Look What You Made Me Do - music video analysis

1. Music Video Analysis
‘Look What You Made Me Do’ – Taylor Swift

2. Lyrics
• The lyrics in the song act as a promotion of Swift’s upcoming album, referencing her reformed
reputation, change in characteristics and personality. They also directly relate to what we can see
happening in the video, conforming to Andrew Goodwin’s ideology of what makes a good music
video.
• This is further emphasised at the end of the song, where the short dialogue, saying: ‘I’m sorry,
the old Taylor can’t come to the phone right now. Why? Oh, cause she’s dead!’ highlights this
change, and the destruction of Swift’s previous image and reputation. The chorus repeats the
line: ‘Honey, I rose up from the dead, I do it all the time’ perhaps also reflecting the idea of Swift’s
old personality dying out, and being replaced with a new one. The hint that this is a regular
occurrence is also made, which is also highlighted in the video, where a crowd of all of Swift’s
‘old’ personalities can be seen.
• There are regular references to strength and independence throughout the song, mentioning that
she ‘got smarter, got harder in the nick of time’, mirroring the power of Swift represented in the
video – as a powerful, dominant individual. Furthermore, it is also representative of Swift’s strong
comeback, despite the negative publicity which has surrounded her.

3. Music
• The song is an example of a high tempo pop song, with a regular beat, in which the shots are cut
and edited to.
• This is particularly demonstrated by the dramatic flashes which are regularly used between shots
and according to the beat, which is a great contrast to the dark lighting in some settings.
• At some points in the video, Swift dances to her music with a group of dancers, which shows
smooth transitions to the beat of the music.

4. Mise-en-scene + Genre• The song and genre can be categorised under the genre of pop due to the clear focus on the
artist, as well as the glamourous settings and props which are being used – associating the
luxury and wealth that accompanies the ideology of being a famous pop star.
• A few of the scenes in the video are relatively dark, perhaps reflecting Swift’s ‘dark recreation’
and farewell to her old self, as also represented through the graveyard shown at the
beginning of the video, in which Swift is seen as a dead/zombie like character coming out of a
grave. At one point, she can also be seen digging a grave, perhaps reflecting the end of her
old reputation. The darkness of the video – in some areas, makes it seem more malicious and
unpredictable from the audience’s perspective, further highlighting the anger Swift is
expressing in the song and throughout the video. The dark scenes are made to seem very
dramatic and are emphasised by the contrast in lighting caused by the dramatic flashes which
make the darkness seem all the more mysterious and perhaps slightly horrifying. This causes
more intrigue for the audience, who are unaware of what is going to occur in this darkness,
and specifically why a graveyard – typically associated with horror and darkness - is being
used as the video’s opening location.
• Other locations used in the video look relatively ‘royal’ and superior. One setting sees Swift
superiorly sitting on a throne, and another sees her lying in a bathtub of jewels. This is a huge
contrast to the dark, eerie setting such as the graveyard used at the start of the video, making
it seem even more superior than it usually would from the audience’s perspective. These
expensive, star-studded settings conform to the dominant ideology and expectations of a pop
music video - specifically of an artist such as Swift who has an A-list status. She is viewed as
alluring and desirable to the audience, who will see Swift and her imposed successes through
materialistic goods such as jewellery, and will aspire to have her successes and power (Mirror
Aspiration Theory).
• Swift can also be seen in what looks like a broken into bank, as well as swinging from a swing
in a locked bird cage. Both of these ideas perhaps highlight a form of rebellion, and this
directly links to the lyrics and meaning of the song, which reference karma and crime. This
once again is a contrast, perhaps this time to her luxurious lifestyle. These perhaps ‘criminal’
associations link to the rebellious revolution Swift is undergoing throughout the video.

