MUSIC VIDEO ANALYSIS SIMILAR PRODUCT RESEARCH

MUSIC VIDEO ANALYSISWITHIN THIS POWERPOINT I SHALL ADDRESS THE MUSIC VIDEO

‘CAPSIZE’ BY FRENSHIP USING ANDREW GOODWIN (1992) THEORY TO AID MY ANALYSES…

• 1.USE GOODWIN AND BREAKDOWN SHOT BY SHOT= CAPSIZE • 2.USE GOODWIN = YOU OUGHT TO KNOW • 3. NARRATIVE THEORY= BLANK SPACE

6 KEY ELEMENTS TO A MUSIC VIDEO WHEN ANALYSING MUSIC VIDEOS THERE ARE SEVERAL KEY ELEMENTS WHICH MUST BE CONSIDERED BEFORE BEGINNING A FURTHER ANALYSIS IN REGARDS TO THE TRUE PURPOSE OF THE MUSIC VIDEO. FIRSTLY BY EVALUATING ANDREW GOODWIN'S 6 KEY PARTS TO ANY MUSIC VIDEO THIS WILL ALLOW US TO UNDERSTAND THE PURPOSE BEHIND THE VIDEO IN MORE DEPTH.

6 KEY PARTS TO A MUSIC VIDEO… VISUALS THAT FIT THE MUSIC

HERE ARE SOME EXAMPLES OF VISUALS FROM THE MUSIC VIDEO IN WHICH I AM GOING TO USE TO HELP ASSESS THE MUSIC VIDEOS.

CAPSIZE- VISUALS THAT FIT THE MUSIC FIRSTLY ONE MUST APPRECIATE THAT THE VISUALS WITHIN THE MUSIC VIDEO FIT THE

MUSIC ITSELF (IN THIS CASE I SHALL BE LOOKING AT THE MUSIC VIDEO 'CAPSIZE'). THE CUTS ARE EVIDENTLY IN SYNC WITH THE RHYTHM AND BEAT OF THE SONG AND THUS CREATES AND FURTHER DEVELOPS THE OVERALL ATMOSPHERE OF THE VIDEO. FOR

EXAMPLE, THE DANCERS USE MOVEMENTS THAT MATCH THE BEAT SUCH AS ACCENTED BEATS TO MAKE THEIR MOVEMENTS MORE DYNAMIC AND POWERFUL- THUS ALLOWING

THEM TO CONNECT WITH THE AUDIENCE FURTHER. MOREOVER EMPHASISING MOVEMENTS TO THE AUDIENCE AND SUGGESTING THAT SOME ARE MORE IMPORTANT THAN PERHAPS OTHERS. THIS FURTHER ALLOWS THE SONG'S PURPOSE TO COME ACROSS EFFECTIVELY.

BELOW IS AN IMAGE WHICH REPRESENTS THE FACT THAT ALL THE MOVEMENTS MATCH THE BEAT AND SYNC WITH THE MUSIC, THIS IS EXTREMELY IMPORTANT FOR MUSIC VIDEOS SUCH

AS THIS ONE AS IT INCORPORATES THAT OF MOVEMENT.

6 KEY PARTS TO A MUSIC VIDEO…GENRE CHARACTERISTICS

BELOW IS AN EXAMPLE OF A SCREENSHOT OF THE MUSIC VIDEO WHERE THERE ARE EVIDENT ELEMENTS OF GENRE CHARACTERISTICS WHICH I SHALL EVALUATE ON THE NEXT SLIDE.

GENRE CHARACTERISTICS AN ADDITIONALLY ELEMENT TO RESPECT IN REGARDS TO THE EVALUATING OF MUSIC VIDEO'S IS THAT THERE WILL BE EVIDENT GENRE CHARACTERISTICS. WITHIN THIS MUSIC VIDEO THIS IS THE GENDER OF THE CHARACTERS. THE SONG IS EVIDENTLY ABOUT A COUPLE WHO ARE EXPRESSING THEIR EMOTIONS THROUGH THE USE OF MOMENT. THE ONLY CHARACTERS ARE THE ONE FEMALE AND MALE WHO ARE THEN THE ONLY APPARENT CHARACTERS PRESENT. THEY USE THE LIKES OF CONTEMPORARY DANCE TO EXPLORE THERE EMOTION THROUGHOUT THE SONG. IN REGARDS TO THE ETHNICITY OF THE MUSIC IT IS VERY BALANCED HENCE SUGGESTING IT IS FAIR AND THERE IS

NO APPARENT POWER THAT THE CHARACTERS HOLD OVER EACH OTHER THAT STAGES THEM AGAINST THE OTHER. BELOW IS AN IMAGE OF THE COUPLE EMBRACING WHICH OCCUR TOWARDS

THE END OF THE MUSIC VIDEO.

