In an overview of his analysis, it can be said that the most significant ideas that Goodwin proposed suggest that there is a direct relationship between lyrics/music and visuals; the visuals presented may either illustrate, amplify or contradict the music and/or lyrics. Also, it is often the case that we see how the visuals are cut in time to the audio.
In addition to this, Goodwin also highlighted the genre characteristics of music videos, which include: stadium performances, studio performances, location, narrative and conceptual/experimental. No genre of music is distinctly defined by a style of video, however there are key visual indicators and themes that are identifiable. A popular feature is close ups of the artists, often this is implemented as a demand from record companies to feature the artist heavily in the video. Some artists will use this to develop motifs, which occur across multiple videos; artistic branding, celebrity culture, artistic portrayal and implications on looking good. Similarly, star iconography is something that artists tend to develop in their music videos through branding, style, brand values or unique selling points.
There are also many examples of voyeurism used in various music videos in the form of nudity/revealing clothes, exhibitionism, intimate settings and frame within a frame. In this context, the male gaze is often used to attract a male audience, typically achieved by focusing upon a voyeuristic perception towards and an objectification of women. The emphasis of looking is also reinforced by having the artist look directly into the camera.
Finally, Goodwin noted that music videos often incorporate intertextuality, by referencing other music videos, films, or television programs.
References:
GOODWIN, A. (1992) "Dancing In The Distraction Factory". Minneapolis: University of Minnesota Press
In addition to this, Goodwin also highlighted the genre characteristics of music videos, which include: stadium performances, studio performances, location, narrative and conceptual/experimental. No genre of music is distinctly defined by a style of video, however there are key visual indicators and themes that are identifiable. A popular feature is close ups of the artists, often this is implemented as a demand from record companies to feature the artist heavily in the video. Some artists will use this to develop motifs, which occur across multiple videos; artistic branding, celebrity culture, artistic portrayal and implications on looking good. Similarly, star iconography is something that artists tend to develop in their music videos through branding, style, brand values or unique selling points.
There are also many examples of voyeurism used in various music videos in the form of nudity/revealing clothes, exhibitionism, intimate settings and frame within a frame. In this context, the male gaze is often used to attract a male audience, typically achieved by focusing upon a voyeuristic perception towards and an objectification of women. The emphasis of looking is also reinforced by having the artist look directly into the camera.
Finally, Goodwin noted that music videos often incorporate intertextuality, by referencing other music videos, films, or television programs.
References:
GOODWIN, A. (1992) "Dancing In The Distraction Factory". Minneapolis: University of Minnesota Press
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