Case Study: Applying Andrew Goodwin’s theory of music videos- BEN RODWELL

Many of Andrew Goodwin's theory's about music videos are present in the video for 'Grape Vine Fires' by Death Cab For Cutie.

For instance there is a clear relationship between the lyrics of the song and the music video visuals. This helps enforce and amplify the lyrics as it enhances them with visuals. For instance in the first chorus of the song where the line "before we all burn" is repeated the audience are shown images of paper like scenes catching fire. By doing this the lyrics are made more prominent and furthermore the music video as a whole is made more relevant to it's song. This theory is demonstrated again later in the music video. As the lyrics "Watched the plumes paint the sky grey" are sang, there is a shot of a sky filling with dark grey smoke. By using visuals that mirror the song, the lyrics are enhanced and reinforced to the audience. It creates a cohesive and relevant music video which is beneficial for the audience. In addition to this, the downbeat, solemn tone of the music video is emphasised by using visuals which mirror the lyrics and furthermore the meaning of the song itself.

As the visuals reflecting and amplifying the lyrics, the same is true for the relationship between the video and the music itself. The structure of the song is mirrored through the structure of the music video; throughout the first two verses and choruses the song slowly builds and the music video follows suit giving the audience an idea of the story of the video. However when the middle 8 section of the song begins (at around 2.20) the protagonist is seen to physically turn a corner on his bike. This is symbolic of the story of the video progressing and moving along. While the lyrics of the song are mirrored in the video, the opposite is apparent in the relationship between the music and the visuals; they contradict. As the music lowers in intensity (fewer instruments play and the emphasis is placed wholly on the vocals) the visuals reach a climax; the protagonist’s brother’s partner is burnt to death. By having the music lower in intensity whilst the visuals reach their peak, it makes the visuals even more powerful and emotional. The middle 8 section of the song uses a different chord progression symbolising the change in intensity the visuals portray. After this section the music reaches its peak and the visuals mirror this showing scenes of rampant fire and the protagonist’s family’s desperate attempt to escape. By experimenting with the visual-music relationship the video pulls the audiences focus around making parts such as the death of the girl seem intense and emotional. This supports Goodwin’s theory

Finally Goodwin states that “there is frequently reference to notion of looking”. This is apparent throughout one of the main themes of the music video. The video starts with a photo in a frame of the protagonist which comes to life as the video progresses. As the video continues this theme is repeated several times; photos in frames coming to life and continuing the story. Often the photos represent better times away from the all-consuming fire. They are used as a metaphor for memories  and this is apparent at the end of the video where the main character returns to the fire to save photos of his brother and his partner. While in more conventional music videos this “notion of looking” is represented through screens, telescopes or glasses this music video, fitting with the paper-like aesthetic, using hand drawn photographs. Furthermore the repeated use of this technique gives a “screen with in a screen” style which is commonly used in music videos. By doing this it relates to the audience as they feel as well as them looking in on this video, the character of the video themselves are too; the audience feels related to.

In conclusion ‘Grape Vine Fires’ by Death Cab For Cutie demonstrates a number of Andrew Goodwin’s theory’s. The visuals both mirror and contradict the music and the lyrics of the song at different points pulling the audiences focus. As well as this the typical convention of music videos incorporating screens is used in this video however in a slightly more alternative way.

UPDATED: Case Study: How do these videos use genre characteristics and conventions?- BEN RODWELL

Three Rock music videos- 'The Weekend' by Modern Baseball, 'Say It Ain't So' by Weezer, 'Deadly Lethal Ninja Assassin' by Reuben


One the most conventional features of any Rock video is a performance of some kind. Where as in other genres such as Electronica or boy bands the focus is either on how the crowd interact with the music or the members of the band itself, the genre of Rock is based around real, physical instruments being played by musicians and so the music video of this genre reflects this. In all three videos footage of a live performance of the band playing the track is used. Not only does this link to the genre's focus on real musicians playing instruments but it also provides the audience with an idea of how the band perform live thus advertising the band by encouraging viewers to go and see them play at a show. A performance helps to excite and engage with the audience as it isn't something that is used exclusively with all other genres and furthermore helps create an effective video. Additionally a performance allows the band members to portray how much passion they feel when the play the music. This can be seen in all three music videos- band members moving with the beat of the music and singers singing with passionate looks on their faces. By doing this it portrays the band as being passionate and genuine in reagrds to their music and furthermore helps to sell the band.

Over time Rock videos have evolved and changed and furthermore conventions and characteristics of the rock music video have also changed. Where as in the 60s-80s,  Rock bands and their members were portrayed as extremely powerful and typically different to their audiences in their videos, in many modern Rock videos the opposite is apparent; producers want the band to seem as ordinary as possible so people identify with the band. This 'ordinarification' of Rock bands and their members is clear in all three of these music videos but is most apparent in 'Say It Ain't So' by Weezer. The mise en scene of the music video creates this average tone. All the members are dressed in very common, casual outfits (clothes the everyday person could easily have), the music video seems to be set in an ordinary, slightly messy   kitchen (hence someone taking something out of the fridge mid-video) and the actions of band members -such as the lead singer scratching his eye during a shot- are very natural and relaxed. By doing this the band are portrayed as ordinary, average people and s a consequence are seen as very relatable. Furthermore this promotes and sells them making the music video effective.

