The music video was directed by Chris Cunningham in 1999 for the song "Afrika Shox" by Leftfield featuring Afrika Bambaataa. The video tells the narrative story of a homeless man stumbling through the streets of New York City. Through close-ups and the man's interactions, the video references themes of dehumanization, racial segregation, and the struggles faced by those at the bottom of the social hierarchy in conforming to society's expectations. Stylistic elements like lighting, locations, and synchronization with the electronic music help illustrate the underground genres of garage and dance music associated with the song.

1. Afrika Shox - Leftfield with Afrika Bambaataa:
The music video was directed by Chris Cunningham, in 1999.
"Afrika Shox” by Leftfield, the first single released from their album Rhythm and Stealth. The song
featured vocals by Afrika Bambaataa.
Goodwin’s Theory; 6 Aspects:
1) What is the relationship between lyrics and visuals?
2) What is the relationship between music and visuals?
3) Are there close-ups of the artist and star image motifs?
4) Is there a reference to the notion of looking?
5) Are there inter-textual references?
6) Is the music video performance based, narrative-based or concept based?
Genre: Electronic, Dance, Garage, Underground.
Genre Origins: In the early 20th century, the most basic beginning structures of electronic dance music
emerge in Europe, labelled as ‘noise music.’ Evolving in the West by the 1990s, in the U.S. during the
late 1990s the genre achieved limited popular exposure and developed as an underground subculture
which became mainstream. Electronic Dance Music was adopted by the U.S. music industry to describe
the increase in commercialisation of the American electronic music scene.
Genre Characteristics: Synthesised, generating sounds electronically. Vocoder; speech processor
making the human voice have a robotic effect. Other sounds sampled into the music, looping the
audio. Several instruments and voices mixing, some reverb remixing the audio.
Characteristics of the Music Video: Using an electronic voice over the remixing, robotic reverb effect.
Other sounds sampled with the audio.

2. What is the relationship between Lyrics and Visuals?
Right at the start of the track, the name “Afrika Bambaataa” who features on the track is illustrated with
a traffic warden speaking into his walkie-talkie. It feels like it’s a summoning for the music to kick-in,
waiting for the featured artist to really get into the music.
The traffic warden talking directly into the microphone; possibly reflecting how this track isn’t intended to
be accepted in the mainstream, and will be an underground record, due to the political statement and
message being presented.
As the stumbling protagonist’s hands touch the barbed wire fence the lyrics
When ‘Afrika’ is called, referencing the featured artist, the main male character looking up to the voice.
Seemingly confirming that he has African heritage and responds to the name, this may also reflect how
he’s dehumanised and is defined by his origins and identified by racial factors.
As the homeless man falls in the road, he rises in time with the lyrics: “Are you ready for the new age? They
are setting the stage” The band and director may have chosen to do so in order to reflect an uprising, a
revolution towards equality, no longer allowing oppression and inequality Instead standing up and facing
discrimination; specifically racism, identified in the video.
“let’s get electrified” can be heard; this amplifies the lyrics but also adds meaning. With the fence looking like
a U.S. prison, it may be presenting how this man is trapped by their society, he can’t escape. Also,
reinforcing the genre of electronic music, being referenced with the electricity of the fence.
“The world is on fire,
can I take you higher?
The world is on fire.
Zulu Nation.
Ha ha ha future, ha ha
ha future.”
Those lyrics used when seeing the Empire State Building through fencing
reflects the segregation between class and race in the U.S. A sense of
naivety and optimism is laughed at, laughing at the possibility of a ‘future’
when the song-writers may feel like the prejudice is spread through the
country.
The lyrics: “Z.U.L.U that's the way we say Zulu. Zulu Nation, cities of angels” Highlight
how their culture is precious to them, the chanting style of speaking this reinforcing
the communities connection. The Zulu people are an ethnic group from Southern
Africa, the song specifically mentioning them, can be described as the ‘Zulu Kingdom
or Empire.’ The lyrics of this powerful community contradicted visually by the
staggering homeless man, seemingly lost and broken; illustrated by his shattering arm.

