Narrative Theory - Smooth Criminal, Michael Jackson

According to Tim O'Sullivan all narratives have a common structure, starting with the establishment of plot or theme. In this music video we start off with Michael Jackson's shadow at the end of an alley way, he then runs around the corner and opens a door. Music starts playing but this sounds very enchanting and recognisable from a Disney family film. This then creates the theme of enchantment and that something magical might happen. O'Sullivan then states that the understanding of the theme is then followed by the development of the problem, an enigma and an increase in tension. This can be seen as Jackson entering through the door, the audience wanting to know what is on the other side. When the camera cuts into the next scene, beyond the door, and the mise-en-scene completely juxtaposes the sound of the music. 

The entering of Jackson in the club can be seen as the disequilibrium of the music video, he has disturbed whatever was going on inside before he entered. The use of disequilibrium is a stage used to show the progress of narrative within a media text from a theory by Tzvetan Todorov. Todorov stated that there are five stages within a narrative, they are as follows:

1. A point of stable equilibrium, where everything is satisfied, calm and normal.

In this music video the stable equilibrium is not seen, this is inside the club what the audience doesn’t actually assume is there. The music relating to a fantasy family film leads the audience into a false sense of security for what happens next.

2. This stability is disrupted by some kind of force, which creates a state of disequilibrium.

The camera cuts into a medium close up of Jackson inside the building and the music ends abruptly, this automatically creates tension along with the close ups of other characters faces who seem to be startled and confused at Jacksons presence.  There is also a low angle shot of Jackson during this silence sequence which also indicates that he has some form of power during the narrative.

It is also at the disturbing of the equilibrium that the mise-en-scene establishes the time period of the piece. Jackson’s suit with black arm band, trilby hat and spats along with the low key lighting and other characters wearing similar clothing items create a feeling of dark nostalgia, sending audiences back to the gangster period of 1920’s New York. Other music videos such as Madonna’s ‘Vogue’ and Weezer’s ‘Buddy Holly’ also incorporate nostalgic and iconic imagery from distinctive parts of decades to create a visual meaning of the songs for audiences. ‘Vogue’ referencing 1940’s Hollywood and famous actress Marylyn Monroe; ‘Buddy Holly’ referencing the 1970’s show ‘Happy Days’ which the show itself is based in the 1950’s America.

3. Recognition that a disruption has taken place.

There is recognition that the equilibrium has been disrupted by Jackson’s character this is shown by a low angle close up on his face. The camera then cuts to a long shot and his character flicks a coin into the duke box. The song then starts playing and this I believe is when there is complete recognition of the equilibrium being disrupted.

4. It is only possible to re-create equilibrium though action directed against the disruption.

To re-create the equilibrium in this music video the characters try and kill Jackson’s character. This is shown in the form of dance, creating the feel of it being like a musical theatre sequence, a bit like the musical ‘Bugsy Malone’ which is also set in 1920’s gangster New York.

The dance section is very important to this music video especially, it not only adds to the performance element to of the text but it creates iconic imagery. A bit like his ‘Thriller’ music video the dance moves are recognisable worldwide such as the famous lean over. This also reiterates points that are made regarding the performance of a music video determines the end success of the product which is the song.

In this section there are also Hollywood movie techniques that are incorporated into it to create more of a narrative instead of it being purely performance based. Techniques, especially used in thrillers, where the camera is behind both the antagonist and the protagonist and shows the antagonist sneaking up on the protagonist holding a weapon thus creating the feeling that the protagonist is about to get hurt. But in true Hollywood fashion the camera cuts to in front of the protagonist and they shoot behind them without even looking.

5. Restoration of a new state of equilibrium. The consequences of the reaction are to change the world of the narrative and/or the characters so that the final state of equilibrium is not the same as the initial state.

In the music video I feel that there isn’t a new state of equilibrium and that the end of the video is open to interpretation. This is where the video can be seen to be breaking the conventions used by theorists such as Todorov. Jackson’s character, the disturber has not been killed or taken out, but rather he has become liked by the other characters. This is shown by them dancing together. But then again some of the dance moves could connote that Jackson’s character has the power over them and that the likeness is forced upon them by the authority he possess.

There are also silhouettes that appear towards the end of the piece, they seem to be holding weapons of some sort, again this is completely open to audience creating their own meaning by their understanding of history. I understand these silhouettes to be those of the Nazi soldiers/SS and reinforcing Germany’s ban on swing music during the late 1930’s. This I feel completely changes the tone of the piece.