches the 1920s themed movie. Young and Beautiful features in
the movie therefore also creating another link as it was the first song
released on the soundtrack.
12. Music videos demonstrate genre characteristics. (e.g. stage
performance in metal videos, dance routine for boy/girl band,
aspiration in Hip Hop).
The genre of Umbrella is POP, it is very ‘dancy’ and has that traditional
vie of what a typical pop song would sound like. It is a song you will
know all the words to and want to sing along.
The outfits contradict the pop feel to the song as pop is known to be
bright and elaborate, where as in the video the artists are seen mainly
to wear black. Although this contradicts the pop feel to the song, it is in
favour to the hip hop vibe Jay-Z brings and also reinforces the idea that
he states “good girl gone bad” this is again reinforced through the idea
that pop is fairly innocent however within this music video it is very
seductive in more ways than one; clothing and the chorography.
13. There is a relationship between lyrics and visuals. The lyrics are
represented with images. (either illustrative, amplifying,
contradicting).
Throughout the song there is many connections with the lyrics and
visuals.
The title of the song
which is repetitively
sang throughout the
song is “umbrella” and
Rihanna is seen holding
and dancing with one
throughout.
Jayz raps “let it rain”
and behind him lights
fall behind representing
the rain, he also
gestures the rain falling
as he moves fingers
downwards.
As Rihanna sings “you
had my heart” she rubs
her hand across her
chest where her heart is
therefore emphasising
the lyrics.
When “maybe in
magazines” it can be
interpreted that Rihanna
strikes a pose like she is
on the front of a
magazine.
14. There is a relationship between music and visuals. The tone and
atmosphere of the visual reflects that of the music. (either illustrative,
amplifying, contradicting).
When watching the music video there is no
immediate visuals and music relationship
however once you look further into it you can
notice that there in fact is. Rihanna moves to the
beat made by the music, this can be seen
especially when she is in point shoes and singing
“ey ey ey” she moves her legs in sync with each
“ey”.
The chorography is also in time with the music
and therefore there is a relationship in terms of
the dancing visuals and the music.
It can also be noticed that jumpcuts are used thoroughly throughout the music video
and are to the beat of the music. When the tempo is sharp and quick the jump cuts are
abrupt and there is a lot of them however when the music tempo slows down the
jumpcuts become fewer and slower; when beat slows down the editing is much
simpler and subtler and vice versa.
15. The demands of the record label will include the need for lots of close
ups of the artist and the artist may develop motifs which recur across
their work (a visual style).
The demands of the record label of the need of lots of close up are met due
to there being many close ups of Rihanna's face and body. By using close
ups and emphasising Rihanna’s seductiveness with them this again
reinforces the idea of her new image; ‘good girl gone bad’
16. There is frequently reference to notion of looking (screens within
screens, mirrors, stages, etc) and particularly voyeuristic treatment of
the female body.
• Throughout the video Rihanna is seen to look very seductive and
provocative suggesting the idea of voyeuristic treatment of the
female body however due to the terms of the song and the fact she’s
a “good girl gone bad” it suggests the provocativeness and
seductiveness was purposely done to catch the attention of the
audience and show them a different side of the innocent girl Rihanna
was known to be before the video was released.
17. The artist may develop motifs or iconography that recur across their
work (a visual style)
• If you compare this music video to all the
work Rihanna did previously before this
was released there is no obvious motifs
except the fact she tries to be seductive
in all her work except originally she had
an innocent look however now she goes
all out ad gets rid of the innocence. This
is because this is the music video of
which Rihanna released to change her
image of a ‘good girl’ to ‘bad’ which is
reinforced at the start of the song when
Jay-Z wraps “good girl gone bad”.
18. There are often intertextual reference (to films, TV program mmes,
other music videos etc).
• You could relate the music of Umbrella to the music video of Liberty
X’s ‘Just a Little bit’ there is a connection through the chosen outfit of
Rihanna. Both are black latex and very provocative.
20. Music videos demonstrate genre characteristics. (e.g. stage
performance in metal videos, dance routine for boy/girl band,
aspiration in Hip Hop).
• Love on top is a typical pop song. It meets the criteria's you would
think of when you think pop. It may not be brightly coloured however
it still manages to be elaborate. It is very dance-y and again you can
help but sing along, know all the words and want to dance along.
Although the music video is very simple it is still holds typical backing
dancers and choreographed routine to go with it.
21. There is a relationship between lyrics and visuals. The lyrics are
represented with images. (either illustrative, amplifying,
contradicting).
As Beyoncé says “bring
the beat in” she raises
her arm and gestures in
the air to ‘bring it in’
“honey honey I can see the stars all
the way from here” as these lyrics are
sang stars are gestured through bey
holding her hand out and looking up
to the sky.
“cant you see the glow on the
window pane” there is a relationship
between these lyrics and visual due
to when it is sung there is a long shot
allowing us to see windows brightly
lighted behind Beyoncé and the
dancers.
22. Beyoncé and her dancers
gesture tears falling
through waggling there
fingers and bringing their
arms down when the
lyrics “after fighting
through my tears” are
sung hence a connection
with the lyrics and visuals.
There is a relationship
between the lyrics “Baby
its You…” as Beyoncé and
the dancers point to the
camera on “you” not only
creating a link but creating
emphasises and drawing in
the audience further
resulting in them feeling
more connected to the
song as it is more direct. As she finishes the chorus
with “top,top,top,top,top”
she creates a relationship
with the visuals and the
lyrics by continuously
pointing upwards like
she's on top.
23. There is a relationship between music and visuals. The tone and
atmosphere of the visual reflects that of the music. (either illustrative,
amplifying, contradicting).
As Beyoncé sings the beat “ba ba ba da” she
and her backing dancers click along to it
making a relationship between the visuals and
the music. This is repeated throughout the
music video not only to the “ba ba ba da’s”
but along to the main ‘finger clicking’ beat.
Throughout the music video the dancers and Beyoncé
create a relationship between the music and visuals by
dancing along with the beat of the song. At certain
points when the rhythm is quick they will be dancing
quick and when it comes to a sudden to stop for a
second in the song they gesture this by stopping also
and then starting again as soon as the beat starts
again.
24. The demands of the record label will include the need for lots of close
ups of the artist and the artist may develop motifs which recur across
their work (a visual style).
The demand of the
record label of close ups
of the artist is defiantly
met within Love on Top.
The close ups show
Beyoncé looking radiant
and glowing, which is
seen across all her music
videos in close ups.
25. There is frequently reference to notion of looking (screens within
screens, mirrors, stages, etc) and particularly voyeuristic treatment of
the female body.
In ‘Love on Top’ there is not obvious voyeuristic treatment of the
female body as it is very subtle. In some of Beyoncé costumes in the
music video she wears a suit jacket with no top underneath revealing
the middle of her breasts this therefore creates a seductive and
provocative side of the music video.
26. The artist may develop motifs or iconography that recur across their
work (a visual style)
One motif that can be found
across her work is that
Beyonce can often be seen
wearing a leotard in her
music videos. This reinforces
the idea that she is a dancer.
It can be seen in ‘Love on Top’
‘Single Ladies’ ‘Halo’
‘countdown’ and others.