5. Mise-en-scene + Genre (continued)
• Props such as jewels are used which coincide with the features of a music video, in which wealth and glamour is highly
promoted. Swift is portrayed as a dominant female character throughout the video, and the use of expensive, materialistic
props adds to the dominant image she has, and the ideology that she doesn’t need a male to be rich and successful.
• Swift wears outfits such as a long red dress, which is representative of her wealth and glamour, however it is slit at the leg
and at the chest, causing it to be more revealing. Swift is also sexualised through costuming, when she is seen wearing a
tight leather outfit with fishnets. Even when Swift is wearing a leather ‘biker’ outfit, she is still sexualised, and her outfit is
somewhat revealing, contrasting the independent dominative female she is presented to be throughout the video. These
costumes conform to Laura Mulvey’s Male Gaze Theory, in which males will see Swift and find her attractive.
• Although Swift is sexualised herself in the video, she is also presented to be a hugely dominant individual, who has power
over the various different males in the video. This is furthermore highlighted through the costuming of the males featuring
in the video, who can be seen wearing ‘I love TS’ shirts, highlighting the power and fan base Swift is easily capable of
generating.
• Forms of promotion, most likely to be from Swift’s record label/management are used in the video, due to the constant
referencing to her ‘Reputation’ in the video. Swift’s fans will be aware that her upcoming album is entitled ‘Reputation’ and
the video is almost acting as a form of advertisement for this. By almost teasing the audience into wanting to know more,
and therefore listen to the album/ follow Swift for it’s release dates/information, her album is successfully being promoted.
A few examples of this promotion is when a mid-shot of Swift is shown, where she is wearing an embellished bodysuit, with
the abbreviation of ‘Rep’ written on it, as well as the start of the video where a gravestone reading ‘Here lies Taylor Swift’s
reputation’. The ending of the video also shows Swift spray painting ‘Reputation’ onto the side of a plane. This is a regular
occurrence/feature of a pop music video, acting as a form of promotion to the fans.

6. Camera Shots + Angles
• Many close-up shots are used in the video, mostly on Swift’s hands and lips. By filming close-ups on Swift’s hands, an emphasis
is drawn upon the jewellery she is wearing -primarily a snake ring - which acts as a form of symbolism in the video –
referencing her public feuds. Swift’s red lips are zoomed in upon at the end of the video, where she is on the phone, claiming
that the ‘old Taylor’ is ‘dead’. This has a dramatic impact, and as just the phone, and Swift’s lips from a side-angle can be seen,
it almost feels as if the audience are listening in on the phone call and are part of it without Swift being aware (Voyeurism).
The statement that ‘she’s dead’ is seemingly made more dramatic by not seeing Swift’s full face, and by almost just reading her
lips revealing this dramatic part of the video. Swift’s legs are also featured in a close-up shot, once again drawing an emphasis
upon the snake symbolism in the video. Due to her wearing of sexualising, revealing outfits, the audience – primarily males
could view this as a sexualising feature.
• There are a few mid-shots of Swift singing/lip-syncing, which conforms to the regularity of mid-shots in pop videos, however,
they also zoom out, to reveal a wide shot, in which the audience can develop a wider understanding of what is going on.
• Swift is constantly the primary focus of the video – even in wide/establishing shots, and all shots are featuring her, or the
impact of her actions. All of the other people in the video are kept as a minimalistic background feature, unless the effects of
Swift and her dominative power are being demonstrated – for example when a group of males fall down in a ‘domino effect’
due to the power of Swift and the impact she has upon them.
• A few birds eye shots are used in the video. This is first demonstrated at the start of the video, where the camera tracks over
the graveyard, and reaches the grave of ‘Taylor Swift’s reputation’. Another example of this is when Swift is first seen lying in a
bathtub full of jewels. The shot is most likely to have been used to highlight the large quantity of materialistic goods Swift is
owning, and also adding more of a dramatic effect.
• A high angle is used with great effect to highlight the power Swift has over all of her ‘old selves’. She can be seen rising above
them all in the video, and the cut to a high angle portrays her dominance, which enables her to look down upon them,
mirroring the dominant character Swift has developed and is boasting in the video, highlighting her newly found superiority.

