Music video analysis #6- This Is The New S***
Act: Marilyn Manson
Track: This is the new S***
Year: 2003
Director: Tim Skold
Genre: Industrial/ Electronic
Link: https://www.youtube.com/watch?v=4kQMDSw3Aqo
Main audience: As conventional of industrial electronic songs this video's main audience demographic would would be a more mature audience (ages 18-25) and prominently male due to the dark nature of the act as well as the evident male gaze throughout the production. A prime example of this would be the voyeuristic treatment of women in this video in showing scantly clad women. This could easily relate to Levi-Strauss's theory of gender binaries, due to the women being subservient to Manson and his band members.
...
...
Relationship between the visuals and lyrics: Utlilizing Goodwin's lyrical classification theory we can identify the lyrics as being illustrative and amplifying due to the fact the video depicts exactly what is sung. This theory does not apply when no vocals are sung however, meaning instrumental parts of the video which have disjuncture do not apply to the classification theory.
This video displays many conventions of the 'shock rock' genre but is an industrial electronic song at heart due to the electronic elements of electronic and Gothic influences on the music. An example of this Gothic influence would be the seeming gender reversal of lead vocalist (And main focus) Marilyn Manson of whom we see being pampered by women backstage to a concert. This Gender reversal is apparent when we see Manson's fingernails painted red (resembling female convention) in addition to his heavy make up (Including white face makeup highly reminiscent of the goth culture and lipstick). This reinforces Judith Butlers theory of performativity and shows that gender can indeed be constructed in different ways. However outside the backstage setting we see Manson in a more masculine role while singing the chorus in front of a crowd.
The video is predominantly covered by low-key lighting and is dark (conventional of the genre). The Gothic influence is clear to see, due to the make-up and costume design of the video. In addition to this the star treatment is clear to see throughout this video. This is evidenced through the large use of close ups and extended camera shot time on Manson.
The inclusion of an audience in the video is due to an audience track being included in the song itself. With this comes the various camera shots which seem to shake with excitement and energy. This is due to the fast paced nature of the video and music respectively. Moreover this also reflects the perceived insanity of Manson as an act with a plethora of close ups of Manson looking crazy.
When discussing star treatment it is of important note that the voyeuristic treatment of the women is only there to add shock value to Manson himself. This is as we do not even see the women's faces during the scenes of lust. A prime example of this would be when we see Manson kissing a woman's legs while looking at the camera. This indicates the act is not anything to do with the women but to Manson, who is using the woman as an accessory of shock value.
...
...
Relationship between the visuals and lyrics: Utlilizing Goodwin's lyrical classification theory we can identify the lyrics as being illustrative and amplifying due to the fact the video depicts exactly what is sung. This theory does not apply when no vocals are sung however, meaning instrumental parts of the video which have disjuncture do not apply to the classification theory.
This video displays many conventions of the 'shock rock' genre but is an industrial electronic song at heart due to the electronic elements of electronic and Gothic influences on the music. An example of this Gothic influence would be the seeming gender reversal of lead vocalist (And main focus) Marilyn Manson of whom we see being pampered by women backstage to a concert. This Gender reversal is apparent when we see Manson's fingernails painted red (resembling female convention) in addition to his heavy make up (Including white face makeup highly reminiscent of the goth culture and lipstick). This reinforces Judith Butlers theory of performativity and shows that gender can indeed be constructed in different ways. However outside the backstage setting we see Manson in a more masculine role while singing the chorus in front of a crowd.
 |
| Femininity demonstrated |
 |
| Gothic attire |
 |
| Perceived insanity |
 |
| Voyeuristic |
When discussing star treatment it is of important note that the voyeuristic treatment of the women is only there to add shock value to Manson himself. This is as we do not even see the women's faces during the scenes of lust. A prime example of this would be when we see Manson kissing a woman's legs while looking at the camera. This indicates the act is not anything to do with the women but to Manson, who is using the woman as an accessory of shock value.
I won't keep repeating the point, but the audience is once more missing core teens.
ReplyDelete"Levi-Strauss's theory of gender binaries" - no such thing; he theorised this was a fundamental part of narrative structure (gender is an example of how it can be applied). Surely MM is refusing to adhere to normative gender roles through his own appearance?
Detail of how women represented lacking, but useful given your idea?
No influence?!