This document analyzes two music videos in relation to Goodwin's theory of music video conventions. It finds that the music video for "Dear to Me" by Electric Guest conforms to many elements of the theory, including demonstrating the genre's characteristics through a greyscale, simple visual style. It shows some lyric/visual and music/visual relationships but lacks voyeurism or intertextual references. The analysis finds that the Daft Punk video for "Get Lucky" strongly connects its flashy, performance-driven visuals to the lyrics about partying all night. It synchronizes the music and video and includes many close-ups of the artists, conforming to record label expectations.

1. To what extent do the music videos “DEAR TO ME” by ELECTRIC GUEST and “GET LUCKY” by DAFT PUNK
conform to Goodwin’s theory?
GOODWINS THEORY
1. Music videos tend to demonstrate the genres characteristics.
2. There is a lyric/visual relationship.
3. There is a music/visual relationship.
4. Close ups of artists and reoccurring motifs are wanted by the record label.
5. Voyeurism of the female body.
6. Often include intertextual references.

2. “DEAR TO ME” - ELECTRIC GUEST
GENRE CHARACTERISTICS
“Dear to me” by Electric Guest would be categorised in the electronic genre with hybrid possibilities of/to jazz and
funk. The music video for this demonstrates this rather well as it emphasises the overall ‘chilled out’ aspect of the
genre itself. An example of this is that in the video, the lead singer is driving rather swiftly down a road (00:20), of
which could connote the smoothness of the genre and the lack of sudden interruption which other genres such as
metal and rock would involve. As well as this, the video is greyscale which visually presents simplicity which is
reflected in the genre itself, as there is usually just a simple ongoing beat loop of which is casually built and unbuilt
upon.
BACKGROUND
Electric Guest is a band of which was formed in 2011 and The group is made up of Asa Taccone and Matthew Compton. Their first album, Mondo, of
which was released in 2012, gained a lot of positive feedback from critics, with the Rolling Stone calling the album "L.A. slacker soul, full of hooky neon
jams" and "sonic wit.“ and having comments such as "wistful ballads, that are far more concerned about careers and ethical choices than about the ups
and downs of love.“ This forms an image for the band of which is alternate yet mainstream, giving the audiences of indie pop and groove a new genre of
sound to enjoy.
LYRIC/VISUAL RELATIONSHIP
Regarding the lyrics, the reoccurring phrase “You’re dear to me, I know” is accompanied by clips of couples
kissing/hugging of which seems rather suitable for what the song is all about. However, the shots of the lead singer
compared to the coupe shots are rather contrasting regarding who is actually in the shots. The lead singer is shown mainly
by himself or with the band of which could connote that he in in search of romance, and the shots of the couples is his
hope for the future. However, the less obvious – metaphoric – lyrics aren’t visually presented to the audience. The lyric
“And when its bad, I feel like I don’t know which way I should go” (2:23) complies also to Goodwin's theory as one of the
main elements of the video is a long drive, and by using these lyrics, the lead singer to emphasising this point overall and
connoting that when the smooth road shows interruption (metaphorically referring to an issue in a relationship) and how he
would feel lost in a situation like this. Another interpretation could be how he is appreciative of his friends and family, with
his love being targeted at them, an example is when after this lyric, he is shown next to what looks like a father figure,
dancing in sync to each other which could therefore imply that when he is with people who care about him, he isn’t lost on
which direction to take.

3. “DEAR TO ME” - ELECTRIC GUEST
MUSIC/VISUAL RELATIONSHIP
The video isn’t entirely controlled by the track regarding when the cuts appear, when the pace of editing changes, etc… The song does synchronise with
the video at points in order to loosely connect the two features, making them work together but in separate ways. The video, is very theatrical and, could
be described as more of a performance rather than a typical music video. This initially goes against Goodwin’s theory.
However – there is a vast amount of synchronisation and connection between the track and visuals of which doesn’t
include editing and or cuts. The lead singer dances throughout the song and is smoothly sync'd in time with the music
itself. Of which makes the video easy and pleasurable to watch.
It also seems like the whole song - apart from the opening beat and ending (majority of the middle) - is a
journey so to speak. This is reinforced by how the initial beat could replicate a heartbeat and/or car starting up,
with an image of the lead singers lover of whom is shown for a split second that remains in the audiences mind
for the duration of the track, who is then shown at the end of the song. Overall, emphasising the idea that the
video and song lead up to this moment. Where the song by itself wouldn’t give this idea, therefore, the video
acts as an explanation or assurance of the songs meaning.
LABEL REQUIREMENTS
Regarding the requirements and wishes of the record label, “Dear to Me” Shows minimal variety of camera shot types. A conventional record label
element is close ups of the artists face, of which isn’t shown too often in the music video. The reason behind this could be due to how the song is
generalised and isn’t focused on the artists ideas alone, as it is therefore written for the audience. However, there are reoccurring motifs of which is
another conventional element that the record label looks for in music videos. This motif is the dancing of the lead singer for the band, we can see him
dancing in multiple shots throughout the video – at points (01:15), (02:00) and (02:27) of which reinforces the theatrical and performing style that the band
tends to conform to. This motif isn’t just in this music video as other tracks such as “This Head I Hold” and “The Bait” use the same motif of which has the
same appeal and effect.

