Rihanna Research Paper

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

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

'If it is a mistake it is my mistake',Rihanna is a well know star from all over the world for about 12 years. Rihanna became a start because her unique singing. Although, this is not the only reason. She has made many songs that have became number 1 hits. She has the most like and followed pages. Also Rihanna knows what genre fits her voice type.In 2003 when Rihanna was 15 a teen one of her friends introduced her to a famous music producer. The music producers name was Evan Rogers.Evan noticed her talent and him and his partner Carl Sturken helped her record her first song.Her first son was sent to various companies. Jay z who is a famous rapper signed her to def jams. When Jay Z heard her sing, he was impressed. He noticed she had great potential he was extremely convinced she was a good singer.This is how she became extremely successful in the music industry. As of today Rihanna is still one of the most well known singers. She usually go by the name of RiRi or Caribbean Queen.She changed the world with her unique voice. Also she became well known for her signing and fashion.She donated money to charity and also helped the unprivileged.

Robin Thicke’s music video to his song “Blurred Lines” avidly contributes to the patriarchy, while portraying sexism, gender standards, and beauty standards. His music video can be analyzed from a feminist theory approach, as it’s evident that his song and video contribute to a patriarchal society and its inherently sexist and sexualized ideologies. The ideology behind the song and music video is purely sexual and about male dominance. The lyrics to the song and actions in the video exhibit extreme over sexualization and objectification of the women. Analyzing this piece of popular culture through a feminist approach opens up a provoking conversation about how popular culture functions in a patriarchal culture. Analyzing pop culture though a feminist theory can allow for a larger variety and more in-depth analysis about the social aspects and political agenda within popular culture.

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.

For nearly twenty years, Beyoncé has lived her life in the public eye yet she has always kept her cool, been submissive, and rather quiet when it came to her personal endeavors however after releasing the film “Lemonade”, we are able to see her in a vulnerable light. In Jeremy Helliger’s article: “Dear Beyhive: Stop Whining. Beyoncé Still Hasn’t Earned Her Album Of The Year Grammy” he addresses the idea that although Beyoncé was able to encourage black women to be proud and free, she also she missed the mark by adding raunchy, over the top content to her vulnerability.

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.

The persistence of these problematic ideas within western popular culture has transformed black beauty standards in ways that empowers, but also, subverts black women back into these dominant narratives surrounding their buttocks. This is commonly displayed by popular R&B artist Beyoncé, who uses her large backside to market her performances and shows in order to increase her audience, and thus, her revenue. While some may argue that this may be counterproductive when challenging these westernized subjugations as it once again commodifies the black body, these sexualized articulations attempt to “serve as both economic and symbolic markers of black femininity that define her image,” Aisha Durham writes in her article, “Beyoncé, Southern Booty,

In music videos the dancing or portrayal of the people within these videos is often of a very sexual driven nature. This re-inforces the idea that women are sexual objects and the purpose of their being is to provide the male population with sexual satisfaction. Women portrayed are very thin and pretty, wearing heavy layers of make-up which portrays the idea that women need materialistic items such as mascara and lipstick

Though this study was conducted in 2007 (and social media has progressed exponentially since then), the paper still offers an interesting discussion on how black adolescent girls are informed (or not in some cases) by dominant images of women within hip-hop-influenced pop culture and the ways in which they seem to either internalize these images and/or resist them. She writes that “although some Black women artists assert agency and resist derogatory representations of Black female sexuality, young Black women are often sexually objectified and portrayed in passive roles in popular rap, R&B, dancehall songs, and music videos” (Stokes 2007: 171). Stokes further works to understand the effects of such objectification by looking at the content produced by (self-proclaimed) black adolescent girls on youth-oriented websites. Using sexual scripting theory as a base, she argues that there were six pervasive scripts “with roots in controlling images of black female sexuality”: Freaks, Virgins, Down Ass Chicks/Bitches, Pimpettes, and resisters (Stokes 2007: 175). As some might argue (including myself) that it is problematic to categorize something as complex as sexuality, she notes that these scripts often overlap, are not necessarily

This includes standards of beauty, empowerment, culture, and the shared parts of our history. The message that Beyonce is trying to convey to us is that there are real issues going on that are constantly being ignored. She is also stating that if no one else will voice their opinions on these issues then she will. As I analyzed the position that I received was discrimination to African American culuture, police brutality, tragedy, and cultural pride. I agree with the message behind this video/song. For many years cultural issues have been ignored and failed to be solved due to political

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.

(Weisstuch). The underlying message is that women live exclusively for the sexual gratification of men based on male power, privilege and preference. These images serve as a grim reminder that women are being exploited as sexual objects through rap videos. Therefore, the objectification of women through the means of rap music is a major influence in the exploitation of women.

Music videos are a great tactic for musicians to draw more or new listener’s in and to show off their talents. The music industry has a very specific way and clear goal of how they decide to draw new listeners in. In most music videos today weather its rap, hip hop, R&B, alternative, and so on, the music industry sexualizes and portrays women into sexual beings and objects. In the article “What’s your definition of dirty baby?”

In the year of 2014, we saw many famous women revealing their assets in the media to prove a point, that is, to show that they are sexually liberated. Although, it may have seem they were using their bodies to make sales - it is not all true. The recent chaos in the media with the female booty and female sexuality in pop culture as a whole has provided the world with powerful messages. So imagine, as these celebrities take on a huge influence on the media with their bodies, what kind of message are they trying to get across? Why are these women showing their bodies to prove that they are sexually liberated? Anaconda music video by Nicki Minaj does exactly that, displays females bodies explicitly erogenous, but the message is clear if you