Keri Hilson - Knock You Down ft Kanye West and Ne-Yo (Goodwin Analysis)

Knock You Down – Keri Hilson ft Ne-Yo and Kanye West:

The video that I am going to deconstruct using Goodwin’s points is Keri Hilson’s ‘Knock You Down’ featuring Ne-Yo and Kanye West due to the fact that this video illustrates genre characteristics, relationships between lyrics and visuals and it is a narrative video which tells the story of how a girl feels after being hurt by her partner. I chose this video to analyse as there are some special effects and editing transitions that I am hoping to incorporate and replicate myself.

1. Music Video demonstrates genre characteristics:

Throughout this music video there are several references made depicting the genre characteristic of the song, however the most powerful and significant image which displays this, is when the video reaches 2:17. This is when Keri is illustrated dancing and flaunting her body to the camera in time with the beat. She is exemplified dancing in a way whereby her moves are sharp, strong and sexy. The dancing that the singer performs in her music video clearly portrays an element of hip-hop and electropop which are the genre characteristics of her video.

2. There is a relationship between lyrics and visuals:

In this video there is a distinct relationship between lyrics and visuals as they are amplified. This is depicted at 1:23 when Keri sings “You knocked me down,” as the camera focuses on Keri and shows her body floating in the air as she slowly begins to fall down on top of her bed illustrating that she has been ‘knocked down.’ Additionally, they do the same for the lyric, “I used to be commander in chief,” as Ne-Yo raises his hand to his head doing the salute sign that commanders and sergeants did to show respect to one another. Clearly, visuals and lyrics work exceptionally well together here.



At 1:23 - "You knocked me down."

At 2:01 - "I used to be commander in chief."

3. There is relationship between music and visuals:

The video begins with a very slow, quite sound being played in the background of the scene to depict that Keri is dreaming and is not conscious. During this time, we also here Keri say “this shouldn’t happen to me,” suggesting that she has just come round from her dream. However, seconds later the music suddenly increases and gets louder as the beat becomes stronger and faster, resembling what might be a base drum as it overpowers the mellow, quite tune that was originally heard at the beginning of the video. When the beat suddenly speeds up, the camera shots and images also speed up according to the individual beat of the song. This goes together well with the bright, colourful images, that is, close up’s of Keri Hilson and Kanye West’s face. Music and visuals also work together nicely in the video.

At 0:23

At 0:43

4. The demands of the record label will include the need of lots of close up’s of the artist and the artist might develop motifs which recur across their work.

Keri Hilson, Kanye West and Ne-Yo are each represented as being the main stars of the video. They are each represented by the use of close ups of their face which allows the audience to feel as though they can connect with them as they are able to feed off their facial expressions and emotions. Certain close up’s depict an artists charisma, confidence, attractiveness as they stare into the camera providing the audience with their full attention and with a warm, gentle smile.

At 1:00

At 2:45

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

There are quite a few intertextual references made in this music video, these being the opening credits at the beginning of the music video as it displays the name of the single and the names of the three singers staring and singing in the video. This is similar to films openings as during the beginning of the film the credits will appear on screen displaying the names of the actors and actresses followed by the title of the film. Furthermore, at 2:25 Ne-Yo sings “Miss Independent,” which is the name of his previous single. This is another intertextual reference as he is referring back to his earlier single and promoting it through this song so people will still go out and buy it.

At 0:05

At 2:25 - "Miss Independent."

Analysis of Pitbull Ft Marc Anthony - Rain Ove Me (Using Goodwin's points)

Pitbull Ft Marc Anthony – Rain on Me:

The video that I am going to be deconstructing using Goodwin’s points is Pitbull ft Marc Anthony “Rain Over Me,” as this video also depicts genre characteristics, relationships between lyrics and visuals and depicts a dance routine between both singers. I chose to analyse this particular video as there are some visual ideas that I am hoping to replicate and create myself.

1. Music videos demonstrate genre characteristics

Throughout the music video there are references made depicting the genre of the song, however the most powerful scene in the video that illustrates this is when the video reaches 1:26. Pitbull and Marc Anthony perform what resembles a mini stage performance where they are exemplified dancing on screen in the rain whereby there moves are sharp, fun and fast paced due to the frames cutting between each other exceedingly quick. The dances that both singers perform in their music video portray an element of hip-hop which is the genre characteristics of their video.

 2. There is a relationship between lyrics and visuals



"Out of my mind/so let it rain over me"



In this particular music video there is a distinct relationship between the lyrics and visuals as they are amplified. This is depicted in the chorus when Pitbull and Marc Anthony sing “I’m rising so high, out of my mind, so let it rain over me.” When you watch the dance routine to the lyrics that both Pitbull and Marc are singing you begin to see how they dance according to what they sing. For the lyric “Out of my mind,” Marc raises his hand to his head and begins to point and turn his finger to show that he is out of his mind. Additionally, they do the same for the lyric “so let it rain over me,” as they both raise their arms into the air and the rain suddenly begins to fall down upon them depicting this; lyrics and visuals work exceptionally well together here.

3. There is a relationship between music and visuals

The video begins with the sound of a helicopter flying overhead even though it does not make an appearance in this scene, yet a few seconds later a light, mellow electro tune is heard very softly in the background as Marc Anthony sings the beginning lines of the song. However, moments later the tune begins to increase and get louder as the song progresses and a stronger upbeat, base drum is heard overpowering the main tune as the camera shots speed up according to the individual beat of the song. This goes together with the bright, powerful images, that is, close up’s of Marc Anthony’s face and the dessert landscape that Pitbull is depicted dancing in; music and visuals work nicely here.

