Vance Joy is an Australian singer-songwriter
signed to Atlantic records (a subsidiary of
major label, Warner). His music can be
categorised as fitting into indie folk-pop genre
Riptide was Vance Joy’s first single to be
released in the USA, following his debut EP,
“God Loves You When You’re Dancing”. It
became a platinum selling single
The video was directed by Dimitri Basil
and Laura Gorun and has had nearly 100
million views on YouTube
Media Language
Codes and Conventions
Whilst it is a convention of the music video form to
have song lyrics interpreted on screen, the overt
and deliberate way the lyrics are interpreted in this
music video might be subverting this convention
The opening line “I was scared of dentists and the
dark” is interpreted explicitly with a shot of a
female looking “scared” with a metallic contraption
in her mouth that suggests she is in a dentist’s
chair and followed by a shot of a light swinging in a
darkened room
This overt graphical representation of the lyrics
is largely repeated throughout the video.
Consider whether this is following or subverting
the convention of lyrical interpretation
The music video seems to
explicitly reference feature films
The opening shot makes use of cinematic
style credits and information about the
music is presented with a title at the bottom
of the screen
This title is graphically similar to a
“billing block” or “credit block” which
is often seen on film posters or in
trailers
The video frequently references the Western and Thriller
genres (and arguably the hipster style of Wes Anderson
films), but most notably uses Horror genre iconography,
e.g. females repeatedly dragged off screen by unseen
forces and a character going missing in a dark graveyard
Representation
Women in the video are repeatedly
presented as an object to be watched
In one shot a woman with her back to the camera
undresses out of her swimming costume and there are a
number of instances where we see disembodied, isolated
sections of women’s bodies such as bare feet running
away or feminine hands being dragged out of shot
Consider whether these images of women
are sexualised and offered to audiences for
their pleasure (scopophilia) or presented in
a way that challenges the sexualisation of
women in many music videos
Explore the lip-synch sections where a woman
sings the lyrics of the song into a microphone.
At first she has immaculate make-up and is
framed and lit in a flattering way arguably
conforming to social norms of beauty and
glamour associated with mainstream media
texts
As we repeatedly return to this character she
becomes increasingly dishevelled, her make-up
smudges and her expression becomes more and
more vacant as she sings “the words wrong”. Discuss
the extent to which this representation challenges
gender representation in music video and how it sits
with the other representations of women in the video
Along with the representations of women
the music video also presents a number of
scenes that offer images of violence
Such as a female hand being
stabbed by a knife and a gun
being pointed off screen
The lip-synching woman clutches
at her own neck and we see what
seems to be blood over her hand
Theoretical Perspectives
Gauntlett
Use Gauntlett to explore complex and diverse
representations in the music video - his concept of the
pick and mix seems particularly relevant to the style of
the video which constructs a range of different stimuli
that the audience are invited to interpret
The video rejects singular, straightforward
messages and instead invites a variety of
different responses and interpretations
bell hooks
Hooks could be used as a stimulus to
explore the seemingly contradictory
messages about gender in the video
Is the video objectifying women in an ironic or knowing way or is it
instead feeding into the oppression of women in a patriarchal society?
Use hooks’ position that feminism is a struggle
to end sexist/ patriarchal oppression to ask
whether the video is part of that struggle or
part of the oppression