3. What is the relationship between Music and Visuals?
From the beginning of the music video, the genre is established through mise-en-scene. The police
car with flashing, strobe lights, connoting the dance music and clubs. The visual flashing lights
reflecting the genre of garage, underground music. Reflecting the dance-like scenario you’d
associate the genre with.
Also, the idea of this being underground music is represented literally with the camera moving
below ground when approaching the male. Illustrating the music through visuals in the video.
The unmoving, unnatural shapes which appear mechanical, modern and dystopian.
New York appearing manufactured, the location reflecting where electronic dance music grew
into the mainstream music industry to be recognised as a popular genre.
The music video is cut to the beat, edited to fit with the music. This can be seen clearly in
the breakdancing scene, where the actors moves are in sync with the music, complimenting
audio with visuals to compliment each-other. The low-angles of the men, showing their
power over him, dancing in time with the music. The beat of the music commands the edit
and controls when there is a cut to another action or scene. Allowing movements to be
illustrated also by the music.
The solo instrumental pieces in the video are illustrated by him walking in time to the music, the beat
of the instrumental sounds used help illustrate movement in the video. The beat commanding the edit
for cuts. Additionally, actions of loosing his foot being in time with the music. The use of movement
being in time with the music creates the idea of the man being overwhelmed and surrounded by this
overground world, unsure of what to do, desperate and searching, the increased pace adding tension.
The pace of the music grows as the song continues; more layers of sound added to the beat as
it continues, the music video develops alongside, complimenting the track. The pace of the track
increases in some places, the amount of noise increasing in some busy street scenes reflecting
the chaos and business of New York, the man getting taken along with the stream of quick
walkers. But in addition, the chaotic and unorganised atmosphere may link to the club-like
atmosphere of the associated scene for electronic music.
The repetitive beat, a common aspect of dance music, just before the beat kicks in again, is from a
worms-eye view shot, the man coming down to hit the floor in time with the beat of the music.
The music video purposely synchronised with the pace of the track, complimenting each-other
Also, the cold, steel, hard, geometric shapes; including the twin towers.

4. Are there Close-Ups of the Artist and Star Image Motifs?
In comparison to other music videos I’ve seen, Leftfield have been daring in their choice to base the production around
such a sensitive topic which should be used respectfully, yet, also challenge the concepts of what we think. Creating
content which challenges and changes they way people perceive and think about how we function in a society.
The artist directly isn’t shown in the music video; instead, the productions solely focused around the narrative sharing the
story of this one man. He is the focus of the whole video; presenting a message through visual story-telling.
The fact when he emerges from this dark, underground corner he is usually
positioned on the right, often only dominating half or a third of the screen; possibly
reflecting how little control or dominance he has overall. Having little influence over
society and is seen to be at the bottom of the social hierarchy.
Whenever the male is in shot; his eyes appear glazed over, dead-looking and almost
zombie-like. The eyes being ‘the windows to the soul’ while his are covered over,
misted by what he’s been through in life. Once again, possibly reflecting his
dehumanisation, and no longer feels human and accepted.
He’s blinded by the above-ground sunlight; this could reflect that he’s not used to
rising up from his underground location. This movement upwards physically, may also
be metaphoric and represent his status movement. However, when he is stumbling
the streets of New York, surrounded by more middle-class people, he sticks out from
the crowd; everyone staring at him and identifying him as someone who doesn’t
belong here. The music video reflecting how the segregation in class could be
influenced by ethnicity also. Referring back to the man constantly, showing how his
situation doesn’t improve in time. Telling the story of similar people, who in real-life,
As the man stumbles around the city, loosing more and more of his limbs, the statue-
like shattering of his body shows how he’s being worn down and weakened. No one
stopping to help him as he struggles, instead using his determination to keep on
going; even hopping on one leg to reach his destination. The viewer at this point
sympathising with him frustrated that no one will help. At the end, a car hits him;
leaving behind a cloud of dust. He’s completely destroyed by a yellow taxi; a
somewhat iconic image of America. His death being brought by a yellow cab - possibly
symbolising how the band are trying to get the message across that America is just
getting rid and hiding these problems that occur to do with race and status.
struggle to conform to the expectations of society.

