Textual analysis of a music video - Thiller by Michael Jackson

The music video I will be analysing is called ‘Thriller’ by Michael Jackson. It was made in 1982 in the music genre of RnB, pop and post-disco music soon after the success of the album ‘Off the Wall’.

At the beginning of the music video a note is left from Michael Jackson himself stating, ‘Due to my strong personal convictions, I wish to stress that this film in no way endorses a belief in the occult’. From this statement the audience are instantly aware that this music video will be in the style of a film or narrative. This becomes more apparent when the song title, ‘Thriller’, appears on the screen giving the audience a cinematic feel to the video. This is illustrated as though it is blood trickling down the screen in a red, throbbing font, giving connotations that it is someone’s heart that is beating. This is upon a black background, making the audience fear the unknown as well as the dark. The title ‘Thriller’ also suggests that the music video will be in the form of a thriller movie. The soundtrack behind this is of a man heavily breathing, suggesting to the audience that this may be a villain or someone in trouble. This style of presenting the music video goes against the generic conventions of pop videos, as an audience would normally expect to see a performance of the band members and instruments or a dance routine. However, already the audience are left in anticipation for what is to follow and therefore makes the audience want to watch on.

The establishing shot of the video is an extreme long shot so the audience are introduced to the setting. From the mise-en-scene we see a car driving though a dark, unlit forest suggesting that these ‘characters’ are driving into darkness and mystery. This is a typical scene you would see in a thriller movie, and therefore the audience are drawn into the narrative of the music video as humans generally have a fear of forests and the unknown. The soundtrack behind this relates to the scene as we can hear wild animals such as frogs and crickets. Soon, the audience are startled when the car breaks down in the middle of no where, creating an increase in tension to the narrative. A long shot then jump cuts to a close up camera shot of the characters in the car, revealing a male (Michael Jackson) and a female. A close up shot of Michael Jackson is used to present the stars image, reminding and selling the artist to the audience. The fact that they are also wearing 1980’s clothes, it relates to the time era the music video was made in thus selling the 1980’s clothes and style to the viewers.

When the female character says, ‘So, what are we going to do now?’ in a sexually provocative manner, this supports Goodwin’s theory of voyeurism in music videos. It becomes increasingly more apparent as a close up camera shot helps the audience get closer to the woman’s face and body and therefore is sexually pleasing for male viewers. The sentence also makes it more apparent that these two people are in some sort of relationship therefore the intertextuality encourages the audience to carrying on looking at the screen to see what the couple are going to do next. The sexual tension between both characters is made clearer when the camera tilts from their feet upwards revealing them both in the same camera frame. The connection between the two is emphasised by the use of shot-reverse-shots and snappy editing.

This music video is very much like a complete narrative which again goes against the generic conventions of narratives in a performance. This is because generally, narratives in songs are rarely complete and are often fragmented. However, Michael Jackson is encouraging the audience to carry on watching by having fairly long edits between each scene and creating a genuine narrative out of the songs lyrics.

When Michael Jackson transforms into a ware wolf, not only is it a shock to the audience, but it is also entertaining and in some ways comedic. This helps take away the seriousness of the beginning of the music video. The backing track is also daunting by using stringed instruments such as violins and cellos. The full moon is also iconic of ware wolfs and thriller movies again making the video humorous as well as relating back to the title of the song.

When the scene suddenly changes to Michael Jackson and the female watching that exact film in the cinema it confuses the audience as to whether the ware wolf scene was real in the narrative of the film or whether it was just the two of them watching it in the cinema, therefore feel the need to watch on to unravel the story. It also helps the audience stay focused on the music video as they are not seeing the same story throughout, instead keeps them watching on to unravel the confusion.

When the actual soundtrack comes in, the editing suddenly speeds up from slow cuts to jump cuts to fit in with the pace of the music. Tracking shots are used to follow the artists’ movements so the audience’s attention is constantly on the star and the image he is portraying. Again, they are drawn in further when Michael Jackson starts dancing along to the beat of the music, making it appear to be more like a music video as a dance routine is common in music videos.

In general, the music video amplifies and illustrates the relationship between the lyrics and the visuals. The music video is illustrative in the way the lyrics of the song are acted out, but it is also amplified, as certain scenes appear over the top and comic, such as the scene where Michael Jackson transforms into a ware wolf, as well as the scenes of the zombies breaking out of the graves. One significant section of this music video is a 46 second continuous, close up, tracking shot following Michael Jackson as he dances to the beat of the music. This generally goes against the generic conventions of music videos which inspire the audience to keep their eyes on the screen as well as the music artist. 

When Michael walks the female out of a busy urban area, to a run down rural place that leads to a grave yard, it hints to the audience that he is leading her into danger yet again. The frightening rural setting is emphasised when an owls hoot it used as part of the backing track, iconic of a thriller movie, scaring the audience as well as keeping them involved within the narrative of the music video. Vincent Price is famous for his voice over’s in thriller movies, so the use of his voice in Michael Jackson’s ‘Thriller’ music video helps the audience to maintain the associate of the music video as a film.

When the dance routines become the main attraction of the video, the camera shots are cut and edited to the beat of the music and the movement of the dancers. Close up camera shots become frequent, selling the artist to the audience. The dancers all move in unison, suggesting to the viewers that all these zombies are part of Michael Jacksons ‘crew’, therefore leaving the audience worried for the safety of the female. The fact that tension is created throughout this music video constantly keeps the audience on the edge of their seat as well as keeping their eyes attached to the screen. In terms of this video, performance and narrative are the main concepts that keep the audience engaged throughout. To end the music video, as well as the ‘film’, credits are presented to conclude the narrative.