1. To what extent do the music videos “DEAR TO ME” by ELECTRIC GUEST and “GET LUCKY” by DAFT PUNK
conform to Goodwin’s theory?
GOODWINS THEORY
1. Music videos tend to demonstrate the genres characteristics.
2. There is a lyric/visual relationship.
3. There is a music/visual relationship.
4. Close ups of artists and reoccurring motifs are wanted by the record label.
5. Voyeurism of the female body.
6. Often include intertextual references.
2. “DEAR TO ME” - ELECTRIC GUEST
“Dear to me” by Electric Guest would be categorised in the electronic genre with hybrid possibilities of/to jazz and funk. The music
video for this demonstrates this rather well as it emphasises the overall ‘chilled out’ aspect of the genre itself.
An example of this is that in the video, the lead singer is driving rather swiftly down a road (00:20), of
which could connote the smoothness of the genre and the lack of sudden interruption which other genres
such as metal and rock would involve. As well as this, the video is greyscale which visually presents
simplicity which is reflected in the genre itself, as there is usually just a simple ongoing beat loop of which
is casually built and unbuilt upon.
Electric Guest is a band of which was formed in 2011 and The group is made up of Asa Taccone and Matthew Compton. Their first
album, Mondo, of which was released in 2012, gained a lot of positive feedback from critics, with the Rolling Stone calling the
album "L.A. slacker soul, full of hooky neon jams" and "sonic wit.“ and having comments such as "wistful ballads, that are far more
concerned about careers and ethical choices than about the ups and downs of love.“ This forms an image for the band of which is
alternate yet mainstream, giving the audiences of indie pop and groove a new genre of sound to enjoy.
Regarding the lyrics, the reoccurring phrase “You’re dear to me, I know” is accompanied by clips of
couples kissing/hugging of which seems rather suitable for what the song is all about. However, the shots
of the lead singer compared to the coupe shots are rather contrasting regarding who is actually in the
shots. The lead singer is shown mainly by himself or with the band of which could connote that he in in
search of romance, and the shots of the couples is his hope for the future. However, the less obvious –
metaphoric – lyrics aren’t visually presented to the audience. The lyric “And when its bad, I feel like I don’t
know which way I should go” (2:23) complies also to Goodwin's theory as one of the main elements of
the video is a long drive, and by using these lyrics, the lead singer to emphasising this point overall and
connoting that when the smooth road shows interruption (metaphorically referring to an issue in a
relationship) and how he would feel lost in a situation like this. Another interpretation could be how he is
appreciative of his friends and family, with his love being targeted at them, an example is when after this
lyric, he is shown next to what looks like a father figure, dancing in sync to each other which could
therefore imply that when he is with people who care about him, he isn’t lost on which direction to take.
3. “DEAR TO ME” - ELECTRIC GUEST
The video isn’t entirely controlled by the track regarding when the cuts appear, when the pace of editing changes, etc… The song
does synchronise with the video at points in order to loosely connect the two features, making them work together but in separate
ways. The video, is very theatrical and, could be described as more of a performance rather than a typical music video. This initially
goes against Goodwin’s theory.
However – there is a vast amount of synchronisation and connection between the track and visuals of
which doesn’t include editing and or cuts. The lead singer dances throughout the song and is smoothly
sync'd in time with the music itself. Of which makes the video easy and pleasurable to watch.
It also seems like the whole song - apart from the opening beat and ending (majority of the middle) - is a
journey so to speak. This is reinforced by how the initial beat could replicate a heartbeat and/or car
starting up, with an image of the lead singers lover of whom is shown for a split second that remains in
the audiences mind for the duration of the track, who is then shown at the end of the song. Overall,
emphasising the idea that the video and song lead up to this moment. Where the song by itself wouldn’t
give this idea, therefore, the video acts as an explanation or assurance of the songs meaning.
Regarding the requirements and wishes of the record label, “Dear to Me” Shows minimal variety of camera shot types. A
conventional record label element is close ups of the artists face, of which isn’t shown too often in the music video. The reason
behind this could be due to how the song is generalised and isn’t focused on the artists ideas alone, as it is therefore written for the
audience. However, there are reoccurring motifs of which is another conventional element that the record label looks for in music
videos. This motif is the dancing of the lead singer for the band, we can see him dancing in multiple shots throughout the video – at
points (01:15), (02:00) and (02:27) of which reinforces the theatrical and performing style that the band tends to conform to. This
motif isn’t just in this music video as other tracks such as “This Head I Hold” and “The Bait” use the same motif of which has the
same appeal and effect.
4. “DEAR TO ME” - ELECTRIC GUEST
There is no voyeurism of the female or male body in the music video of which goes against an aspect of Goodwin's theory, mainly
due to how in the song, there is no reference to sex or exploration of the body – or even intimacy – of which therefore doesn’t
warrant any voyeurism in general. Especially for the genre of the song, voyeurism isn’t a typical convention that would be included
in lyrics, and therefore the video.
