Quotes for Theorists

1. A2 Media Studies – Section 1b of the exam:
QUOTES /IDEAS FROM THE CRITICS ON MUSIC VIDEOS
Representation
“In a world ordered by sexual imbalance, pleasure in looking has been split between
active/male and passive/female. The determining male gaze projects its fantasy onto the
female figure which is styled accordingly”. (Laura Mulvey, 1992)
What is different in [music] videos is that [some women] directly look back at the viewers
through the camera and they cease to be passive. (Andrew Goodwin, 1992)
“Very often … the absence of the sexualised male body…comes to define masculine
subjectivity in music video and is important in … masculinity maintaining its power. (Railton
and Watson, 2011)
Music videos employ a number of strategies to variously displace, disguise and disavow the
sex of the male body, or even delete it from the field of vision entirely”. (Railton and Watson,
2011)
“Masculine power is defined through physical force and control, particularly in the
representation of the body.” (Trujillo, 1998)
“Masculinity is symbolised by the daring ‘outdoors’ man.” (Men are normally represented as
being part of the ‘public social space’ or being daring, strong and at one with the elements,
rather than confined to internal spaces as women often are). (Trujillo, 1998)
"Masculinity is represented in terms of...Patriarchy" [so the relationship of the artist to
women and other men] (Trujillo, 1998)
Media Language
In music there is a repetition of images or aspects of mise-en-scene which gives a chorus like
effect to the video. Editing reflects the beat of the song. There are repeated shots of the
artist/performer. . (Andrew Goodwin, 1992)
Media Language and Genre
Carol Vernallis (2004) observed that music videos were not like films as they attempted to
capture (quite often disconnected) moments rather than tell a complete narrative. This is
shown In the following ways:
• Usual rules of ‘continuity’ editing are broken
• Edits may be really obvious to draw attention to themselves

2. • Jump cuts are often used
• A master shot (base track) is frequently used to give the video a structure
• Camera may move in time with the music
Genre
Pop songs are repetitive in their resemblance to other pop songs, drawing on almost
identical rhythms, styles of performance and lyrics. This ‘intertextuality’ means that we
become familiar with the genre, and therefore have certain expectations.
(Andrew Goodwin, 1992)
Narrative
Music videos are not like films as they attempt to capture (quite often disconnected)
moments rather than tell a complete narrative Carol Vernalis (2004)
Andrew Goodwin believes “that traditional narrative analysis don’t really apply to music
videos. They approach narrative form from a different angle to films:
(a) music videos are built around songs – and these songs don’t often pose traditional
narrative structures;
(b) the music video uses the singer both as a narrator and as a character;
(c) the singer looks directly at the camera – trying to involve the viewer at home with the
performance”. (Andrew Goodwin, 1992)
Audience
Sometimes music videos provide a visual pleasure for an audience that encourages repeated
viewing – we become familiar with the genre and therefore have expectations”. (Goodwin,
1992)
There is an encoding/decoding model of the relationship between text and audience - the
text is encoded by the producer, and decoded by the reader. By using recognised codes and
conventions, and by drawing upon audience expectations relating to aspects such as genre
and use of stars, the producers can position the audience and thus create a certain amount
of agreement on what the code means. This is known as a preferred reading.
(Stuart Hall)
Star images are constructed, artificial images created through a range of products. Stars
are produced and consumed on the strengths of their ‘meanings’. Very often a star’s
meaning is very clear and obvious so that it is easy for an audience to quickly understand
and make a decision whether to consume. The industry creates a range of stars with
different meanings to meet the needs of different audiences. (Dyer, 2004)