1. There is a relationship between the lyrics and visuals, with the visuals illustrating amplifying or contradicting the lyrics.
2. There is a relationship between the music and visuals, with the visuals illustrating, amplifying or contradicting the lyrics.
3. Genre-related style and iconography present e.g. a stage performance for a rock band and a dance routine for a girl band.
4. Multiple close-ups of the main artist or vocalist and may develop motifs which recur across their work.
5. Often reference to notion of looking (screens within screens) and particularly voyeuristic treatment of the female body. Camerawork and editing with fragmented body shots represent the female body sexually.
6. Often intertextual reference to films, TV programmes and other music videos.
I’m just a girl, you’re just a boy This is my heart, it’s not a toy So what’s with you playing with my mind We used to be cool, this used to be love Now it’s become, something like a job Like it or not, maybe things were changing right before our eyes I tried to be a picture perfect girl But you were in your own fantasy world Tryna control me like some kind of Barbie but that just ain’t me
I am going to go through the lyrics in different sections so I can show you how we plan to fit Goodwin’s principles into our video. For this line we will match lyrics to visuals by illustrating the lyrics with a shot of the girl and a shot of the boy. We also want to illustrate the lyrics to the visuals by having a heart made out of paper or something and her singing the lyrics ‘its not a toy’ On the majority of this section we will use Goodwin’s principle of matching the music to visuals, so the shot will change when the beat of the music changes or it goes onto a different lyric. Illustrate visuals by her being angry and said because now its becoming like a job. Have her singing ‘maybe’ as a very quick close up of her face – conforming to Goodwin's principle of having multiple close ups. Here we plan on having her holding a picture frame around her face to amplify the lyrics to visuals. There will be close-ups here of her singing these lyrics, which links the music to visuals because we hear the song and see her singing it. The location for these lyrics would be very pretty with grass, floral clothing, and tea pots etc which illustrate the lyrics of a ‘fantasy world’. There are also going to a lot of different shots for this line, creating a mini fast cut montage. Here we will illustrate the lyrics by having the boy controlling and pulling the girl about, so it relate the lyrics to visuals of ‘tryna control me’ The lyrics here are sung quite angrily so we will illustrate this by the artists also singing to the music quite angrily.
Cause I ain’t a doll, this ain’t a dollhouse You’re way too old to be, puttin’ me down like this and playing around like this I ain’t a doll, this ain’t a dollhouse No, I could never be, stuck living life like this behind these four walls ,cause I ain’t a doll You call the shots, right down to my shoes I liked what you liked cause you told me to And i don’t think that you could even tell I fell out of love, but it never showed I gave up on us so long ago But you’ll never know baby don’t pretend like you know me so well
On the majority of this section we will use Goodwin’s principle of matching the music to visuals, so the shot will change when the beat of the music changes or it goes onto a different lyric. There is a small gap between the last lyrics and this set of lyrics where we plan to flash an image of Barbie and the artists. Barbie creates intertextual reference which may flatter the audience because they recognise it. To illustrate the lyrics here, we will have her singing the lyrics ‘Cause I ain’t a doll’. We will amplify the lyrics by actually having the artist standing on a dollhouse. But at the same time we will contradict the lyrics because she is saying it isn’t a dollhouse, we in fact she is standing on one. It says ‘puttin’ me down like this’ so we will have her jumping of the dollhouse – illustrating the lyrics because she is moving downwards, although the audience may not recognise this. We will illustrate the lyrics by having the artist acting really playful and running around and laughing because of the lyric ‘playing around’. This denotes that she is trapped, so we are going to have the artist banging herself against walls, trying to escape. As she hits the walls her edges will blur like she is morphing from Barbie to herself. This is amplifying the lyrics as we are showing her trapped. For this lyric we want to amplify it by filming her feet running and having her shoes change. This line of lyrics is talking about him controlling her so we will having her trying to eat a strawberry but he knocks it away from her and drags her away because she has to do everything he tells her to. This will illustrate the lyrics. This is quite a sad lyrics because she is talking about love, so we want to illustrate it by having her sitting and looking at a picture album of when they were together. We will have a shot of the artist singing ‘baby’ close-up to add to the principle of having multiple close ups. I think it is especially important for a new artists, as this one is!
