Andrew Goodwin feels that traditional narrative analyses don’t apply to pop videos and that pop music approaches narrative in a different structure to novels and films and the reason for this is as follows:
1. Pop videos often don’t pose to traditional narrative structures (normal-problem-resolve)
2. Pop videos usual use pop singers not only as a narrator but as a character.
3. The singer also looks into the camera to try to involve the viewer at home.
Pop videos use a lot of repetition. The video often repeats the chorus or lines but also repetition in song parts and rhythm. There is also a lot of media coverage which makes the song familiar due to the constant repetition.
Pop songs and there video have some form or another of an ending and often reflects the structure of the music to which it may build to some form of climax before it is faded away.
The visualization of the song in some pop music video’s goes beyond the original meaning of the pop song some of these songs also promote other mediums such as film. And so it could be said that there are 3 types of relationships between songs and videos:
- Illustration: where the lyric are reflected in the music video
- Amplification: is when the video shows new meanings that don’t contradict the lyrics but add new layers of meaning.
- Disjuncture: is when a music video have very little to do with the lyrics or where it completely contradicts the lyrics.
Pop video’s often have very clique features such as woman being presented as objects of male desire (particularly in hip hop) which leads to some female’s deliberately presenting themselves that way look directly into the camera at the viewers they cease to be passive.
Video’s try to appeal to different audience’s without alienating there target audience. Such as with older bands they show video footage from their younger days so older audience can still identify with them.
Also the songs that are written for a movie soundtrack often show images of the movie in the video.
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