Andrew Goodwin's Music Video Theory

When conducting research into Andrew Goodwin's music video theory, I discovered this Prezi based on the topic. I found it to be very informative, and I thought that it explained Goodwin's theory efficiently.

From the information contained within this presentation, and from the rest of my research, this is what I discovered about Goodwin's music video theory:

In Andrew Goodwin's book titled 'Dancing in the Distraction Factory', he theorises that there are 7 key principles to music videos:

1. Genre Characteristics/Iconography
2. Links between lyrics and visuals
3. Links between music and visuals
4. Intertextuality
5. Star representation/Demands of the record label
6. Voyeurism and 'the notion of looking'
7. Performance, narrative and concept based music videos

Genre Characteristics/Iconography:

Goodwin suggests that music videos typically include conventional genre characteristics. Being able to relate the music video to the genre of the music is important, as music videos are tools to promote songs. This means it is vital that it can be easily associated with the song and its genre. 

Rock music videos are often performance videos (often stage performances), that include associated iconography such as a drum kit and electric guitars. An example of this is AC/DC's official music video for their song 'Thunderstruck":

Pop music videos often include women dressed in a revealing manner and videos for songs by a girl/boy band often are composed of choreographed dance routines.

Links between lyrics and visuals:

Goodwin noticed that the visuals of music videos often illustrate, amplify or contradict the lyrics of the song.

The concept of illustration suggests that the visuals of the song directly relate to the lyrics. You take the literal meaning of the lyrics and display them visually. The concept of illustration is often used in performance videos. An example of an illustrative video is:

The concept of amplification is when the video represents the creative director's interpretation of the lyrics. The visuals of the video amplify the narrative, and this concept is often demonstrated in narrative and performance videos. An example of a video that includes amplification is:

The concept of disjuncture is when the visuals of the music video entirely contradict the lyrics, and often, the genre of the song, too. Due to the visuals counteracting the lyrics, the videos often do not make sense. However, these videos often serve the purpose of trying to create a new meaning of the song; they make the viewer consider an alternative, deeper meaning behind the song. Abstract imagery may be featured. An example of a video that features the concept of disjuncture is:

Links between music and visuals:

The link between the music and the visuals includes 'thought through beat'. This can be considered in three steps. The first is noticing the structure of the song, and taking into account the chorus and verses. Secondly, the voice of the artist must be recognised as a unique trademark. This point can be related to the theory of Barthes, who sees the singing voice as an instrument of expression; this theory is called the 'grain of voice'. Finally, Goodwin considers the music video a form of communication, where the artist is telling a story through the song, and the video is representing this. 

This theory also considers that the video may be edited to fit the beat or rhythm of the song. Transitions of shots may be edited in line with the beat, and the length of shots may be edited in conjunction with the tempo/pace of the song. Goodwin also states that this feature is often repeated during the chorus of the song, as emphasis focused on the repetition of the lyrics.

An example of the link between the music and the visuals can be seen in the The Lumineers video for their song "Sleep On The Floor":

Intertextuality:

Goodwin recognised that it is common for a music video to make reference to other media texts; these references can also be made in the lyrics of the songs, not just visually represented. Intertextuality is a useful method to engage the viewer, and it is often associated with parody and pastiche.

In this video, references are made to Alice in Wonderland, as he is dressed as the rabbit from the story. A parody version of the Metro-Goldwyn-Meyer logo is also featured at the end of this video. 

Star representation/Demands of the record label:

It was recognised by Goodwin that within music videos, the demands of the record label of the artist will often be noticeable. These demands typically focus heavily on the representation of the star within the video, as how the artist is represented in the video is determined by the record label. The record label often requests multiple close up shots of the artist, as their face becomes their brand. Close up shots show the emotions of the artist, and are therefore used as a technique to make the audience feel like they have a connection with the artist, as these type of shots are very personal. Iconography of the artist is featured as a means to ensure that the artist is visually recognisable, through the way they are dressed/made-up in their music videos.

For example, in Sia's music videos, the performer is always seen to be wearing a white or black wig cut into a bob, as this is representative of Sia's iconography.

Sia's iconography is a black and white wig:

An example of one of her music videos:

Voyeurism and the 'notion of looking':

Voyeurism and the 'notion of looking' are concepts identified by Goodwin that are used to entice the viewer. 

Voyeurism increases the attractiveness of the video to viewers, particularly to male viewers. Laura Mulvey's male gaze theory can be applied here, as Goodwin states that females are sexualised and objectified to draw the attention of the viewer. This technique is done through the use of camera angles and editing, that put emphasis on the appearance of the artist/performer, or the way they are being interacted with (often sexually). Voyeurism can be created through the use of direct gaze, which breaks the fourth wall between the performer and the viewer. 

The 'notion of looking' involves the viewer being granted access to view what they would not typically be able to see, such as intimate locations like bedrooms. It can also be featured via the use of frame within a frame, of which an example would be the audience watching someone watching someone do something.

Performance, narrative and concept based videos:

Performance based videos - The artist is featured in the video themselves, and they are performing the song. These music video types are typically made up of all, or mostly, lip syncing.

Narrative based videos - This type of video uses a combination of the lyrics and the visuals in order to convey a story to the viewer. These videos may or may not include lip syncing.

Concept based videos - These videos are unrelating to the message of the song, and often have an unusual or unique style. They do not include performance techniques, and follow the concept of disjuncture, often including abstract imagery.