postmodern music video analysis GOODWIN'S FRAMEWORK FOR ANALYSIS

https://youtu.be/gl1aHhXnN1k = Thank you next Ariana Grande


The most iconic thing about the music video is all the intertextuality in it. Ariana pays homage to Disney's mean girls, Bring it on, 13 going on 30 and legally blonde. She also includes famous celebrities like kris Jenner and you tubers like Gabi Demartino. Intertextuality is a popular feature in postmodern and conceptual music videos. The artist is either paying homage, pastiche or parodying other people's work.
The video may not have a set meaning, but thats one of the  features of post modern music videos, its more about look than meaning.

Mood

The general mood of the music video is a happy and uplifting one. It is full of bright colours and bold aesthetics that lift up the audience and make them want to join the music video. The video creates sexual tension as Ariana's body language and facial expressions at times can be flirtatious and sexual. The parts where kris Jenner appears creates comedic atmospheres as, its all to do with the intertextuality. We know who Kris Jenner is online and on her reality show, she is a momager (mum and manager) who can be fun at times but remains in the mummy role model/proud mum area. So seeing her as a character who is supportive of her child on stage plays into who she is in real life, as she always supports her children and helps them out when they need help. 
The part where Ariana is crying brings down the happy atmosphere just a little, this may have been done to remind the audience that relationships and breakups can be bad sometimes


The narrative structure

The music video does not really have a set structure like a narration. It simply just a scene after scene of random activities that look great together. This reinforces the postmodern nature of the music video, the fact that its all about looks and not really meaning. 

Degree of realism

I think most of the sets are real like the chearleading set, but the sets like the house where the teeth brushing took place and Ariana was talking to the lady seem like sets. I believe the video has been edited in terms of making the set look perfect with the characters in it.  


Themes

Themes of breaking up, bouncing back from a bad breakup, female empowerment, friendship and love.

The importance of performance

Thank you next is a pop song. Ariana performed it in her music video in an upbeat, fun and exciting way because of the dances, gestures and costumes. The fact that it was performed this way makes it fit the pop music genre. 

Different modes of sexuality 

Ariana Grande presents herself really sexually in parts of the music video especially when she was on the bed doing the burn book scene, as well as when she was walking through the university in the legally blonde segment. Some of her outfits like the chearleading one are quite sexual and funky which further reinforces the fact that Thank You Next is a pop song. The video does not just include heterosexual men but also LGBTQI+ community men. This promotes diversity and helps raise awareness against sexuality prejudice and discrimination.

Authorage 

The main role in the music video is played by Ariana the creator of Thank you Next. I believe that a signature Ariana Grande Music video would be bold, colorful, girly and cute but still slightly sexual. Thank you next definitely embodies that style and really represents Ariana's quirky, girly and cute style. In some post modern videos, the artist doesn't necessarily have to star in the music video, however Ariana likes to star in her videos which makes them unique to her. 

The music

The music lyrics is all about female empowerment and getting over a breakup with someone. The word "thank you Next" almost means thank you for breaking my heart previous boyfriend because I learnt from it......."THANK YOU". The lyrics are very encouraging and empowering which adds optimism to the music video. I think the lyrics being so catchy and flowing so smoothly make the lyrics stand out more than the music video. 


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