Narrative Theory 8: Andrew Goodwin

Andrew Goodwin (1992)

Believes that music videos are highly complex narratives meaning can be created from the audience’s interpretation.  In 1992 he released a book, Dancing In The Distraction Factory, the book highlights these general key points:

• Relationship between the lyrics and the visuals.

How what we see on screen can be related to the lyrics. What are the similarities between the imagery and shots to the lyrics? Having these two key parts to a music video production relate, it can help the audience create their ideas of the song and its meaning.

• Relationship between the music and the visuals.

This is when the song is promoted through the relation of visuals to music. The video is in sync with the music and cuts and edits follow the rhythm and the beat of the song. This can create a visually pleasing video as people feel satisfied by the synchronisation of the music and imagery.

• Genre Characteristics.

Goodwin argues that music videos have genre characteristics, this is the expectations the audience creates of a music video based on the genre of the artist and song. In pop videos for example, people often expect bold colourings, dancers, the artist lip-syncing. A rock music video is often tagged with the characteristics of flashing lights, fast cuts and edits, dark colourings.

Tainted Love (Marilyn Manson)
Video shows dark costumes and lighting, rebellious actions

Pop Song, California Gurls (Katy Perry)
Video includes, bright colours, lip-syncing, dancing

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• Demands From Record Labels

Record labels focus on creating a set image for their artists therefore it is advantageous for them to use close-ups and use motifs which reoccur through their videos. This will help make the image they're trying to create 'stick' in the audiences head so they relate certain features with the artist. Through all this they're effectively creating a 'star image' for the audience to consume and recognise. Music videos work to make sure the artist is the centre of attention. For example, Michael Jackson had a white glove he'd wear on one hand which became an internationally unique to his character. The gloves have been auctioned off following his death in 2009. One was sold for $330,000.  

MJ, 2001.

MJ, 1984

• Emphasis on 'Look'

General for music videos to have women dressed provocatively
for the purpose of the 'male'. 

This can be related to Laura Mulveys 'Male Gaze' theory. In how music videos have frequent references to the notion of looking and the voyeuristic treatment of the female body. This can be women and males who are portrayed in a sexual way although more often than not it is women who are presented as sexual objects. Voyeurism is commonly used as the notion of 'sex sells' and this is how music videos are showing women in order to sell the artist and their music. It can be shown through the use of props, cinematography, outfits. These can work to extenuate a women's sexual appearance.

The use of the prop here is suggestive, males are rarely
not shown this way. 

•  Intertextual references.

Sometimes music videos will make references to films, games, other music videos, TV. By doing this they allow the audience to find some recognition with the video therefore they enjoy the prospect they are in on the references, this helps create a more memorable and relatable music video. An example is Mr Brightside by The Killers in which their music video has common themes related with the film Moulin Rouge.

Mr Brightside Music Video 2004

Moulin Rouge Film 2001

How To Analyse Music Videos
Andrew states there are five areas in which the audience should look for when watching music videos in order to analyse them.

1. Thought Through Beat - 'Seeing what they mean or represent in your head'

Step 1: Take the song and look at the structure of it, including understanding the chorus' and verses

Step 2: Listen to the vocals of the song and the stars voice. The artists voice is unique and the way in which they sing the song can give us indication to the indication of the song and intentions. The audience will form an identification with the voice and relate it to the artists image. When we have covers of songs although the lyrics may be the same, factors of the singer will affect how the audience interprets the song, they can be as simple as the gender of the voice.

Step 3: The artist works to tell us a story, the third step is what the story is. We may view the artist as a story teller who is trying to show their story to us. The music video can help create a visual representation of the story to compliment the artists vocals.

2. Narrative and Performance
Goodwin believed it was important for the artist to be a main feature in the video. Whether they're the main character or seen performing their song in it. This helps the audience create a connection with each of the artists video as they see them play characters and perform, through the performance aspect it allows a sense of realism to the video and song. The audience also can become more engaged if they're a fan of the artist to see them in the video. However he also puts forward the idea that songs rarely come to a clear conclusion of the narrative. We can get the general meaning of the song but music videos can explore it in more detail to show a way the story can be interpreted. He adds that music videos should ignore common narrative as a purpose of advertising. Narrative and performance work together to keep the audiences interest and allow them to re-watch videos without getting bored. 'Roar' is a good example of this by Katy Perry, she is the main character but is also performing the song through lip-syncing. This keeps people more involved as they recognize Katy Perry therefore are interested in seeing the story unfold with her in it.

3. The Star Image
Building on the idea of the demands of the record label. It is important in a music video for the artist to have an image. Overtime an identity is created of the stars through their music videos therefore when it comes to the production of a new one they can take this image and adapt it to the screen and apply it in a way they know the audience will want to consume.

4. Relations of Visuals to the song

Between the lyrics and the visual on-screen, there are three ways visuals:

Illustrate:  Through different cinematography methods and specific images these are used to illustrate and explain the songs narrative. The lyrics and visuals can be connected and help create the same message/meaning of the song.

Cyndi Lauper- Girls Just Wanna Have Fun is a music video which follows this, the visuals directly relate to the visuals.  

Another more conceptual video which uses this is Every Other Freckle by Alt-J. The scenes show what is described in the lyrics when it says 'cat beds into a bean-bag' we see a cat jumping into a bean bag.

Disjuncture: The meaning of the song is completely ignored in the video and does not have a relation to the lyrics as much. 

Amplify: Shots and images are repeated throughout the video in order to leave a memorable mark in the audiences vision.

5. Technical Aspects
A main part of the music video is technical features which can be seen to 'hold' the music video together. Key parts to this is, cinematography, mise-en-scene, sound and editing.
Cinematography elements include camera movements, the speed of these, camera angles, range of shots, focal points, depth of field, shots.
Mise-en-scene adds authentication and realism to create a more professional look.
Editing, post-production can include various cuts, special effects and the order in which the music video clips are shown.
Lighting and colour are key parts to help set certain moods and creating emphasis on certain points of the song.
Beats of the song can be created when the music video cuts to the 'beat' of the music, this is useful to create an engaging and entertaining video. This is particularly usually associated with up-beat dance genre music videos.