According to Andrew Goodwin, there are several codes and conventions typically found in music videos. These include demonstrating genre characteristics, having a relationship between the lyrics/music and the visuals, focusing on the artist through close-ups, and including intertextual references. Goodwin also notes that videos can be classified as primarily performance-based, narrative-based, or concept-based. The document analyzes several examples of music videos to illustrate Goodwin's points, showing how genres like rap, pop, and rock adhere to conventions through elements like dancing, staging, and instrumentation.

1. ANDREW GOODWIN –
CODES AND CONVENTIONS OF MUSIC VIDEOS
BY KEZZIA

2. GOODWIN’S 7:
1. Music videos demonstrate genre characteristics (e.g. Stage performances in metal videos, dance
routines for boy/girl bands)
2. There is a relationship between the lyrics and the visuals (Either illustrative, amplifying or
contradicting)
3. There is a relationship between the music and the visuals (Either illustrative, amplifying or
contradicting)
4. 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 (e.g. A visual style)
5. There are frequent references to the notion of looking (screens within screens, telescopes, etc.)
and particularly voyeuristic (sexual) treatment of the female body
6. There is often intertextual references (to films, TV programmes, other music videos, etc.)
7. Whether the video is primarily performance-based, narrative-based or concept-based and how
element of each is used in it

3. According to Goodwin, there are “certain traits associated with a music genre.” For example, mainly for a
punk rock band/genre, there is a consistency of using instruments, lip singing and naturalistic expressions in
their music videos, thus, making this their genre convention.
This can be properly seen through Soulja Boy's
video, “Superman.” It shows him wearing urban
clothing, large 'bling' and having a flashy
car/house to support himself too. Also, the use of
a small dance routine can be shown, which is
slightly common in the genre of rap. The use of
sharp and conscience movement is a normal
convention of this music genre. Through this use
of mise-en-scene, it tells the audience that this is
a rap/hip-hop video and allows the audience to
be able to differentiate between the genres easily.
Another genre characteristic can be seen in pop
videos, especially with pop female artists. The use of
synchronized dancing and movement can be seen
through many (such as little mix and fifth harmony),
therefore, identifying that it is, in fact a pop video.
Also, the use of mildly sexualised movements (body
rolling, hip shaking, etc) is also used to accentuate the
genre. Here, in Fifth Harmony’s video “Worth it” there
is sexual/feminized dance moves used.

4. A genre characteristic of rock can be
seen through the presentation of the
music video. Generally, there is always
a constant use of on stage performance
and an emphasis on the instruments.
This emphasis can be done through a
few close ups of instruments or
snippets of the song where it’s just an
instrumental solo. In the music video
“We are the champions” by Queen,
this convention is conformed to, with
close ups of their instruments, the lead
singer playing piano and actually
singing into the mic. There is also the
use of the lights and smoke around the
band, demonstrating the idea of it
being on stage and in front of an
audience.

5. Another one of Goodwin’s purposes in a music video is “relationship with lyrics and visuals.” This is
when the lyrics in a song match the action or scenery in a music video. Examples of this would be Stan
by Eminem, Wet Dreams by J Cole, Rake it up by Yo Gotti, and Irreplaceable by Beyoncé.
This can be seen clearly, and effectively, through J
Cole's video, “Wet Dreamz.” Here, J Cole makes
constant reference to him being on contact with the
female and talking to her. This is clearly depicted
through the video, although with the use of dogs,
where we can clearly see them interacting and
getting to know each other. He uses words such as
"Sex" and "Kissing/Touching" which is denoted in
the video through the dogs. Through this example,
we can clearly see an example of Goodwin's theory
at work.
In Eminem’s video, “Stan”, the use of matching the
visuals and the lyrics plays an important part in the
video. Here, he creates a narrative based story,
providing us visuals to evoke sympathy. He
mentions “the morning rain clouds up my window”
and “Dear Stan,” which is demonstrated in the
video with the use of flashing lights to represent
thunder, the constant sound of rain, and the use of
the actor writing at a table, surrounded by letters.
This can be also seen though the use of a close up
on the letter as he writes the address at the period
that he’s talking about sending it off.

6. In Beyoncé's video, “Countdown”, the performance piece
video perfectly matches up with the music. It can be seen
though the countdown (“1, 2, 3, 4..”) where she makes
hang gesture in accordance with when the numbers are
said. This is a good example of visuals matching the lyrics
as it highlights the importance of the countdown/time to
the audience. Also, when she refers to being “3” she makes
hand gestures that suggest a child in the video, making it
more clear to the audience.
In this video, there is constant reference to “Rake it up” at
which, a snippet of a girl actually raking up leaves. Here,
we can see a clear representation of the lyrics matching
the visuals. Also, a “pink Lamborghini” and the element of
“racing” is mentioned in the lyrics at which a small action
is added of them actually racing and the cars that they are
using are Lamborghinis. Even so, the star, ‘Blac Chyna’ is
mentioned in the lyrics and then shown at that exact same
time in the video.

