Andrew Goodwin: Music Video Analysis

Andrew Goodwin states that all music videos contain 6 fundamental things in order for them to have a meaning and make sense to their audience.

In order to investigate if Goodwin's theory is correct I used a similar text, to Tink's Treat Me Like Somebody (Alessia Cara's- Here), analysing it using Andrew Goodwin's Music Video Theory.

1. Music videos demonstrate genre characteristics/ codes and conventions (e.g. stage performance in rock videos, dance routines in boy/girl bang videos).

Alessia Cara's "Here" is of the R&B genre, we can gather this through the narrative as she is at a party but she would rather be at home; linking to the idea that the target audience are teenagers, young females to be precise who are just being introduced into the partying aspect of adolescences, selling the message that it is normal to be socially awkward in the beginning of adolescences as her target audience is just being exposed to the idea that "friends are the most important" during this time. We know this because of the visuals demonstrated by the artist herself, who appears bored and unfazed of the partying atmosphere, as well as the lyrics" I'm sorry if I seem uninterested". This is to reinforce the idea/message that it is okay if not normal to feel this way during your teenage years, thus allowing the artist, Alessia Cara to relate to her audience.

2.There is a relationship between lyric and visuals (either illustrative, amplifying,contradicting.)

The visuals are illustrative as we gather the artist appears to be unamused and not enjoying herself at the party. She questions "Oh why am I here?". Often asked by socially awkward teenagers who don't enjoy social gatherings, thus allowing Alessia to relate to her target audience who are young females that are just being exposed to this 'lifestyle'. This allows the audience to view what they imagined when listening to the lyrics as the message being sold is that social gatherings are not for everyone as the audience may find comfort in being at home by themselves as oppose to being at a house party, where individuals are possibly consuming alcohol and drugs,which many individuals may not find enjoyment in; making the artist appear relatable to her audience as a whole as well as removing the idea that all 'celebrities/artists' enjoy the partying lifestyle.

3. There is a relationsip between music and visuals (illustrative, amplifying, contradicting).

The visuals of extras are stills of them partying/socialising, referencing that while the artist is there time is still, to emphasise the artist's distaste for the gathering relating to her target audience as again socially awkward teenagers may feel uncomforable and that time is moving slow while at social gatherings. The idea that the artist finds the party pointless is shown through the lack of facial expressions given by the artist, often a reacion most people have when bored; which adolescents often feel during some parties; is shown through the slow pace tempo and the dynamic visuals used, as the slow tempo could be percieved as a representation of the time/pace ofthe party.This again reinforces the message that social gatherings are not for everyone and it is often common if not normal to be socially awkward.

4.The demands of the record label will include the need for lots of close ups of the artist and the artist may develop motifs which recur across their work (visual style).

The visual style used in this video focuses on fluidity and smooth transitions by standing from a pinpoint opposite the artist and zooming into her then zooming out to swiftly pan the camera to keep a smoothness throughout. We only see 4 obvious cuts, using a variety of close ups, mid shots and long shots. The close ups of Alessia Cara are used to show she has average fashion style, that she is 'one of us' in a sense; not to exaggerate her looks but to show she has the same interests as us. By doing this the artist appears approachable to her target audience, she is presented as someone who is modest and humble as oppose to being 'big headed' and 'diva-like' often associated with female R&B artists such as artists like Mariah Carey etc. Breaking the codes and conventions of artist behaviours associated with the R&B genre. Making Alessia Cara appear friendly and understading.

5. There is frequently reference to notion of looking (screen within screens, telescopes, etc) and particulary voyeuristic treatment of the female body.

The music video lacks voyeuristic treatment of the female and male body as her target audience is predominantly teenagers to young adults females, her music video is used to relate to the partying craze often promoted during adolescences. Rather then promote that lifestyle she is challenging it by constantly stating she "can't wait until they can break up out of here" through lyrics, and also the stills of everyone else states that time is standing still during the party as she is uninterested in it. However, voyeurism can be percieved through how the music video is constructed as the notion of looking through a screen/POV is constantly presented; the idea that we(target audience) percieve how Alessia Cara feels at the party, a sense of disgust/discomfort overwhelms us as we feel we are present at the gathering and we to would also prefer not to be at the party.

6. There is often intertextual reference to films, Tv programmes or other music videos.

Alessia Cara's - Here has intertextual references to Kendrick Lamar's Swimming Pools through the idea of still images (that were during movement but pauses). This appeals to her target audience as it is a form of surrealism as we may feel that time is still even though the world is continously moving. The message that although we wish for time to be still during some moments, it is continous, this is seen through the visual style to illustrate what we think and feel at different points of our life in order to relate to her target audience, but also to emphasise during this point in time (the party) it is an inconvience. Again, giving the artist the portrayal that she is 'one of us'.

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