Genre theory in The Pogues and Kirsty MacColl's Fairytale of New York

1. The PoguesFairy tale of New York
Genre – Folk punk, Christmas
Released -1987
Directed by – Peter Dougherty
The Pogues are a Celtic, punk band. Formed in 1982, and still presently together, they are famed for being widely well
known for having founded the folk punk genre, and popularising it in the UK.
“Punk is musical freedom. It’s saying, doing and playing what you want." Kurt Kobain
The punk rock genre was popularised in the late 1960's/early 70's in the US and in Great Britain. The genre is notable
for its hard-edged music, with lyrics which will typically express strong political ideologies and promote 'anti-
establishment', meaning that they stand in opposition of the conventional social, political and economic principles of
society.
Celtic Punk is a subgenre of punk rock and is characterised as having a mix of traditional Celtic music. Bands of this
genre will often play a mixture of traditional Celtic music, as well as their own compositions. common themes
associated with this genre include politics, alcohol and working class pride.

2. Genre conventions
• The music video for Fairytale of New York contains reference to the typical conventions of the Celtic punk
genre. As is common for a text of this genre, the main themes of drinking and working class pride are very
much evident throughout. Goodwin's theory of music videos is referenced, with there being a clear link
between the lyrics and the visuals. The lyrics "its Christmas Eve babe//in the drunk tank" are accompanied by
the visuals of the music video's intoxicated protagonist being locked away in a cell for the night. This solidly
supports the genre of the text. Alcohol being a huge theme of the genre,the audience are immediately aware
of the fact that they are viewing a text of a gritty nature, helping to associate it with the Celtic punk genre.

3. • The upbeat nature of the music during the chorus and onwards suggests a dream or fantasy, most likely a
dream of the main protagonist taking place during his stay in the police cell. During this part of the music,
the female protagonist of the music video is seen to triumphantly stride the streets of New York City,
emphasised by a number of low angle shots towering, concrete skyscrapers. This contrasts to the
representation created in the music video Afrikka Shox, in which the low angle shots create an image of
alienation for the black protagonist who finds himself as a minority in the cruel metropolis. Furthermore,
this positive representation of New York, in which the working class female feels a sense of having 'made it'
in the city of dreams helps to construct genre. A sense of the working class having overcome the restrictions
that society has placed upon them, very much develops a feeling of working class pride within the music
video, and audiences will recognise this as .
Fairytale of New
York (1987)

4. Noir
• We find that the music video for fairytale of New York contains elements of mise en scene, most commonly
associated with film noir productions which were first being formed in the 1940's. Audiences who are
aware of the film noir period will be flattered by the strong references to Carol Reed's The Third Man
(1949). Use of dark, low key and chiaroscuro lighting help to strengthen genre links within the music video.
Audiences with an interest in film will recognise a link between the dismal themes such as the struggles of
the lower classes within society, their political insignificance and alcohol abuse, with the tragic plotlines of
the 1940's black thrillers. This helps to strengthen the tone of the music video and by referencing the
conventions of such an iconic era in film making, helps to better construct genre.
The Third Man
(1949)
Fairytale of New
York (1987)