Analysis Of Robin Thicke's 'Blurred Lines'

Director Sut Jhally, in his documentary film, “Dreamworlds 3: Desire, sex, and power in music videos”, analyzes the issue of how women are portrayed in the music world. Jhally, in his film argues how music and media has become a proud industry when it comes to advertising women, all for the benefit of popularity and record sales. Jhally believes these videos both inform and misinform our culture about our dominant attitudes regarding femininity masculinity, sexuality and race. He uses an empathetic tone in order to appeal to pathos, the feelings and experiences in women when he presents video clips that are somewhat offensive to watch as proof that women have become a common necessity shown in music videos. Often presented as being sexually aggressive and submissive, being objectified by men. He also intentionally wants to try to stir up emotions as he introduces song lyrics of women being called inappropriate names and images of women being fondled by men throughout the film. Sometimes, aggressively without consent.

Since the explosion of music videos in 1981, a large portion of their popularity has been due to the objectification of women and their sexuality. “Early content analyses showed that anywhere from 40% to 75% of music videos contained sexual imagery”(Arnett, 2002). Hip-hop music videos especially have a reputation of degrading women. In these videos “women are often depicted in positions

In her article “The Venus Hip Hop and the Pink Ghetto: Negotiating Spaces for Women,” Imani Perry argues that the objectification of women in the music industry is normalized in our society. Her purpose is to persuade us that most feminists who fight against the objectification and exploitation of women are ultimately colonized by the sexual fantasies of men. As a law professor at Rutgers Law School, Perry structures her text in a very effective manner. Using a general-to-specific organization scheme, she begins by outlining the recurring image of sexualized women in music videos, then presenting various cases of prominent feminist figures in the music industry.

In the recent history, feminism and pop culture have become more closely entwined than ever before. This can be partially because of the growing interest in culture studies as an academic discipline, but it can also be explained by the fact that, there’s a whole lot more popular culture to watch. Pop culture has become our common language, a universal way of uniting the world. Pop culture is also a key route to making the concept of feminism both resonant and relatable. In this paper, I am interested in the relationship and connections between pop culture’s representations of women and girls and the depiction of feminism through the lens of pop culture. There’s a

Taylor Swift, a pop icon and polarizing figure, is often known for her empowering music, feminist attitude, and meaningful lyrics. Many of her fans praise the feminist messages some of her songs deliver, however others say she comes from a position of privilege and only advocates for white women. Still, a common perception of Swift is that she has evolved from an innocent country singer into a more controversial and sometimes provocative pop singer. What is ignored though, is that despite this perception, themes depicted in “old” Taylor’s music still displayed highly problematic concepts about gender, just in less obvious ways. Particularly in her music video for “You Belong With Me,” the audience if presented with a fulfilling love story involving a nerdy girl getting the popular. On its surface, this concept may seem normal, but the narrative of this video unintentionally conveys significant gender issues in today’s society. Thus, through her 2008 music video for “You Belong With Me,” Taylor Swift ironically presents herself as the ideal nerdy girl next door who gets the guy when she suddenly turns beautiful while demonizing a cheerleader, revealing problematic notions of how women are supposed to look and behave in society, as well as reinforcing negative female stereotypes.

According to Sociologist Craig Calhoun, socialization is “the process through which individuals internalize the values, beliefs, and norms of a society and learn to function as its members”(Calhoun, 2013). With that in mind, media, particularly the music video and advertisement industry, are essential parts of contemporary socialization, especially involving the perpetuation of gender roles in our culture. At a very young age, children learn, without difficulty, the differences between boys and girls, and what standards they are held to. Women are often objectified, systematically demoralized, and dehumanized in the music video industry and mainstream advertisement. External forces, such as the media, not only guide children to understand the norms of each gender, but these forces also shape children and adolescent’s perception of the self. The documentaries Killing Us Softly 4 directed by Jean Kilbourne and Dream World 3 directed by Sut Jhally explore the distorted and fallacious ideals of femininity and sexuality expressed in contemporary media.

Within popular culture today, objectified female bodies can be represented everywhere from advertising images to magazine covers, television, music and many more. Through these media institutions, we allow them to construct social identities in ways that allow us to understand what it means to be black, white, Asian, male or female etc. Within many popular culture mediums such as music, stereotypical representations of racially marked female bodies are often formed. Thus, these representations also have the ability to create stories about a certain culture. In music videos, it does not go unnoticed that women are portrayed as objects whose objectives are to pleasure men. In this paper, I will argue how racially marked female bodies are represented. This paper will mainly focus on how these racially marked women are depicted in the hip hop culture. To demonstrate this, I will draw examples by using award winning music videos by Nicki Minaj, R.Kelly, 50 cent to exemplify representations of the female body and how they are objectified as sex objects. In conclusion, we will be able to see how the female bodies are used in mainstream hip hop videos to convey seductively.