7. Editing
• Most of the video is edited relatively quickly according to the beat of the music. Quick flashes
between shots - specifically in darker settings - create a dramatic effect through the quicker
pace the audience feel required to keep up with.
• A specific feature in the video influenced by editing is when Swift can be seen lying in a grave,
with her hands across her chest, and then the audience see the quick transition through a
flash, to Swift lying in the same position but in a bathtub full of diamonds. This quick transfer of
locations displays to the audience what Taylor Swift’s reputation is dying out to become – a
powerful, wealthy, lifestyle – careless to other’s opinions or views.
• The video also features some slow motion shots, where the pace has been lowered for a
dramatic impact. The ‘new’ Taylor can be seen rising above the huge crowd of all the ‘old’
Taylors, and the pace is very slow when the power of ‘new’ is controlling the ‘old’ and causing
them to fall down and almost float through the air as they are falling. The camera zooms in to
show mid-shots of individual characters, and the slower pace of this sequence allows the
audience to understand the almost malicious, menacing side of the darker ‘new’ Taylor, who is
causing all of the other characters to seem scared and horrified. The slower pace further
highlights Swift’s power in the video, due to her ability to almost ‘make time stand still’,
possibly causing a trance and brainwashing the other characters.
• A contrast to this slow-motion feature in the video comes directly after, where Swift can be
seen on the phone (in a wealthy looking location), and following the revelation that ‘the old
Taylor’s dead’, a quick flash can be seen to a zombie-like, dead Swift which is featured at the
start of the video. This directly links to the lyrics, and could be shocking to the audience, who
by this point of the video, will feel familiar with the luxurious settings which have primarily
been featured, and won’t be expecting a dark ,eerie graveyard. Following this, quick transitions
in line to the beat of the song reveal Swift standing rebelliously on the wing of a plane, chain
sawing half of it off. By only seeing the progression of this rebellion between other parts of the
video, such as Swift dancing, the audience are made to feel as if they are secretly watching
Swift rebel, and are aware of her actions before they are fully revealed – this could cause them
to feel a sense of self-importance (as well as Voyeurism).

8. Intertextuality
• Swift makes many references in her video to her public feud with Kanye West. The
lyrics: ‘I don’t like your tilted stage’ directly address the floating stage famously
used by West on his Saint Pablo Tour. In addition, Katy Perry – another individual
who Swift is known to have feuded with also used a tilted stage in past
performances.
• Swift continues with the lyrics: ‘I don‘t like your perfect crime, how you laugh when
you lie ,you said the gun was mine, isn't cool, no, I don't like you’, which references
the twitter dispute which took place with Kanye West and Kim Kardashian, in which
a video of Swift was posted without her permission. This was West’s comeback to
accusations surrounding a reference to Swift in his song famous, including the lyrics
‘I feel like me and Taylor might still have sex’.
• The symbolism of snakes is repeated throughout the video, where at one point,
Swift is surrounded by them. This symbolic technique links to the many snake
emoji's commented on her social media profiles following her feud with West and
Kardashian, as well as her separation from Calvin Harris. Whilst being surrounded
by snakes, Swift can be seen drinking a mug of tea, indicating her carelessness
towards the feuds, and the accusations that have been made of her. By also sitting
on a throne in an eye-catching red dress, Swift is presented as someone of great
superiority and almost royal, making her seem powerful and almost as if she is
rising above the negative publicity which addresses her.
• By using intertextual references, Swift is causing greater publicity for herself,
resulting in more views of her video, and the listening/streaming of her music. This
is mostly due to the fact that the intertextual references in the video are likely to
cause some controversy, causing the audience to feel a sense of intrigue and
therefore feel more inclined to watch the video. These references also contribute to
what Andrew Goodwin thinks makes a good music video.

9. Narrative/Performance
• The video is a mixture between a narrative and a performance. It is primarily a narrative story,
which shows the lifestyle of Swift, and the reformation of her newly branded rebellious character.
• The narrative mainly develops the storyline of Swift fighting and dominating her past
personas/characteristics – which is shown most clearly when she is seen rising above the huge
crowd of her past selves. The narrative is a huge reference to her public feuds and the headlines
which have been made about her, and the audience – most specifically her fans – will
immediately understand these references alongside the meaning of her lyrics.
• Swift can loosely be seen performing, however it is primarily during the action occurring in the
video, and occasionally during a mid-shot, where she can be seen singing the lyrics. It is clear that
the main purpose of the video is to present Swift’s references within the song, and her new
‘personality’ rather than highlighting her performance aspects and her actual singing itself.