6 KEY PARTS TO A MUSIC VIDEO…RELATIONSHIP BETWEEN LYRICS AND VISUALS

THERE IS EVIDENCE WITHIN THIS MUSIC VIDEO THAT REPRESENT A RELATIONSHIP BETWEEN THE LYRICS AND VISUALS. THIS IS APPARENT WITH THE CONSTANT REFERENCE TO THE ‘TIED’ AND

THERE ‘RELATIONSHIP’ WHICH IS PRESENTED WITHIN THESE IMAGES.

RELATIONSHIP BETWEEN LYRICS AND VISUALS A FURTHER ELEMENT TO A MUSIC VIDEO WHICH MUST BE CONSIDERED IS THAT THERE

SHOULD BE AN EVIDENT RELATIONSHIP BETWEEN LYRICS AND VISUALS. THIS THEREFORE INSURES THE MESSAGE OF THE SONG GETS EFFECTIVELY TO THE AUDIENCE INSURING ALL MESSAGES AND MEANINGS ARE PORTRAYED EFFECTIVELY. THERE IS CONSTANT RELATION TO 'WATER' AND ELEMENTS REGARDING THE 'TIED'. THIS IS THEN PORTRAYED WITHIN THE MISE-EN-SCENE OF THE VIDEO WHICH IS SET IN A LAKE. THIS THEREFORE REITERATES THE

MEANING OF THE SONG AND SUGGESTS THAT THE WATER IS A REFLECTION OF THEIR JOURNEY WITHIN THEIR RELATIONSHIP. MOREOVER ILLUSTRATING AN IMPORTANT KEY PART

TO A MUSIC VIDEO.

6 KEY PARTS TO A MUSIC VIDEO…DEMANDS OF THE RECORD LABEL

THE RECORD LABEL WILL HAVE CERTAIN DEMANDS AND EXPECTATION FOR A MUSIC VIDEO… ONE BEING LOTS OF CLOSE UPS OF THE ACTORS TO INSURE A ‘STAR’ IMAGE IS CREATED.

DEMANDS OF THE RECORD LABEL TO CONTINUE, A DEVELOPING ELEMENT TO MUSIC VIDEOS (WHICH MUST BE CONSIDERED) IS THE

ELEMENT WHICH FOCUSES ON THAT OF THE DEMANDS REGARDING THE RECORD LABEL. WITHIN ANY MUSIC VIDEO (NOT JUST EVIDENT IN THE LIKES OF THE 'CAPSIZE' MUSIC VIDEO) THERE IS NEED FOR A VARIETY OF CLOSE UPS OF THE ARTIST WHICH THEN HAS THE ABILITY TO BECOME A MOTIF WHICH IN TURN REOCCURS ACROSS THE MEDIA. THIS THEREFORE ALLOWS THE LABEL TO SET A CERTAIN IMAGE

WHICH WILL HELP TARGET SPECIFIC GROUPS TO PORTRAY TO THE AUDIENCE AND MEET THERE NEEDS. THIS IS EVIDENT IN THE MUSIC VIDEO 'CAPSIZE' WHERE THERE ARE ALWAYS SHOTS OF THE TWO MAIN CHARACTERS. THE TWO MAIN CHARACTERS ARE ALWAYS IN THE SHOT AND THEREFORE BECOME A MAIN ELEMENT IN WHICH THE MUSIC VIDEO IS CONSTRUCTED. THE LOCATION REMAINS

CONSTANT AND ONLY THE LIGHTING CHANGES (BECOMING BRIGHTER THROUGH THE RISING OF THE SUN WHICH IS REFLECTED IN THE SONG ITSELF WHEN THE ‘COUPLE’ EXPRESS THEIR TRUE FEELINGS).

THEREFORE TO REITERATE THIS CREATES A MOTIF AS THE COUPLE THEN BECOME SOMETHING THE RECORD LABEL CAN MOREOVER USE TO ENGAGE WITH THE AUDIENCE.

