Media analysis

1. Connor Southwell
• How are media representations of Taylor Swift challenged in the video ‘Blank
Space’?
“They’ve(the media) drawn up this profile of a girl who is a serial dater, jetsetting
around with all her boyfriends and she get them but she can’t keep them because
she’s too emotional and she’s needy. Then she gets her heart broken because they
leave and she’s jilted, so she goes to her evil lair and writes songs about it for
revenge.” Taylor Swift in response to what Blank Space is about.
Taylor Swift presents this damning indictment in response to a question around the
lyrical motives of hit single Blank Space. In this song, Swift presents the image that
the media presentation of her. This representation of Swift casts her as a ‘man
eating, psycho girlfriend’ who hops from man to man almost effortlessly. Its
portrayal negative portrayal is intrusive and fixated on a personal part of her life,
in this music video; Swift is sticking a metaphorical two fingers up at the media in a
plethora of ways.
Lyrically, the song is critiquing the media’s representation of her as a man eating
machine that is cold hearted and just needs a relationship for purely egotistical
reasons which Swift reacts too in an exaggerated and sarcastic way. Swift’s lyrical
response is one of frustration but also an air of determination to disprove this
fanatical and disrespectful
representation of her.
This representation is one which is
challenged by Swift both lyrically and
visually in the production of her song
Blank Space.
In regards to structure, the song is
divided into two clear sections, with
the lyrics presenting a utopian view
of how love is perceived by the
mainstream media and in a sense is
Swift exaggerating this image and
emphasising how ridiculous this
expectation is. In contrast, the second part of the video is the
fallout from the initial fairytale representation which Swift offers the audience
lyrically. The clear transition between the sections of the song in regards to lyrics is
the line which states that is “The worst is yet to come. Oh No”. If we compare this
with the music video and Goodwin’s theory of what makes a music video successful,
it creates an interesting dynamic.
The music video supports Swift’s lyrical message to stick two fingers firmly in the
direction of the media who have represented her in this way. The conceptual
elements of the song are crucially important to aide this representation. The
cohesive marriage of the lyrics and music aids the amplification of the lyrics and
positively impacts the narrative which unfolds throughout the entirety of Blank
Space. This link between the visual and lyrical elements allows the audience to
immerse themselves with in the song as it becomes more relevant and aides with
the brand identity of the artist but the amplification ensures the video maintains in
the head of the audience. Goodwin stated this marriage was integral to the overall
success of the music video, hence why Swift and her production team has looked to
implement this to ensure success is achieved.
The music video also demonstrates genre characteristics. As a pop video, the
narrative explores a narrative based around the theme of love and relationships.
What’s more, the video contains high key lighting and bright diegetic lighting which
is conventional of the genre. Furthermore, the variety of costumes and
Two
examples
of the
fixation
that press
developed
with
Taylor
Swift’s
love life.

2. Connor Southwell
metaphorical use of mise-en-scene establishes this genre further and the audience
can identify it as a pop music video. This strengthens the theory of Goodwin as the
video utilises both these aspects to ensure its successful.
The third aspect of Goodwin’s theory outlined in his book ‘Dancing in the
Distraction Factory’, was the relationship present in music videos between visuals
and the music. Blank Space contains a variety of dynamics including the use of
musical aspects such as crescendos, a clear beat and variation of pace throughout
the duration of the song. Thus this needs to be compensated within the music
video. The edit is manufactured to mirror that of the pace and the beat of the
song. The main reason for this is the aesthetic element this provides and allows the
audience to recognise the clear beat. For example, within this music video, at the
beginning, the slow intensity is matched by longer shots, which are more relatable
to the audience, it allows a connection between artist and audience as it provides
personalisation. This, in turn, does two things. Firstly, aides the brand identity of
Taylor Swift as the audience are siding with her as the song progresses despite the
representation of the media due to these longer shots. As the song gets more
intense in terms of beat, the cuts get shorter to show how the relationship is
becoming fragmented.
Brand identity is slowly becoming a necessity within the music industry as money
becomes higher and investment proliferates. As such, it’s crucial that the artist
establishes a brand of themselves to ensure they are commercially sound for their
audience to tap into and consume their material. Being a globally recognised artist,
Swift must maintain a strong brand in order to sell records and bring in income for
all parties associated with her. Goodwin identifies the importance of brand identity
and thus include close ups and motifs. The fairytale motif across the video helps
with Swift’s portrayal of a dystopian fairytale in response to the media
representation.
The voyeurism present in the video, particularly around Taylor Swift as the video
sexualises her in nature and this is shown by the shots of her in lingerie centre of
the shot. This sexualisation is done to increase a more male audience to consume
Swift’s video and also to present Swift as a sexy female which complies with the
brand identity she wants around her image. However, this video also features the
voyeuristic representation of males. This is Swift tapping into
the hype of the Twlight saga by casting an emotionless but
pretty male who’s person is to be pleasing on the eye and aide
her message with in the narrative of the lyrics. This use of
voyeurism was referenced by Goodwin in his theoretical
practices and is used to ensure Swift’s video is
successful.
Finally, the numerous amounts of intertextual references throughout Blank
Space, with this screenshot showing referencing two different things. The
first of which being Twilight, as this shot was used for the front cover of the
book, Twilight was hugely popular and shared Swift’s
demographic, so by targeting this audience by
creating a connection within her video, she’s drawing
in that audience by creating a link. Also, evidently
the fairy tale theme is present throughout the video,
the apple is also a reference to the story of Snow White.
The poisoned apple in Snow White is used to symbolically
represent the poisoned love Swift has experienced.
This screenshot is evidently a reference to popular film Mean Girls as Swift looks to
embed a series of references which are relevant to the culture of what global
audiences recognised and acknowledged as successful. Mean Girls was a supremely
successful comedy film from 2004 and thus its possible Swift enjoyed this film