10. Star Image + Branding
• Swift is presented as a dominant, independent character, who is powerful and dominative
– subverting the dominant ideology/expectancy of females.
• She is portrayed as the typical popstar – at one point wearing a red gown, and lying in a
bathtub full of diamonds and jewels, which acts as an emphasis upon her huge success,
and what this has caused her to earn materialistically. Swift can also be seen sitting upon a
throne, making her seem like royalty, and therefore incredibly superior. Towards the end of
the video, she can be seen lying in a golden car, wearing a fur coat and showcasing her
Grammy award. By displaying this symbol of her success, Swift is presented to be a greatly
superior artist, who the audience will see has won a Grammy and view with more prestige.
• The presentation of Swift in the video almost contrasts the expectations that the audience
may have perceived from her past music videos. This is clearly highlighted to the audience
by the graveyard scene at the beginning of the video, and the gravestone which reads
‘Here lies Taylor Swift’s reputation’. This is Swift and her record label’s attempt at
reforming her image and changing what an audience will expect of her. In this case, Swift is
presented to be a much darker, malicious character, promoting karma, and acting
carelessly towards some of the negative actions she’s previously been accused of carrying
out. She is presented as strong and powerful, as opposed to her previous, more vulnerable
self which the audience may associate her with still being. The continuity of Swift’s ‘new
image’ throughout the video reasserts the perception the audience will have of her.
• Swift is also presented as a sex symbol in the video, due to the seductive, revealing outfits
she can be seen wearing – for example: a short, tight leather bodysuit with fishnet tights.
This is a demonstration of Laura Mulvey’s Male Gaze Theory, as many male audience
members will watch Swift in the video, and find her sexually attractive.

11. Voyeurism
• Swift is portrayed sexually in the video due to costuming – which is an example of
Laura Mulvey’s Male Gaze Theory. Although she is powerful as an individual, and
doesn’t need the support of a male as typically expected in the media – she is still
sexualised to a relative extent due to the way she looks. A huge emphasis on this is
presented when Swift is lying in a bathtub, only being covered by diamonds,
perhaps suggesting that she is viewed as sexually attractive due to her ownership of
materialistic goods, rather than her personality, intelligence, etc…
• Certain features of the video also conform to Laura Mulvey’s theory about the
sexualisation of women, as close-ups are used, primarily on Swift’s hands, lips and
legs. A key point in the video is when Swift can be seen stating that the ‘old her is
dead’, and during this moment, just her hands holding the phone and her red lips
can be seen. This is a rather sensual feature, as the audience can see her speak
directly, and a dramatic effect is caused. In addition, the fact that the rest of her
face is unable to be seen allows the audience to feel as if they are exclusively
included in the revelation, and are seeing the truth be zoomed in upon. The almost
intimacy of this shot causes the audience to feel as if the information is perhaps
confidential as it is being revealed down a phone, and voyeurism is therefore
demonstrated as the audience gain please through gaining this information in what
could be quite a secretive conversation (in reference to the video).

12. Voyeurism
• At the end of the video, the editing of shots increase in pace, and flickering shots reveal Swift
on the wing of a plane with a chainsaw, which eventually cuts the wing off of the plane. By
showing the shots of this every few scenes, and in very small quantities, the action becomes
almost concealed, causing the audience to feel as if they’re grasping the information and seeing
what is taking place before the scene is actually focused on, and the full chain of events is
explained. This small insight into future actions within the video causes the audience to feel a
sense of self-importance, which is a demonstration of Voyeurism.
• She is also presented as a manipulative character constantly throughout the video, where she
has power over all of the male characters who are briefly featured. This is specifically made
clear when Swift causes them all to fall in a ‘domino effect’.

13. Context
• Swift’s power throughout the video relates to the modern emphasis on feminism and equality of
the genders. This is specifically highlighted by the manipulative qualities she has over male
characters in the video, causing them to fall at her request, follow her and assist to her demands.
• The video is a representation of current pop culture and tabloid headlines, as well as occurrences
on social media – in some cases inflicted by Swift herself. Swift’s malicious, dark reformed
personality is mirroring the way the media has portrayed her, and she highlights the contrast in
personalities that the audience would have seen develop over time, by showing her old
characteristics that the audience would have familiarly seen in the past.
• This transformation also acts as a promotion for Swift’s upcoming album, in which the song is
from, therefore indicating to the audience what is going to happen in the near future of Swift’s
career.