The Video Is A Music Video

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 the United States, cultural divide is evident almost everywhere you go. Police are often the ones blamed for divide. In the past couple of years, many African American men have been killed by police in streets across America. With most of the cops being white, the black community has linked these killings to racism. Black groups have become furious with these killings. African Americans are taking a stand against police and racism on an everyday basis. We see these stands being taken place on social media and TV. Although most people would look at this video thinking it’s about speaking out against police, I see a different message. The music video by Big Sean, “One Man Can Change The World”, demonstrates an inspirational impact somebody can have on social issues.

Music is part of everyday life and serves as the center of many cultures across the world. Music brings out the best parts of a movie, a car ride, or even a special event. The purpose of music varies from artist to artist and different cultures. Every piece of music carries a unique message, but a song, in particular, carries meaning. “Runaway Love” by Ludacris, featuring Mary J. Blige, exploits the struggles of young girls by using rhetorical techniques, such as pathos, ethos, logos, tone, and visual rhetoric throughout the music video to raise national awareness about youth runaways.

Females who are over-sexualized often seek attention and acceptance. Raunch is less about female sexual liberation but instead it is fulfilling the male fantasy of unlimited female availability contributing to the stereotypes of gender roles. Raunch Culture is often seen in movies, various forms of advertisements, and through female celebrities. For example, young girls are influenced by Disney’s hidden sexual messages. This creates a negative image by making it acceptable to objectify women. Through the media women expose their bodies, using liberation as an excuse to support raunch culture contributing to the stereotypes of gender roles.

Allen’s music video introduces half-naked women committing sexual acts in a provocative scene to establish the role of women in pop culture as dehumanizing. The scene starts with Allen joining the female dancers, clothed enough to barely cover their genitals, beginning their dance routine. As Allen sings, the dancers are seen performing the twerk, and the video zooms on the dancer’s genitals as the dancers lick their hands and slap their genitals. Allen’s incendiary scene highlights women as needing to be overly sexualized in music videos and performing suggestive behaviors to be included in pop culture. This scene dehumanizes women in music videos because women are expected to behave and dress in a specific manner or not be included in the

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.

One of cinema's most unexpected, artistically fertile iterations in the 21st century is the viral video, a Warholian flash of lightning: brief, often concept-less, zigzagging across the globe on bright computer/phone screens, and then, just as quickly, vanishing from relevance. This new medium's Meliesian pioneer is a mercurial figure whose fifteen minutes of fame has miraculously protracted into a decade's-worth of cultish, vaudevillian mini-movies; their deranged comedy, hot-topic commentary, and punning, shade-infused manifestoes of give-no-fucks self-reliance are devotedly watched and shared by a small legion of loyal fans. When Chris Crocker, frail, snaggletoothed, lachrymose, uploaded a wailing defense of Britney Spears onto YouTube during

Instead of viewing the women of these videos just as vixens, mass media should promote to young women to be smart, respected, strong women instead of just being sexual objects for the male gaze. Kellner’s article has a multiperspectival approach to cultural studies within his three elements to youth subculture through production distribution, textual analysis, and audience reception for the use in media culture.

In the same vein, in the Girls’ Generation’s music video, “I got a boy”, two fold of aspects of feminine gender and sexuality are represented in the context of polycentric cultural globalization and cultural adaptation. One is cultural feminine typicality, such as aegyo, the other is girl’s empowerment, such as

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

During the duration of the music video Beyoncé makes numerous references to historical events. She uses these references as a way to illustrate the story and educate the morals behind them. For example, Beyoncé purposely uses the sinking New Orleans police car to demonstrate the story behind the event. The narrator, Beyoncé, visually communicates the story of how Hurricane Katrina traumatically demolished the city of New Orleans. By laying on the sinking police car she is simply visually stating that police officers, during this dramatic event, were drowning the people of New Orleans, rather than aiding them in a desperate time of need. There does seem to be a casual relation between the people of New Orleans and the

The pianos start of slowly building of all the instrument start coming together. Then the lyrics that hit the world face like a bowling ball going for the strike. “When I was in the 3rd grade I thought that I was gay” a unique and string message that echoes through your eardrums every time you hear the lyrics. Same loves is a song preformed by Macklemore and produced by his best friend Ryan Lewis. The bring in an aspect that you almost never hear in hip-hop music today and is usually condemned to most hip-hop artist. Same loves bring a twist and a great example of that is the music video and the cover art for the song. From beginning to start of the song and video it presents the life that two men of the same sex. Same love depicts how strong the same sex are through all of the struggles they have to go through on a daily basis, but at the same time showing their strength, and not putting them in a one dimensional role like most television shows, skits, videos and music videos do today. Showing the lives of the Macklemore really set the bar in the music world and is the first commercial hit hip-hop song talking about marriage equality.

“Motel 6” is the first track of Jean Deaux’s debut album, Soular System Vol. I: Dark Matter[s]. It describes Deaux’s mental state after being a victim of sexual abuse. The music video, released in October 2014, provides a visual for the gritty depiction of her emotional pain. Deaux’s audience are those who have been raped or affected by sexual assault. Through this music video, she provides an outlet for victims to relate and displays the mental and physical pain of sexual abuse. The music video for “Motel 6” only uses visuals to express a story, an element I would like to attempt to use in my project. Visuals without narration open the interpretation of the art to the audience. This allows discussion to form and creates a more interesting

In the world, there are billions of people of varying races and skin colors. With that there are many attitudes, preconceptions, and stereotypes of how each race operates. From these stereotypes and attitudes sometimes racism and discrimination can occur. In therapy it is important to be aware of these issues that could possible present in therapy. For this assignment we reviewed a video called The Color of Fear, which was a video recording of a group session of men of different races that discussed their experiences dealing with racism and discrimination. After their group sessions the men were able to understand each viewpoint and are able to promote awareness and understanding for people of a different race or color that they are. In this paper, my hopes are to provide my personal reaction to the video we watched for this week’s materials. In addition I want to provide some personal stories and a plan for if these issues arise while treating a client.

Back in the 1970’s music videos were already able to be produced by record companies and were being used in promotional sites. This was thanks to technology that was created in the 1950’s by French artists (Serge Gainsbourg, François Hardy, Jacques Dutronc)