narratives in payphone

1. How are narrative techniques employed in Maroon 5’s ‘Payphone’?
‘Payphone’ is a song written by lead singer of internationally recognised band
Maroon 5. The song was released on April 16th, 2012. The song sold 493,000
copies within the first week, it was at number one in Canada for eight
consecutive weeks. Not only this but it peaked at number one, in the UK; the
first time the band had a number one hit in the UK. The song is on the band’s
fourth studio album, entitled ‘Overexposed’.
The song itself, falls under the pop-music category. This is relevant to the ideas of an American songwriter
named Lamont Dosier. He explored the concept that all pop-songs followed the following set of narratives:
I love you, I hate you, Go away, Come back. Maroon 5’s ‘Payphone’ falls under the ‘Come back’ theory. Of
which, once identified, sets the tone for the music video.
The music video shares a relationship with the lyrics, which helps the music video to address and attract its
target audience. The pop-genre is most popular amongst the 13-18-year-old demographic, and the
narrative addresses this audience. The narrative of the video explores the idea of love and this want and
desire to get someone back. The video itself has
two main characters, the first being the man
(played by lead singer Adam Levine) and the second
the female. The two work in a bank together and
experience a traumatic scenario together, which is
a bank robbery. This in itself provides a point of
relatability to the target audience, as they are at an
age where they are experiencing love and
relationships for the first time. Again, touching on
the relatability aspect of the music video, another
feature creates a real relatable vibe about the music video to, not only, the main demographic but to any
member of the audience who has experience the end of a relationship. The cross cutting in the music video
creates this idea that Levine is looking back on what he could have had with the female character. For the
audience there could be a sense of empathy as everyone has regretted something. This feature of the
music video creates a personal relationship with the audience, as it could be seen as almost a journey for
the audience.
Another theme, that I have personally interpreted, from the music video is the idea of it expressing views
on the American police/justice system. This might not be as obvious, but I believe that it is key. As I have
previously mentioned, the music video portrays the
narrative of an attempted bank robbery. When the
two main characters escape from the bank, they are
still wearing their neat and respectable attired,
merely suggesting to the other characters and
audience that they are nothing to do with the bank
robbery, but instead citizens scared for their lives.
However, the police recklessly and thoughtlessly
chase them, until Levine’s character creates a
diversion for the woman to escape. This idea that
the police are chasing him, not knowing who he is,
replicates the popular opinion that American police officers do not think before they do. To touch upon
this, it’s a popular opinion within the media that the Police force do not think about what they do, before
they do it. For example, shooting innocent people, before their innocence is identified. This idea from the
music video helps to attract a much wider/ older demographic, due to the maturity of the topic.

2. Claude Levi-Strauss was a French anthropologist, who devised a theory within the media exploring the idea
that music videos should always intrigue the
audience with interpretation and meaning. This
theory can be paired with this music video for a
multitude of reasons. As I have previously
mentioned, the video engages its main
demographic through the gripping exploration of
the relationship between Levine’s character and
the woman. Another idea that Levi-Strauss explores
is the existence of binary opposites within a media
text. He gives examples of many binary opposites,
however the one that sticks out the most, and
correlates to this music video is holding on and letting go. This is explored in the music video in stages. The
holding on part of the music video is broadcasted within the first half of it. The close ups of the two
characters being close and intimate together represents this idea of togetherness and the idea that they
are holding on to each other. And the binary opposite to holding on; letting go, is explored in the latter
stages as the male character creates a diversion for the female character to escape. The lyrics explore the
idea that this ‘fairytale’ is nonsense, expressing this idea that nothing lasts forever, and thus projecting this
idea of letting go. This again, creates a personal and intimate relationship with the audience as they can
potentially relate to the narrative of the music video. Levi Strauss also discussed ideas that media texts
should hold a message, which links to my interpretation of the police chase. To repeat briefly, the
projection and potential agreement with the, popular, media opinion on corruptness of the police force
within the USA.
It's a common occurrence for Maroon 5 to follow this idea of a clear narrative structure within their music
videos. Another prime example is the music video for ‘Animals’. Like ‘Payphone’, the music video uses
visual representations as a way to project ideas that the demographic, for the song, can relate to and have
a relationship with.
In conclusion, Maroon 5’s music video for ‘Payphone’ uses narrative techniques to create an intimate
relationship with the audience, which helps attract viewers to watch the video as well as empathise with it.
Not only this but the music video also uses narrative techniques to project opinions on issues within the
media etc. Finally, the compliance to Levi-Strauss’ theory allows the music video to take itself to the next
level, in terms of relationship with the audience.