ANDREW GOOWIN’S MUSIC VIDEO THEORY

1. Relationship between the lyrics and the visuals- themes, mise-en-scene and event of the video match with the lyrics of the song, to help to portray the message of the song

2. Relationship between the music and the visuals- the cut and edits of the video are in sync with the rhythm and beat of the song, matching cuts or effects to specific drum beats

3. Music videos demonstrate genre characteristics- certain features are expected out of a video depending on the genre. For example, stage performance in metal videos, dance routine for boy/girl band

4. There is frequently reference to the notion of looking and particularly voyeuristic treatment of the female body and the male gaze.

5. The demands of the record label will include the need for lots of close-ups of the artist and the artist may develop motifs which recur across their work. For example, a visual style which sell the artist

6. There is often intertextual reference- where they reference other forms of media such as films, TV and other music videos

MICHAEL JACKSON- BILLIE JEAN

The quick tempo of the song is reflected in Michael Jackson’s dancing throughout the videoThe music video cuts on the beat, which again aligns to the pop genre

The signature dance moves of Michael Jackson are shown by close up shots, which are recognisable for the audience, and would work as a selling point, particularly for MJ fans

The lyrics of the song link to the images in the video- the song is about a stalker who MJ had apparently got pregnant, therefore in the video, MJ walking away and the camera following him is symbolic of him trying to escape the stalker

The images also relate to the music as MJ is dancing, which represents the pop genreThere is no reference to the voyeuristic element of Goodwin’s theory as there is no women involved in the video. However, with reference to a woman throughout the song, and the title of a female’s name, perhaps a slight voyeuristic element is hinted Michael Jackson looks directly into the camera whilst dancing which “takes down the 4th wall” between him and the audience. This engages the audience and fully invests them into the video and makes us feel as though he is singing to usMJ’s classic clothing style is shown through the use of close ups, which recurs throughout his workThe dark background highlights the somewhat cynical background story to the song. The darkness also illuminates the singer so the audience are drawn to himThe images also relate to the lyrics as we see

the cameraman almost catching MJ in the act with the stalker

MILEY CYRUS- WRECKING BALL

Miley’s intentions of this video was to break away from her previous ‘Disney star’ persona which was innocent and directed towards children. However her new persona is more explicit now that she’s older- she is trying to promote a new image as an artistShe’s represented as confident and highly sexualised, riding a wrecking ball portrays her as powerfulThe lyrics of the song have emotional and sad connotations, therefore close up shots of Miley show her to be emotionally hurt and sad, but still though, as she breaks things to get out her pain

The walls falling down and Miley hitting things are matched to the beats of the musicOn the softer parts we see Miley crying against the white backdrop- this creates a relationship between the music and the visualsThe song is about a broken heart and a broken relationship, and this is shown in the destruction of the walls. Furthermore, her being naked shows that she is striped to her raw emotionsThere is a relationship between the lyrics and visuals as we see her licking the sledgehammer, which shows she is embracing the painLicking of the hammer focuses on a sexually explicit intimate moment. The use of the high angle close up brings us closer to the actionThe lack of clothing on the artist brings in an extreme voyeuristic element to the music video. The audience feel as though they shouldn't’t be watching it, yet the enjoy itReferences to Sinead O’Conners ‘nothing compared to you’ video, in terms of framing, and O’Conner’ delevering the song straight to the camera with tears of emotion and a close up sho