Billie Jean CSP

Brief History 
Michael Jackson enjoyed a chart-topping career both with Jackson 5 and as a solo artist 

He released the best-selling album in history, Thriller, in 1982

As a child Jackson became the lead singer of his familt popular Motown group, the Jackson 5 

He went on to a solo career of astonishing worldwide success delivering No.1 hits from the albums off the wall, thriller and bad

How he changed the world  


Context  

Transformed MTV into a cultural institution and introduced MTV to the idea that white viewers would respond enthusiastically to a black performer
- Credited with breaking colour barrier on MTV
- Billie's Jean video was the first to make heavy rotation, with more black faces appearing on the network soon after

Midas touch 

Intertextual reference - idea that a blessing can be a curse, in this case that is Jackson's fame.
Represents Jackson as a Jesus-like figure.

Close-up shot of private detective

 Low angle: views himself as superior. Suggests he feels as though it's his God-given right to invade Jackson's privacy.
- Cirascuro lighting creates shadows: darkness and hat/sunglasses (which hide identity) create an air of mystery.
- Lighting and b&w filter reminiscent of film noir genre, whilst also presenting the private detective as a menacing character (Propp - villain)

How does the video assist the star-construction of Jackson?

Not through the close-ups, as in other pop videos (therefore subverting codes and conventions), but through the focus on the distinctive dance moves e.g. through freeze frames.

How does Jackson represent himself in the video?

The Midas-touch narrative could exemplify the Messiah-complex that Jackson was criticised for later in his career.
- as above the authorities. Despite the 'everything-he-touches-turns-to-gold' idea, including each slab of pavement he steps on, the private detective is unable to capture him, furthered by the fact that he does not appear in photos.
- as influential. Take the homeless person and the red bow tie.
- as making the world a better place. Everything lighting up, contrasting the otherwise dark and dirty setting. White represents purity and cleanliness.
- as vulnerable to the media, but has power to deny claims

Clothing - Homeless Man

Homeless man - after Jackson transform him using the Midas Touch, his crisp white suit contrasts the dirty surroundings, presenting a binary opposition of clean vs. dirty. Suggests Jackson believes he is making the world a better place.
Red bow tie - Matches that of Jackson. Suggest He has left his mark on the man and this could represent what he has been doing with his music. Views himself as influential.

How does the video conform to the codes and conventions of a pop video?

Lip-syncing, performance interwoven with narrative, dance routines, high fashion costume

How does the video exemplify black oppression?

Jackson is constantly being followed and watched by a white detective/reporter with a camera attempting to catch him out.

Intertextual references

 Dr J. Eckleburg; connections between the run-down areas
- 1984 by George Orwell: 'big brother is watching'. Paparazzi constantly following him suggesting he cant escape the media (1984 = dystopian future) or the fans (women on billboard). Shop on the street is called 'The Watch Shop' = anchorage

Props - bed

polysemic: Could represent safety, escapism and privacy but could also suggest promiscuity.

Split screens / freeze frames

Suggests Jackson is viewed differently by different people e.g. his fans will view him differently to his family and his family to the media etc.
Freeze frames suggest he can never be entirely himself as a result of this

Location - Ronald's drugs

At the time the MV was produced, Ronald Reagan was president. He started the war on drugs, which particulary targeted black people. Jackson is making a social comment by satirising this - claiming that Ronald sells the drugs.

Lighting
Strauss binary opposite. The lighting on Jackson is brighter in contrast to the background creates a sense of hopefulness and innocence. Signifies molarity/religion alignment

Narrative
 Propp’s character types: hero and villain contrast. Could represent celebrity and journalist 
relationship in context (seen as intrusive, malicious, abusing privacy/misinforming the public)

Genre reference:
 elements of rhythm and blues with a more techno pop elements: Merges genres to show authenticity/pride in musical heritage, as well as being progressive; trying to make black music more mainstream

How does the music video genre use intertextuality and hybridity to establish meaning?

How do music videos serve the needs of media producers?

How do music videos meet the expectations of audience?