3. Connor Southwell
growing up and wanted to reference it in a way global audiences would recognise
whilst maintaining her narrative. This reference engages the audience as it’s
undoubtedly a comical moment with in the film and so is easily identifiable to the
audience.
Analysis of Screenshots
Throughout the entirety of the video, Swift is keen to show a dystopian feminist
fairytale which is amplified within this screenshot
here. The use of wide shot offers the audience a
view of the symmetry which is dystopian in its
nature as it presents the view of fantasy (with the
horses present in the bedroom) but also the
symmetry used is presenting to the media the idea
of the universe where love is perfect and Swift’s
life without mistake, it’s exaggerated and
unrealistic, according the media.
In terms of technical elements, the blocking of
Swift places her in a place of power. The blocking
of Swift goes against the composition rule stating that people shouldn’t be shot in
the centre of the shot but here the production company have opted to portray
Swift in this way, why? Mainly due to the feminism element which is a theme
running throughout the video and song as Swift acts a feminist as she has all the
power through her sexuality and role within the relationship. The fact she is placed
in the centre is common within the video and helps with the idea of feminism, she
acts in this way to respond to the media’s sexism which she accused them of. For
her young, predominately female audience, this is something they will take
inspiration from due to the iconic status Swift has amongst them, she is viewed as
being the perfect modern day role model to lots of young people who consume her
product.
This idea of a dystopian fairytale is strengthened further with the placement of the
white horses. The white horses are placed both sides of the shots to provide further
emphasis on the fairytale being created as horses wouldn’t traditionally be place
within the bedroom and this creates a surrealism for the audience as Swift looks to
create a world which emulates the world the media creates within the articles it
produces regarding Swift’s love life and the horses are representational of the
fanatical world the media have created. This surrealism enhances the narrative
and sense of fairytale to the audience.
Also, the use of metaphorical mise en scene in this music video adds an extra
dimension of meaning to the song. The costume in the screenshot is used for
contrast in retrospect to the rest of the mise en scene. The contrast between the
darkness of the costume and the light, mostly white, surroundings. This illustrates
the villainous attitudes the media portrays Swift with. Also, the black connotes the
dark hearted nature Swift is presented with in the media. For the audience, this
makes us sympathise with Swift due to the surreal surroundings she’s in. This image
of negativity is being taken further with the fact she is absorbing the majority of
the light which is dimmer in the corners, it all funnels back to Swift being the main
protagonist.
This image shows Swift in a dystopian fairytale due to the surrealism of the whole
shot. The combination of binary opposites in white and black create a fanatical
feeling in a symmetrical shot which represents the media’s view on Swift. Swift,
herself, is presented by this shot as powerful with is aided through the wide shot
which shows her coldness as she doesn’t want a relationship with the audience, but
a ‘pretty’ male.

