In chapter four, The Structure of Music Video, Rethinking Narrative Analysis, Andrew Goodwin tries to explain to us some of the key features which make up a music video.
He begins by explaining that music videos differ from films for instance due to their non traditional narrative analyses. Then he gives us 2 reasons for why they have different narrative structures.
1. Pop videos are built around songs – and often songs do not pose traditional narrative structures, for example with Tonight’s the kind of night by Noah and the Whale.
2. The pop video uses the singer both as narrator and as a character, an example of this could be the Bike Song by Mark Ronsons.
3. The singer often looks directly at the camera, this is a way of trying to involve the viewers at home with the performer.
Andrew Goodwin then goes on to say that one of the main characteristic of a music video is the repletion it relies so heavily on. The video may repeat images in time with the chorus, or include repletion of parts or rhythms of other songs (intertecturality) in order for us the viewer to become familiar with the genre and also develop certain expectations for it. Sometimes the video may provide visual pleasure in order to encourage repeated viewing with therefore promotes the music. He also reminds us that the video would be played on TV, the radio and maybe during the advertisement of films, this all then makes the song very familiar.
Goodwin also gives us 3 types of relationships between songs and videos: illustration, amplification and disjuncture. Often pop videos for instance have easily recognisable features in order to be more memorable, however all types of music videos try and appeal to as wide an audience as possible without alienating the core target audience.
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