media work

1. By Lashay Brown

2. Introduction
I have selected to analyse the music video of “Group 23” from the previous year.
I chose this specific video because I was visually satisfied by the conventions that I would
usually expect to see in a music video.
I will be applying the theories of Andrew Goodwin, Carol Vernallis and Laura Mulvey to
identify what I feel the videos main strengths and weaknesses are.
The video can be seen below:

3. Andrew Goodwin Theory
Firstly, in order for the audience to connect with the music video we must identify:
structure, role of the artist and the way the images connect to the lyrics of the song.
The structure of the video is presented very well as we see the editing is in time with the
beat of the song, from beginning to the end.
There is a clear differentiation between the chorus & verses as there are repetitive shots
used in the chorus along with fast paced editing which matches the same speed as the song
we also see the editing slow down when the verses come in.
As the video begins, we are introduced to small narrative segment where the artist is seen
acting, whereas throughout the video the artist is seen performing to the camera which
engages the audience to view the content as a music video. This portrays the artist of
having the roles of a performer and a narrator.
Lastly, the connection between the images and the lyrics of the song is interpreted to be
Disjuncture, as the images we see do not contradict the lyrics, however adds a new layer of
meaning. For an example, the artist is seen holding a red rose throughout the video which
is a representation of love or romance which links back to the lyrics as were repeatedly hear
her singing “You are my everything” however at the end of the video a desaturated filter is
added which shows the rose to appear black signifying the “death” of her love.

4. Andrew Goodwin Theory
Painting of the red rose
introduces the concept of
love.
Painting turns into a real
rose as the artist picks it
up from the wall.
Real rose symbolises
the the love was “real”.
As the video comes to an
end, the artist places the
flower back into the wall.
Black & white filter
emphasises on the concept of
the “love is now dead”.

5. Carol Vernallis Theory
Analysing this video through Carol Vernallis’ theory, the 3 elements of mise-en-scene, editing and
camera were fulfilled to what I would usually expect in a Dubstep genre.
Beginning with mise-en-scene, throughout the video there was a change of setting that was shown
consistently which complimented the genre of the song.
The settings used are urban, vibrant and modern which would usually reflects the artist and the
song. For an example, one of the base tracks used is of a location with a graffiti wall reflecting the
genre of Dubstep and indicates the artist as youthful, whilst adding an urban vibe to the video.
The camerawork shows us exactly what we would what we would expect to see in a music video
which is a range of close ups and medium shots of the main performer. As the video begins, we are
introduced to a extreme close up of the artist which allows the audience to identify her ‘look’, this is
then followed by a longshot showing the artists’ full appearance from head to toe.
With this being seen before the artist starts performing, the audience is given an insight of what
type of genre the artist is.
As we look closely, the camera is constantly moving throughout the video which reflects the actions
of the audience, as it is expected we would be dancing/moving when listening to music.
Lastly, the editing brings the video together specifically through the use of base tracks, jump cuts,
slow motion & special effect editing which all apply to Carol Vernallis’ theory. At 1:21, we see that
slow motion has been added when the artist turns around to match the tempo of the song. The use
of jump cuts takes the audience into a variety of locations where the base tracks are also
incorporated.
At 2:02, we see the performer “push” away the camera which sends us to another location, this
special effects allows the audience to believe they are a participant in the video.

6. Lack of colour represents
the mood of the artist.
(Heartbroken or Subdued)
Base track of a location with a graffiti wall
compliments the artist urban image that
we see throughout the video.
High angle shot of artist looking up at
the camera captures a full facial
expression and body language which
gives the audience an idea of the
atmosphere.
At 1:35, A panning shot is used in
slow motion as the artist seems to
be unaware of the camera, which
helps the audience to identify her
image. (a type of promotion)

7. Laura Mulvey Theory
In relation to Laura Mulvey’s theory, the music video does portray ‘The male gaze’ to the audience, however not as
prominent as I would usually expect in a Dubstep music video.
Throughout the whole video we see the artist’s trademark image of wearing red lipstick which can be signified as
appealing or sexual, however this contrasts the artist’s costume as she is wearing casual/youthful clothing which isn’t
revealing any body parts. This questions whether the group’s intentions was to oppose Laura Mulvey’s idea of the male
gaze?
As the video continues, In various shots we visually see the camera panning away from the artist, enabling to capture a
full view of her body, whereas a few shots specifically capture her chest and legs, which is normally appealing to the
male eye.
My personal overview of Laura Mulvey’s theory in “Group 23” music video didn’t fulfill my expectations of what I would
see in music videos of today.
As ‘The male gaze’ is usually presented very strongly whether a female is captured wearing a lack of clothes (such as a
bikini) or a extreme close, focused on specific body parts (bum, chest, legs) which Mulvey studies that “a females body
is dismembered”.
But the lack of portrayal of ‘the male gaze’ in the video, considers if this was the groups decision to challenge the
theory.
Red lipstick worn
throughout the video (seen
as artist’s trademark)
MCU- Panning shot moving
downwards, focusing on the
artist’s body
Slow motion of artist turning
around, “showing off” her
image to the audience