Application of Goodwin’s Theory to a MV of my choice:
‘Can’t Stop’ by Red Hot Chili Peppers
(Dir. Mark Romanek, 2003)
Funk-rock band The Red Hot Chili Peppers have, over their twenty-eight year history, defied the limitations of their genre to become an award winning, internationally recognised band. ‘Can’t Stop’ comes from their eighth studio album ‘By The Way’, and has features a unique surreal style that would later become the inspiration for a plethora of abstract low-budget music videos by indie bands in the ‘YouTube era’.
Unlike other music videos, there is almost no relationship between the lyrics and the visuals. Besides a few of singer Anthony Kiedis’ dance moves (for example, the line “complete the motion if you stumble”) and a couple of other oblique visual references (“your image in the dictionary” is accompanied by a passport-style close-up of bassist Flea), the visual style is largely abstracted from the song.
The video itself was inspired by an exhibition by Austrian artist/sculptures Erwin Wurm. Entitled “One-Minute Sculptures”, it comprised of a series of spontaneous and humourous images, often created from everyday objects in the mise-en-scene. The director is unashamed by translating his influences so directly into the video, and the final frame serves as a tribute to the artist from whom the ideas were taken. The video is also shot entirely in one large, cavernous empty space, and most shots are ‘blank’ with empty, white frames usually except one key colourful object in the frieze, giving the video a very bright, clear, colourful and modern visual style, which imitates the idea of these events taking place in a modern art gallery.
As such, ‘Can’t Stop’ is comprised of a montage of increasingly bizarre and abstract vignettes, featuring members of the band using everyday props to create memorable ‘sculptures’ forming the main concept of the video. However, that is not to say the visuals do not amplify the song. Despite the images themselves being random, the camerawork and editing are used to emphasise certain elements of the song. The sharp riff and funk-based slap bassline are highlighted by the strictly on-beat and fast paced editing. The editing pace also follows loosely the musical texture and rhythm for each section of the song, such as the slower middle eight or the intense guitar solo, creating a synaesthetic bridge between the music, the visual images shown and the way in which they are edited together.
Aside from the ‘sculptures’, the rest of the video comprises of band performance on a small, clear stage. The camerawork, shots, and editing style here is very conventional for a rock band’s performance, with fast cuts and a range of shot angles and distances, including lots of close-ups of the performers and their instruments. Similarly, the motif of star image, although not as prominent as in other music genres, is also featured here. There are many more close-ups of Kiedis as frontman than any of the other band members, especially focusing on his personality represented through flamboyant and erratic dancing rather than musical talent. The video also continues the construction of the band’s visual style as a quirky funk-rock band. They typically perform shirtless live, and their abstract lyrical content and idiosyncratic approach to music is fully represented here. However, a voyeuristic approach can be taken to Kiedis' nude torso, in objectifiying his body through the viewer's "controlling gaze" (see post on voyeurism), emphasising a sexual treatment of the star. Despite this, due to the genre of music and its associated music video styles, and taking into account the way the band has constructed its image over the years, it is logical to conclude that any voyeuristic pleasures gained from watching this video were not a primary motive behind any creative decisions during the production of this music video.
On the other hand, in this music video, there are copious references to the notion of ‘looking’. It begins with a “down the rabbit hole” tracking shot through a plastic tunnel, inviting the audience into the absurd world of the video, and the band. This is referenced in a few later vignettes. A key cutaway featured repeatedly is a close-up of Kiedis singing into a convex mirror, breaking the fourth wall to stare directly at his audience; an inherently scopophilic shot.
On the other hand, in this music video, there are copious references to the notion of ‘looking’. It begins with a “down the rabbit hole” tracking shot through a plastic tunnel, inviting the audience into the absurd world of the video, and the band. This is referenced in a few later vignettes. A key cutaway featured repeatedly is a close-up of Kiedis singing into a convex mirror, breaking the fourth wall to stare directly at his audience; an inherently scopophilic shot.
Ultimately, by disregarding narrative and instead exploring a unique art-based concept, supported by conventional band-based performance, Romanek manages to create a cohesive yet simultaneously abstract, absolutely memorable music video.
