1. 28/09/15
THE USE OF MEDIA LANGUAGE IN
“AFRICA SHOX”
The theory of Andrew Goodwin – Alice Heffer
2. 28/09/15
GENRE CHARACTERISTICS
One of the main genres for this music is 'Electronica' this is represented with
the synchronised edits in time with the music,
Another factor that represents the genre is the use of flashing police car
lights, this imitates a club like scene where the music would generally be
played because of its upbeat tempo.
Another factor of this genres conventions is the breakdancing scene in the
underground car-park, this is to represent the dance and dubstep aspects of
the track.
3. 28/09/15
RELATIONSHIP BETWEEN LYRICS AND
VISUALS
Goodwin's theory states that there are three different relationships within
music videos; Illustrative, Amplifying or Disjuncture.
This particular music video challenges the strict differentiation between the
three, at the first watch it seems there are no apparent links from the lyrics to
the visuals (disjuncture), however, when you focus on the lyrics there is some
extra meaning being added to the video (amplification).
The line 'They planned it yesterday, free' shows a reference to the struggle
of African-Americans had within New York showing an dystopia view of being
invisible.
4. 28/09/15
RELATIONSHIP BETWEEN MUSIC AND
VISUALS
As the music is an upbeat track the cuts within the music video has to fit to
be able fit keep the viewer interested and give them a feel of the genre that
is being portrayed.
As soon as the bass suddenly picks up you go to a shot of the protagonist
abruptly being out in the open of New York. This signifies the exhaustion of
not only the slaves on the ship, the traumatic response of the Vietnam war
but also it could be related to drug abuse commonly used in the world of
clubbing.
5. 28/09/15
STARS IMAGE
Although Neil Barnes (writer) does not make an appearance within the
music video himself, Afrika Bambaataa ' known as "The Godfather" and
"Amen Ra of Hip Hop Kulture," as well as the father of electro funk' (1) also co-
writer of the track makes an appearance towards the end of the video.
This supports Goodwin's theory of displaying the artist with close-ups to
develop his motifs to be recognised.
6. 28/09/15
NOTION OF LOOKING
Linking to my earlier point of dystopia within New
York for African Americans, this is represented in the
White ethnic male turning away from the now ‘broken’
Man as if he was invisible, identifying the racial conflict
that is still around within contemporary times.
7. 28/09/15
INTERTEXTUALITY
Edward Kamau Brathwaite’s ‘Limbo’ poem represents the Black slave walk
off the ship, showing the distortion and being ‘blinded’ by the light. The black
male within the music video represents the slavery trade and the differential
between how different races are treated.
Another reference is the use of the prop of ‘dog tag’ around his neck and
the stumbling African links to the traumatisation of the Vietnam war. With
more black veterans suffering from PTSD than white veterans (2) it shows the
little recovery that was made from that time in age and the state the
protagonist is in.
8. 28/09/15
RACIAL TENSION/DISCRIMINATION IN THE USA
In 2014 riots set havoc in the streets Ferguson, with the first shooting of
Michael Brown, it soon had been suspected of a racial attack when more
members of the public became injured.
With the performer being ignored and almost shamed upon, it highlights
what some racism can underlie.
The racial tension that had occurred left citizens of Ferguson with a lot of
pain, sorrow and worst of all, a lot of anger.