4. “DEAR TO ME” - ELECTRIC GUEST
VOYERISM AND INTERTEXTUAL REFERENCES
There is no voyeurism of the female or male body in the music video of which goes against an aspect of Goodwin's theory, mainly due to how in the song,
there is no reference to sex or exploration of the body – or even intimacy – of which therefore doesn’t warrant any voyeurism in general. Especially for the
genre of the song, voyeurism isn’t a typical convention that would be included in lyrics, and therefore the video.
As well as this, there are no inter textual references in the video or song in general of which is understandable due to how the band is incredibly unique
and original. Going against Goodwin's theory again.
To conclude on this song, it complies with the majority of Goodwin’s ideas on what a music video includes of which is varied due to the genre of song. As
mentioned previously, a filmic approach is usually used for songs that are more relaxed with smooth dynamics and a simple beat – such as the one
analysed. Which therefore makes the music and video very synchronous together. However songs of this genre commonly lack intimate references.

5. “GET LUCKY” – DAFT PUNK
BACKGROUND
Daft Punk is a duo band of which is made up of Thomas Bangalter and Guy-Manuel de Homem-Christo. The genre of musoc of which they produce is
Electronic Pop as they tend to also collaborate with valued industry artists such as “Kanye West” and “Pharrell Williams”. Their number one track “Get
Lucky” won 2 Grammys and Porin awardin 2014 and wa sonly released a year prior to these successes.
GENRE
The genre if the song is electronic pop of which is demonstrated well throughout the video. Typical conventions of a
pop video are regular shots of the band, if that means switching from the narrative to do so, as well as high production
with an aspect of performance. The video includes the band alongside the featuring artists throughout the entire
duration, the artists are wearing flashy clothing (sparkling suits) which emphasises this ideology that Goodwin has put
forward. Furthermore, There is slight usage of CGI (01:13). However, there is a lack of narrative of which is generally a
convention used in most pop songs. Daft punk have released songs that loosely follow this convention such as
“Stronger”. However, it isn’t a common feature that is used by them.
LYRIC/VISUAL RELATIONSHIP
A strong link between the visuals and lyrics is shown. Pharrel sings how “We're up all night 'til the sun, We're up all
night to get some, We're up all night for good fun, We're up all night to get lucky.” which is presented visually by the
glamorous suits and instruments of which emphasise the idea of getting lucky. As well as this, the darkness that
surrounds the artists could connote the idea of being up all night and therefore giving them a sense of importance to
whom the song is directed at. Furthermore, the video is rather repetitive, as are the lyrics. With some shots in the video
being reverse looed to demonstrate this (02:20). Furthermore referring to the lyric that “We’re up all night”
MUSIC/VISUAL RELATIONSHIP
Regarding the music/visual relationship, the synchronisation of the video to the track itself proves that this is true for
this genre. We can see Daft Punk and Nile Rodgers playing in time with the audio which adds a sense of smoothness
and continuity. However, this is only present when Pharrell is singing – where later on in the song at (02:20) we see a
change in tempo and pace of the hi-hat which is more electronic than general pop, with a more robotic vocal than
before, this is then accompanied by close up shots of Thomas and Guy-Manuel (which I will analyse in further detail
later on).

6. “GET LUCKY” – DAFT PUNK
LABEL REQUIREMENTS
As I mentioned previously, there are numerous close up shots of Daft Punk, Nile Rodgers and Pharrel of
which is an element that record labels like to be included in music videos. Considering how Daft punk are
artists of electronic music and the majority of their tracks are solo, the featured artists in this particular
song would appeal to a wider audience – with the close up shots. As well as boost the overall popularity of
the song. Proof of this is how “Get Lucky” was number one and won 3 awards, whereas “harder, Better,
Faster, Stronger” – a solo track – was in 25th position in the UK charts at its peak. Another desired
element is reoccurring motifs, of which clearly, are the masks/helmets that Daft Punk wears. These
helmets act as a symbol for the duo and remain a significantly recognisable aspect of their image.
VOYERISM
There is no voyeurism of the female body in terms of visuals, as daft punk doesn’t commonly focus on intimacy and/or sexual interaction through their
music due solely to the genre. However, the lyrics do suggest a slight sense of intimacy in this song. “I’m up all night to get some” (00:52) Could infer
that intimacy is desired. Yet overall, there is no explicit voyeurism of males or females in the track.
INTERTEXTUAL REFERENCES
Regarding inter-textual references, it is hard to identify them if there are any. This could be due to how Daft punk remains as a unique act and are
establishing themselves, allowing other artists to be intrigued by their work and collaborate with them (for example “Kanye West” re-imagining the track
“Harder, Better. Faster, Stronger”)
To conclude on this track, Goodwin’s theory is conformed to a reasonable amount. Considering how the video represents features of the genre, with a
strong link of music/visuals and lyrics/visuals, as well as how the video shows requirements of the record label of which in theory is used to boost ratings
ad grab attention of wider audiences.
Looking at both “Dear to Me” and “Get Lucky”, we can see how the genre is easily recognised in due to the visuals and presentation of the song in
general, allowing the audience – mainly in “Dear to Me” – to alternatively interoperate the lyrics after listening to the song without a video to accompany
it. As well as this, the songs both show a strong connection with the video with synchronicity and emphasis on the lyrics. Conforming to Goodwin's
theory to a point, however, there is no voyeurism of men or women as well as limited inter textual references of which challenges elements of his theory.
Furthermore, this challenge is reinforced by how both songs pf which I have analysed share different audiences and are more diverse than they are
similar which eliminates the idea that the genre determines how much Goodwin’s theory is conformed to.