2. ANDREW GOODWIN: INTRODUCTION
Media theorist Andrew Goodwin first came to prominence
through his 1992 critical study Dancing in the Distraction Factory,
which chronicled the rise of MTV and the different codes and
conventions that Goodwin, himself, recognised as having become
prominent within the industry. Furthermore, Goodwin is noted as
bringing 7 key aspects of music video production to the forefront
of music video theory and critical analysis. These theories would
prove largely influential to future music video analysts, in
particular Steve Archer.
3. ANDREW GOODWIN: 7 KEY ASPECTS
Through his studies into Music Videos, Goodwin concluded that there were 7 key features
to observe:
1.‘Music Videos demonstrate certain genre characteristics.’
2.‘There is a relationship between lyrics and visuals.’
3.‘There is a relationship between music and visuals.’
4.‘The demands of the record label will include the need for lots of close-ups of the artist.’
5.‘The artist may develop motifs or iconography that recur across their work.’
6.‘There is frequent reference to the notion of ‘looking’ and particularly voyeuristic
treatment of the female body.’
7.‘There are often intertextual references – mostly to film, television and popular culture.’
4. ‘MUSIC VIDEOS DEMONSTRATE CERTAIN
GENRE CHARACTERISTICS.’
The characteristics of different musical genres are typically reflected through the
visual style as depicted on screen. For instance, Goodwin illustrates the concept of
a metal video typically taking clear focus on a video of a stage performance ,
bikini-clad women in extremely voyeuristic situations with flashy sports cars in a
rap video (Known as ‘throwing signs’) and a clear choreographed dance routine for
a boy/girl pop band. Music videos also link intertextually to other genres in other
mediums. As Goodwin notes, many heavy rock songs and metal are influenced by
horror films and fantasy.
5. ‘THERE IS A RELATIONSHIP BETWEEN LYRICS
AND VISUALS.’
The relationship between lyrics and visuals develop in three distinct ways, during the planning for
production of a music video; Illustrative, amplification or disjuncture.
1.For Illustrative videos, the relationship between both elements is direct, in order for this consolidation
to present a singular, stark perspective for the viewer to consume and understand on a basic level.
2.For Amplification videos, the visuals will take elements from the lyrics in the translation, yet will extend
further and develop other clear elements that, in cahoots with the lyrical content, will produce wider
atmospheres and concepts that were not merely present in the lyrics or within bare visuals. This allows
every sense of the audience to develop different understandings and meanings behind the videos.
3.For Disjuncture videos, the visuals will totally abandon the lyrical content and provide it’s own
perspective that is clearly separate. This juxtaposition of oxymoronic elements will create a sense of
intrigue within the minds of the audience.
6. ‘THERE IS A RELATIONSHIP BETWEEN
MUSIC AND VISUALS.’
A music video can clearly promote a song through the juxtaposition between
music and visuals. For instance, the tempo and the rhythm of music will directly
influence the pacing of the editing and the sturdiness of the shot itself. These
elements are consolidated to provide the audience with a distinctly sensual
experience, and on a more basic level than complex lyrical analysis. These
elements are vital in the construction of an overarching atmosphere and general
“feeling” for the audience to consume. For instance, as observed within the video
for In This Moment’s Sex Metal Barbie, the distortion of the music directly
influences the distortion of the visuals.
7. ‘THE DEMANDS OF THE RECORD LABEL WILL
INCLUDE THE NEED FOR LOTS OF CLOSE-UPS
OF THE ARTIST.’
A heavy focus upon the central artist will significantly increase the marketability
of the individual musical video, as a recognition factor will help draw audiences
into this particular video. Furthermore, close-ups of this artist and direct address
will develop a key level of intimacy between the artist, the lyrics, the music and
the audience. Also, many montages of close-ups will develop a clear image in the
eye of the audience as to what the artist looks like. However, this will usually
depend on the profitability of the star themselves; if they are rather low key, then
this demand will be naturally lowered as the recognition factor will not be present.
8. ‘THE ARTIST MAY DEVELOP MOTIFS OR
ICONOGRAPHY THAT RECUR ACROSS THEIR
WORK.’
The development of motifs and iconography across different music videos by the
same artist, is important as it constructs a distinct style that also taps into the
recognition factor, without necessarily needing to emphasise one’s star image.
These aspects work consolidate to devise an overarching atmosphere and general
feeling in the minds of he audience, that is particularly sensory. Unlike the deeper
analysis of lyrics to firmly understand the point that the producers are attempting
to convey, the relationship between music and lyrics can be observed on a much
more basic level.
9. ‘THERE IS FREQUENT REFERENCE TO THE NOTION OF
‘LOOKING’ AND PARTICULARLY VOYEURISTIC
TREATMENT OF THE FEMALE BODY.’
The clear representation of women through voyeuristic
camera and editing techniques. For example, the use of
dismemberment to place intentional focus on certain
sexualised body parts (Protruding lips; bust), combined with
juxtaposition between these different film elements, evoke a
sensual reaction within a male-dominated audience (See
Laura Mulvey and the Male Gaze). This, combined with direct
eye contact between the female subject and the camera, will
continually arouse a sense of seductively. Sometimes. Music
videos will accentuate the notion of male observation through
visualisation the female subject from the point of view of
mirrors, television screens, binoculars, telescopes… e.t.c. In
terms of marketing, voyeurism is used to firmly create a level
of sex appeal for the audience to observe and consume,
increasing it’s marketability.
10. ‘THERE ARE OFTEN INTERTEXTUAL
REFERENCES – MOSTLY TO FILM, TELEVISION
AND POPULAR CULTURE.’
An audience will develop a key feeling of pleasure through the observation of
intertextual references throughout music videos. For instance, the display of
easter eggs and inter-media references help reinforce an idea, amongst
consumers, that the video producers are aware of their wider enjoyments and this
idea allows the audience to bestow extra trust and respect onto the producers.