In all three videos, conventional music video editing techniques and camera movement are used to convey an energetic and passionate tone. In almost every genre of music video, quick, synchronised cutting between shots is used to both convey a sense of movement and energy in the video but also to hold the audiences attention. The genre of rock is no different and this quick cutting to the beat of the track is used throughout all three videos. The movement of the camera in the videos is also conventional for Rock videos. By using a mixture of panning, dolly and handheld shots, each music video incorporates movement in its shots. Rock videos typically do this to both tell the viewer that the band is wild, energetic and fun but also to emulate a show, helping to sell the bands live performances. These techniques are especially clear in the video for 'The Weekend' by Modern Baseball. Almost every shot is dynamic in some way, either through controlled panning or dolly shots or through the use of handheld cameras. This links to the songs upbeat and active tone as it portrays movement thoroughly throughout the video. By using camera movement and editing to create a vibrant, dynamic tone in music videos it helps to sell the band as an exciting, enjoyable act.

The Modern Baseball and Weezer videos focus on the alienation and 'geekiness' of the band members to appeal to their target audience. By making the members of the band appear as ordinary and almost nerdy as possible, teenagers (the target audience) will relate to them and feel they can connect with them. For instance the ordinary clothing and everyday location used in the Weezer video makes them seem like a group of normal people. Combine this with a man going about his washing in the background the performance adds a sense of reality. As well as this there is an aspirational aspect to the performance. By making the band members seem like ordinary people, audiences will start aspiring to be like the performers and play in bands such as in Weezer or have great parties such as in the Modern Baseball video.

As a whole, the three videos I chose use conventional techniques and aspects of other modern rock videos. The reason for this could be explained by Andrew Goodwin who stated that "Music videos demonstrate genre characteristics". Furthermore the videos I chose met these conventional aspects as they help portray modern Rock as a whole. for instance there was performance in all of three videos because Rock performers play instruments live on stage, the mise en scene in the videos portrayed the  members as ordinary people because that's the aesthetic of modern rock bands and conventional editing and camera movement is used to emulate the energetic real life performances of these bands. Andrew Goodwin also stated that "The demands of the record label will include the need for lots of close ups of the artist" meaning that close ups are used to give a clear, unmissable advertisement of the band. This is true throughout all three music videos. Close ups and extreme close ups of band members -especially lead singers- faces are used to clearly advertise the band to potential customers. Music Videos in essence are simply devices used to help promote and sell music and so devices such as closeups are almost always used.

Case Study: Media language in 'Judith' by A Perfect Circle- BEN RODWELL

The music video for 'Judith' buy A Perfect Circle uses media language such as editing, mise en scene, composition and camera movement to portray the band as dark, angst filled, powerful and brooding and furthermore to help sell and advertise them and their music.


figure 1

The mise en scene of the video and the performance itself immediately allow the audience to understand the tone of the video and band. The band, dressed in dark, ordinary clothing (for example in figure 1) are performing in a dark, gritty warehouse or large room. By setting the whole video in this underground, alternative scene and by dressing the performers in relatively ordinary yet dark clothing, the band are presented as both powerful but also dark and aggressive. In addition to this the movement and performance of the band members reinforce this representation. Instead of a choreographed dance routine, the performance is spontaneous and uses heavy playing of instruments to again portray the band as angst filled and brooding.


figure 2

The editing and style of editing used in this music video creates a energetic and dark tone. Like in his other projects such as the title sequences in 'Fight Club' and 'Se7en' the director of this music video- David Fincher- used analogue editing techniques to create an instability and grittiness in the video. By physically scratching or distorting specific frames such as in figure 2, the video seems to shake, scratch, distort and judder furthermore portraying the music and the band as angry, uncontrollable and powerful. As well as this Fincher physically removed frames to crate a jumping sensation in specific shots, adding to the uncontrollable tone of the music

figure 3

video. While this editing technique is unique and unorthodox, conventional music video editing is also used. Quick cuts are used to maintain the audiences attention and to convey an energy to the performance. As well as this the action in the video is linked to the music via quick, synchronised cuts to the beat of the song. A huge range of different shot types are used including close ups, extreme close ups, wide shots, low angle shots, tilted shots and high angled shots to maintain audiences focus and to portray a sense of progression through the performance. The use of extreme close ups in music videos is conventional and helps to focus the audience and ultimately sell the band as a whole; by using close-ups of the lead singer for instance in figure 3,

 this focuses the audience on him and sells him to them.

figure 4

Carefully constructed shots are used throughout the music video to allow the audience to understand the dynamic of the group; the shots convey members dominance and power. For instance in figure 4 a combination of composition and shallow focus draw all focus on to the lead singer. By placing the singer dead central in the shot with his hand and microphone in focus, he is portrayed as being powerful as if his presence is forcing the audience to look at him. Figure 5 shows how composition has been used to explain the dynamic of the other band members. In this shot quadrants have been used to split the focus of the audience between two band members by placing

figure 5

 them on opposite sides of the shot.

While this also implies a sense of power as if each member is in control of one half of the shot, it also tells the audience that these members are equally powerful. As a whole, composition in this music video is especially important as whenever a member is shot, they are done so in a way that makes them seem powerful. This adds to the representation of the band as a whole as both brooding and angry yet powerful and in control.

In almost every shot in the music video, the camera is moving. Using dollies and handheld cameras to provide either steady or shaky movement, the camerawork in the video helps to imply an uncontrollable energy the band has as if nothing can stay still whilst they play.

figure 6

the example from figure 6, the camera slowly moves round to where the lead singer is sitting. By using smooth motion via a dolly in combination with the distorted, scratchy, analogue editing technique a balance is created between the wild, energy the music and band have as a whole and the power the lead singer has. While it  helps to create a representation of the band, using camera movement also helps hold the audiences attention,making the music video more successful as a whole.

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