As well as this, there are no inter textual references in the video or song in general of which is understandable due to how the band
is incredibly unique and original. Going against Goodwin's theory again.
To conclude on this song, it complies with the majority of Goodwin’s ideas on what a music video includes of which is varied due to
the genre of song. As mentioned previously, a filmic approach is usually used for songs that are more relaxed with smooth
dynamics and a simple beat – such as the one analysed. Which therefore makes the music and video very synchronous together.
However songs of this genre commonly lack intimate references.
5. “GET LUCKY” – DAFT PUNK
Daft Punk is a duo band of which is made up of Thomas Bangalter and Guy-Manuel de Homem-Christo. The genre of musoc of
which they produce is Electronic Pop as they tend to also collaborate with valued industry artists such as “Kanye West” and
“Pharrell Williams”. Their number one track “Get Lucky” won 2 Grammys and Porin awardin 2014 and wa sonly released a year
prior to these successes.
The genre if the song is electronic pop of which is demonstrated well throughout the video. Typical
conventions of a pop video are regular shots of the band, if that means switching from the narrative to
do so, as well as high production with an aspect of performance. The video includes the band
alongside the featuring artists throughout the entire duration, the artists are wearing flashy clothing
(sparkling suits) which emphasises this ideology that Goodwin has put forward. Furthermore, There is
slight usage of CGI (01:13). However, there is a lack of narrative of which is generally a convention
used in most pop songs. Daft punk have released songs that loosely follow this convention such as
“Stronger”. However, it isn’t a common feature that is used by them.
A strong link between the visuals and lyrics is shown. Pharrel sings how “We're up all night 'til the sun,
We're up all night to get some, We're up all night for good fun, We're up all night to get lucky.” which is
presented visually by the glamorous suits and instruments of which emphasise the idea of getting
lucky. As well as this, the darkness that surrounds the artists could connote the idea of being up all
night and therefore giving them a sense of importance to whom the song is directed at. Furthermore,
the video is rather repetitive, as are the lyrics. With some shots in the video being reverse looed to
demonstrate this (02:20). Furthermore referring to the lyric that “We’re up all night”
Regarding the music/visual relationship, the synchronisation of the video to the track itself proves that
this is true for this genre. We can see Daft Punk and Nile Rodgers playing in time with the audio which
adds a sense of smoothness and continuity. However, this is only present when Pharell is singing –
where later on in the song at (02:20) we see a change in tempo and pace of the hi-hat which is more
electronic than general pop, with a more robotic vocal than before, this is then accompanied by close
up shots of Thomas and Guy-Manuel (which I will analyse in further detail later on).
6. “GET LUCKY” – DAFT PUNK
As I mentioned previously, there are numerous close up shots of Daft Punk, Nile Rodgers and Pharrel
of which is an element that record labels like to be included in music videos. Considering how Daft
punk are artists of electronic music and the majority of their tracks are solo, the featured artists in this
particular song would appeal to a wider audience – with the close up shots. As well as boost the overall
popularity of the song. Proof of this is how “Get Lucky” was number one and won 3 awards, whereas
“harder, Better, Faster, Stronger” – a solo track – was in 25th position in the UK charts at its peak.
Another desired element is reoccurring motifs, of which clearly, are the masks/helmets that Daft Punk
wears. These helmets act as a symbol for the duo and remain a significantly recognisable aspect of
their image.
There is no voyeurism of the female body in terms of visuals, as daft punk doesn’t commonly focus on intimacy and/or sexual
interaction through their music due solely to the genre. However, the lyrics do suggest a slight sense of intimacy in this song. “I’m
up all night to get some” (00:52) Could infer that intimacy is desired. Yet overall, there is no explicit voyeurism of males or females
in the track.
Regarding inter-textual references, it is hard to identify them if there are any. This could be due to how Daft punk remains as a
unique act and are establishing themselves, allowing other artists to be intrigued by their work and collaborate with them (for
example “Kanye West” re-imagining the track “Harder, Better. Faster, Stronger”)
To conclude on this track, Goodwin’s theory is conformed to a reasonable amount. Considering how the video represents features
of the genre, with a strong link of music/visuals and lyrics/visuals, as well as how the video shows requirements of the record label
of which in theory is used to boost ratings ad grab attention of wider audiences.
Looking at both “Dear to Me” and “Get Lucky”, we can see how the genre is easily recognised in due to the visuals and
presentation of the song in general, allowing the audience – mainly in “Dear to Me” – to alternatively interoperate the lyrics after
listening to the song without a video to accompany it. As well as this, the songs both show a strong connection with the video with
synchronicity and emphasis on the lyrics. Conforming to Goodwin's theory to a point, however, there is no voyeurism of men or
women as well as limited inter textual references of which challenges elements of his theory. Furthermore, this challenge is
reinforced by how both songs pf which I have analysed share different audiences and are more diverse than they are similar which
eliminates the idea that the genre determines how much Goodwin’s theory is conformed to.