6 KEY PARTS TO A MUSIC VIDEO…THE IMPORTANCE OF FREQUENT NOTION LOOKING

ON THE NEXT SLIDE I SHALL ADDRESS THIS IDEA AND EXPLAIN HOW IT CAN BE APPLIED TO THIS MUSIC VIDEO.

THE IMPORTANCE OF FREQUENT NOTION LOOKING THE FINAL ELEMENT TO CONSIDER WHEN LOOKING AT THE 6 KEY PARTS TO A MUSIC VIDEO

(IDENTIFIED BY ANDREW GOODWIN) IS THAT THERE IS FREQUENTLY REFERENCE TO NOTION OF LOOKING (SCREENS WITHIN SCREENS, MIRRORS, STAGES, ETC.) AND PARTICULARLY VOYEURISTIC

TREATMENT OF THE FEMALE BODY. THE ‘MALE GRAZE’ IS OFTEN USED TO ATTRACT A MALE AUDIENCE. THE MALE GRAZE IS A FOCUS ON PRESENTENCING THINGS THAT APPEAL TO MALES. THE EMPHASIS ON LOOKING ALSO INCLUDES THE ARTIST LOOKING DIRECTLY INTO THE CAMERA HELPING

THE AUDIENCE CONNECT WITH THE ARTIST. THIS HOWEVER ISN'T APPARENT IN REGARDS TO THE MUSIC VIDEO 'CAPSIZE' AS THE FEMALE ISN'T SEXUALISED IN A SUPERFLUOUS REGARD TO THE NARRATIVE. THIS THEREFORE DOESN'T CONFORM TO THE STEREOTYPICAL REPRESENTATION OF

MUSIC VIDEOS.

AFTER ASSESSING THE MUSIC VIDEO 'CAPSIZE' THROUGH THE USE OF GOODWINS 6 KEY PARTS TO A MUSIC VIDEO IT IS NOW VITAL TO

EVALUATE HOW HIS THEORY IS USED TO HELP ME ANALYSE MUSIC VIDEOS IN DEPTH...

I SHALL NOW ASSES THE MUSIC VIDEO USING GOODWINS 5 WAYS TO ANALYSE A MUSIC VIDEO.

5 WAYS TO ANAYLSE A MUSIC VIDEO… THROUGH BEATS

ON THE NEXT SLIDE I SHALL ADDRESS HOW A MUSIC VIDEO CAN BE ANAYLSED THROUGH THE USE OF BEATS.

THROUGH BEATSANDREW GOODWIN’S FIRST WAY TO ANALYSE A MUSIC VIDEO CONSISTS OF ‘SEEING THE SOUND’. THE VOICE OF FRENSHIP IS PERHAPS CONSIDER VERY RELATABLE AND NOT IN ANY WAY UNIQUE.

IN THIS CASE TRADEMARKS AND THE CREATION OF A STAR IMAGE IS NOT EASILY ACHIEVABLE AND THEREFORE COULD EXPLAIN WHY THIS SONG PERHAPS NEVER BECAME ON THE TOP 10 UK

CARTS SIMPLE DUE TO THE LACK OF UNIQUENESS. IT DOES HOWEVER CREATE A STORY IN WHICH THE AUDIENCE CAN EASILY RELATE TO. THIS IS DONE, PERHAPS NOT IN THE NORMAL WAY,

INSTEAD THROUGH THE USE OF MOVEMENT RATHER THAN AN ACTUAL STORY LINE. PERSONALLY I FIND THIS MORE EFFECTIVE AND ALLOWS THE AUDIENCE TO FULLY UNDERSTAND AND CONNECT

WITHIN THE MEDIA TEXT AS IT IS MORE RELEVANT TO THE PURPOSE OF THE VIDEO

5 WAYS TO ANAYLSE A MUSIC VIDEO…

NARRATIVE AND PERFORMANCE ON THE NEXT SLIDE I SHALL ADDRESS HOW A MUSIC VIDEO CAN BE ANAYLSED

THROUGH THE USE OF NARRATIVE AND PERFORMANCE.

