In the light of the recent proliferation of interest in videographic methods in marketing and consumer research, we wish to make a call for thinking critically about the medium. In this article, we challenge traditional means of semiotic analysis and consider contexts outside aesthetic symbolism that take into account wider agencements of videographic inquiry. We sensitise thinking about videographic production to include a broad scope of influence beyond production and spectatorship. By positing a mode of desiring relationalities in semiocapitalist' markets, and through the illustrative example of pop-music videos, we show how videography not only produces symbols, but also has the tendency to discipline the viewer into particular subjective positions. We hope to add to the conceptual toolkit of aspiring video scholars and encourage them to be increasingly critical and reflexive about their potential impact.