One of the most important concepts in Media Studies is called Intertextuality. I hope you remember the concept of allusion when you studied English for GCSE. Intertextuality is the same concept applied to media texts. So, when on media text makes reference to another media text, we say something like: Text A makes an intertextual reference to Text B.
These references might include films, television programmes, other music videos, works of art, social media platforms, news reports or even include representations of or simulations of recognisable cultural figures. The audience's understanding of a media text can be influenced by how well they recognise these references and the meanings they associate with them.
We have already seen this in Michael Jackson's Thriller, which draws on the conventions of horror films, including the transformation into a monster, the threatening atmosphere and the choreographed zombie sequence. Rather than simply performing a song, Jackson creates a narrative that deliberately references and reworks an established film genre. This engages the audience on a deeper level and also appeals to the convention of creating a connection with the audience by suggestion artistic value alignment; we like horror movies, especially the recent werewolf and zombie movies, and so does Michael. So we are like Michael. So we like Michael.
There are several ways in which intertextuality can affect an audience. Recognising a reference can create pleasure because the audience feels that they understand the connection between the two texts. It can also add layers of meaning, as the audience brings their existing knowledge of a film, genre or cultural figure to their interpretation of the music video. Intertextuality can also challenge or subvert audience expectations when a familiar image or convention is used in an unexpected way. However, these effects depend on the audience's cultural knowledge. Someone who recognises a reference may interpret a video differently from someone who does not.
Thriller achieves these effects particularly well. Audiences familiar with horror films can recognise and enjoy the conventions Jackson recreates, including the transformation into a monster and the zombie sequence. These references also help establish the video's narrative, allowing the audience to understand the threats and anticipate what might happen next. However, Jackson does more than reproduce horror conventions: by combining them with a pop song and elaborate choreography, he transforms the horror film into a musical performance. This creates a distinctive viewing experience that appeals to both music fans and horror audiences. The video therefore demonstrates how intertextuality can reward existing knowledge while also reworking familiar conventions to create something new.
In this lesson, we are going to consider how the Music Video to Madonna's Material Girl uses intertextuality to construct a layered understanding of the artist as a performer but also as a persona. You may not know much about Madonna, because she is no longer the global sensation that she was in the latter part of the 20th Century, so you may need to do some searching to be able to answer these questions. Furthermore, to understand this music video you're going to have to go back almost 75 Years to understand the references that are being made.
Task 1: Start by watching this clip from Gentlemen Prefer Blondes then answer the following questions.
Marilyn Monroe Sings Diamonds Are A Girl's Best Friend
- The character's name is Lorelei. What is persona that is being projected by this performance?
- How does this persona relate to the public representation of the actress, Marilyn Monroe?
Task 2: Watch this promotional music video for the song Material Girl
Madonna - Material Girl (Official Video) [HD]
- How does the music video make it clear that we are watching a constructed reality rather than a faithful representation of the artist?
- Which of the conventions of music videos are being used to promote the artist in this music video?
- What myths are being constructed during the sequences that reference Gentlemen Prefer Blondes?
- How are these myths challenged by the narrative that exists outside of the reference?
- How is intertextuality being used to construct the persona of the artist?
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