Applying Goodwin's theory

Sabotage - Beastie boys Is a clear demonstration of how Goodwin's theory can be applied to music videos, through a number of conventions and characteristics displayed through the visuals, tone and style of the video. For instance the Boyish behaviour and cops'n'robbers theme of the video conveys the rowdiness and anti-establishment tone of the Hip hop genre. This anti establishment sentiment can be further examined through the use of an ironic 70's style retro motif which pokes fun at the almost whimsical exploits of the group. Furthermore the gritty, suburban location



used further commits to the conventions of the hip hop genre, adding a layer of isolation and grime to the t
one of the video. Overall the visual style of the music video succeeds in amplifying the playfulness and humour of the song, but also adds another layer of meaning to the lyrics, as without the link between the music and visuals, the audience would have been left with an ambiguous tone. The visual style of the video, although not a re-occurring brand of  'Beastie Boys' certainly adheres to the bands playful and often immature motifs present throughout their videos.



The lyrics link to the visuals is a continuation of the anti-establishment sentiment felt conventionally within the genre, with lines like 'So listen up 'cause you can't say nothin' You'll shut me down with a push of your button?' and 'Oh my God, it's a mirage I'm tellin' y'all it's sabotage' being possible references to the ambiguous intentions of the American police (as seen in the video, childishly pursuing chases and violence) or even government. Furthermore the visuals have an amplifying effect on the music, and particularly within the opening of the song, incredibly chaotic fast paced editing is used to match the beat of the song and emphasise the rowdiness of the music. Another example of this relationship is at 1:14, where as an instrumental section of the song ends and we move onto the next chapter of the music, so to does a chapter of the narrative end and give way to a new setting. An incredibly intricate example of editing being used to amplify the music is at 1:39, where we see a transitioning sweep synchronise with the re-introduction of the bass guitar, alone at first, as a sort of visual metaphor of the impact the instrument has on the song. Additionally at 1:51 a zoom is used to amplify the vocals and slow-motion further emphasises the length and importance of the section.

In terms of emphasis on the notion of looking, according to Goodwin, at 2:24 we see a shot of a character reflected in a wing mirror, followed by the use of a 'screen within a screen', furthermore throughout the video there is some sense of self awareness and a presence of the camera, as multiple shots depict characters addressing the audience's existence through introducing themselves as characters in this fictional/hypothetical show or film. This is perhaps used to emphasise the immersion and tone of the video, and serves to remind the audience of the surreal nature and parody being presented within the narrative. This is also a clear inter-textual link as the entire motif and overhanging theme of the video is a parody of sorts in a retro style much like the many detective hows made in the 70's and 80's.