The first section of Gender and the Media addresses gender representations and the beginning of feminism. During the late 60’s and early 70’s, women’s rights movements were first introduced with the challenge of the media, prompting them monitor the way the media portrayed women. This portrayal starting in the late 1970’s has seen many transmissions since. Gil states: “I use the term feminism to signal a concern with enduring gender

It is a perfect culminating moment for how we make, distribute, and consume popular music.Examination of how Black cultural values and artistic traditions across the African diaspora inform Beyoncé’s artistic work.Articles on Beyoncé and her work might pursue the following, the role of intersectional feminism, especially Black feminism, in evaluating Beyoncé’s musical, audiovisual, and cultural work. The relation of late capitalism and neoliberalism to the reception and mediation of Beyoncé’s public persona. Theoretically informed thick descriptions of Beyoncé’s music recordings, videos, attached to the spectacle of the female body in pop

The development of visual media has introduced the concept of The Male Gaze Theory. The Male Gaze Theory is defined as how women are depicted in the media from a male perspective, such as presenting women as sexual objects for men’s pleasure (Loreck). The article, inexplicitly, talks about the male gaze: “Up to 81% of music videos contain sexual imagery, the majority of which sexually objectifies women by presenting them in revealing clothing, as decorative sexual objects, dancing sexually, or in ways that emphasize body parts or sexual readiness.” The article talks about how women are sexually presented in the media which is what the male gaze encompasses the “male gaze” is a harmful contribution to the sexualization of girls and is also seen throughout the music video. The beginning of the music video shows 50 Cent walking into a brothel-type mansion where the camera pans to focusing on the writhing, half-naked women in the foyer of the mansion. This scene is viewed from a male’s perspective because the camera focuses on their sensual movements and physical assets instead of their normal facial expressions or more appropriate places on their body. Also, since 50 Cent is the only male in the mansion, the camera is only coming from a male perspective because brothels are only truly for a male’s pleasure. The other women in the video are objectified from their revealing clothing

On March 26, 2013, Robin Thicke released the single “Blurred Lines”, a song that went on to be the longest running number one single of 2013 (Dredge 1). Thicke anticipated gaining fame from the song’s catchy beat, but the song would also bring him infamy, as many thought the song promoted misogyny and rape culture. Thicke’s hit single eventually reignited a debate over the role of sexism and misogyny in pop culture and music lyrics in particular. A brief analysis of contemporary popular music evidences that sexist and misogynistic themes are prominent within the lyrical content of many songs. Once one recognizes the almost undeniable sexism in a significant amount of popular music, it begs the question how to address this issue, if at all. Many feminists and harsh critics deride such sexist music and seek to ban and censor sexist songs. Others believe that chastising sexist artists can be useful, but banning such music is an inappropriate response. Others chose to ignore this issue, as they are ultimately indifferent to the prevalence of sexism in modern culture. In my opinion, many popular songs have disturbingly sexist implications and, while it is inappropriate to ban such songs, it is worth analyzing this issue and denouncing artists who are blatantly misogynistic.

The colorful ambiance of a “Super Bowl 50” commercial emerges, highlighting a vivid yellow box. Inside, an individual - clad in a gray cable-knit turtleneck, gray sweatpants, and combat boots - frolicks to the accompaniment of a subtle drumbeat. Shortly afterward, the word “Drake” appears in white text as individual chants the opening lyrics to a ballad familiar among many: “You used to call me on my cell phone” (“50”). The song deactivates when a male voice bellows, “Cut, cut!” (“50”). The setting of a music video is depicted, and three individuals approach the yellow box, confronting hip-hop icon Drake in regard to altering the lyrics of his song, “Hotline Bling.” These alterations focus upon mocking a wide array of concealed fees or conditions

Whether it’s watching a fashion show, reading magazines, or looking at pictures of model we are consumed by media everywhere around us. The video, Miss Representation analyze the overview of our society that uses tools such as the media to display gender expression that reveals the hidden message that politically or socially affects individuals in our generation. The video brought up the awareness of how media had dominated our lifestyle and the fear of how it changes us.

This essay will argue that Nicki Minaj’s hit song, ‘Anaconda’, is a prime example emphasising the objectification of woman specifically within the music industry. What makes ‘Anaconda’ significant in comparison to all the other music artist’s where men objectify multiple woman in their music videos (Robin Thicke’s ‘Blurred Lines’), Nicki Minaj objectifies herself. With tools such as the Effects model and the Uses and Gratifications model as an aid to the justification and support for the cause and effect of my reaction of both the audio and visual messages being sent from the infamous ‘song’, to its audience, such as myself. Cases where people (bloggers) have criticized this particular work aids to the justification of my opinion made.

Blurred Lines is a popular summer song that is constantly played on the radio. A song like “Blurred Lines” should not be played on public radio. A big problem with “Blurred Lines” is that it attempts to normalize disrespectful behavior towards women. Robin Thicke teamed up with rapper T.I. and singer-producer Pharrell to deliver arguably this summer’s most popular song. The song “Blurred Lines” has placed number one on the billboard hot 100 and has sold over one million copies. Critical reception of the track is mostly positive. Yet with the success comes a not so positive response. When first listening to the song a person might find themselves nodding your head to a catchy tune, but perhaps once a person listens closely to the lyrics some people may not want this song on their iPods.