This document provides an analysis of a music video through multiple theoretical lenses. It summarizes key aspects of the music video and analyzes how it demonstrates genre conventions, relationships between lyrics/music/visuals, demands of the record label, notions of looking, intertextual references, and narrative structure. The music video portrays an outsider character who struggles to fit in at a party but finds solace in music. It uses techniques like low production value and ambient lighting consistent with indie genres.

1. THE CITY AND HORSES - 17
Holly Leach
https://www.youtube.com
/watch?v=8e_ZW49B4z8

2. ANDREW GOODWIN –
DEMONSTRATE GENRE
CONVENTIONS A number of genre conventions can be seen
simply in this one shot, firstly it is already clear
that the music video has a low production
budget due to the fact that the whole music
video takes place in this one, rather simple
setting. This correlates to the elements of
performance that are evident in this video, these
help to convey this unperfected image of the
artist that is made obvious in the medium shot
displayed to the left, with his unkempt image.
This low production value and unperfected
image of the artist contribute to the
representation of this character as an outsider
in the narrative, who seems to be excluded due
to his differences. Finally, soft, ambient lighting
is present in this video which is a very typical
feature of an Indie/Indie Folk video – this is
provided here by the yellow tinted lighting.

3. ANDREW GOODWIN –
RELATIONSHIP BETWEEN LYRICS
AND VISUALS
This particular section of the video could be described as
being illustrative, due to the fact that this shot is displayed on
the screen while the lyric: “the sweetest little thing that I’ve
ever seen” is sung which clearly is relating to this woman. This
adds to the playful nature of the song, that is conveyed by the
light-hearted tone of the music, although it is used rather
sparingly throughout the video as it is dominated by the
technique of amplification.The line “I was never young but I was stupid and a little naïve”
could be used as an example of amplification in this music video
due to the fact that it aligns with the long shot here that is
displayed shortly after. This lyric depicts the journey of
adolescence for those whose lifestyle didn’t automatically correlate
with the lifestyle of ‘youth culture’. In particular, the words “never
young”, indicate that he may have never belonged to this dominant
lifestyle that seemed to fit for so many, but that instead he may be
older at heart. For example, in this long shot it is made obvious
that he does not fit in with the rest of the group due to his
differing attire and gesture codes that do not instantly match with

4. ANDREW GOODWIN –
RELATIONSHIP BETWEEN MUSIC
AND VISUALS
The tone of dance music that this song seems to have
matches the setting of a party although is rather ironic
considering the narrative of this video is conveying the artist
as straying from this party scene. It is perhaps incorporated
to emphasise the determination of this individual to fit into
the dominant culture despite his natural inability to do so.
The aspect of dance music could arguably illustrate the
individual’s willingness to change his persona so that he can
more easily belong to a conventional social group in this
narrative.This medium shot given to the left is the final shot that we
receive and is displayed after the music has stopped.
Therefore, it could be alluding to fact that this character has
finally accepted that he should stop trying so hard to belong
in society as it is having the opposite effect on his status.
Additionally, the silence that is present in the final scene
resembles the solitude that now possibly exists for him, and
the disappointment that he feels with the fact that he cannot
be accepted. This is supported by the distance that exists
between the two in this shot, with the girl asserting direct

5. ANDREW GOODWIN – DEMANDS OF
THE RECORD LABELThe record label of this band is Paper Garden Records who have stated that
their core mission involves bringing a love of music, art and different
experiences to their audience. Hence, in relation to their remit this video
certainly conforms to the demands of its record label, particularly in the
sections of performance towards the end of the video. The only moment
where this character seems to hold any sense of belonging is when he is
performing as he is joined with others who similarly have a passion of
music. This is demonstrated by the inclusion of instruments such as the
saxophone and guitar which are implied as giving this character comfort
and confidence in his true persona. In the sections of performance, such as
in the shot above, we receive a feeling of camaraderie for all the people who
don’t quite fit in which is indicated to us by their differing costumes. In
these scenes, the appreciation of music is presented as conquering the need
to fit in with dominant culture as it has the ability to unite people and
provide a sense of identity for everyone no matter how ‘excluded’ they may
be.
This music video however, heavily lacks close ups of the artist
alone, because although he does feature in a number of shots
making him a recognisable individual, there are considerably more
camera shots of other individuals in the same setting. This may be
implying that these are the individuals he aspires to be like or be
with in the narrative - his sole goal is conveyed as being to
integrate himself with this social group, therefore the camera
focuses on these individuals just as the focus of the ‘main
character’ is also fixed upon them.