5. Is there a Reference to the Notion of Looking?
The notion of looking is referenced when a point-of-view shot is used travelling down
the path before meeting the man for the first time. Taking the audience with them;
exploring this underground, hidden world which is under normal society. The dim, dark,
shadowy lighting, due to being underground, creates an uncomfortable atmosphere
from which the man emerges from.
Film by nature is invasive and voyeuristic, watching a presented story on screen; the
audience being voyeurs watching the homeless man stumbling around the streets,
constantly with him through tracking shots, although the viewer may sympathise with
him, the notion of looking is still emphasised with persistence of following him around
as he interacts with others in New York.
The notion of looking may also be represented by the man himself, wondering the
streets, often looking up to the sky, or around him for something; help, support,
money, a home? Multiple possibilities, which could even include society accepting him.
Goodwin’s notion of looking concept is also ironically presented in a low angle of 2 middle-aged city businessmen.
While most of the other characters in the music video look judgementally at the main
character, the only character who offers the man help is someone of a similar or same
ethnic origin. This suggests the cultural segregation in society is reflected by everyone
ignoring his problems, focusing on themselves. However, even this man’s attempt at help is
somewhat ironic; asking him ‘if he needs a hand?’ as he lies there with no limbs. a
somewhat problematic yet ironic statement.
The second man looks over his paper judgementally, witnessing the scene before ignoring it and
returning to read the paper, ignoring the man’s complete vulnerability. Rather than offering any help,
he turns his back, the broken, shattered figure seemingly invisible to him. The music video once
again showing the curiosity of some individuals, who then choose to ignore the obvious racial
discrimination going on right in front of them, thinking that it is acceptable.
One leaving the man without a hand, showing no sympathy towards him,
looking down at him as if he isn’t a human; reflecting the dehumanisation
and prejudice still present throughout many western societies, as he turns
away, not helping the man he’s just damaged.

6. Are there Inter-textual References?
Until September the 11th 2001, the Twin Towers of New York’s World Trading Centre were
a large symbol of America’s economic power, an icon of capitalism. Reflecting wealth,
power and dominance against the world. Therefore, the use of the location under the Twin
Tower in 1999 for this music video acts as a binary opposite to the raged half-naked,
stumbling African man. Lost under the shadow of these huge buildings. The low angle
reinforcing their great status.
Metaphorically, the binary opposition reflects how the ‘third-world’ is being exploited by capitalism. The African lost man by
these buildings presents the two complete opposites, enhancing his vulnerable and weak position in the hustle and bustle
of wealthy New York. To a contemporary audience; the use of the Twin Towers location references the horrific destruction
and loss of lives. Unintentionally, the music video now has meaning from this; how so many soldiers were cruelly mistreated
and lost lives in the Vietnam War (talked about in more detail in later slides.)
The concepts and issues touched upon in the music video can be related to current worldwide news events:
The horrible news of 9 people being killed by a gunman in an African-American church, victims ranged from 26 to 87 years
old. The preventable deaths caused new talks about the shift in the law of the US attitude towards guns. Hillary Clinton
released a statement: “How many innocent people in our country, from little children to church members to movie theatre
attendees, how many people do we need to see cut down before we act?”
Also, the news of refugees not being adequately helped. More than 2 million Syrian refugees have fled their homes since
the civil war began. However, the European Union has only agreed to take in 10,000. The UK has offered financial aid those
displaced, but not accepting any refugees into the country, even though many Syrian refuges are willing to pay to gain
access, they are still being ignored and left to deal with themselves. These traumatised, desperate people who are
undeserving of their situation aren’t being treated with the compassion and respect they deserve aa humans.
The issue of slavery is still ongoing, with heavy laws now in place to prevent the
ownership, buying and selling of human beings. The topic leading into the legacy of
discrimination, with the last country to completely abolish slavery was the African state
of Mauritania, 1981. However, there wasn’t actually any laws to enforce the slavery ban
until 2007. In African there were a number of societies who kept slaves before there was
any regular commercial contact. The homeless, stumbling man on the streets may
embody aspects of a slave in the U.S. His torn clothes, homelessness and being
suppressed by society.
But issues referenced in the music video are still on going topics which are continually discussed in the media:

