Another classic ‘chicken and egg’ question (that of content versus context): what determines a music video’s classification, its narrative, its style, its form? Do the technical specifications of its projection on TV override a music video’s cinematic construction? Is it true, as Marshall McLuhan so famously proclaimed, that “the medium is the message‿? While a text-based analysis of their narrative and stylistic elements in videos by Madonna and The Darkness reveals deliberate crafting as mini- (or perhaps art-) films, an audience-based analysis, on the other hand, exposes a televisual likeness. The music video, then, seems a film caught in a TV’s body, a ‘glanced’ production that so desperately desires to be ‘gazed’.
While not intended as realistic or plausible predictions, these dystopian texts seek to expose extremist attitudes (such as radical conservatism, religiosity, or technological reliance) as fundamentally threatening to human nature and individualism. Dystopia, then, can be understood as a locale for the constant impediment of human freedom, maintained by a regime’s oppressive control of technology, gender and ideology.