1. Typical characteristics of music videos relating to music genre.
2. A relationship between music and visuals.
3. A relationship between lyrics and visuals.
4. Close-ups of the artist and artist branding as required by their record label.
5. Development of an artists visual style in their music videos over time.
6. Voyeurism within music videos and the male gaze.
In the book, Goodwin explains as to how music videos often demonstrate genre characteristics. An R&B video will often feature voyeuristic images of scantily clad women and have an emphasis on wealth
Illustration is one of the three ways the music and lyrics relate to the accompanying visuals of the text, according to Goodwin. When the visuals illustrate the music for example, there may be a cut on a beat in order to add emphasis to such or to ensure the visuals keep up with the pace of the music. By illustrating the music, a stronger engagement of the audiences' focus can be made. Visuals can also either literally or metaphorically show the audience the meaning or emotions of the lyrics. The artist/s may also be illustrated by showing them performing or dancing to their music.
The second major way the music and lyrics relate to the visuals is through amplification. Amplification, as Goodwin refers to it, is the ways in which the visuals add more to the music and lyrics. For example, a fictional narrative related to the lyrics may be established to add more meaning and context through the visuals.
Disjuncture is the remaining third method of relation. When the imagery is in disjuncture to the music and lyrics, this essential means that they have no recognisable relation to one another. This method may be utilised to add a sense of irony to an otherwise happy song for instance. A popular example of disjuncture in a music video is Justin Bieber's video for 'Sorry', of which only features females dancing in a choreographed sequence. The lyrics of the song do not relate to dancing in any way. However, in contrast the choreography and editing does in fact illustrate the music.
In closing, Goodwin reasons why he believes music videos should be viewed as more than just postmodern pastiches and also criticises taking a postmodern approach to music television analysis.
