1. Andrew Goodwin (1992)
A media theorist who wrote a book called Dancing in the Distraction
Factory (1992).
In this he suggests there are:
6 key features of a music video
5 ways to analyse a music video
Goodwin’s 6 features of music videos
o Music videos demonstrate genre characteristics. Certain
features are expected out of a video depending on the genre of
the music.
o There is a relationship between lyrics and visuals. The lyrics
are represented with images. Themes, mise-en-scene and
events of the video match with the lyrics of the song to help
portray the message of the song.
o There is a relationship between music and visuals. The tone
and atmosphere of the visual reflects that of the music. The
cuts and edits of the video are in sync with the rhythm and beat
of the song matching cuts or effects to specific drum beats or
notes.
o The demands of the record label will include the need for lots
of close ups of the artist and the artist may develop motifs
which recur across their work (a visual style). This allows the
record label to promote a set image for the band/artist which
will help target audiences empathise with the band/artist.
o There is frequently reference to notion of looking (screens
within screens, mirrors, stages, etc.) and particularly
voyeuristic treatment of the female body. The ‘male gaze’ is
often used to attract a male audience. The male gaze is a focus
on presenting things that appeal to men. This often means a
2. voyeuristic view of, and an objectification, of women. The
emphasis on looking also includes the artist looking directly
into the camera helping the audience connect with the artist.
o There are often intertextual reference (to films, TV
programmes, other music videos etc.). Music video reference
other forms of media, most commonly film but can also be TV
and other music videos.
Goodwin’s How to analyse music videos
Thought beats – Where you ‘see’ the sound
Step 1: To look at the music itself. We must take into
account the structure of the song.
Step 2: The voice of the song. The artist’s voice is
extremely unique and can form identification or
trademarks that work well with the star image.
Step 3: The artist’s mode of address. Songs can be seen
as stories and the artist the storyteller, making the
music a two communication device – them telling us a
story and we listening.
Narrative and Performance
Songs fail to give us the complete narrative.
We only tend to get a gist of the meaning of the song
and tend to make up our own idea of what’s being
told. A negotiated view of a text.
Coherent repeatability.
The artist acts as both narrator and participant.
The audience need to believe this is real.
The star image
The star image is another vital aspect of music videos.
3. Meta narrative (which is a ‘big story’ that describes the
development of the star over time) has an important
part to play in the music video production process.
How is the ‘star’ represented?
Relation of visuals to song
Illustrate – Music videos can use a set of images to
illustrate the meaning of lyrics and genre.
Amplify – This is similar to repeatability. Meanings and
effects are manipulated and constantly shown through
the video and drummed into our vision.
Disjuncture – This is where the meaning of the song is
completely ignored.
Technical aspects of a music video
o Technical aspects hold the music video together
through the use of camera work, movement, angle,
mise-en-scene, editing, sound and special effects.
o Speed, camera movement, editing, cutting and post
production are all forms of use of camera.
o Lighting and colour help set moods emphasise key
movements of the song for dramatic effect.
o Mise-en-scene, the setting of music videos is vital, it
need to look authentic to attain [professionalism.
o Beats – music videos use cuts to with the beat or
rhythm making the video more entertaining.