NARRATIVE AND PERFORMANCE AN ADDITIONAL ELEMENT TO CONSIDER IN REGARDS TO ANDREW GOODWIN’S WAYS

TO ANALYSE A MUSIC VIDEO IS THAT OF NARRATIVE AND PERFORMANCE. THIS IS EVIDENT WITHIN THIS MUSIC VIDEO AS THERE ISN’T A COMPLETE NARRATIVE TO THE

TEXT. THEREFORE THE AUDIENCE IS LEFT WITH THE QUESTION OF WHAT IS GOING TO HAPPEN NEXT/WHAT IS THE TRUE MEANING BEHIND THE TEXT. THIS MUSIC VIDEO IS ADDITIONALLY VERY RELATABLE TO THE AUDIENCES AS IT SHOWS THE MOVEMENT

WITHIN A RELATIONSHIP AND THEREFORE BECOME RELATABLE TO THE TARGET AUDIENCE. MOREOVER ALLOWING THE MUSIC VIDEO TO BECOME EASIER TO WATCH OTHER AND OTHER AGAIN. A MAIN ELEMENT TO THIS VIDEO IS THAT THE AUDIENCE

NEEDS TO BELIEVE THAT THE TEXT IS REAL. PERSONALLY, THROUGH THE USE OF SHOTS AND LIGHTING I BELIEVE THIS HAS BEEN EFFECTIVELY ACHIEVED.

5 WAYS TO ANAYLSE A MUSIC VIDEO… STAR IMAGE

ON THE NEXT SLIDE I SHALL ADDRESS HOW A MUSIC VIDEO CAN BE ANAYLSED THROUGH THE USE OF STAR IMAGE.

STAR IMAGES THE TWO MAIN CHARACTERS ARE ESSENTIALLY THE ‘STAR’ ELEMENTS TO THE

FILM AND THEREFORE BOTH PRESENT THE MAIN IMAGE TO THE AUDIENCE. BOTH CHARACTERS ARE REPRESENTED AS EQUAL AND THEREFORE HAVE THE

SAME AMOUNT OF POWER WITHIN THE MEDIA TEXT. THE META NARRATIVE DOES NOT APPLY IN THIS RESPECT AS THERE ISN’T A PARTICULAR ‘BIG STORY’ AND THEREFORE DOES NOT HAVE AN IMPORTANT PART TO PLAY IN THE MUSIC

VIDEO PRODUCTION PROCESS.

5 WAYS TO ANAYLSE A MUSIC VIDEO… RELATION OF VISUALS TO THE SONG

ON THE NEXT SLIDE I SHALL ADDRESS HOW A MUSIC VIDEO CAN BE ANAYLSED THROUGH THE USE OF RELATION OF VISUALS TO THE SONG.

RELATION OF VISUALS TO THE SONG THERE ARE 3 WAYS IN WHICH A MUSIC VIDEO WORKS TO PROMOTE A SONG. THESE INCLUDE THE LIKES TO ILLUSTRATE, DISJUNCTION AND AMPLIFY. ALL CAN BE APPLIED TO THE ANALYSES (TO SOME EXTENT) WITHIN THE MUSIC VIDEO ‘CAPSIZE’. ‘CAPSIZE’ INCORPORATES THAT

OF A VARIETY OF IMAGES TO ILLUSTRATE THE MEANING OF LYRICS AND GENRE, THIS IS MOST COMMON WITHIN MUSIC VIDEOS AND IS APPARENT WITHIN ‘CAPSIZE’. THROUGH THE USE OF SHOTS OF THE

COUPLE DANCING, IT THUS ILLUSTRATES THROUGH THE MEANING OF LYRICS. IN REGARDS TO DISJUNCTION, ‘CAPSIZE’ CANNOT BE APPLIED.

THERE IS AN EVIDENT STORYLINE AND THUS CONTRASTS WITH COMPLETELY IGNORING THE MEANING OF THE SONG.

5 WAYS TO ANAYLSE A MUSIC VIDEO…

TECHNICAL ASPECTS ON THE NEXT SLIDE I SHALL ADDRESS HOW A MUSIC VIDEO CAN BE ANAYLSED

THROUGH THE USE OF TECHNICAL ASPECTS.

TECHNICAL ASPECTS  THE TECHNICAL ASPECTS TO THIS MUSIC VIDEO CAN BE APPLIED… THE SONG

REPRESENTS PARTICULAR ELEMENTS THROUGH THE LIKES OF CAMERA ANGLES, MOVEMENT, ANGLES, MISE-EN-SCENE, EDITING, SOUND, LIGHTING, COLOUR AND SPECIAL EFFECTS (WHAT HOLDS THE VIDEO TOGETHER). ALL

HELPS TO INSURE MOOD AND ATMOSPHERE IS EFFECTIVELY PRESENTED WITHIN THE VIDEO. THE MISE-EN-SCENE USED WITHIN THIS MUSIC VIDEO IS VERY SIMPLISTIC AND THEREFORE INSURES THE FOCUS IS IN FACT ON THE

LIKES OF THE MAIN ACTORS. THIS EMPHASISE THE STORY LINE AND ILLUSTRATES THERE RELATIONSHIP.

