Sut Jhally Dreamworlds 3

Dreamworlds 3: Desire, sex & power in music video The film I have chose is Dreamworlds 3: Desire, sex & power in music videos. There are a few directors of this film; they are Andrew Killoy, Jason Young, Jeremy Earp, Sut Jhally. The directors’ argument is that pop culture presents stereotypes about men and women in society that reflects a negative view upon the individuals. In the film Dreamworlds 3: Desire, sex & power in music video, the directors use an audience appeals to ethos, pathos and logos when they argue their case about the way men and women are portrayed in pop culture through unrealistic gender roles, exploitation, and fantasy lives through music videos which makes for a strong case. In the film Dreamworlds 3:

The misogynistic treatment of women in commercialized rap has become a widespread phenomenon which as a result has become commonly accepted by majority of the individuals in society. Rappers, in general, nowadays use women in their videos in a way which is both derogatory and exploiting. Black men in today’s society, especially in the entertainment industry, do not see women as their equals; rather they objectify them as being nothing more than sex objects. People in the Hip Hop industry do not believe that sexism and misogyny is as big of a deal as racism, thus they push this issue to the side by simply ignoring it and learning to accept it. This misogynistic portrayal of women is ruining the image if Hip Hop as both an industry and a form of expressive art. However, instead of taking action against this atrocity, many women simply believe that the images of women and their portrayal in rap videos does not represent nor refer to them as an individual and the type of woman they truly are. By being silent these women are allowing themselves to be victimized by the men of not only the Hip Hop industry but also general society. By not having a say in this matter of the false classification and portrayal of women, they are voluntarily allowing men to do whatever they please to do so, in any given time and with any approach they feel is necessary. They do not

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.

This study works to examine the use of sexual objectification of women in music videos today. The primary purpose was to examine the differences between genres, specifically hip-hop and country. I tested the following; Women are more likely to be sexualized in hip-hop music videos than in country music videos.

The video material that I chose to view for this assignment were music videos, which was an unsurprisingly easy decision to make for writing about gender stereotypes. Music videos are watched by millions every day, and many of these provide misogynistic visual media that has been regulated and accepted by society. These negative connotations for women showing them in highly gendered roles mainly doing medial things such as dancing around in lingerie or fawning over a rich, famous, and/or successful man are dangerous towards equality for genders. Young girls and boys seeing this kind of harmful content could lead them to grow up believing they have to conform to these stereotypes and gender roles instead of living how they would prefer.

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.

Intro: Like various art forms such as film, television, and literature allows artists to express their own sense of identity, that being nationality, race, class, ethnicity, gender or sexuality. In this case, Queen uses music to illustrate the themes of gender and sexuality through their music video I Want to Break Free (1983). This essay will attempt to discuss how Queen’s music video, I Want to Break Free, explores queerness in relation to queer theory. Firstly, I will introduce the ideas and arguments of queer theory through Gilbert Herdt article Same Sex Different Cultures (1997). I will then discuss Queen’s portrayal of drag within the music video and how it can be seen as queer rather than heterosexual. Lastly, I will argue that

In the film Dreamworld 3, it examined how females in music videos are portrayed, the role women have, and want they desire. It focuses on the dreamworld that one would want and what they desire. These music videos shown in the video are an exaggeration or honestly a fantasy, that can only happen in one’s dream. It promotes sex, butts, and lust. In the film, women were portrayed as sex objects and not even part of the plot, just extras to attract men to the videos. All the roles women had were sexy nurses, sexy police officer, sexy anything to show that they only had limited roles in these music videos. Also, these videos showed the dream of being with various women and that women are always ready for sex. Music videos are all about sex and

The Film Dreamworlds III examines the explicit nature and the objectification of women in music videos across music genres. A similar theme is presented throughout these various music videos as women are sexualized and exploited. In addition, many music videos display the domination and antoagonizing nature of a man controlling the numerous women submitting themselves to him. The portrayal of these images in music videos advertise and influence audiences to accept this behavior on screen, which in turn strengthens aggressive masculinity and the pornography of women.

It is suggested that one of the reasons why artists use misogynistic lyrics in their music is that they have internalized the negative stereotypes about women that are prevalent in American society. African women were historically portrayed as animalistic sexual beasts and African males in a submissive role, giving in to wild instinct or bodily impulses. The internalization of such stereotypes may be a possible explanation of the hyper sexuality within certain hip hop music. Various authors have argued that misogyny is merely an outgrowth of the cultural acceptance of misogyny at large.

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 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

Popular media is known for reproducing gender ideologies via lyrics and music video productions. 'P.I.M.P (Remix)' reproduces patriarchal gender ideologies both lyrically and visually. However, the production has incorporated a 'pimping is fun and prestigious' theme that trivializes crime, and does not elicit a fear of crime. This paper will primarily focus on Randol Contreras' article "Damn, Yo-Who's that Girl?" to elaborate on the male dominant gender ideology expressed in this prompt.

Lupe Fiasco used Pathos and Logos in his video to really grab the audience by the throat and show them what stereotypes today’s society sees everyday. He used Pathos in his music video by showing the emotions of how the characters felt by the stereotypes. The boy immediately showed no affection for the girl because she was dressed like the wrong kind of “bad bitch.” The girl felt offended that the boy didn’t feel attracted to her too. These two people were hurt by each other because of how they perceived the idea of what a “bad bitch” was. Lupe used Logos in his music video by showing the truth of misconception of stereotypes in both genders. The boy was shocked by how the girl was dressed but he saw the truth of how she thought a “bad bitch” was. And the girl was shocked by the the truth of what a “bad bitch” meant to the boy. Lupe Fiasco showed the audience the truth not only through what he was saying but how the characters reacted through his

Humans are undeniably trained and wired to judge others based on race, gender, and appearance. Unfortunately, women are stuck in all categories of judgments. Jean Kilbourne, an award-winning producer on documentaries about images of women in ads, explains that when media and advertisements exploit femininity for personal gain, women are at risk for much harm because it promotes objectification, which eventually will led to violence. An African American feminist, Joan Morgan, expresses her further disturbance about the constant sexism in rap lyrics that endorses violence and anger towards women. “’Two Ways a Woman Can Get Hurt’: Advertising and Violence,” by Jean Kilbourne and “From Fly-Girls to Bitches and Hos,” by Joan Morgan reveals