Andrew Goodwin and Laura Mulvey: Music Video Theory

1. "Because music videos are essentially advertising, they ignore common narratives." As consumers, we build up our own meanings for songs in our heads: a music video can anchor meaning and provide a technique of anchoring meaning for the record company/artist."

2. According to Goodwin, a music video has six different conventions.

3. A CONNECTION BETWEEN THE LYRICS AND THE VISUALS, IN WHICH THE VISUALS ILLUSTRATE, AMPLIFY, OR CONTRADICT THE LYRICS. This is how Goodwin recognized a music video's resemblance or contrast to the song's lyric. For example, the lyrics of Jessie J's song "Price Tag" read "it's not about the money," and in the music video, the artist is seen standing in front of a tree with money and jewelry, implying that money isn't an issue for her. The lyrics in this video contradict each other. In Adele's music video for "Someone Like You," the lyrics say "for me it isn't over," and Adele is seen looking very distraught, which connects her emotion to the lyrics of the song. This will make the audience sympathize with her, which is exactly what the filmmaker intended.

4. THE CONNECTION BETWEEN MUSIC AND IMAGES The images of a music video can be changed in time with the words or the song's changing pace, according to Goodwin. He also remarked that similar visuals are frequently repeated within a chorus to emphasize the phrases and beat's repetition. https://www.youtube.com/watch?v=ooZwmeUfuXg Calvin Harris' song 'Bounce' is an example of this.

5. ICONOGRAPHY AND THE REQUIREMENTS OF RECORD LABELS WILL REQUIRE MANY CLOSE-UPS OF THE ARTISTS, AND THEY MAY DEVELOP MOTIFS THAT REAPPEAR IN THEIR WORK. Most musicians, according to Goodwin, have a habit of repeating particular actions in their music videos in order to establish this as their "trademark" action and so make their songs distinctive as a result of this recurrence. This represents the artist's preferred musical style and is a marketing tactic to ensure that the musician is remembered in the future. Location can also express genre; for example, songs in the rock genre are sometimes filmed near a stage to imply a performance. The song 'I Was Made For Loving You' by Kiss provides proof of this. Amy Winehouse's legendary hair, for example, is still recognized long after her death as an example of iconography.

6. 7. MANY CLOSE-UPS OF THE MAIN ARTIST OR VOCALIST: STAR IMAGE CREATION Close-ups of the performer are a frequent feature for record labels to utilize in order to encourage single sales, according to Goodwin. This practice is utilized to display the artist throughout the video, although it is most popular with female artists because provocative angles are frequently employed to sexualize the artist after Laura Mulley's Male Gaze. Britney Spears' "My Prerogative" is the song I've chosen to demonstrate this.

7. 8. REFERENCE TO THE CONCEPT OF LOOKING, SPECIFICALLY VOYEURISTIC TREATMENT OF THE FEMALE BODY Many music videos feature voyeuristic viewpoints of women in order to entice a male audience's interest in the performer as well as the lyrics to which these images refer, according to Goodwin. This is utilized to sexualize the artist and create a bond between the male audience and the artist. Rihanna is shown strolling into a shop in this scenario. Because her face is hidden and she is wearing shorts, the shot is taken from behind, making her a sexual object. Her legs are the center of attention in the photo, which will appeal to male viewers. Furthermore, the fact that a man is looking at her encourages the male audience to do so as well, alleviating any guilt they may have had from perceiving her as a sexual object.

8. 9. THERE MAY BE INTERTEXTUAL REFERENCES TO OTHER MEDIA TEXTS. • Goodwin realized that recognizing a song's graphics or lyrics as a direct reference to another media text was not unusual. This is done to engage the audience and give them a sense of accomplishment if they spot the relationship. The song I choose to utilize is Madonna's Material Girl, which is related to Marliyn Monroe's 1953 film Gentlemen Prefer Blondes. This is a representation of :

9. LAURA MULVEY – THE MALE GAZE "VISUAL PLEASURE AND NARRATIVE CINEMA".

10. Male Gaze :

• When the audience is placed in the shoes of a heterosexual guy, the male gaze occurs. A scenario could emphasize the curves of a woman's body, putting the audience in the perspective of a guy.

• According to the notion, the male gaze denies women human identity, reducing them to objects to be appreciated for their physical looks. This idea also indicates that a woman can see a movie from a secondary perspective and only see herself through the eyes of a guy.

11) VISUAL PLEASURE :

• According to Mulvey, a female character in a story serves two purposes:

• as an erotic object for the people in the story to view, and

• as an erotic object for the audience to behold in the cinema.

12) GENDER ROLES IN A FILM :

• The characters who are to be looked at are viewed as the active role (male)

• The characters who are to be looked at are regarded as the passive role (female) (female).

• Females typically slow the story down, acting as motivation for men to act.

• Males, on the other hand, drive the narrative forward and make things happen, and are regarded as active.