1. Skrillex – Analysis for
Goodwin’s
Bangarang features and
(featuring Sirah) audience

2. Relationship between the music and
the visuals
• There is a relationship between the music
and the visuals as the pace of the music
quickens or slows down so does the range
and rate of camera shots.
• For example close-ups can be seen of the
ice-cream-man eating ice cream cones
whilst driving, with slow transitions used
at the beginning, which is reflected
through the song gradually increasing in
speed, but at a drawn-out pace at the
beginning.
• As the tempo of the song, as does do the
range and speed of camera shot increases
a long-shot is used as the ice-cream man is
seen driving recklessly and a panning low
angle shot is used as a boy is seen running
up stairs hastily with a dog.

3. Relationship between the lyrics and
video
• Dubstep is usually instrumental with
hardly any relevant lyrics, however
this video has a small relationship
between the lyrics and the video.
• In the video the lyrics read “Shout to
all my lost boys” and at the beginning
of the video, 3 different boys all out
on the streets with lots of dogs which
suggests they do not belong to a
family or a home as they are 'lost'. Here, the word ‘Bang’ is
printed onto an explosive
• It also says ‘…we rowdy' which is device. A reference to the
illustrated through the 3 boys plotting title of the song being called
and carrying out a plan to rob the ice- ‘Bangarang.’
cream-man of his ice cream and later
on robbing a bank when they’ve
grown up.

4. Particular music videos may have their
own style or iconography
• The narrative of is very intriguing
which is what gives this music
video it’s own style.
• The plot follows three young boys
as they grow up and change into
men. This is revealed through the
boys, at first, stealing ice cream
from a van and then growing up
and stealing money from a bank
as their priorities change.
• A special effect is used in this
screenshot to show the
characters growing up as their
shadow on the wall gains height
and all three boys mature.

5. Close ups of the main artist or vocalist
• The artist, Skrillex, never appears in the music
video, going against Goodwin’s theory, but there
are visuals used to aid the fact he doesn’t.
• For instance, the narrative of the young boys
growing up is the clear focus of attention in the
video almost as if Skrillex doesn’t want any
consideration. The plot is the main focus of
interest as a visual-aid to the music, which is
unusual in modern day music.

6. Reference to Voyeurism
• There is some reference to
voyeurism with the use of
binoculars.
• This is done to highlight the
characters of the young boys
growing up and maturing into
men as they spy on their targets.
• However, there is no voyeuristic
male-dominating observation of
women, which contrasts
Goodwin’s theory on music
videos.

7. Intertextual references
• There are no intertextual references within
Skrillex's videos, as most of the time he combines
stories that are told with his music as a video.
This could be to get a message across to his fans,
to promote subjects or matters of interest, or to
pose a moral of the story that his younger fans
can learn from.
• This, similarly, differs from Goodwin’s theory that
all music videos have intertextual references.

8. Audience
• This screenshot of the viewing
details for ‘Bangarang’ by Skrillex
shows that it currently has
69,655,148 views. The video first
became popular when it was
referred from Facebook by Skrillex.
• The video is mostly popular in the
United States, Australia and
Hungary.
• The top demographics show that
the video appeals mostly with
Males aged 13-17 years of age. This
could be because there is peer-
pressure on teenage boys from
their peers to listen to this genre of
music, and Skrillex is the only major
mainstream artist that releases it.