This song is a stripped down, simplified cover version of Dusty Springfield’s hit, and the mise-en-scene in the video represents the ‘stripped down’ nature, as Kate Moss is scantily-dressed in a large empty room. Clearly, the song itself matches the video in being simple and uncomplicated, whilst also representing the band who are themselves bare, in that there are only two members. Therefore, the song and video both align with the band’s minimalist approach to music.
This video also represents voyeurism in its simplest and starkest form. It features the famous model Kate Moss, who is recognized globally and is renowned as being a top model. Using a recognizable and desired woman adds interest in the video and implies she likes both the song and the band herself. She is sought-after by men worldwide, and the opportunity to see her dancing around a pole suggestively ensures this video has longevity, if only with male viewers. Voyeurism is an important aspect of a music video, as it attracts viewers and gives them pleasure in their viewing. Kate Moss, the female performer, is evidently used as a sexual attraction, and thus this video is dominated by its voyeuristic attributes. She is the icon of the video.
Furthermore, there are other features identified by Goodwin (1992) playing a role in this video. There is a definite synchronization between music and performer. In the early stages, the loud double sound at the end of the line of lyrics is matched by a sharp, thrusting movement by Kate Moss. Quieter parts of the song align with smooth movements and curls by the performer, which also adds to the voyeuristic aspect. As the music speeds up half way through, Moss jumps on the pole and starts swinging vigorously – her actions are becoming more forceful, and this is a clear relationship with the music of the song. Throughout, the performance speeds and slows in sync with the music.
In addition, the video shows a relationship with the dominant lyric “I don’t know what to do with myself”, as Moss is in an empty room consisting of just a box and a pole. Therefore, she starts to use these creatively as to suggest she has nothing else to do. The other lyrics also state a yearning and desire to be with ‘you’, and so the lyrics are being aimed at Kate Moss in the video, who in turn is teasing and tormenting. The lyrics imply desperation, and the performance in the video evokes desperation to have Kate Moss from the viewer.
The camera work adds to the teasing erotica of the video. Many fragmented body shots are used, particularly when on the pole, to give full focus to Moss’ body and to overtly encourage voyeurism. These shots are used in conjunction with long-shots of the actress, which show her whole body moving in a slender and attractive manner. These shots in particular evoke a feeling that the viewer is strapped to a chair and forced to watch her – a suggestion that the viewer cannot avert their eyes away from Moss. There are also many close ups of her face to create intimacy and a stronger desire from the viewer, as these shots give an implication that Moss is aiming her suggestive moves towards the viewer. Again, this plays on the viewer’s desire and wanting of Kate Moss.
The editing and lighting both add to the voyeuristic nature of the video. The first thing to notice is the black and white colour. This is further evidence of a stripped down, minimalistic approach to the video that represents the band in the way they want to be represented. Black and white is also common in attractive images, as it relates to the days of Marilyn Monroe. With regards to lighting, it is synchronous with the music, in that there is dimmer lighting during low-key moments and flashes during the high-paced periods. The spotlight also aids in focusing all of the attention on Kate Moss to maximize voyeuristic opportunities. The editing shapes the viewing, in that there are frequent cuts back and forth from long-shots of the whole body to fragmented body shots. The black and white are also sharpened to emphasise the contrast between the two colours.
To conclude, this music video meets most of Goodwin’s theory, only omitting the band itself. It represents the White Stripes’ desired minimalistic approach to their music by being minimalistic itself in setting and mise-en-scene, whilst hugely encouraging voyeurism from the viewer. This voyeurism, and the use of the star image Kate Moss, creates a desire from the audience (particularly male) to repeatedly watch the video, thus giving it longevity. Lastly, the video is unique in that it is simply an erotic performance from the famous Kate Moss, and so it is a talking point which would have promoted the band and given them the desired publicity. Therefore, the video is successful in its aims and extremely effective.