I tried to be your picture perfect girl But you were in your own fantasy world Tryna’ control me like some kind of Barbie But that just ain't me I ain't a doll This ain't a dollhouse You're way too old to be Putting me down like this And playing around like this I ain't a doll This ain't a dollhouse No I could never be Stuck living life like this Behind these four walls I ain't a doll
On the majority of this section we will use Goodwin’s principle of matching the music to visuals, so the shot will change when the beat of the music changes or it goes onto a different lyric. We are going to amplify this line by having the artist looking into a mirror, touching her face because she is unhappy with her non perfect self. This is also part of the principle of the notion of looking because it is a screen within a screen. We will also amplify the lyric ‘fantasy world’ by having the words written in sweets. These two lines of lyrics will be amplified by the visuals. We will have a split screen with the girl on one side and the boy on the other. She will sing the first line, but for ‘but that just ain’t me, she will push the split screen to the left angrily so that he disappears. This amplifies the lyrics because she is annoyed, so pushes him out! Again, will contradict the lyrics by having her standing in front of a dollhouse even though she is singing ‘this ain’t a doll house’. The lyrics get increasingly angry so for ‘I ain’t a doll she will go crazy and mess up her table with the teapot etc (illustrating the lyrics).
I'll never be made of plastic So glad that my heart's elastic No matter what you do I'll bounce back off of you Cut me but I’m not bleeding I tried to be your picture perfect girl But you were in your own fantasy world Tryna control me like some kind of Barbie But that just ain't me
On the majority of this section we will use Goodwin’s principle of matching the music to visuals, so the shot will change when the beat of the music changes or it goes onto a different lyric. We will illustrate the lyrics here by having the artist falling against the wall like she is being cut by all the hurt in their relationship. There are lots of good beats in this whole verse, so we will create a fast cut montage of random still images of the artist doing things like playing with a flower. The I mages will change on the beat, matching the music to visuals.
I ain't a doll This ain't a dollhouse You're way too old to be Putting me down like this And playing around like this I ain't a doll This ain't a dollhouse No I could never be Stuck living life like this Behind these four walls I ain't a doll And I come with imperfections Epitome of perfection If you can't understand Loving the way I am Then you're no good for me So glad I kept my receipt
On the majority of this section we will use Goodwin’s principle of matching the music to visuals, so the shot will change when the beat of the music changes or it goes onto a different lyric. There will be a mini fast cut montage of her getting annoyed at him because he is too controlling and she starts hitting him. This illustrates the lyrics because in the song the lyrics sound very angry. Because the lyrics on the track to this line have a sort of robot effect, we wanted to illustrate it by having our artist singing through microphone so that the ‘robot effect’ makes sense. This is very close up, as we are tying to have a variety of shot angles. This line will be illustrated by having her throwing the Barbie on the floor and walking off to denote that she is finally herself again. This again will be illustrated by having the artist getting really angry and going mental because the song is sung quite angrily here.
1&2. Through out the video there will be lots of matching lyrics to visuals and matching music to visuals because it creates a better flow within the video and the majority of other artist use this too.
3. The genre is pop electro so most of the video will be quite cutesy with fast quick cuts to fit with what other artists in the genre do. Often songs that are made by an individual female artist are portrayed as quite cute or sexy, which we have tried to include in our video and will hopefully be conveyed.
4. I have talked about the many close-ups we will use. One of our star image motifs will be the love heart which will be used across their work to create a brand – such as on their CD cover and magazine advert.
5. We plan to use the notion of looking by using mirrors, and also voyeurism to sexualise her body, such as the angles used to make her legs look longer etc.
6. There is a alight intertextual reference of fantasy films such as Alice in wonderland because she is having a mini tea-party. There is also intertextual reference with Barbie, because that brand has products, TV programmes and films.