1) The document analyzes two music videos - Moby's "Porcelain" and Massive Attack's "The Spoils" - using Goodwin's Theory of key features expected in music videos. 2) It finds that while some features align, such as the relationship between music and visuals, neither video conforms to all aspects of Goodwin's Theory due to the experimental nature of trip hop/electronic music videos. 3) The author concludes that trip hop and electronic music videos can deviate from expectations and lack narratives due to the uniqueness of the genres' music.

1. Research
MUSIC VIDEO ANALYSIS

2. Video one:
Moby- Porcelain
Genre: Electronic/Trip Hop
Released: June 2000

3. Application: Goodwin’s Theory
• Moby- Porcelain
My initial focus was trip hop artist, Moby, and his video for Porcelain. I visited the 6 key features of a music video
according to Goodwin, and saw if Moby's video would conform.
1. Music videos demonstrate genre characteristics:
Goodwin suggested that certain features are expected out of a video depending on the genre of the music. The trip
hop genre allows such experimentation with music, and so the genre can be very unpredictable. It may be suggested
that viewers will not expect anything in particular for a trip hop music video, or maybe they'd expect something
abstract and unique to match the type of music. The video for Porcelain is very unpredictable and abstract, and so it
could be conforming to Goodwin's first key feature.
2. There is a relationship between lyrics and visuals:
Goodwin suggested that themes, mis-en-scene and events of the video match with the lyrics of the song. This
particular song has very few lyrics, but they are able to explain that he is having to say goodbye to someone special
at his own fault, 'I never meant to hurt you, I never meant to lie, so this is goodbye.' There is no real narrative or story
evident in the visuals, despite the lyrics offering a narrative. The video therefore fails to conform to this idea of
Goodwins. However, we can draw meanings from some of the visuals. For example, him looking through an eye may
represent how he's not physically there with someone; perhaps he desires someone (this could then link back to the
lyrics and conform to Goodwin's theory).

4. (…Continued) Application:
3. There is a relationship between music and visuals:
Goodwin suggested that the tone and atmosphere of the visual reflects that of the music. Moby's video conforms to
this throughout its majority. There are clips of an eye blinking which matches specific beats in the song, and particular
visual effects are shown to match the rhythm. However, it is not entirely matching and some blinks of the eye are off
beat, suggesting that the visuals are not necessarily matching the beat on purpose.
4. The demands of the record label will include the need for lots of close ups:
Goodwin suggested that the record label will use the video to promote a set image for an artist which will help target
audiences to emphasise with them. This is perhaps achieved in Moby's video through a selection of close ups of him
'inside' the eye. This head shot is all we see of Moby throughout the video and so I'd say that there has been no real
image created for him, going against Goodwin's theory. However, the audience can make assumptions; his position
inside the eye could represent entrapment or imprisonment, allowing the audience to feel sorry for him and emphasise
with him in that way.

5. (…Continued) Application:
5. Frequent reference to notion of looking (screens within screens, mirrors, stages etc.):
Goodwin suggested that a music video will have reference to the notion of looking. This can be applied to Moby's
video as the notion of looking is the main focus; an extreme close up of an eye dominates the visuals. Goodwin also
mentions the idea of 'the male gaze'. This is somewhat evident in the music video, with close shots of a female viewed
through an eye, as if the viewer should desires and admire her. However, there are just as many shots of males
throughout the video and so there is no real evident objectification of females.
6. There are often intertextual references (to films, TV programs, other music videos etc.):
Goodwin suggested that a music video will reference other forms of media such as film, television or other music
videos. This is something that Moby's video does not conform to. There are no references to any other forms of media.
A lot of Moby's video for Porcelain fails to conform to Goodwin's key features of a music video. Instead, it is very
unpredictable and abstract, with no clear narrative and conventions. I’d suggest that this is common with videos for trip
hop songs and that they can get away with going against expectations, as the music is already so unique.

6. Video two:
Massive Attack - The Spoils ft. Hope Sandoval
Genre: Electronic/Trip Hop
Released: 29th July 2016

7. Application: Goodwin’s Theory
• Massive Attack - The Spoils ft. Hope Sandoval
I then studied the music video for The Spoils by electronic/trip hop group, Massive Attack. I visited the 6 key features of
a music video according to Goodwin, and saw if Massive Attack’s video would conform. It gave me an idea as to
whether Goodwin’s assumptions can be successfully applied to music videos of the electronic genre, something that
should help massively with my research.
1. Music videos demonstrate genre characteristics:
The Spoils has no real narrative or obvious meaning, but this is not an expectation amongst electronic songs. The genre
allows artists to experiment with electronic technologies and so the genre can be unpredictable. I’d suggest that
audiences do not expect to see anything in particular for this exact reason; they may want to be surprised by both the
music and the visuals. For example, in the video for The Spoils, we see a series of faces that have been morphed and lit
up theoretically. Although this would go against Goodwin’s idea that certain features are expected out of a video
depending on the genre, it could also support it by suggesting that the audience expect to see something abstract and
unique from an electronic music video.

8. (…Continued) Application:
2. There is a relationship between lyrics and visuals:
The Spoils has limited lyrics that discuss loss and the feeling of longing. Goodwin’s
idea that lyrics and visuals should be linked can perhaps be applied to this music
video. We see a series of faces which then fade out, possibly suggesting the fading
away or disappearance of an individual, something that could be linked back to the
lyrics’ discussing of loss. The Spoils would therefore be a good example of
Goodwin’s second proposal.
3. There is a relationship between music and visuals:
It is difficult for there to be a match in the visuals and music since the editing does not adopt any sudden cuts and
instead uses gradual fade ins and outs to piece together the video. This slow style, however, does fit with the slow
tempo of the song and so in this sense, there is a relationship between music and visuals.
4. The demands of the record label will include the need for lots of close ups:
Massive Attack themselves are not shown in the visuals of the music video, nor is featured artist Hope Sandoval, and so
it is difficult for audience members to directly emphasise with them. The video does, however, feature Australian
actress, Cate Blanchett and her appearance may have helped to draw in audiences. Multiple close ups are used to
present an emotionless and gormless Cate Blanchett, which when combined with the somewhat saddenning lyrics can
persuade audiences to emphasise with her.

9. (…Continued) Application:
5. Frequent reference to notion of looking (screens within screens, mirrors, stages etc.):
This proposed feature of a music video is not very evident within The Spoils. Although this video features a selection of
faces, there is no real focus on the eyes or the notion of looking, and so this particular idea by Goodwin cannot be
applied.
6. There are often intertextual references (to films, TV programs, other music videos etc.):
Again, there is no evidence of this proposed key feature in The Spoils. This is because the video entirely focuses on
human faces and does not reference anything else.
Using Goodwin’s theory to analyse music videos of the Electronic and Trip Hop genres has been extremely helpful. It is
apparent that not all of his key features can be successfully applied; for example, both videos fail to use intertextual
references (to films, TV programs etc.) It also seems to be the case that these videos will not have a significant narrative
or storyline and will use other ways to match the lyrics and visuals, something that Is not seen as much in other genres.
I’d suggest that music videos of the Electronic/Trip Hop genre can be this unique as the music is already so different
from anything else. This can explain why not all of Goodwin’s proposals can be applied.