7. Are there Inter-textual References?
The man is represented to be zombie-like, associating the imagery with the horror or sci-fi genre,
reflecting the possible thoughts that other ethnicities are unusual and see them as different. Definitely
in the video, it’s clear he isn’t treated with caring equality. The ‘black man’ seen to be something that
the people are fearful of, this may reflect how the associated with certain ethnicities with extremism,
radicalisation and terrorism. The man seen as the ‘other’ in the video, someone who doesn’t belong and is therefore ‘alien’
to the rest, possibly representing the racist discrimination in society. The music video specifically links to Mary Shelley’s
‘Frankenstein’; with the imagery of his eyes:“the dull yellow eye of the creature open.”
The low angled shots of New York also relate to Carol Reed’s image representation of
Vienna as a labyrinth in the ‘The Third Man,’ the surreal tilted shots in the 1949 noir-style
film creates connotations with cynicism, melancholy, disillusionment, nightmare,
alienation. This relates to the low shots of the massive New York buildings being swamping, dominant and powerful,
intimidating to the staggering man beneath them.
The music video also references Fritz Lang’s 1927 German expressionist science-fiction
drama film: Metropolis.
Lang created an image of Metropolis to be a dystopian futuristic city, built on inequality
and reflecting the literal exploitation, power, greed and corruption which is expected with
the rise of fascism. Lang’s creation of the city was pioneered in this film, this links to how
New York appears in Leftfield’s production; a modernised, power-house which has to
eliminate the weak to continue development. Metropolis is concerned with wider cultural
and political issues, aesthetically the urban space is bustling and thriving, linking to New
York’s representation the film exploring the social inequality which lives under the glossy surface. Lang explaining that
“Metropolis, was born from my first sight of the skyscrapers of New York in October 1924...while visiting New York, I thought that it was the cross-roads of
multiple and confused human forces, blinded and knocking into one another, in an irresistible desire for exploitation, and living in perpetual anxiety..At night, the
city did not simply give the impression of living: it lived as illusions live. I knew I should make a film of all these impressions.”
Another film reference that can link in with the Afrika Shox production is Ridley Scott’s 1982
American dystopian science fiction film: Blade Runner. The fiction film also has overcrowded,
busy streets, overwhelming with the element of a future prediction. The film indicating the
dying planet, the iconic film a defeated atmosphere. Similar to that of Afrika Shox as the
helpless man reaches out, begging the middle-class businessmen for help, but only being
ignored and forgotten.
The Matrix: The Wachowskis’ 1999 American science-fiction action film also has a city being represented as a dystopian
place, elements of predicting the future, like a warning for the present day audience.

8. Are there Inter-textual References?
The Deer Hunter is a 1978 American epic war drama film co-written and directed by Michael
Cimino about a trio of Russian American steelworkers and their service in the Vietnam War.
The inclusion of war veterans is something which can relate to Afrika Shox, the man
wandering the streets wearing camouflage- like clothing and a dog-tag chain around his
neck, possibly implying he’s an abandoned war veteran. The message that these people who
have had to fight, having no choice, are then condemned by society and having to deal with
the shock and trauma of returning after what they’ve been through.
Jacknife, the 1989 American film directed by David Jones, is another film which touches upon the
concepts of war veterans returning from the Vietnam war, with a large amount of African-American
casualties. Robert De Niro starred as a Vietnam Veteran in the film, being treated with contempt when
returning home defeated. In Africa Shox, the man’s dog tag and clothing suggests he may have been a
Vietnam War veteran; Post-Traumatic Stress Disorder (PTSD) among black Vietnam veterans was a real
problem when soldiers returned from war, struggling to recuperate and fit back in with society after
what they’ve witnessed. During the Vietnam War years, there was military racism and racial social
upheaval in the U.S, while also being limited opportunities for ‘black people’ when returning from the
war. They then grew conflicting feelings about their war experiences and struggled to rationalise the
brutality against the Vietnamese. As a result, developing PTSD, but were often misdiagnosed by the
wide variety of PTSD experiences, unable to cope with the justification of what they saw.
Performance Based, Narrative Based or Concept Based?
The music video is based around a linear narrative of the stumbling homeless man and his interactions with the people as
he travels. Although there is no performance aspect from Leftfield themselves, partially, there is some aspects which
reflect a concept-based production.
Performance is integrated into the narrative story-telling of the man with the three break-dancing men. However, what I
think is more essential to the music video is the concept that it involves;
the social and racial messages and assumptions the music video makes leaves the audience
to question their own society and the prejudices which function within it in their day-to-day
lives. The art of the storytelling encompasses the performance-based aspect from the
breakdancers, they represent the western culture also having possession and ownership of
the African-American man’s origins with the dancing and early forms of dance music. New
York westernising electronic music in to the mainstream.