7. Goodwin believed that the “visuals and illustration of a music video should match up with the music
and the beat.” An example can be seen through Kendrick Lamar's video, 'Alright' where the beat is
synchronized with the jump cuts or transitional shots in the video. For Goodwin, he believed that this was
essential as it created visual matching music for the audience to view.
Another example is “Gold Digger” by Kanye west.
Here, Kanye is moving back and forth, matching the
beat of the music, creating a free-flowing,
impressive consistency. The repetitive jump cut is
accompanied with the words "Money, Money",
matched with Kanye's movements and the editing.
Furthermore, this can be seen clearly through Jason Derulo's
music video, "Wiggle". Here, at the end, there is a non-
diagetic sound of clapping using to mimic the sound of
twerking. The use of visual matching is used through Derulo
moving his hands, forming a clapping motion along with the
music. This, along with multiple jump cuts to show him
doing it multiple times, allows the audience to identify the
amplification of the beat and the significance of the sound.
Another example is Childish Gambino –
“Sweatpants.” Here, in the video, even though
it's only for a few seconds, along with the beat
there is synchronized, consistent, nodding
amongst the cast that matched the beat of the
music. The head nodding pairs up nicely with
the words “hol’ up” which is repeated constantly.

8. According to Goodwin, “star representation is a critical aspect of music videos.” They make the video more
appealing to audiences around the world and bring a unique and stand out style to the music video. This may
occur through costumes, movements and appearances. This can be clearly seen through Lady Gaga's videos where
she is wearing abstract clothing and Sia's videos where she uses complex and metaphoric dance movements to
relate to the music. This, essential, provides them with their own 'brand image' and they are able to be recognized,
even make money off this too, also promoting sales and popularity. The '4th wall' is broken when it turns into a
performance, making it seem like their performing to us.
Here, Sia uses very metaphoric dancing and movements to
express her emotions. This makes it stand out as the video
doesn’t conform to your naturalistic idea of a music video
with a start, middle and end. Instead, it becomes a
performance piece at which the audience is then able to
watch. This can be argued to be Sia’s star representation
due to the fact that in all of her videos, there is a style of
dancing and movement used to express herself. Also, there
are lot of close up of different facial expressions and
movements that is very common in her videos. This, too, is
a representation of Sia’s style.
For Lady Gaga, her visual style/star representation is the
use of abstract clothing and make up. In her videos, it is
used so consistently that it can be referred to as her
‘style’. In the music video “Telephone”, the use of abstract
clothing can be seen through Beyoncé and Lady Gaga.
Both wear complex clothing (underwear, dresses, wonder
woman outfit, etc.) that provides an alluring and
interesting aspect to the music video. Despite the abstract
nature of the clothing, it still links to the video and the
idea of the song. The clothing is, also, very sexualised a
few times in the video, very minimal.

9. According to Laura Mulvey, she believes that there are two distinct modes to the male gaze. As stated in her book,
"Visual pleasure and narrative cinema", she identifies them as: "voyeuristic" (i.e. seeing women as 'whores')
and "fetishistic" (i.e. seeing women as ‘Madonna's). The definition of voyeurism is: "is the sexual interest in or
practice of spying on people engaged in intimate behaviours, such as undressing, sexual activity, or other
activity usually considered to be of a private nature." (However, in Gold Digger, as some shots are not sexuality,
it does give off the impression that she is intentionally using her body to get the man/money.)
This can be seen through the video “Gold Digger” by
Kanye West. Here, through the constant close up of
women in provocative positions and lack of clothing, it
contains sexual voyeurism. Through presenting them
this way, (close up of lips, sexual positions, lack of
clothing, cleavage, etc), it denotes a sexual connotation
which is closely linked to R&B/HIP-HOP music in the
modern day. Through the shot of her with her legs up,
leaning back, it accentuates her legs and brings the
audience's attention to it, reinforcing that sexual
reference. Also, the use of presenting the females in
magazine/articles alludes to the aspect of the media
itself presenting women in such ways.
Another important example is Jason Derulo's video, “Talk
dirty.” In a shot, presented above and many others, Jason is
surrounded by women, all wearing revealing clothing
which depicts a sexual undercurrent. The minimal amount
of clothing alludes to the idea of women being presented as
“madonna’s” and the thought of video’s being fetishistic.
The way the camera spins around allows the view to be
presented with a full view of the mise-en-scene and the
girl’s dancing, hyperbolising the use of male gaze. Also, the
close proximity of the dancers and Jason highlight the
sexual undercurrent of the scene too.

10. Immediately at the start of the video “IN2” by Wstrn,
the use of male gaze is established through the close
up of a females butt. Thus, this suggests that the use of
male gaze here demonstrates that she’s used for a
sexual and appealing gain in the music video. The act
of a close up of her lower half whilst she’s walking can
be an example of them “spying on an activity which
is considered to be of a private nature” perhaps.
Another example of voyeurism can be seen in Nicki Minaj’s
video “Anaconda” at which she consistently uses very
provocative positions and poses throughout the video.
This appeals to the male gaze as there are shots of just her
butt/the dancers ass and other girls around her twerking
which is considered a sexual/intimate thing to do.

