Now that we know what obsession sounds like, what does it look like? Artists demonstrate the concept of stalking the object of their romantic desire even clearer with visual tools of physically chasing this object, presenting a non-expressive diegetic performance, and using the camera as a third party viewer with a cinematic focus.

By becoming the stalker, artists immerse themselves in the obsessive nature of their music. In “Always Something There to Remind Me,” Byrne is seen following his famous object of romantic interest from setting to setting with a continuous gaze. He physically stalks the woman, visiting scenes from the church she was married at, to the restaurant where she dances with her husband. Levine also physically embodies the characteristics of a stalker, as he follows his real-life wife Behati from her work on the street, or stands outside her window as she sleeps.

(The official music video for Naked Eyes’ “Always Something There to Remind Me,” published by Chrysalis Records on youtube.com. Licensed to YouTube by Kobalt (AWAL Digital Limited) (on behalf of Chrysalis Records); BMG Rights Management, PEDL, CMRRA, UMPI, and 14 Music Rights Societies)

(The official music video for Maroon 5’s “Animals,” published by Maroon 5 on youtube.com. Licensed to YouTube by UMG (on behalf of 222 Records/Interscope); CMRRA, UMPG Publishing, ASCAP, Sony ATV Publishing, UBEM, UMPI, AMRA, Downtown Music Publishing, Kobalt Music Publishing, Abramus Digital, and 18 Music Rights Societies)

Despite such profound professions of admiration, however, the singers use a non-expressive diegetic performance that is incredibly creepy and emotionless. While Byrne is chasing after the love of his life, his face is completely blank. When Levine watches Behati sleep, there is not a shred of emotion in his eyes. Thus, the artists use their own lack of expression during their performance as a visual tool. This lack of expression isn’t a novelty when it comes to music videos, but harkens back to the time of New Wave performers, who also used a straight-faced performance style. The Beatles, one of the most popular New Wave bands, crooned about love, yet gave little emotional response when singing. However, Byrne and Levine use this visual tool in a much more sinister way, impersonating a psychotic stalker as opposed to merely lacking expression.

(Mark and Colleen Hayward/Redferns: The Beatles perform in London on June 16, 1966.)

The final visual component which these “stalking videos” use is perhaps the most voyeuristic one. Each video not only presents the viewpoint of the lead singer watching the object of his desire, but also the viewpoint of the camera as an outside third party. This viewpoint of the camera “allows the viewer to direct their gaze inside the action, touch the bodies of the performers with their look and opt to go in or out of the performative space”  (Rodosthenous, 2).¹⁾Rodosthenous, George. Theatre as Voyeurism: the Pleasures of Watching. Palgrave Macmillan, 2015. For instance, in “Always Something There to Remind Me,” the camera focuses in flashes on the woman’s face, or follows her even after Byrne has left the scene. In “Animals” the camera focuses on certain parts of Behati’s body, which parallels Levine physically taking pictures of her face, skin, and legs. Thus, the camera is most voyeuristic of all in these music videos, acting as an autonomous force to be reckoned with.

These visual components act as a face to the sound of obsession, presenting a gaze from not only the viewpoint of the lead singer, but of the voyeuristic camera itself. The combination of physically chasing after the object of affection coupled with a non-expressive diegetic performance perfectly portrays the image of a creepy stalker. The camera takes this concept a step further, so that the music video is visually overwhelmingly voyeuristic.