Andrew Goodwin's identified music video conventions (Michael Jackson’s “Thriller”, 1983)

1. Music videos demonstrate genre characteristics (eg stage performance in metal video, dance routine for boy/girl band).

I decided to analyse Michael Jackson’s iconic 1983 music video “Thriller”, as I thought it would be interesting to explore the relevance of Andrew Goodwin’s ideology when applied to what is often cited as the “greatest music video of all time”.

Michael Jackson’s “Thriller” was considered revolutionary for its time as it was the first music video that combined high production values with a more complex narrative. “Thriller” further developed characteristics which Jackson had previously established in his earlier music videos (“Billie Jean” and “Beat it”) such as complex choreography and a more sophisticated narrative which subsequently defined Jackson’s later work, ultimately transforming the music video from a promotional tool into an art form.

In my opinion, Jackson’s unique use of production values (special effects), his signature choreography (synchronized dancing, the moonwalk and the anti gravity lean) and multi-layered narrative, has resulted in the creation of his own sub genre where a Jackson music video is instantly recognizable. This has resulted in Jackson’s audiences holding a high level of expectation regarding the inclusion of certain motifs in his later work, especially after the release of “Thriller”.

2. There is a relationship between lyrics and visuals (illustrative, amplifying, and contradicting).

True to Goodwin’s ideology, there is a complementary relationship between the lyrics of Michael Jackson’s “Thriller” and their corresponding visuals where the visuals illustrate the song’s lyrical content. For example when Jackson sings “You feel the cold hand and wonder if you'll ever see the sun” he adopts the physicality of a zombie and places his hands on his girlfriend’s back (as denoted in the screen below).

Another example where Jackson adopts his physically in order to visually illustrate the lyrics is evident when Jackson sings “You hear the door slam and realize there's nowhere left to run”. In this instance he swings around like a door hinge and assumes a pose where his arm is raised to metaphorically communicate a barrier (symbolizing a door)- as denoted in the screenshot below.


The lyrical content of “Thriller” contains various allusions to supernatural beings (werewolves, zombies etc.) and the horror genre in general. These lyrical allusions have a literal(visual) presence in the music video as highlighted in the screen shots below.

3. There is a relationship between music and visuals (either illustrative, amplifying, contradicting).

The complex composition of “Thriller” is multi-layered where each musical element complements the visuals of the music video but in a different way.

The instrumental of “Thriller” contains an underlying bassline which perfectly complements the choreography in the music video(as seen below).

“Thriller” also employs various eerie scores which are highly reminiscent of the horror movies released in the 1950s. These scores enhance the tension during the climaxes of the music video such as Jackson’s transformation (in the film) , Jackson’s “real” transformation and Jackson(now transformed) closes in on his girlfriend.

These moments can be seen below.

“Thriller” further amplifies its horror driven visual elements by the inclusion of appropriate sound effects such as wolves howling, creaking doors and footsteps which are embedded throughout the music video.

4. The demands of the record label will include the need for lots of close-ups of the artist and the artist may develop motifs which recur across their work (a visual style).

“Thriller” conforms to Godwin’s belief that the demands of the record label will include the need for many close ups of the artist (as seen below). This is vital in increasing the artist’s exposure and subsequent recognition ultimately leading to a increase in fans and hence profits.

As previously mentioned “Thriller” was a landmark video in Jackson’s career in which he established many motifs such as elaborate choreography, high production values, and elements of the supernatural as well as extended scenes where emphasis is placed on acting in order to create a more complex narrative. These motifs made a Jackson video instantly recognisable thus establishing him not only as an artist but a brand.

Jackson’s signature “crotch grab” (popularised by “Billie Jean”) was incorporated into “Thriller” as denoted below.

5. There is frequently reference to the notion of looking (screens within screens, telescopes, etc) and particularly voyeuristic treatment of the female body.

The notion of looking is clearly embedded within “Thriller”, as the initial events in the music video do not actually occur within the "reality" of the music video but exist only as part of a horror movie which is being viewed by a cinema audience that includes the protagonists (as seen in medium shot below).

Another reference to the notion of looking can be viewed below.

This screenshot denoting the theatre where the horror film was being screened references both the title of the music video and Vincent Price who later performs a spoken rap during the music video. The title display of the movie theatre serves as a clever introduction to the music video which invites the audience to watch (look).

In my opinion “Thriller” does not include voyeuristic treatment of women as the female character is portrayed as an innocent and weak damsel in distress who needs to be protected. When applying Laura Mulvey’s theory of “the Male Gaze” the female protagonist is portrayed as a “Madonna” rather than a “whore”.

However, the actress who plays Jackson’s girlfriend, Ola Ray (seen below) was Playboy’s playmate of the month in 1980 (3 years prior to “Thriller”), possibly influencing the decision to cast her thus indirectly suggesting an approval regarding the voyeuristic treatment of women.

When applying a feminist perspective, the fact that Ola’s character is not given a name further suggests her character is primarily there to be seen thus objectifying her.

6.There is often intertextual reference (to films, TV programmes, other music videos, etc).

“Thriller” bears many intertexual references to the codes and conventions of the horror genre and therefore could be seen as a homage to horror films , especially those from the 1940s and 1950s.

Sound effects such as wolves howling, approaching footsteps, doors creaking and the employment of reminiscent eerie horror scores as well as the inclusion of supernatural beings (werewolves and zombies) are all examples of typical codes and conventions of horror films which “Thriller” incorporates successfully.

The tittles of “Thriller” are coloured red (connoting blood) which is a well established convention used in the horror genre thus preparing the audience for what lies ahead.

Further references to the horror genre are clearly evident through the presence of classic horror movie posters as denoted in the screenshot below.

Jackson hired John Landis to direct “Thriller” after watching his 1981 film “An American Werewolf in London” and as a result the transformation of Jackson’s character (in the horror movie) bears similarities to that of David’s character in An American Werewolf in London”.

Yet another intertextual reference infused into “Thriller” is the inclusion of the line “see you next Wednesday” (a reoccurring joke which is present in many of Landis’ films) which is spoken by police officers in the horror movie that is being watched by Jackson.