11. Goodwin recognized that it was not uncommon for either “the music video itself or the lyrics of a song
to relate to another form of media text.”.
In the video “Fancy” by Iggy Azalea, the video itself
relates to the movie, Clueless, another form of media
text. This can be seen through the clothing that she
wears throughout the video and the narrative that the
video follows. (Going from school, to being in a car, to a
movie)
In the case of Pharrell Williams' song, “Yellow light” it
was made for the purpose of a film. This can be seen
though the visuals which have characters in the movie
following him around, multiple shots of them by
themselves to further emphasis that the music is aimed at
them.

12. The music video for “G.O.M.D” by J Cole relates to
another form of media text that focuses on the period of
slavery and plantations. In the video, he plays a mixed
race individual that is treated like the slaves, but a little
bit better because of the colour of his skin. In the video,
the normal conventions of the movie roots, the help and
any other slave related movie through the way the
slaves are treated, the tasks that they do and the way
they are dressed.
The music video for “Love Story” by Taylor Swift relates to
another form of media text; Romeo and Juliet. Taylor does
this through the clothing, scenery and the actions between
the two actors. In the video, just like Juliet, she plays a girl
stuck in a predicament due to whom she loves and society.
At the end, we can see that Taylor and the male actor come
together, much like the screen cap of Romeo and Juliet
above. In the video, the normality of Romeo coming to
Juliet’s window and taking her away are used.

13. Whether the video is “primarily performance-based, narrative-based or concept-based” and how element of
each is used in it
This video is narrative and performance based. This can
be seen when it starts up and J Lo is immediately
thrusted into an action piece, adding an anecdote to the
song. It starts off with her speaking to another woman
about her lover and then eating a cookie. This video
then progresses and as we go along, we become aware
of the consequences of the cookie that she has
previously in the video. The video then moves into being
a performance piece through the dancing and
synchronized movements that J Lo and the males make.
They face the camera and dance together, making the
video change from a narrative into a performance.
However, J Lo brings it back to a narrative based video at
the end when her partner comes back.
The video “Black Widow” by Iggy Azalea and Rita Ora
can be seen as a narrative based video due to the
action at the start and throughout the video. At the
start, we’re presented with a dysfunctional couple
going to a restaurant and getting something to eat.
Here, the male seems to aggravate Iggy which, we
assume, leads her and Rita, who plays the male’s
girlfriend, to turn against him and start killing males
around the world like him. Here, we are shown
snippets of them going to different areas around the
world (China, etc.) and killing males left and right. This
can be described as narrative based through the
transition in the plot.

14. In Jesse J’s video “Who’s laughing now”, we can
clearly see that it’s narrative based as it follows a story
line. She goes from getting bullied as a kid to
overcoming them and becoming the star that she is
today. This fits a narrative based music video as it has
a beginning, middle and end (the conclusion). It also
provides a visual for the audience to follow and is
based on a true story.
This video, for the song “What they want”, can be argued to
be concept based as it doesn’t fit the genre of the music. The
use of the pastel pink colour and the abstract nature of the
other colours present the video as something different. It isn’t
a performance based video because there isn’t any dance but
instead, the artist, Russ, is simply walking around, rapping to
the song. Furthermore, the video doesn’t seem to fit with the
song. Thus, this means that the video is concept based.

15. The music video for the song “Under Pressure” by
Logic is a narrative and concept based music video. For
the entirety of the video, we are shown the men
attempting to commit a robbery through the eyes of the
artist, Logic. Unlike any other video, there is no lip
singing along to the words or a dance sequence shown.
Instead, we are given a small story at which we can
understand. It can be also identified as concept-based
through the abstract dualities of it’s nature. Unlike any
other music video in it’s genre, the style/mise-en-scene
of the music video is very unique. (A lack of bling and
low camera angles) It’s based in very real life scenarios
with a plot to go along with it. Furthermore, it can be
said that the music video doesn’t match the lyrics at all.
The video “Give you hell” by All-American Rejects is a
form of performance and narrative piece. This can be
seen through the way it starts off with a plot – the
actors living on a street next to noisy neighbours. The
video then progresses onto the problem and the
solution at the end, providing us with a narrative to
follow. At the end, however (as shown in the picture
above) it becomes a performance based video and the
artists use instruments and mic to sing along to the
sound. This is similar to a rock music video but
instead, it’s made clear that they’re not on a stage, but
in fact in a room with the items shown.

16. The video “Ville Mentality” By J Cole is a concept
based music video. This can be seen through the
abstract and inverted colours used which is a very
uncommon style for his genre. The use of nature and
trees throughout his video is also a unusual
convention of rap music, matching with music video
made by Russ, making this a concept piece.
The video “Galway Girl” by Ed Sheeran is a narrative
based video. This is evident when we cannot see the
artist Ed, himself, but instead, we are seeing
everything happen through his own eyes. It is only at
the end of the video, at which he’s with the girl, do we
actually see Ed’s face and realise that it is, in fact, him.