Music Video: Michael Jackson - Billie Jean

1) What was the budget for Billie Jean? How did this compare with later Michael Jackson videos?

The financial plan for Billie Jean was $50,000 anyway after some time his music recordings later observed an expansion in spending plan from music recordings as 'Beat It' was $300,000 and Thriller was $2,000,000. 

2) Why was the video rejected by MTV?

MTV said that Michael Jackson's video sometimes fell short for 'middle american'  group of onlookers that they took into account. 

3) Applying Goodwin's theory of music video, how does Billie Jean reflect the genre characteristics of pop music video?

Goodwin's Theory can be connected to the Billie Jean music video as it contains intertextuality references to the film noir class. The film noir class is referenced in the music video for the story and garments of the characters, anyway is changed marginally by Michael Jackson as he is the principle hero who is dark which is ordinarily not found in the film noir classification. Another way this hypothesis can be connected is simply the video was performed by the craftsman himself and takes after the verses which makes an account for the music video a component which Goodwin expressed that most music recordings will have. 

4) How do the visuals reflect the lyrics in Billie Jean?

There is an immediate reference the verses of the melody through the stop outline around Michael Jaskson's eyes when the verses say "eyes like mine". His moving is likewise connected to the verses as he turns around when he says "in the round". Different connections, for example, Michael Jackson applauding, stamping and moving along to the beat of the music. 

5) Why does the video feature fewer close-up shots than in most pop videos?

The utilisation of less close-ups enables the camera to focal point of Michael Jackson's move novel move moves which have not been seen on screen previously. 

6) What intertextual references can be found in the video?

The thought of looking can be seen using a private analyst who endeavours various circumstances all through the video to take a photo of Jackson anyway he stays away from them each time as he vanishes and the criminologist is gotten by the police toward the finish of the video. This is a reference to film noir and additionally analyst fiction. 

7) How does the video use the notion of looking as a recurring motif?

The utilisation of the thought of looking is rehashed in the music video as the investigator endeavours to take a photo of Jackson toward the beginning of the video anyway he bombs as Jackson vanishes a second ago. Towards the finish of the video Jackson is kept an eye on by an old lady as he ascends the stairs and as he moves into bed the analyst by and by endeavours to take a photo of him. 

8) What representations can be found in the video?

Jackson is depicted as a Jesus-like-figure as toward the beginning of the Billie Jean video he flips a coin into a measure of a vagrant bringing about the vagrant to be awoken in sumptuous garments and clean. The possibility of "Everything he touches turns to gold" is found in the video by and by through toward the beginning of the video through the vagrant. We can likewise distinguish the thought and topic of "being from the streets" as the video is set in a urban late night road with indications of neediness through the vagrant and in addition litter being blown around the lanes. Jackson depicts himself as somebody from the wrong side of the tracks "not like the other guys".

Close-textual analysis of the music video

1) How is mise-en-scene used to create intertextuality - reference to other media products or genres? E.g. colour/black and white; light/lighting.

The music video is set inside a city anyway was shot in a studio which as of now has intertextual references to musicals and also Michael Jackson's moving. This music video has numerous sorts, for example, spy, sentiment, wrongdoing, musicals and film noir. The high contrast lighting utilized as a part of the video and in addition the outfit of the characters in the music video all have intertextual references to film noir. Billie Jean who isn't appeared amid the music video at all is exhibited as the femme fatale through Michael Jackson's verses. 

2) How does the video use narrative theory of equilibrium?

The disequilibrium found in this video is Michael Jackson who is being taken after while strolling down the road by an investigator who is attempting to outline him by taking pictures of him. The answer for this was Michael Jackson vanishing a minute ago into the bed while the investigator takes a photo and the police arrives, influencing it to seem as though he was the stalker of Billie Jean. The new balance is Michael Jackson is free from the criminologist and can return to his life. 

3) How are characters used to create narrative through binary opposition?

Characters utilised, for example, the analyst and the primary hero Michael Jackson make account through twofold restriction as the criminologist endeavours to outline Michael Jackson. Another illustration is poor and rich which is seen toward the beginning of the music video where Michael Jackson tosses the coin into the vagrant's container, influencing him to wake up in a perfect white suit. 

4) What is the significance of the freeze-frames and split-screen visual effects?

The stop outlines enable the gathering of people to focus on the verses and the music video in the meantime as they interface together, a stop outline occurs on Jackson's eyes when the verses say "eyes like mine". The split screen stresses Michael Jackson's move moves as a key component to the video as he is notable for his dancing. 

5) What meanings could the recurring motif of 'pictures-within-pictures' create for the audience?

The repeating theme of pictures-inside pictures makes story as when the investigator endeavours to take a photo of Michael Jackson he vanishes and the camera neglects to catch him. Moreover Billie Jean is never appeared in the music video anyway her name seems various circumstances using the daily paper which influences the group of onlookers to scrutinise her way of life and also fabricate account. By concealing Billie Jeans character it depicts Michael Jackson as the casualty and he clarifies that he didn't get her pregnant, which influences the crowd to trust him and Billie Jean is kept secluded from everything. 

6) Does the video reinforce or subvert theories of race and ethnicity - such as Gilroy's diaspora or Hall's black characterisations in American media?

The video may fortify Gilroy's diaspora hypothesis as the principle hero (Michael Jackson) as he is a dark man who is being stalked and taken after by a white investigator who is endeavouring to outline him for getting Billie Jean pregnant. Michael Jackson subverts Hall's race and portrayal in media as he is a dark hero who is depicted as a Jesus-like-figure anyway the setting of the video may fortify this hypothesis as it is set inside a dim road with litter being blown about. 

7) Does this video reflect Steve Neale's genre theory of 'repetition and difference'? Does it reflect other music videos or does it innovate?

Steve Neale's kind hypothesis is strengthened by the Billie Jean music video as the video has references to film noir and rehashes a portion of these traditions, for example, the outfit of the analyst and also the high contrast lighting utilised. Anyway the distinction which is seen is the utilisation of a dark hero which isn't commonly found in film noir. Numerous music recordings utilise reiteration and take after ordinary sort traditions anyway the ones which emerge and do especially well are the ones who utilise contrast with a specific end goal to acquire ubiquity. 

8) Analyse the video using postmodern theory (e.g. Baudrillard's hyper-reality; Strinati's five definitions of postmodernism). How does the 'picture-in-picture' recurring motif create a postmodern reading?

This music video utilises pastiche in its video as it get traditions from different classifications, for example, the film noir traditions of outfit, lighting and account. Baudrillard's hyper-reality hypothesis is fortified in this music video as the group of onlookers see the duplicate 'Billie Jean' as more genuine than the first. A few people may much consider the Billie Jean video to be the first and duplicate parts of the video, for example, the move execution.