‘YOU OUGHT TO KNOW’- APPLING GOODWIN’S THEORY…

Here is shall complete an analysisi of ‘You Ought To Know’ through the likes of Goodwin’s theory to assess the music video.

WITHIN THIS ESSAY I HOPE TO EVALUATE ANDREW GOODWIN (1992) AND HIS THEORY REGARDING ‘HOW TO ANALYSE MUSIC VIDEOS’. HIS THEORY CONSISTS OF FIVE DIFFERENT ELEMENTS. FIRSTLY HE SUGGESTS THAT WE SHOULD LOOK AT THE BEAT OF

THE MUSIC ITSELF. WITHIN ALANIS MORISSETTE’S MUSIC VIDEO ‘YOU OUGHTA KNOW’ THE ARTIST VOICE IS REPRESENTED AS EXTREMELY UNIQUE. THIS FORMS AN IDENTIFICATION, CREATING A STAR IMAGE, WHICH THE AUDIENCE FIND EASY TO CONNECT WITH. THIS ALLOWS THE MUSIC VIDEO TO BECOME MORE APPEALING TO THE AUDIENCE. THIS MUSIC VIDEO IS ADDITIONALLY

FOCUSING ON THE PERFORMANCE RATHER THAN THE NARRATIVE WITHIN THE VIDEO.

HIS SECOND ANALYSES ELEMENT CONSISTS OF EVALUATING THE NARRATIVE AND PERFORMANCE WITHIN A VIDEO. IN REGARDS TO THIS VIDEO, ALANIS IS CONSTANTLY WALKING THROUGH THE DESERT AND CHANGES OUTFITS FROM BLACK TO WHITE. MOREOVER

THE SONG FAILS TO GIVE A COMPLETE NARRATIVE, ULTIMATELY LEAVING THE AUDIENCE TO DECIDE WHAT IS TRULY HAPPENING. ALANIS IS ADDITIONALLY SHOWN THROUGHOUT THE WHOLE VIDEO (ACTING AS BOTHY THE NARRATOR AND THE PARTICIPANT).

HOWEVER WE DON’T GET A COMPLETE IMAGE OF HER FACE SUGGESTING THAT THERE IS AN ELEMENT OF MYSTERY. THIS HELPS TO DRAW THE AUDIENCE IN FURTHER. THIS ACTS AS HIS THIRD ELEMENT TO HIS THEORY WHEREBY MUSIC VIDEOS HAVE A ‘STAR

IMAGE’.

HIS FOURTH ELEMENT TO HIS THEORY ANALYSES THE REACTION OF VISUALS TO THE SONG, THIS IS DONE THROUGH ILLUSTRATING, AMPLIFYING OR DISJUNCTION. WITHIN THE MUSIC VIDEO THE USE OF ‘AMPLIFY’ IS USED. ALANIS’S IMAGE IS REPEATEDLY USED

THROUGHOUT THE VIDEO TO CREATE ATMOSPHERE AND ULTIMATELY HELP TO CAPTURE THE AUDIENCE.

THE FINAL ELEMENT TO HIS THEORY IS THE TECHNICAL ASPECTS WITHIN A MUSIC VIDEO. THROUGHOUT THIS MUSIC VIDEO A RANGE OF CLOSE UPS AND FREQUENT CUTS ARE USED TO CREATE ATMOSPHERE AND EMPHASES THE MOTIF BEHIND THE MUSIC VIDEO. MISE-EN-SCENE IS ADDITIONALLY USED TO CREATE MEANING AND SUGGEST AN EDGY FEEL TO THE VIDEO WHICH MATCHES ITS

GENRE. MOREOVER ENGAGING THE AUDIENCE FURTHER. IN CONCLUSION BY USING ANDREW GOODWIN’S THEORY, WE CAN ANALYSE MUSIC VIDEOS IN MORE DEPTH AND BEGIN TO DETERMINE WHY PARTICULAR FEATURES WERE INCORPORATED INTO THE

MUSIC VIDEO.

