Michael Jackson - Billie Jean
Our second Music Video CSP is Michael Jackson - Billie Jean.
This was a hugely influential media product that helped set the conventions for future music videos - and persuaded Michael Jackson's record company to throw million-dollar budgets at future productions.
Notes from the lesson
Goodwin’s music video theory
Steve Neale states that though all genres are structured along the identical conventions of plot, narrative and mise-en-scene, success lies in their ability to manipulate and re-shape these elements.
In this sense, all genres all contain instances of repetition and difference – and difference is essential to the economy of the genre.
Neale’s model holds that a product’s genre is defined by:
Michael Jackson largely defined the modern music video with Billie Jean. He followed it with two bigger-budget videos: Bad (directed by Martin Scorcese) and Thriller (directed by John Landis) – pushing the boundaries of the music video genre.
Both of these later videos were effectively short films that leaned heavily on film genres – using well established film directors. This reinforced the intertextual element of his music videos and helped to create the Michael Jackson identity of the 1980s and 1990s.
Michael Jackson - Billie Jean
Billie Jean changed the music industry by introducing the idea that a single must be accompanied by a high-production video - thereby transforming a song release into an “event”.
In doing so, Billie Jean transformed MTV from a small niche TV channel for young people into a cultural institution that wider society paid increasing attention to. It also changed MTV itself – persuading MTV executives that a white rock orientated audience would respond enthusiastically to videos featuring a black performer, something they had not previously believed.
Billie Jean and postmodernism
Michael Jackson - Billie Jean blog tasks
Work through the following tasks to create a comprehensive case study for Michael Jackson's Billie Jean music video.
Media Magazine reading: Billie Jean, birth of an icon
Go to our Media Magazine archive and read the case study on Billie Jean - birth of an icon (MM62 - page 20). Answer the following questions:
1) What was the budget for Billie Jean? How did this compare with later Michael Jackson videos?The budget for the video was $50,000, not small, but as it turned out not big enough to accommodate Jackson’s idea that mannequins in a shop window would come to life and dance behind him.The record company wouldn’t pay an extra cent for backing dancers so Jackson dances alone.
2) Why was the video rejected by MTV?
MTV they refused to air the video, arguing that it didn’t suit their ‘middle America’ audience. Mercifully for Jackson, the president of his record label, Walter Yetnikoff, threatened MTV saying: "I’m pulling everything we have off the air, all our product... And I’m going to go public and fucking tell them about the fact you don’t want to play music by a black guy".
3) Applying Goodwin's theory of music video, how does Billie Jean reflect the genre characteristics of pop music video?
Genre Characteristics. The video contains many conventions of the pop genre: lip-synching, performance interwoven with narrative, dance routines, high-fashion costume.
4) How do the visuals reflect the lyrics in Billie Jean?
Key lyrics are amplified through the visuals: the song is about a girl, Billie Jean. Although we never see her as a character in the video, we are presented instead with other images suggestive of females in general with whom he never comes into contact.
5) Why does the video feature fewer close-up shots than in most pop videos?
The video assists the star-construction of the artist, not so much through the close-ups that you might expect in other pop videos, but through the focus on the distinctive dance moves which had not been seen onscreen before.
6) What intertextual references can be found in the video?
The notion of looking can be seen through the use of the private detective (also an intertextual reference to Noir film and detective fiction).
7) How does the video use the notion of looking as a recurring motif?The notion of looking can be seen through the use of the private detective (also an intertextual reference to Noir film and detective fiction). Jackson is being watched and followed; a polaroid camera attempts to capture his image but he’s elusive, mystical.
8) What representations can be found in the video?
Jackson is beginning to construct a narrative about himself and establish his identity.
Close-textual analysis of the music video
1) How is mise-en-scene used to create intertextuality - reference to other media products or genres? E.g. colour/black and white; light/lighting.
2) How does the video use narrative theory of equilibrium?
It makes a feeling of riddle and if a normal for a spy genre. Likewise it features the significant minutes in story and the exhibition.
5) What meanings could the recurring motif of 'pictures-within-pictures' create for the audience?
The possibility of Michael continually being in the spotlight and the verses allude to the popularity and how it is basic to be cautious since everybody is continually observing.
6) Does the video reinforce or subvert theories of race and ethnicity - such as Gilroy's diaspora or Hall's black characterisations in American media?
