Andrew Goodwin explores the idea that pop videos do not follow the same structure of traditional narratives of Todorov whereby the narrative begins with equilibrium, a disruption of equilibrium, realisation of this and action until a new equilibrium is restored. Goodwin believes that the artist is both the narrator and the character in the music video and that songs do not often pose narrative structures. Pop videos often rely on repetition to keep the audience entertained whereby images and shots are repeated similar to the chorus of a song; consumers generally watch videos to enjoy the music and admire the artist, therefore close ups and lots of screen time are given to them. If a narrative is included in a pop video it vsery rarely has a beginning or a end to it, and often just captures moments in the middle of the drama. The building of climax through the structure of the music is generally how the audience know when the is drawing towards an end. However, there are three main types of music videos.
Illustration – where the video tells the story of the lyric.
Ludacris ft Mary j bilge – Runaway Love
The exact lyrics are happening in the song, it tells three stories of young girls running away from home and the video supports and shows the meaning of the lyrics to the audience.
Amplification – where the video introduces new meanings that do not contradict the lyrics but add more layers of meaning to them.
Lil Wayne - How to love
The video goes into further details of the impact of not having self respect and knowing how to love yourself as well as others. It conveys how people will treat you if you cant respect yourself and add more layers of meaning to the lyrics.
Disjuncture – where there is little connection between the lyrics and the video.
Lady gaga featuring Beyonce – Telephone
The video has very little to do with the lyrics.
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