OutKast - 'Hey Ya!' application of Goodwin's theory's

'Hey Ya' Outkast 

The style of 'Hey Ya' appears to Amplify (as the visual performance expands upon the original lyrics and does not r follow an extremely literal narration of story, nor completely venture of the topic proposed in the lyrics all together) and presents a performance based piece finely interspersed with small comic sections of narrative common of the musical genre. The lyrical tone and message complements the intertextual parody and creates a conceivable link; making it plausible that the lyrics could have been created to present the visual performance - even when revolving around another media text (a 1960's television program). The video follows many of Goodwin's theories, in order to create an extremely watchable and enjoyable experience for a viewer, and primarily an extremely sellable product. Goodwin believed that a good music video consisted of "a clip that responds to the pleasures of music, and in which that music is made visual, either in new ways or in ways accentuate existing visual associations." He saw there being just five key elements which combine in order to create a typical music video - demonstration of genre characteristics, some form of relationship between the lyrics & the visuals - either amplifying (as this video is),contradictory or illustrative, a relationship between the music & the visuals, a presentation of the record labels demands (e.g.: close ups of the star), the continual reference to 'the notion of looking' & voyeuristic features, and finally intertextuality - something which dominates this particular video. 

 It follows suit with many of the typical generic features of hip hop style music videos, and this style is made evident from the first framing; the bright mis en scene and variety of brash, vibrate colours - including a dominant use of purple which is often associated with the arts and connotes a sense of royalty and splendour (which seems suited to the famous reference style displayed in the rest of the MV), and cartoon like setting create a vibrate and up beat atmosphere that coincides later on with the rhythm of the track ( genre typical -audience uplifting & creating a positive vibe, creating a party/dance atmosphere).  

The MV starts with a conversation between the groups manager & the duo of singers. The reference of looking is introduced with the inclusion of 'screens within screens' in order to set the scene for the intertextual style of the MV. We travel into a black and white world of the past through a 1960's style minute television set which mimics those used during the time period of the famous band 'The Beatles'. Inside the archaic television set, a mock British television presenter takes on the reverse from of the American hit TV  presenter Ed Sullivan (who bc for 24 years on the 'Ed Sullivan Show'  - a US variety television program). 

The intertextual link created allows an additional pleasure for those audience members who understand the reference and feel thus more connected to the song and it's comedic post-modern, up beat style. The video takes on the form of an episode of the 'Ed Sullivan Show' where the 60's sensation 'The Beatles' appeared as guest stars on x3 occasions. 'The Beatles' appearance on the show was a milestone for British music, and their first entrance into American culture and big time musical success; so by changing Ed in to a stereotypical bowler hat, posh, upper class British man it almost gives America back their musical dominance in the modern day and age, reversing the hit reaction to become the reaction of the TV audience for 'Outkast' and boosting their star image and sex appeal. 

The Mis en scene inside of the television set is all typical of the 1960's, the women's clothing fits the historic period and even from the opening crowd shots voyeuristic features are evident - for example short tight skirts & bare legs displayed without the visual of a women's face. This notion of looking at the women creates the impression that they are eager for male attention and eating up every last word of the stars song - shaking their boobs, jumping up and down, and creating havoc over their appearance in order to try and win their attention. 

The staging visually matches that of the typical performance space on the 'Ed Sullivan Show' and the camera angle often tilts at a downward angle (high angle for the female audience within the video) creating the effect that the artists have star status and the feeling of being at a gig or live music production - when you have to look up towards the performer on a raised platform. 

The continuation of 'screens within screens' throughout constantly reminds the viewer of the intertextual connections; and the switch between the black and white style screen shots and the explosive mix of colour once entering through the television set into the live show and the cut to a family dancing along to their television in a living room decorated in the style of 1960's interior; creates a sense of coherence (often excluded from music video)  as well as further pulling on a sense of nostalgia or additional pleasure for the viewer, and stressing their 'fame factor' and popularity (both Outkast's and 'The Beatles'). 

The edits cut throughout on the beat and help to emphasise the uplifting tone of the instrumentals and the lyrical vocals. In addition to the costume choices, they include a wide variety of other features which help set the era; the fixed place microphone, close ups of the logo on the drums, the dance styles, style of television cameras & sets, graphical text (in 60's/70's style), though we still feel a sense of the groups identity and 'star image' coming through the copied style - The hip hop bling jewellery, the choreographed movements, sunglasses, hats, predominately black cast - all help to uphold this sentiment. I find the inclusion of the crowns & horse riding hats additionally very amusing they connote typical british elitism & 'title', and play around with the British/American relationship dynamic & stereotypical opinions of each other.

 An audience & artists relationship is maintained by the variety of close up shots of the key artists. This is clearly a choice made my the record label in order to appeal to buying audience, whom they wish to sell their product to (their artist & their song) . Going from this intimate angle and then reversing the shot towards the women dancing; firstly draws the audience personally into the 'selling' gaze of the singer & secondly creates a sense of combinative love for the artists and thus allows the viewer to join in with women's over excited antics, and the community hip-hop feel of the music video.  Further more by having the two artists take on the role of a multiple person band this expands the interpersonal feel of the video and allows creates more of an obvious link to the intertextuality and humours tone (and mellow,bouncy beat). 

The edits strongly enhance the simplistic features of the video, for instance the use of a graphic match which turns the lead singer into a poster and the contrast of the black and white and colour graphology on the poster. (Brining about a sense of revolution & change - seining sixties and black empowerment. As if to prove that they have broken out of this formally white dominated musical world and entered the big time market, with crowds of fans and appreciation). 

Towards the end of the video the concept of voyeurism is subtly but clearly used. A shot used when the focus is pulled and a women is a blurred wave of movement flicking a clear polaroid photograph of the artist, creates a sense that he is all she can see and that she is blinded by his stardom and success. Next a women scantily clothed enters the stage and dances promiscuously up again the artist, while he laughs and freely & proudly moves his hands over her body. Then by flipping from this shot to a high angle view of some of the women in the audience dancing sexually, it further highlights his notion of looking and forces the viewer to dually look down on the women as well. 

Outkast
Outkast musical style : a mixture of Dirty South  G-funk., funk, soul, rock, electronic music, spoken word poetry, jazz and blues. The duo is one of the most successful hip-hop groups of all time