It's the video, however the general picture of Michael Jackson as a standout amongst the most prevalent individuals on earth as a black person and showing up as a nessesery artist in stations like MTV. It attempts to battle the dark diasporic personality – the sentiment of never entirely having a place or being acknowledged.
7) Does this video reflect Steve Neale's genre theory of 'repetition and difference'? Does it reflect other music videos or does it innovate?
This video can be viewed as a ' repetition ' of the average lip-synchronizing music video just as a music video account. There is confirmation that ' distinction ' is Michael Jackson's move, notwithstanding, this video changed the manner in which moving was seen.
8) Analyse the video using postmodern theory (e.g. Baudrillard's hyper-reality; Strinati's five definitions of postmodernism). How does the 'picture-in-picture' recurring motif create a postmodern reading?
There's additionally a great deal of intertextuality and the possibility of hyperreality which in this video is by all accounts the genuine reality as Michael discusses his real issues.
Extension reading: Michael Jackson
Read this fascinating Guardian feature on Michael Jackson and race - building on our recent work on music video, genre, theory and representations of race and ethnicity.
Another Guardian feature - How Billie Jean changed the world - explores the cultural influence of the song and video.
This was a hugely influential media product that helped set the conventions for future music videos - and persuaded Michael Jackson's record company to throw million-dollar budgets at future productions.
Notes from the lesson
Goodwin’s music video theory
Andrew Goodwin’s theory of music videos states that music videos contain some or all of the following elements:
- A link between the visuals & lyrics (compliment, contradict or amplify)
- Genre characteristics (heavy metal in industrialised settings; rap music in urban street contexts etc.)
- Contain intertextual references (references to popular culture)
- Contain notions of looking (e.g. screens within screens)
- Include objectification of females (e.g. male gaze)
- Include demands of the record label (close ups of lead singer, symbols or motifs associated with the band / performer etc.)
- Video will be performance, narrative or concept based.
Neale’s genre theory of Repetition and Difference
Steve Neale states that though all genres are structured along the identical conventions of plot, narrative and mise-en-scene, success lies in their ability to manipulate and re-shape these elements.
In this sense, all genres all contain instances of repetition and difference – and difference is essential to the economy of the genre.
- How much it conforms to its genre’s individual conventions and stereotypes. A product must match the genre’s conventions to be identified as part of that genre if it is to attract that audience.
- How much a product subverts the genre’s conventions and stereotypes. The product must subvert convention enough to be considered unique and not just a clone of another product.
Michael Jackson: defining genre
Both of these later videos were effectively short films that leaned heavily on film genres – using well established film directors. This reinforced the intertextual element of his music videos and helped to create the Michael Jackson identity of the 1980s and 1990s.
Michael Jackson - Billie Jean
Billie Jean changed the music industry by introducing the idea that a single must be accompanied by a high-production video - thereby transforming a song release into an “event”.
In doing so, Billie Jean transformed MTV from a small niche TV channel for young people into a cultural institution that wider society paid increasing attention to. It also changed MTV itself – persuading MTV executives that a white rock orientated audience would respond enthusiastically to videos featuring a black performer, something they had not previously believed.
Billie Jean and postmodernism
Postmodernists claim that we live in a media-saturated world – immersed in media products 24/7. So much so, that the distinction between the real world and the media representation of the real world has become blurred.
Media producers are copying copies: we no longer have any distinction between the real world and real things and media images of these things. Everything original has been made, all we now have is finding originality in mixing old ideas.
This idea of ‘copying copies’ and finding originality in old ideas is a strong theme of Billie Jean – which uses polaroid photos and intertextual references to old movie genres.
Media producers are copying copies: we no longer have any distinction between the real world and real things and media images of these things. Everything original has been made, all we now have is finding originality in mixing old ideas.
This idea of ‘copying copies’ and finding originality in old ideas is a strong theme of Billie Jean – which uses polaroid photos and intertextual references to old movie genres.
Michael Jackson - Billie Jean blog tasks
Work through the following tasks to create a comprehensive case study for Michael Jackson's Billie Jean music video.
