Deconstructing a Music Video

Toxic by Britney Spears

The establishing shot in ‘Toxic’ resembles that of a SciFi film, connoting a dystopian future. The dark, clouding skies and town which seems to be on ‘fire’ and the large, dinosaur-like birds further supports this analysis. This relates to John Stewart’s theory that music videos contain visual references to cinema – in this case, SciFi film.

Continuing with John Stewart’s theory that music videos contain visual references to cinema, the opening to ‘Toxic’ makes references to Superman – as the plane from afar looks like the birds that had previously been oncoming. This references the famous line of, “Is it a bird? Is it a plane? No it’s… Superman!” This tries to represent Britney Spears as a Superwoman-esque figure during the music video.

This shot in ‘Toxic’ links to Andrew Goodwin’s theory that music videos reference voyeurism – this shot from the front of the plane looking into the cabin gives a sense that someone is watching Britney. It further supports Goodwin’s theory of the artist developing their star iconography, with Britney standing in the middle of the cabin in the centre of the screen. It also encourages the male gaze – showing Britney as a petite figure.

The first shot on the aeroplane on ‘Toxic’ subscribes to Goodwin’s theory that music videos have intertextual references. Already we can sense references to ‘Snakes on a Plane’ and ‘Con Air’ – both of which involve criminals and ‘naughty behaviour’. This element also subscribes to Stewart’s theory of a range of sources contributing to the music video and Goodwin’s theory of iconography within the music video.

Goodwin’s theory of iconography is visible in ‘Toxic’. By featuring close-ups of Britney it helps to sell Britney as an artist leading an aspirational lifestyle. She ‘takes control of the screen’ as such. The music video also encourages the male gaze – with Britney wearing a revealing outfit.

The frequent use of sexual behaviour adds to Goodwin’s theory of iconography in music videos. Around the time of this release, the record label (RCA) had been trying to market Britney as the ‘ultimate pop star’ – the facial expression from the man emphasises that she should be feared and others should feel intimidated by her. The idea that Britney is the star and everybody should look up to her is emphasised.

A further connotation to Stewart’s theory that music videos incorporate and reconstruct well known sources through intertextuality. This shot reconstructs Charlie’s Angels whilst the inner shot connotes Goodwin’s theory of iconography and sexuality through revealing and tight costumes. The concept of ‘toxic’ is reinstated through riding on the bike with the ‘forbidden fruit’ – the man. The links to the lyrics as well – a further theory developed by Goodwin.