Andrew Goodwins Theory

Dancing in the Distraction Factory (1993)

The structure of music video

Rethinking Narrative Analysis.

According to Andrew Goodwin, the traditional narrative analysis doesn’t apply to our new tradition of pop videos; Goodwin argues that pop videos approach their narrative from a different angle to both novels and films.

Reasons for the different narrative structures are:

1) Pop videos are built around songs

2) Pop video uses the singer as both narrator and as the character

3) The singer often looks directly at the camera - which is an extension of (music hall) performance and an attempt to involve the viewer at home with the performance.

In Goodwin’s view, pop videos often repeat the images similar to the way the chorus or lines are repeated.  The repetition also makes the audience become familiar with the videos and gives us certain expectations with the genre.

He argues that pop songs and videos don’t have an appropriate form of ending which should be reflected in the genre of the music.

With some pop videos the visualisation may go beyond the original meaning.  In some videos this visual pleasure can encourage repeat viewing and therefore promote the music.

There are three types of relationships between both the songs and videos.

1)Illustration: This is where the video tells the story of the lyric.  Dance is often used to express the feelings/moods in the song.

2)Amplification: Occurs when the videos introduce new meanings to that do not contradict with the lyrics but add layers of meaning.

3)Disjuncture: Where there is little connection between the lyric and video or where the video contradicts the lyrics.

Pop videos often have features which are easily recognisable. One of the main features is the way women are presented as sexual objects to please men.  Great examples are Lady Gaga, Beyonce and Madonna who all present themselves very sexually. This also backs up Laura Mulveys quote:

‘In a world ordered by sexual imbalance, pleasure in looking has been split between active/male and passive/female. The determining male gaze projects its fantasy onto the female figure which is styled accordingly.’

The videos try to appeal to as many audiences as they can. This is done by not fixing a target audience group.  Examples of this are videos which feature older band groups; they show them in their younger days - in the 60s/70s. These then both attracts younger and older audiences. This is done and thought out very carefully.