The way Andrew Goodwin wrote his book 'Dancing in the Distraction Factory' in 1992, yet can be applied to music videos from the 1980s, shows how music videos form the 80s influenced him to write his book. For example, his first convention, Video and Genre, where the context and the look of the video both link with each other, as seen in Material Girl. This shows that this music video that I analysed in my previous post, can be seen as a resource for Andrew Goodwin, which he could have analysed and came up with his theory of Video and Genre. This shows 80s music videos to be highly important for his book, and could have set the stride for current music videos that we see today.
Another example is the use of voyeurism in Material Girl and Total eclipse of the heart. This use of voyeurism expresses the female body to be used and for men to look at, emphasising the theme of the 'male gaze'. However, another use of voyeurism is through 'Sledgehammer' which shows him to be looking into the camera, and essentially at us. This type of voyeurism shows him to have a connection with the audience- which also links with he record label wanting the artists to have a personal connection with the audience. All of this further emphasises the importance of 80s music videos and how Andrew Goodwin used them to explain his conventions in a perfect and clear way.
A final example is the use of intertextuality in A-ha's 'Take On Me'. This shows other forms of media to create emphasis on the video and make it seem more interesting, but also allows it to keep in time with the song itself. All of this makes a music video of this narrative style, more interesting to watch and therefore tells a better story. This proves that 80s music videos are key to prove Andrew Goodwin's theory as they use so many of his conventions which helps him argue his theory to other people.
Another example is the use of voyeurism in Material Girl and Total eclipse of the heart. This use of voyeurism expresses the female body to be used and for men to look at, emphasising the theme of the 'male gaze'. However, another use of voyeurism is through 'Sledgehammer' which shows him to be looking into the camera, and essentially at us. This type of voyeurism shows him to have a connection with the audience- which also links with he record label wanting the artists to have a personal connection with the audience. All of this further emphasises the importance of 80s music videos and how Andrew Goodwin used them to explain his conventions in a perfect and clear way.
A final example is the use of intertextuality in A-ha's 'Take On Me'. This shows other forms of media to create emphasis on the video and make it seem more interesting, but also allows it to keep in time with the song itself. All of this makes a music video of this narrative style, more interesting to watch and therefore tells a better story. This proves that 80s music videos are key to prove Andrew Goodwin's theory as they use so many of his conventions which helps him argue his theory to other people.
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