Andrew Goodwin: Chapter 4 of ‘Dancing in the
Distraction Factory’ summary.
Andrew Goodwin feels the traditional narrative
structure doesn’t really apply to pop videos as they approach narrative from a
different angle to novels and films. He says there are three main reasons for
the different narrative structures: Firstly, pop videos are built around songs,
and more often than not songs don’t pose the traditional narrative structures
of normality-problem-resolution. The second reason Goodwin gives is the fact
that pop videos tend to use to singer as both narrator and the character.
Thirdly, the singer often looks directly at the camera, talking to the viewers,
trying to involve them with the performance- whereas most films or novels
wouldn’t do that.
Goodwin also goes on to say that pop videos
rely of repetition, the video repeats images in the way the song does the
chorus or lines. Through this repetition we become familiar with the genre and
thus have certain expectations. Also the song could be a tie-in to a film or
television show, meaning it would be advertised and again would be familiar.
Although Goodwin doesn’t feel pop videos
follow a traditional narrative structure he does say they have a form of
structure. This is because the songs do, so the videos do. The song the video
is based on must end as so does the video. The video usually ends in reflection
to the music structure, building to a climax or constant repetition before
fading away.
A very interesting point Goodwin makes is
about the three types of relations between songs and videos: Illustration,
Amplification and Disjuncture.
Goodwin also goes on to
point out that pop videos have easily recognisable features. Such as Michael
Jackson when he yelps or twirls in his videos,
or the way women are presented as objects of male desire. In other
videos instruments in the music are represented by different objects. An
example being ‘Rock the Casbah’ by The Clash, where every time the piano plays
and armadillo is shown trundling along.
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