Andrew Goodwin Music Video Theory

Andrew Goodwin Music Video Theory

There are many theories in Media Studies, all of which culminate to form certain ideologies about different media texts and forms, rarely are there ever theories that can be applied to the artistry of music videos, however. 

But, through the theory coined by Andrew Goodwin, studying and analysing the forms of a range of music videos has never been so easy, thanks to a checklist of features that amalgamate to create a successful music video.

The theory includes a checklist of seven key points that should work in complete synergy in order to form a music video. This checklist encompasses the series of codes and conventions that music videos should have in common, whilst reiterating the fundamental basis of all music videos, which is to have a strong, constructed link between the visuals, the song and the artist or band. 

Key features of Goodwin's Theory:

• Typically, all music videos have unequivocal genre characteristics that would pertain to the specific genre of music being relayed to audiences.
• There is almost always a relationship between the visuals of the video and the lyrics performed by the artists. 
• Demands of the Record Label (i.e. Warner Bros.) will be evident within the video and represented by the artist.
• Intertextual references are common, too.
• The 'Notion of Looking' (such as the objectification of women and men - links to other theories such as 'The Male Gaze' theorised by Laura Mulvey) with features of 'Voyeurism', such as direct gaze, screen and mirrors and potential insight into the life of the artist. 
• Artist Iconography/Star Image.
• There is a strong relationship between the music and the lyrics.

Below, there are examples that further deepen the understanding of these key features of Goodwin's Theory that feature across a range of music videos and genres.



Notions of Looking/Voyeurism/Objectification

Taken from Childish Gambino's music video for 'Heartbeat'. (RIGHT)

Here we see Gambino (Donald Glover) directly addressing the camera through a cars rear view mirror. The song is a tribute to Gambino's 'True Love' or 'The One' and

not being able to be together. This direct address heightens the intense relationship between artist and audience as Gambino continues on to signify his heartbreak of not being together even though the pair are still in love, through the lyrics.

(LEFT) Taken from Shakira's music video of 'Can't Remember to Forget You'. 

Here we can see the blatant objectification of Rihanna as she is captured in a provocative pose in an effort to satisfy the male demographic; this is closely linked to Laura Mulvey's theory of 'The Male Gaze'. 

(LEFT) Taken from The 1975's music video for 'Love Me'.

This still shows Matt Healy looking directly at the camera without the use of mirrors or screens. The element of voyeurism is present as we are watching Healy perform the song through an extreme close-up camera shot. 

(BELOW) Taken from Carly Rae Jepsen's music video for 'Call Me Maybe'.

This is an example of male objectification in order to satisfy the female demographic, more often than not, males who are objectified are usually portrayed without a shirt revealing the upper torso, in comparison to the objectification of women who are seen scantily clad, filmed with high-angled camera shots that further the objectification.

Genre Characteristics

Examples that pertain to the genre of rock and what would typically feature in a music video for that specific genre, would be that of the entire band performing, usually filmed through a wide angled, level shot so that it sustains the equality of the entire band instead of focusing on a sole member. 

Taken from the Red Hot Chili Peppers music video for 'Californication'. 

Every band member is present here which enables the audience to identify more with the music as they can see the full involvement of the band. The wide angled shot represents the band and it's unity, straying away from any misconstrued ideas about status as they are captured on a levelled shot. 

Taken from The 1975's music video for 'UGH!'.

Although the faces of the band members cannot be seen by the audience, they are still aware that the band performs together, solidifying the sense of unity within the band itself. 

Intertextual References

The concept of intertextuality makes the audience feel superior if they know elements of other media forms have been included in others. Intertextual references are always exciting to find and increases audience engagement with the media form, whether that is through a film or music video. 

Thirty Seconds To Mars released a music video for 'The Kill (Bury Me)' in 2010 that was heavily influenced by Stanley Kubrick's, 'The Shining'. The intertextual references are outstanding and somewhat follows a similar narrative to that of the actual film. 

Here are stills taken from the music video and the film that depict an intimate moment between two 'unorthodox' lovers.

Another scene of comparison is when Nicholson is alone in the main hall and starts to throw a tennis ball up against the wall, this is also shown in the music video where Jared Leto also throws a ball at a wall. Comparing the camera angles, the music video still shows a wide-angled shot that captures the momentary interlude where Leto continues to lash out at a wall with a tennis ball, there is an absence of diegetic sound.

The camera angle that captures Nicholson throwing the ball at the wall is also a wide-angled shot, but masks his face as it is filmed from behind. A similarity that can be drawn from these two stills is the limited lighting, which is inferred as low-key. The low-key lighting reflects the sombre mood of both the film and the music video as the narrative unfolds.

Although in terms of colour palette the two media texts differ, the music video follows the majority of the narrative as directed by Kubrick in the film. Compared to the film, the music video is bleak and features a desolate hotel, whereas the film depicts a wintery setting with warm hues and ornate walls.