6. ANDREW GOODWIN – NOTION OF
LOOKING
• The concept of voyeurism is evident in this music video on
multiple instances, and you could argue that Laura
Mulvey’s theory on the male gaze may be relevant here.
• Firstly, in the first medium close up that is presented here,
this woman is wearing a rather low cut top that reveals
more of her body and sexualises this individual as it is
indicated that she is simply there as an object of male
desire. This is also reinforced by the fact that her hair is
being blown back which again reveals more of her skin
and as Mulvey would argue it leads the audience to view
this individual through male eyes. You could argue that
the gesture codes and facial expression of this woman are
appearing in a seductive manner, perhaps suggesting that
women have been conditioned to accept and simply go
along with this voyeuristic treatment.
• Additionally, a similar situation is formed from this second
medium close up in which the high key lighting seems to
be positioned on her chest rather than her face, which
hence prioritises the importance of looks and appearance
of a woman over her identity and personality.

7. ANDREW GOODWIN –
INTERTEXUAL REFERENCES
• There is no explicit intertextual reference in this music video,
although it seems that there is an implicit relation to classic
American teenage-targeted films. The video as a whole has a
cinematic feel to it and to me, seems reminiscent of these old
stereotypical American films with the presence of social
cliques etc.
• This is conveyed due to the opening sequence of the music
video which is displayed to the left, in which we are
introduced to a party atmosphere in which the colours red,
white and blue are very prominent amongst the attire of the
crowd – these act as key iconography of this genre of film.
Other aspects of key iconography can be identified in the
featuring of alcohol throughout the video, which seems to be
a must in this setting.
• However, this music video seems to adapt this stereotypical
version of a romanticised American adolescence, in which the
‘victim’ of the various social cliques tends to become
accepted by the end of the film leading to a happy ending.
Whereas, in this music video it presents a more realistic, non-

8. ANDREW GOODWIN –
PERFORMANCE, NARRATIVE OR
CONCEPT
This video could be described as being both performance-
based and narrative-based. During the elements of
narrative, it is made very clear to the audience that the
artist’s character is in an environment in which he does not
feel comfortable and does not belong, regardless of how
determined he is to fit in. For example, every time the
character approaches someone it seems that he is made a
mockery of and the other individuals show very little interest
in him. In this two shot, the facial expression of the woman
allows the audience to understand how unwelcome he is
made to feel.
Whereas, during the aspects of performance this represents
the artist’s sanctuary away from the obligation that he feels
forced to conform to dominant culture. It is suggested that
music provides a sense of protection from the harsh realities
of society and its hierarchal manner.
For example, from this shot the artist is able to assert direct
mode of address with the audience and suddenly possesses
an air of confidence to his mannerisms with his more open
gesture codes compared to the image above – it is implied
that this is due to the guitar that he grasps which provides

9. NARRATIVE THEORY – TODOROV
Equilibrium:
A medium long shot displays a group
of people arriving at a supposed
party.
Disruption:
The disruption appears when it is
made clear that these individuals are
considered as ‘outsiders’ by the other
individuals. This is achieved when the
man is pushed out of the way and
ignored as he enters the party
indicating that people are taking little
notice of him or simply have little
respect for him.
Realisation:
This character first realises that he
may differ from the other individuals
there when he is rejected by this
Attempt to repair:
This character attempts to revive his
perceived status throughout the video by
attempting to impress other individuals.
New equilibrium:
He embraces his love of music and decides to
stop attempting to become someone he is
not – he embraces his difference in this shot
presented above.

10. NARRATIVE THEORY – PROPP AND
STRAUSS
Propp:
• The hero in this instance is clearly encoded as being the
music as it has provided a sense of belonging and
identity for everyone that featured in the video, whether
it be those that conformed to dominant culture or
challenged it – such as the girl displayed in this medium
shot, who clearly is passionate about music.
• You could argue that the victim in this case are minority
cultures who are subject to the desire to possess the
characteristics of those belonging to the dominant
culture, and who are unnecessarily degraded by other
social groups.Strauss:
• Some of the binary opposites that may be present in
this video are conformance compared to challenging –
this can be viewed in this final shot in which the girl
naturally conforms to dominant culture where as the
male strays from this path.
• This therefore creates the opposites of dominant
culture versus minority culture which correlates to