Music to My Eyes: Exploring Music Videos and their Purpose

Music, as a form of art, can be expressed in a number of ways - whether it’s the storytelling, cinematography, or the lights and colours. Music videos have completely reshaped the way we think about music. At this place where sound meets screen, a song is transformed and enhanced into a stronger experience with the ability to resonate with its listeners.

In live performance, lip syncing is typically frowned upon. However, this ‘rule’ is completely disregarded when it comes to music videos. Here, it is commonly used and even encouraged as a way to connect more with the audience. Whilst this is not the case for all music videos, the vast majority - especially in the pop genre - take this approach. But how did this technique become so popularised?

To track the rise of the music video, we must look to the mid 80s and 90s when MTV took over the music scene. Launched in 1981, MTV introduced a new initial excitement over the rebranding of what could be considered a soundtrack. Here, rather than composing a song for a piece of film, a moving image is made for the music. This shift in focus builds towards the idea that art does not need to be categorised into subsections (music, film, paintings, etc.). There’s a thin line between these forms of art and we experience this first hand through the use of film to transcend the music world and broaden the creative spectrum.

It would seem  wrong to discuss music videos without mentioning one of the most iconic of all time: Michael Jackson’s ‘Thriller’. Released in the early 80s, the short film covers themes of horror and mystery while still capturing the essence of the song - that is, the disco-funk element inherently heard by the strong bassline and countless motifs. When combined with a visual component, these parts are amplified and we, as the audience, get a clearer image of the artist's intentions.Taking this into account, our initial impressions could be influenced by whether we first listened to the song or watched the music video. When an MV is seen first, we experience first hand the choices the creative director takes to convey the thoughts and emotions. But as a music listener, the chance to interpret a song in your own way is part of what makes it so addicting. The entertainment surrounding it becomes subsidiary to the music itself. ‘Thriller’ as a genre takes a theatrical approach. This, exemplified by the darker tones and night setting, utilises the lighting to portray when the leads are supposedly safe from the outside horrors of their world. Additionally, Jackson’s  bright red clothing provides a stark contrast with the rest of the setting, implementing a way to supplement a stronger artist identity.

This form of artist branding is used constantly, especially nowadays, either to gain more popularity as a new emerging artist or to change our perspective on a more familiar artist such as in Miley Cyrus’ ‘Wrecking Ball’ or Britney Spears’ ‘Baby One More Time’. This need to create both a viral sound and image extends further from music videos to social media trends. As our attention spans become ever shorter, the idea of watching an entire ten minute video can seem less desirable, especially if the artist doesn’t already have a devoted fanbase, but exposure to even part of a song can spark our curiosity. An official music video can become just one of the many made by fans or used in commercial advertisement. The restrictions are more of a suggestion in a rapidly developing world.

As music videos become more familiar to us, their novelty subsides and we slowly lose interest. However, this constant need for new ideas becomes the catalyst for growth. These concepts are multifaceted, and only limited by our creativity.

From compelling stories to avant-garde concepts, the influence of music videos have shaped pop culture and redefined how artists can connect with their fans. Bringing directors and videographers into the mix, careers in music are becoming broadened as the expression of art becomes less categorised from movies to music to paintings: proof that songs can truly be ‘music to our eyes’.

Betty Leewanun

Edited by Romy Brill Allen