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.



(At 0:52)



Pitbull and Marc Anthony are promoted as being the main stars of the music video. They are each represented by the use of close ups of their face which clearly allows the audience to feel a though they can connect with them as they feed off their facial expressions and emotions. Particular close up’s portray the singers confidence, attractiveness and charisma as they stare into the camera providing the audience with a warm, gentle smile and they will sometimes use their expression to show a slightly cheeky side of themselves by raising their eyebrows and making signals towards the female dancers; which is sometimes a continuing motif throughout the video.

Notice the bright, natural sunlight reflecting onto Pitbull’s face, drawing attention to his facial expressions giving the audience the impression that he is confident, perhaps a little naughty and cheeky.



(At 1:03)

Additionally, notice the mixture between the high and low key lighting which is projected in this shot as the backdrop is dark with just a glimmer of light shining in from behind the singer and his female accomplice as well as there being some high key lighting beaming onto their faces – which contradicts the previous close up. Here we see a sassier, mischievous persona as we see a more playful side to the singer. 

(At 3:07)

5. There is frequently reference to notion of looking and voyeuristic treatment of the female body.

The video focuses on many close ups of the female dancers – not only of their facial features, but mainly focusing on their physique; therefore using the women as a sexual objects. With the camera capturing the female dancer’s body the directors and producers are the flaunting the girls sexuality to help sell the video as it will capture the audiences attention. Additionally, in the video there is use of screens within screens whereby wire-framing is used to import two different videos displaying two different scenes of events and importing this onto one screen. For me this makes the video a worthwhile watch as it is interesting, dissimilar and captivating.

 (At 2:46)

 (At 1:24)

(At 1:06)



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

In the music video one of the female dancers is depicted as a silhouette dancing in front of a special effect that makes up Marc Anthony’s face using lights and consists of rain falling down upon it. The dance moves used in this scene are sharp and slightly robotic due to the frames changing and zooming in onto one another and this particular clip is an intertextual reference to a TV programmes opening titles called “Tales of the Unexpected,” whereby female dancers are displayed as silhouettes’ dancing in front of backdrops that consist of fire and water.

 (Tales of the Unexpected)

(Pitbull ft Marc Anthony - Rain Over Me. At 2:22)



Analysis of Pixie Lott - All About Tonight (Using Goodwin's points)

Pixie Lott – All About Tonight:

The video that I am going to be deconstructing using Goodwin’s points is Pixie Lott’s new single “All About Tonight” as it demonstrates genre characteristics, relationships between lyrics and visual and depicts stage performance. I chose to analyse this particular video as there are some visual ideas that I am hoping to replicate and create myself.

1. Music videos demonstrate genre characteristics

When the video reaches 45 seconds Pixie Lott’s dance routine appears on screen where her moves are sharp, elegant and fast paced due to the frames changing and being cut quickly. Each of the many dance routines that Pixie performs throughout her music video shows an element of electropop and dance-pop which are the genre characteristics of her video.

2. There is a relationship between lyrics and visuals





"You can feel the heartbeat/

tomorrow doesn't matter when you're

moving your feet"

Throughout the music video there is a distinct relationship betweenthe lyrics and visuals as they are amplified. For example, in the chorus Pixie sings “Yeah the night is alive, you can feel the heartbeat, let’s just go with the flow, we’ve been working all week, tomorrow doesn’t matter when your moving your feet, it’s all about tonight.” When you watch the dance routine to the lyrics she’s singing you begin to see how she dances according to what she says. For the lyric “you can feel the heartbeat” she places her hand across her heart to depict the phrase. Additionally, she does the same when she sings “tomorrow doesn’t matter when you’re moving your feet” as she starts to lift her feet into the air and point down towards it; lyrics and visuals work nicely together.

3. There is a relationship between music and visuals

The video begins with a light electro upbeat tune for the introduction of the song which sounds as if the beat is going to increase as the song progresses. This goes together with the vibrant, bright, slightly faded images, that is, features of Pixie’s face and the night life setting of America as they fade into each other in the subsequent shots. Both sound and vision work well together here.

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.

Pixie is greatly promoted as she is portrayed as being the main person of the video. Clearly, she is represented by the use of close ups of her face and some areas of her physique. The close ups of the singers face allows the audience to connect with her as they feed off her emotions and facial expressions. Particular close ups depict her sweetness and lovability as she beams into the camera showing off a friendly, warm smile which is a continuing motif throughout the video and we immediately remember that is she is a young, sweet girl having fun.

Notice the bright lighting beaming onto Pixie’s face, exaggerating her features – giving the impression that she is a joyful person and we feel her cheerfulness.



(At 1:10)

Notice the mixture between the high and low key lighting which is projected across the singer’s face which slightly contradicts the previous close up. Here we see a more sassy, rock – chick persona as she looks less sweet and more mischievous.

(At 1:19)

5. There is frequently reference to notion of looking and voyeuristic treatment of the female body.

The video often focuses on many close ups of Pixie’s body – not only her facial features, but particularly focusing on her legs. Using her as a traditional role as a sex object. According to reports, in music videos and advertising, women’s bodies are used sexually and focused on by using close up’s to sell the product as it will capture audiences attention hence why in this music video, the camera continually focuses on Pixie’s legs to flaunt them to the audience.



(At 0:13)

(At 0:20)

 (At 1:20)