NARRATIVE THEORY- APPLYING THEORISTS TO A MUSIC VIDEO 

TAYLOR SWIFT- BLANK SPACEPROPP: WITHIN THIS MUSIC VIDEO, THE STORYLINE FOLLOWS THE LIKES OF TAYLOR AND HER 'BOYFRIEND'. IT SHOWS A BRIEF SUMMARY OF THERE RELATIONSHIP BEFORE HE SUPPOSEDLY CHEATS ON HER. ULTIMATELY THERE ARE LIMITED CHARACTERS WITHIN THIS MUSIC VIDEO, HOWEVER BOTH CHARACTERS STILL HAVE THE APPROPRIATE FEATURES WHICH CAN BE RELATED TO PROPP. PROPP SUGGESTS THAT ALL CHARACTERS HAVE A SPECIFIC ROLE WHICH CAN BE SHOWN WITHIN THIS MUSIC VIDEO. TAYLOR IS POSED AS THE HERO (THE CHARACTER WHO SEEKS TO FIND LOVE), WITH THE MALE CHARACTER POSING AS THE VILLAIN WHO CHEATS ON HER AND RESULTS IN TAYLOR GOING 'INSANE'.TODOROV: TODOROV BELIEVED THERE WAS A SEQUENCE THAT OCCURRED WITHIN MUSIC VIDEOS. IT BEGINS WITH THE INITIAL EQUILIBRIUM... THIS IS THE SET UP OF TAYLOR MEETING HER 'BOYFRIEND'. THERE THEN FOLLOWS A DISRUPTION TO THE EQUILIBRIUM WHEREBY THIS IS SHOWN WHEN HER BOYFRIEND SEEMS TO BE MESSAGING OTHER GIRLS. THIS THEN TRIGGERS THE RECOGNITION OF THE DISRUPTION WHICH IS SHOWN WHEN TAYLOR BEGINS TO ARGUE AND WITH HIM BUT HIS ACTIONS SEEM TO REPEAT THEMSELVES. AN ATTEMPT TO REPAIR THE DAMAGE THEN FOLLOWS WHERE TAYLOR FRANTICALLY TRIES TO GET HIS ATTENTION BY DISTROSYING HIS STUFF AND SEEMING UPSET. TO FINALISES THE VIDEO THE NEW EQUILIBRIUM IS FORMED AND TAYLOR IS SHOWN AS A NEW PERSON, SIMILAR TO HOW SHE WAS IN THE BEGINNING OF THE VIDEO WAITING FOR THE NEXT MAN TO ENTER.BATHES: BATHES BELIEVED THAT A MUSIC VIDEO CAN BE BROKEN DOWN INTO 5 DIFFERENT ELEMENTS WHICH HELP THE VIEWER UNDERSTAND THE TEXT. TO BEGIN WITH THE ACTION CODE IS REPRESENTED IN THE FIGHT BETWEEN TAYLOR AND HER BOYFRIEND. THIS IS MADE DRAMATIC THROUGH THE USE OF LIP SYNCING AND ACCENTED BEATS. THE REFERENTIAL CODE SHOWS HOW THE BOYFRIEND IS TEXTING ON HIS PHONE WHILST TAYLOR IS LOOKING UP AT HIM. THIS GIVES THE AUDIENCE THE INFORMATION THEY NEED TO FULLY UNDERSTAND WHAT IS GOING ON. THEN THE ENIGMA CODE IS WHAT TEASES THE AUDIENCE. THIS IS DONE AT THE END OF THE MUSIC VIDEO WHERE THE BOYFRIEND QUICKLY DRIVES OFF AND TAYLOR IS WAITING FOR THE NEW BOYFRIEND TO ENTER.LEVI-STRAUSS- LEVI'S THEORY CAN BE USED TO DETERMINE THE OPPOSITION WITHIN THE TEXT. FOR EXAMPLE, WITHIN THE BLACK SPACE VIDEO, THERE IS TAYLOR AS A CLAM, SWEET AND LOVING GIRL VS THE INSANE, JEALOUS, AND CRAZY GIRLFRIEND. THIS CAN THEN BE APPLIED TO THE BOYFRIEND WHEN HE IS CALM AND COLLECTED AND THEN BECOMES THE CHEATER. THIS THEORY ULTIMATELY PICKS OUT THAT THE CHARACTERS GROW AND CHANGE SHOWING HOW THERE CHARACTER HAS DEVELOPED DURING THE VIDEO.