Coul you link genre theory including neale?


alvardos's theory identify 4 types of racial stereotype:
The humorous 
The exotic 
The pitied (and vulnerable)
The dangours 

Liner narraative 

Midas Touch - Jesus figure 

40 days and 40 nights - bible quotation 

Iantertextual Reference:

The great gatsby - Br TJ Eckleburg (the eyes)

The Wiz 

George Orweell' 1984 

The bible (lyrics0

King Midas story 

Datyl Hall and John Oates - I cant go for that (no one can)

Paul Gilroy 

   

How does the music video genre use intertextuality and hybridity to establish meaning?

How do music videos serve the needs of mediar

Media Languge and Representation 

Film Noir narrative intertextuality established early on – low key lighting, B/W, paparazzi dressed as noir hard boiled detective (raincoat, trilby hat, smoking, hiding in doorways…..)

CU of MJ shoe – narrative binary opposition (light, colour, high status, glamour). Cuts to him framed centrally looking like a wealthy playboy

Old man ‘transformation’ again uses light as a metaphor – his suit is bright and vibrant

B/W colour palette changes to an almost seedy purple base colour palette – ‘dirty’ press metaphors 

Wide shot – American city, salubrious street corner

Noir neon anchors film noir iconography, as does cigarette billboard to the right of frame

CU of newspaper establishes MJ v Press narrative

Using Strauss, protagonist v antagonist binary oppositions – Paparazzi hides behind a bin (metaphor again), MJ literally and metaphorically walks in light

CU of cleaning his shoe has connotations of an immaculate physical and ethical representation

MJ tracking shot walking past a gentleman’s tailor (connotations of sophistication) v camera shop representing press intrusion

Narrative enigmas begin to develop – Billie Jean a non-present physical representation

Postmodern readings now established using Baudrillard – see screenshot of blurring of historical time periods and visual signifiers - Roman Doric columns have intertextual references to Blade Runner (1982) dependent on situated culture

In contrast the Paparazzi is dressed like a 1940s film noir detective with MJ in 1980s performance dress. Polaroid shows copies of copies….

Using Goodwin, ‘performance’ now starts – MJ has already established visual/lyrics links through narrative and made clear intertextual references

On a long ‘catwalk’ the stereotypical genre conventions of the pop performer become evident - gyrating dance movements, framing, multiple camera shots/angles, still images, slow motion and use of triptych (religious connotations)

The audience are gazing at the star – a ‘to be looked at’ representation 

Lighting now has a bright, pink/purple colour palettte

Boxed images of MJ body parts anchor the gaze and his status (links with boxed images at start)

Cuts to mise-en-scene of bedroom – satin sheets and interior furnishings have connotations of luxury

Leopard skin bag becomes a recurring motif

High angle shot of old lady next to hotel and graffiti establishes more realism and is cut against a high angle shot of MJ climbing stairs

Noir conventions are evident again with the flashing neon sign of hotel

Paparazzi press intrusion anchored by voyeuristic CU shot

Todorovian new equilibrium established – press defeated, MJ reconciling himself to who we assume is Billie Jean – revenge narrative

Old man crossing road is seen looking wealthy and well with a young woman on his arm – again, another metaphor for a new beginning

Steve Neale – Billie Jean is all about genre repetition and difference. Standard performance pop video conventions plus romantic sub plot but hybridised with other musical genres and full of postmodern narrative intertextuality

Applying Stuart Hall Theory

Billie Jean has a dominant preferred meaning that the Paparazzi can often be intrusive, particularly when it comes to celebrity culture

Audiences are positioned into this reading through iconic representation of MJ and also narrative development

Audiences find it difficult to negotiate meaning as there is narrative development and moral narrative closure that firmly identifies protagonist and antagonist or heroes and villains (MJ and The Press)

Applying Gilroy 

Billie Jean was a groundbreaking video in terms of production values but also the role of the black performer on MTV

Using Gilroy, racial hierarchies existed within the music industry that underpinned industry decisions

Although Michael Jackson was already established as a star, the importance of representing the black performer challenged old colonial discourses 

apply post modernism to the video

To what extend can Michael Jackson Billie Jean video be seen as an example of intertextuality (9 marks)

In applying their kwnoledge and  understanding of intertextuality students may refer to:

One way that Michael Jackson Billie Jean can be seen as an of intertextuality is the fact that there are some elements of the music video that are related to noir films is the sense that; low key lighting, detective in a trench coat, hat, smoking a cigarette, in the street