9. Place: New York
The choice of setting the music video in the iconic streets of New York reflects where dance and electronic music first
developed in the West. The underground music scene of New York being one of the most influential factors in its growth,
now into the mainstream music genre culture. Therefore, Leftfield are reflecting a location where we expect electronic
dance music to be, but with the African-American lost, walking the streets, his origins are also the origins of original dance
music to perform and tell stories to each-other. However, while he looks alien to the culture, electronic dance music fits in
with the American society in the big, busy city.
Representation: Gender:
To some extent, the visuals contradict the
track with New York being represented as a
dystopia, all the low-angled shots of the
iconic, recognisable buildings and the the
crowded busy streets indicate the African man
to be alien to this culture, not being able to
adapt to the norms and values of this society.
The mise-en-scene of ambient lighting and the guerilla-like filming suggest the supposed spontaneity of the filming, with
the audience led to believe you’re following the actual narrative of this African-American’s literal struggle in this society.
Signifying the negative representation New York City, the dystopian and modernised aspect of the mise-en-scene with
bright lights and increased, frantic pace of the music video reflect that it’s chaos when you look in more detail. The video
is somewhat different to what the electronic dance music audience may be expecting, challenging their associations and
stereotypes of the genre, taking them out of their comfort zone; but you can’t deny the detail of the cinematography;
with exact locations, lights and cleverly paced editing has overall created clean cut production which amplifies the track
and may strengthen the artist’s following with the music video complimenting the track.
Throughout the music video, there isn’t one female in shot which has a major role in the production. The androcentric
domination of the production creates a possibly biased view; masculine opinion of the situation are the only ones
presented. This may also reflect the lack of female artists and performers in the electronic dance music genre, the
marginalisation of professional female performers in the music industry which aren’t moulded by aesthetically pleasing the
misogynistic audience are of a small percentage. The male gaze is usually another factor in music videos which can be
highlighted, but in Leftfield’s production females aren’t heavily featured at all; possibly on purpose to make the audience
question the lack of female artists in the genre, or even possibly reflecting in the rule of the patriarchy that women don’t
get a voice in the subject of war; for years the prejudice against female soldiers, and eve discrimination towards them now.

10. Representation: Ethnicity:
The choice of the African-American’s costume references the Vietnam War; the soldier
references being the dog tag around his neck and the camouflage-like clothing. The
audience are placed as voyeurs and passively look at the disintegration of him as he
stumbles through the city, traumatise by the war with reference to PTSD and the
mistreatment of veterans, or even being low due to drugs or alcohol which is another
reference to the electronic dance music genre and with the club scene associated.
As the man slowly becomes more and more fragile throughout the music video, his loss of limbs making him more
vulnerable and helpless. However, still nobody sympathises with him and actually helping. His
body shattering and eventually destroyed by an iconic image of America; the yellow taxi. The
video possibly having this political statement that America should be held responsible for the
downfall of these people. But after vanishing, due to him being homeless and disconnected;
nobody is going to notice his disappearance, a poignant and very sad note to leave the video on.
Although the music video is supposed to be a promotional marketing form to advertise their album, this production reflects
a cultural and political message about who they see society. There is clearly racial tension highlighted in the representation
of characters involved. The 2 white businessman and the breakdancers are somewhat judgemental and cruel in their actions
of degrading the homeless man. They’re binary opposites in the status and control they have. The ‘white colonisation’ of
the African man’s origins with the breakdancers westernising dance music to become electronic and mainstream.
The African man is a metonym; symbolising the black community and people as a whole, reflecting
how he represents a whole culture and race. Connotations of the African man’s surrounding
people judging him discriminately. The man crumbling, reflecting how hard the modern city treats
these people; modern society metaphorically represented with connotations of segregation,
alienation and dread for those that don’t conform to society’s norm.
The white businessmen who easily cause the man’s arm to shatter is a metonym for the ‘white
urban elite’ his ignorance and lack of sympathy for the struggle of this man. The low angle shows
the businessman has the power and authority here; but due to the back lighting his eyes look
darkened and shadowed, expressionlessly turing away from the damages he’s caused and leaving.
The only help that is offered to the man s from another man from a similar/same race as he is: Africa Bambaataa who is
known as the ‘Godfather’ of Hip-Hop culture. Being the only person in a dominant white community to attempt at giving
help. The use of him offering “a hand” as the man lays helps on the floor is ironic but is also an explicit reference to the
origins of the electronic hip-hop genre, strongly reinforcing the genre.

