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When the singer is placed off center (through framing and so on), we might assume a different experience of the song. It is important to note that many music videos have parodied or deconstructed proscenium framing, for example in Nirvana’s “In Bloom,” the band performs before an Arabian Nights backdrop on an episode of the Ed Sullivan Show. The scene is particularly humorous because the set, which the men, wearing skirts, quickly destroy, was shot with low-resolution black and white video. Music videos often contain a long series of low- or high-angle shots that create a different relation between listener, music, and image.

S “Shiny Happy People” takes place in a high school auditorium, and a man pedaling a stationary bicycle rotates a pulley that draws back the curtains on the stage and shifts the rolling painted backdrop behind the actors and musicians. To ascertain whether this could really happen, we examine the music for possibilities. In fact, almost any technical, mechanical, or physical link between two spaces in relation to the music—two-way mirrors, rear-screen projections, pipes, satellites, computer terminals, television sets, and antennas—creates a question about effects.

Music-video characters resemble the lemon, fish, and sea in Comolli’s description of Braque’s painting. Each figure is integral and whole, yet also opaque and mysterious. Nothing can be added to a music-video character, and nothing can be taken away. Perhaps the sketchy, obscure nature of music videos helps to create the sense that most often they are kept at a threshold below which a narrative commences. Without enough material to get us started, we spend time simply deciding what to make of the characters and whether to take them as allegorical figures, as musicians who find themselves in a strange situation, or as actors within a complete fiction.

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