4. Connor Southwell
Another theme of ‘Blank Space’ is Swift’s attempt to challenge the way the media
chooses to represent her. Once again, the mise en scene has been meticulously
planned to maximise aesthetic elements but also to symbolise different things. The
sweets reinforce the idea of Swift’s apparent black heartedness with the bowl
through of white and black hearts. This represents the two sides of Swift apparent
in this song. One which is pure and loving but the other is dark and spiteful when
the relationship deteriorates into frenzy. They are aligned with her heart which is
representative of how she pours all of her love into relationships but they often
turn dark and the hurt makes her dark hearted. The other sweets remained
untouched throughout the course of the video which is interesting because despite
being at a romantic picnic, the food remains untouched. For the audience, it’s
evident that the romantic connection between the two characters is nonexistent.
The sweets also symbolise Swift’s more delicate side which is vibrant and colourful.
The champagne is also a hugely significant part of the mise en scene. Champagne is
often a drink consumed following a significant event or as celebration. The fact it is
in ice and unopened connotes that Swift is saving it for a celebration of a more
stable and long term relationship. This provides the audience with a snippet of
Swift’s life and how she is waiting for the ‘perfect male’ to enter her life, which
shows the media how she wants stability and love but due to the fact she is
attracted to ‘bad boys’ makes it incredibly difficult to find the one for her. As an
audience, we sympathise with Swift as her personal matters shouldn’t be exposed
into public domain and her fan base will undoubtedly want her to find love.
Furthermore, the blocking of the two characters is hugely significant. As they are
lovers, one would expect a more intimate position to amplify and illustrate their
affection for one another, however, in this shot, the characters remain vacant of
any physical affection, with the only physical connection being Swift’s head on the
leg of the lover. This connotes the lack of physicality and boredom which is rusting
their relationship. This relationship almost feels like escapism for the pair who are
merely filling time fulfilling each other’s romantic desires, that’s the significance
of this blocking. For the audience, I think this is a sad state of affairs as, although
Swift is presented as powerful, the obvious lack of devotion and commitment is
daunting and the audience almost become expectant of this relationship reaching a
brisk conclusion.
Finally, the composition once again places Swift in the centre of the shot which
connotes this idea of feministic power further. The role reversal is progressive and
is most definitely Swift sticking it to the media as their portrayal is fanatical and
pure fiction. The use of the overhead shot complemented with jump cuts is short
and personal; it makes the male irrelevant as Swift sucks all power from the shot as
she seeks to gain control. It also aids her brand identity. For the audience, the
composition allows the irrelevance of the passive male to be highlighted. A male is
needed in Swift’s life, according to the media, and Swift is merely highlighting the
stupidity behind these accusations and the audience are positioned to side with
Swift as she is in control but also oppressed by the media.
‘Blank Space’ explores the
paradoxical nature of human
relationships. This self-
contradictory of human
relationships is explored
throughout the video, as Swift
responds angrily to the Medias portrayal of her
which in turn affects her image, despite being
an act of fiction and an irrelevance. This shot

5. Connor Southwell
epitomises a point in the narrative where tension runs high and the relationship
spirals to a brief and swift conclusion which is reflected within this shot through
technical elements.
Firstly, the lack of focus on the male reinforces the feminism and female power
prevalent throughout the video which inclines itself to the image of strength and
iconic feminine attitude Swift is trying to convey to her audience. This lack of focus
connotes a replaceabilty around the male who is there to be pretty and remains
vacant throughout the video. For the audience, this portrays an irrelevance around
the ‘boyfriend’ of Swift as she is the character in focus, this is Swift once again
responding to the criticism of the media but stating it is irrelevant who she is in a
relationship with because her music will stay organic to her fan base and that’s the
most important thing.
The use of leading lines places the shots focus onto Swift. This highlights how she is
determined to be the focal point due to the requirements of the record label. This
focus gives her power and allows her to be presented in a progressive and
feministic light, as oppose to the man who is seen as replaceable and irrelevance in
comparison to Swift.
The use of diegetic lighting is conventional to the genre of pop and is traditionally
used in these videos to convey that sense of pop to the audience, what’s more, this
helps the identification process of the video which enables it to be more success if
it shows fragments of the genre it comes from.
Finally, during the sequence of shots this screenshot belongs too, the editing
becomes more frantic and intense to not only match the music, to convey the
theme of fragility present between the pair during the conclusion to their
relationship. The plain cut is more predictable than a cross dissolve for example
and is used for this sense of predictability that another one of Swift’s relationships
are coming to a quick end. For the audience, this is
seemingly formulaic around Swift’s relationships if
the media are to be believed and the simplicity but
franticness around the cuts epitomise the unrealistic
nature of this idea.
The first thing of note regarding this image is the direct mode of address used by
Swift. By directly address the camera (which is representational of the press) she is
making the video more personal and direct to the audience. The placement in the
centre of the shot combined with this direct mode of address makes for an
intimidating and aggressive approach from Swift. This not only shows her power at
this point with in the video but also her response to the press who are hungry to
critique her.
The voyeuristic presentation of her through the red apple and lipstick is seductive
and links to the idea of the poisoned apple in the fairy tale of Snow White. This
connotes that Swift’s lips are actually the poison whereas in the fairy tale it’s the
apple and the swift cuts between the almost ritualistic voodoo doll control she has
over her man using the apple makes for interesting feelings for the audience. The
audience sense Swift has taken control and is dominating the situation using her
feministic and sexual powers. The redness present throughout the sequence is a
motif replicated throughout the video.
The use of close up personalises the shot and gives the audience interaction with
Swift directly. This is Swift giving her account to her fans as oppose to the media
covering it in a negative light by presenting her as a man eating leach. Swift is
clearly unhappy and presents the media their portrait of how they perceive her life.

6. Connor Southwell
Once again, the rule of thirds has been ignored to give Swift power and the lack of
clutter simplifies the shot which shows how Swift wants a simple love life.