Goodwin's Theory

Goodwin took huge interest in the conventions used in R&B and Grime music videos. He came to the conclusion that R&B and Grime music videos were based on eight main principles. These were as follow:

1. Links between the lyrics and the visuals (what is on screen) - this would mean that what appeared on screen would happen in relation to the lyrics of the song. For example, if the lyrics commented on an argument, this would be shown on screen.
2. And if the links between the lyrics and the visuals are used to compliment, contradict or to amplify one another.
3. The characteristics of the genre.
4. Intertextual reference - This would mean linking the music video with something else well known, such as popular films. This could be the set, costume or props used to give an indication of this intertextual reference.
5. Objectification of women - This convention would made the video to be aimed at men, as it would show the woman/women in a sexual nature. This could include showing of the skin via costume (or lack of) or being positioned in what could be considered as sexual stances rather than a stance that would reflect an emotion or a more simple standing and performing stance. This could also include promiscuous dancing throughout the video. The objectification of women in music videos is to make it appeal to men, and therefore widening their audience.
6. Voyeurism - Having the insight to the life of the person on screen, this is mainly the artist. This can be shown looking through mirrors to see their reflection, other people looking at them and watching them or even screens being shown watching them.
7. Demands of the record label - This would most commonly be the representation of the artist. In order for music to sell and for the artist to gain popularity and interest, labels try and set up an image for the artist that is unique and appealing to the audience. This will make the artist become more noticed and heard of in the industry, thus making more money for the label. The representation of the artist can come through in their music videos, as a demand from the label, to show this image of the artist on screen.
8. Performance, narrative or concept based - For performance based videos this would mean the artist singing and dancing to the camera as if they were performing for an audience in front of them. A narrative based video would show more of a story line throughout the video, this doesn't always link with the lyrics of the song. A concept based music video would show an idea or a thought, this could make it quite unusual and perhaps even random, it could be nothing to do with the song but could however be thoughts and ideas interlocking to come up with an overall unique and unusual concept and meaning.

In order to test Goodwin's theory, I have decided to take the following R&B music video, What You Waiting For by Gwen Stefani, and make a thorough analysis of what I have seen that can be linked to the theory itself.

As the video starts it is clear that a story is being formed as it shows the artist in a studio struggling to write lyrics for a song, this creates the idea of a narrative based video. The idea that you can see into what is intended to be the artist's private life in the studio shows the convention of voyeurism that Goodwin had included in his theory. As this is forming Stefani is also shown wearing a cropped top with a fairly low cut vest top underneath, revealing a lot of skin. This could be shown to be objectifying her as it would be more for the male audience's interest in her. (Screen capture shown below)

When Stefani is shown back in the studio at her piano, a large pocket watch is shown and you hear a faint ticking. The lyrics then begin, opening with "tick tock, tick tock". This could be considered to show a link between the visual and the lyrics as the ticking of the clock turns from the original sound into lyrical ticking. The pocket watch also shows intertextual reference (screen capture shown below), which at first might not be noticed straight away, however as the video continues and moves on to different locations, settings and costumes, it becomes clear that it was in reference to the well known children's story Alice in Wonderland. This unusual and abstract themed video could perhaps be considered to be seen to be making the video a more concept based music video.

Once Stefani appears to be sprawled across bushes in an unusual realm, there is another sense of objectifying her, as you could consider the positioning of her body to be more sexual than anything else. This becomes more apparent throughout the video as she makes some rather promiscuous "dance" moves in this position. (Screen capture shown below)

Throughout the video a story book is shown (screen capture shown below), as the lyrics are heard the words appear in the pages of the book - as if it is writing itself. The old fashioned font of the writing in the book is a very typical style that would appear in fairytale books, again linking to the idea of the Alice in Wonderland intertextual reference. This also shows another link between the lyrics and the visuals. Although this is shown in a different way than what would usually be seen or expected, it is still linking the two together and in a very appropriate way that meets the theme of the overall video.

A lot of the dancers in the video, and Stefani herself, are shown in costumes that not only match the innocent children's fairytale, but are also quite revealing. They are seen in hot pants with very large, high heeled shoes, low cut tops and dresses which are very tightly fitted which enhances their curves and brings more attention to this. The dancers are also seen fairly often throughout the video from behind as they are dancing promiscuously in these revealing clothes. (Screen capture shown below)

The idea of a performance based music video is shown all throughout the video, starting at the beginning where the introduction is shown as a few short acting scenes. After the acting has finished and the music begins, Stefani is singing to the camera, which is giving the effect that she is singing to the audience. Further into the video the performance aspect becomes stronger as the dancers appear and the music becomes more upbeat, making the on screen dancing and cuts quicker to match the beat, which gives off the impression of a very fascinating performance.
Further into the music video, a tea party scene appears on screen. This scene is a very obvious intertextual reference to the tea party in Alice in Wonderland. Not to mention another sign of the objectifying of women is shown as Stefani can be seen walking along the table in very short shorts and a very tight, low cut, strapless top. Not to mention that as she is strolling over the cups and saucers whilst singing, she bends down towards the camera, which is a more sexual stance as it then becomes apparent that she is wearing a rather revealing top. (Screen capture shown below) This is all shown from a high angle, which is angle that looks up to her, which only makes her legs look longer, therefore being very complimentary to her figure and drawing attention to this. Also not forgetting that the high angle shown, also gives the impression that she is in power and has dominance over the audience.

At the end of the music video it cuts back to Stefani in her studio singing, she grabs a microphone and starts dancing around, in her considerably revealing clothing, whilst singing the song to a group of four girls. (Screen capture shown below) This not only gives more of the impression of a performance based video but also shows another form of voyeurism as it shows people watching the artist in her studio as she dances and sings.

To conclude, from testing the theory I have found that the theory can relate to this music video in many ways as several of his listed conventions have been used throughout the video. As I have chosen an video that is a few years old and was also a popular R&B song at random, and have successfully compared what I see to the points and conventions Goodwin mentioned in his theory, I have found and do believe that his theory is correct for this genre.