11. Representation: Status:
The male’s status is very early established by him emerging from the underground, the dark
shadows of society which is segregated from the others. Having these separate groups,
reflecting the social status hierarchy. The homeless zombie-like African-American being at the
very bottom of the ladder, having such a low status that the rest of society look down on him,
he’s dehumanised; when shattering him limbs, people continue to look on and ignore him. The
smooth transition underground is through a point-of-view tracking shot; the audience feeling
like their trespassing to see this man. The physical camera movement of going underground
reflects the drop in social status; where this man is. The mies-en-scene of very little light; not
very clean and the underground location references the poor treatment and lack of compassion
these people are treated with. The mans desperation as he tries to grip to the wall, weak and
worn down by this way of life. He appears almost animalistic; emerging from he shadows and is
more connected to animal rankings in terms of how other humans treat him. Being homeless
and literally the bottom of the social ladder with very little normalised connection with the rest
of society. Also, the underground location references underground music.
The homeless African man reaching out to a ‘middle-class white man’ who is reading
his paper. Another man breaks the African’s arm, looking at him judgementally through
a low-angled shot before not even thinking twice, and walking away, leaving the man
looking distraught. The man reading the paper looks curiously over the pages, but also
ignores the man’s desperation and helplessness, instead hiding behind his newspaper.
The paper acting as a buffer between them. The camera movements are slower in
these sections, possibly to make the audience linger on these scenes; making them
stand out for importance in the message they’re trying to convey.
The class segregation is shown in the divide between the homeless man and the rest of society
in many of the shots throughout the piece. The quick editing cuts creates a stumbling feel to
how everything is stringed together. The pace rather frantic and unorganised. This is illustrated
with the man’s limping and staggering feet, the close-up as he drags his feet, tripping down the
stairs. The audience sympathising with him as he tries to get help.
Through these sections, and later on as he hops, the camera movement is very smooth while his
movements are very jarred. All the tracking shots reinforce the idea of voyeurism, which is the
premise of film; the audience looking in on a different narrative for entertainment. The tracking
shots place the audience as voyeurs and therefore already in a higher status than him

12. Representation: Ideology:
Immediately the band name ‘Leftfield’ has connotations with being separate from the mainstream, being
out-of-the-box and different from the norm. Reflecting that the video may provide a unique message or
perspective to the audience.
In conclusion, this music video is a promotion for the band’s track; but also has a very strong cultural
and political message aimed at the way our society is functioning. Using some intertextual references
from the dystopian city to the Vietnam veteran’s mental state, Chris Cunningham clearly wanted to
make a point. Through the representational aspects of ethnicity, gender and status, messages of
discrimination are portrayed and this all links back to Goodwin’s 6 aspects of music videos.
The incorporation of the ideal New York City imagery is somewhat destroyed by the underground
locations used with the 3 male breakdancers. The use of also inserting dance performance into the video
reinforces the genre of dance music.
These scenes of the all white breakdancers act as a symbolic metonym
for the appropriation of back culture by the white society that they are
part of. While the African man looks over at them, his eyes misted and
glazed over, being ignored by the performers, he’s invisible to them.
The white cultural dominance, 3 against 1, in the underground location
which the audience have established as the homeless man’s place.
This references the idea of ‘white performers’ hijacking ‘black music.’
Hip Hop and Dubstep’s origins can be traced back to styles originating in
Jamaica party scene’s in the early 1980s, developing in predominately
‘black urban neighbourhoods’ not under the influence of the mainstream,
the ‘white performers’ are the ones who are dancing; reflecting that the
African man’s heritage is now being adopted by this ‘white western
culture’ leaving him with very little that is truly his anymore; homeless
and lost, now even his unique origins are somewhat commercialised.