Intertextuality and Music Video

The concept of intertextuality was coined by post-structuralist Julia Kristeva in 1966. She introduced the notion that 'any text is the absorption and transformation of another.' In addition, Kristeva implied that 'any text is a mosaic' and therefore, it can be proposed that music video is in fact a 'mosaic' of intertextual references.

Music videos are often described as postmodern. They frequently allude or reference to existing texts (such as other music videos, cinema, television, video games, art, fashion, photography, history etc) in order to spark recognition amongst the audience. Not all audiences will understand the reference but this doesn't massively detract from their viewing pleasure. However, it is argued that those who acknowledge the intertextual reference experience a greater pleasure and feel a sense of self-flattery as a result. Intertextuality can also be present in parodies. A parody/pastiche is a text which essentially mimics in an absurd or ridiculous manner, the conventions and style of another text, in order to derive humour, satire, ironic comment or affectionate fun.

John Stewart describes music video as 'incorporating, raiding and reconstructing.' This captures the essence of intertextuality; using something that the audience may be familiar with to potentially generate nostalgic associations and brand new meanings.

Examples of intertextuality in music video:

 

 Robert Palmer's 'Addicted To Love' (dir. by Donovan, 1986) famously references fashion photography. Shania Twain imitated the video for 'Man I Feel Like A Woman' (dir. by Boyd, 1999) and Tone Loc's 'Wild Thing' is a parody of it and gained heavy rotation on MTV. (dir. by Tamara Davis, 1988)

 

 

Red Hot Chili Pepper's 'Californication' (dir. by Jonathon Dayton/Valerie Faris, 2000) contains many homages to video games of its time such as 'Tomb Raider', 'Grand Theft Auto' and Tony Hawk's 'Pro Skater'. John Stewart suspects that the influence of video games will predominate for the younger audience.

 Madonna's 'Material Girl' (dir. by Mary Lambert, 1985) draws upon a cinematic reference to Marilyn Monroe's performance of 'Diamond's Are A Girl's Best Friend' in the film 'Gentlemen Prefer Blondes'. It is perhaps not so surprising that numerous music videos use cinema as an initial starting point, since the directors are often film school graduates looking to eventually establish themselves in the film industry (i.e. Lambert).

Blur's 'The Universal' (dir. by Jonathon Glazer, 1995) is highly-acclaimed and pays tribute to the 1971 film 'A Clockwork Orange', imitating the opening scenes set in the Korova Milk Bar. The band replicates the iconic costumes and eye-makeup worn by Alex DeLarge and his fellow droogs.

Beastie Boys' 'Sabotage' (dir. by Spike Jonze, 1994) uses television as a point of reference and is a homage and parody of 70's crime drama TV series such as 'Hawaii Five-O', 'Starsky and Hutch', 'S.W.A.T' etc. The video is portrayed as the opening title sequence to a fictional 70's-style police show called Sabotage, with the band members appearing as the show characters.

 

Oasis' 'The Importance Of Being Idle' (dir. by Dawn Shadforth, 2005) pays homage to the style of early 60's kitchen sink drama British films. It is based on the film and play 'Billy Liar', with Rhys Ifans adopting the role of Billy; a lowly clerk for an undertaker that dreams of life in the big city as a comedy writer. Noel and Liam Gallagher play Shadrack and Duxbry; the owners of the funeral parlour where Billy works. It was widely acclaimed at the time as being the best video Oasis had ever made.