Media Magazine reading: Billie Jean, birth of an icon
Go to our Media Magazine archive and read the case study on Billie Jean - birth of an icon (MM62 - page 20). Answer the following questions:
1) What was the budget for Billie Jean? How did this compare with later Michael Jackson videos?The budget for the video was $50,000, not small, but as it turned out not big enough to accommodate Jackson’s idea that mannequins in a shop window would come to life and dance behind him.The record company wouldn’t pay an extra cent for backing dancers so Jackson dances alone.
2) Why was the video rejected by MTV?
MTV they refused to air the video, arguing that it didn’t suit their ‘middle America’ audience. Mercifully for Jackson, the president of his record label, Walter Yetnikoff, threatened MTV saying: "I’m pulling everything we have off the air, all our product... And I’m going to go public and fucking tell them about the fact you don’t want to play music by a black guy".
3) Applying Goodwin's theory of music video, how does Billie Jean reflect the genre characteristics of pop music video?
Genre Characteristics. The video contains many conventions of the pop genre: lip-synching, performance interwoven with narrative, dance routines, high-fashion costume.
4) How do the visuals reflect the lyrics in Billie Jean?
Key lyrics are amplified through the visuals: the song is about a girl, Billie Jean. Although we never see her as a character in the video, we are presented instead with other images suggestive of females in general with whom he never comes into contact.
5) Why does the video feature fewer close-up shots than in most pop videos?
The video assists the star-construction of the artist, not so much through the close-ups that you might expect in other pop videos, but through the focus on the distinctive dance moves which had not been seen onscreen before.
6) What intertextual references can be found in the video?
The notion of looking can be seen through the use of the private detective (also an intertextual reference to Noir film and detective fiction).
7) How does the video use the notion of looking as a recurring motif?The notion of looking can be seen through the use of the private detective (also an intertextual reference to Noir film and detective fiction). Jackson is being watched and followed; a polaroid camera attempts to capture his image but he’s elusive, mystical.
8) What representations can be found in the video?
Jackson is beginning to construct a narrative about himself and establish his identity.
Close-textual analysis of the music video
1) How is mise-en-scene used to create intertextuality - reference to other media products or genres? E.g. colour/black and white; light/lighting.
The setting in 'Billie Jean' is urban, it is evening, litter blows down dim roads and emergency exits. His story of being from the worst neighborhood in town and 'dislike other folks' was a significant piece of his character, likely all through his whole vocation yet particularly in his twenties.
2) How does the video use narrative theory of equilibrium?
The disequilibrium would be the paparazzi following Micheal Jackson. The equilibrium could be the paparazzi not finding out anything to make breaking news about Micheal Jackson.
3) How are characters used to create narrative through binary opposition?
There is a lot of binary opposition such as truth vs lie, rich vs poor and much more. Micheal Jackson is seen as the rich the truthful person to the narrative whereas the detective is seen as the poor, the lie.
4) What is the significance of the freeze-frames and split-screen visual effects?
4) What is the significance of the freeze-frames and split-screen visual effects?
5) What meanings could the recurring motif of 'pictures-within-pictures' create for the audience?
The possibility of Michael continually being in the spotlight and the verses allude to the popularity and how it is basic to be cautious since everybody is continually observing.
6) Does the video reinforce or subvert theories of race and ethnicity - such as Gilroy's diaspora or Hall's black characterisations in American media?
It's the video, however the general picture of Michael Jackson as a standout amongst the most prevalent individuals on earth as a black person and showing up as a nessesery artist in stations like MTV. It attempts to battle the dark diasporic personality – the sentiment of never entirely having a place or being acknowledged.
7) Does this video reflect Steve Neale's genre theory of 'repetition and difference'? Does it reflect other music videos or does it innovate?
This video can be viewed as a ' repetition ' of the average lip-synchronizing music video just as a music video account. There is confirmation that ' distinction ' is Michael Jackson's move, notwithstanding, this video changed the manner in which moving was seen.
8) Analyse the video using postmodern theory (e.g. Baudrillard's hyper-reality; Strinati's five definitions of postmodernism). How does the 'picture-in-picture' recurring motif create a postmodern reading?
There's additionally a great deal of intertextuality and the possibility of hyperreality which in this video is by all accounts the genuine reality as Michael discusses his real issues.
Extension reading: Michael Jackson
Read this fascinating Guardian feature on Michael Jackson and race - building on our recent work on music video, genre, theory and representations of race and ethnicity.
Another Guardian feature - How Billie Jean changed the world - explores the cultural influence of the song and video.
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