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Misogyny in music videos
Impact of media on body image
Misogyny in music videos
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Music videos have become a huge part of the music industry, acting as a marketing tool that adds a visual component to recorded music. The first music video was introduced as an “illustrated song” in 1894 by Edward B. Marks and Joe Stern (Indiefilm, 2011). The duo hired an electrician and performers to bring their single "The Little Lost Child" to life. Series of still images were projected on to a screen, while the duo played their song simultaneously (Indiefilm, 2011). Since then, music videos have flourished and become a huge carrier and disseminator of culture – especially with the advent of television shows like MTV and websites like YouTube. Like all forms of media, music videos have the ability to influence society in a number of different …show more content…
A loaded topic of discussion, “studies have…found music videos to influence how women feel and think about their bodies” (Mischner et al., 2013). This essay will seek to expose how women have been objectified and misrepresented in music videos and explain the influence this may have on women and their understanding of beauty, as well as how it can alter society’s perception of a woman’s role. The essay will look at different genres of music, including pop, country and rap – and examine how women are represented differently in music videos across these three genres. Because a genre of music contains so much culture, it is likely that there are variances in the way that each genre will portray women and …show more content…
(2012). Race and Genre in the Use of Sexual Objectification in Female Artists' Music Videos. Howard Journal Of Communications, 23(1), 66-87. Retrieved July 22, 2014, from the Taylor & Francis Online database.
Levande, M. (2008). Women, Pop Music, and Pornography. Meridians: Feminism, Race, Transnationalism, 8(1), 293-321. Retrieved July 22, 2014, from the MUSE database.
McClane-Bunn, A. D. (2010). Sex in the Hillbilly Field: Objectification of Women in Country Music Videos . Media Report to Women, 38(4), 6. Retrieved July 22, 2014, from the Factiva database.
Mischner, I. H., van Schie, H. T., H.J., W. D., van Baaren, R. B., & Engels, R. C. (2013). Thinking big: The effect of sexually objectifying music videos on bodily self-perception in young women . Body Image , 26-34.
The Art of Music Video Production. (2011). Retrieved July 1, 2014, from Indiefilm Productions: http://www.indiefilm.co.nz/blog/the-art-of-music-video-production/
Zhang, Y., Dixon, T. L., & Conrad, K. (2010). Female Body Image as a Function of Themes in Rap Music Videos: A Content Analysis. Sex Roles, 62(11-12), 787-797. Retrieved July 22, 2014, from the Springer
I. Introduction Gender plays a big role in music, I became aware of gender role in music when noticing how most songs talks about women and how they are being either exploited or empowered. Most music videos even in the 80s either objectified women or respect sexuality. Women are usually sexually alluring in music videos, stage performances and even in the song lyrics. Most music video uses video vixens or video girls that are usually dressed or performing sexually. For example, “Siouxsie Sioux frequently performed wearing black leather and rubber bondage attire, as well as heavy eye make-up, making overt statements about her sexuality.
In recent years, sociologists, psychologists, and medical experts have gone to great lengths about the growing problem of body image. This literature review examines the sociological impact of media-induced body image on women, specifically women under the age of 18. Although most individuals make light of the ideal body image most will agree that today’s pop-culture is inherently hurting the youth by representing false images and unhealthy habits. The paper compares the media-induced ideal body image with significant role models of today’s youth and the surrounding historical icons of pop-culture while exploring various sociological perspectives surrounding this issue.
Lewis, George H. “Lap Dancer or Hillbilly Deluxe? The Cultural Constructions of Modern Country Music”. Journal of Popular Culture, Winter 97, Vol. 31 Issue 3, p163-173, 11p
Overt sexual and gender stereotyped messages have become commonplace in the American music video scene. Nicki Minaj 's video for her hit single “Anaconda” is no exception, with its graphic images of scantily clad women with vibrating and shaking bodies dancing around in an exotic jungle setting with plenty of phallic imagery. Not all of the messages conveyed by this video are immediately apparent; upon scratching the surface, viewers will see gender messages that are far more covert. And while there may be a temptation to assume the worst about the video 's representation of power, gender, sexuality, and stereotype, the video is also strangely empowering. On the surface, Minaj portrays the female gender as highly sexualized and disempowered and yet some of the deeper messages in this video also reflect a sense of female empowerment, confidence, and an embracing of sexuality and sexual assertiveness.
In The Venus Hip Hop and the Pink Ghetto, Imani Perry argues that the over-sexualized, unattainable bodies of black women in popular culture will lead to the breakdown of feminism and the positive body image of the everyday black women. As hip hop music continues to become more popular, the sexist messages presented in lyrics and music videos are becoming more common to the everyday public, including young black girls developing a self-image. Instead of these girls being exposed to healthy, positive role models who encourage individuality and that there is more to a woman than her body they are given hip hop video models whose only purpose is to look sensual on screen. The strong women that do exist in the hip hop genre are pushed to sexualize themselves or their lyrics to sell records or stay relatively unknown. Although Perry’s arguments are logical, I believe that she is creating a slippery slope of logic. A genre of music cannot destroy the self-image of black women that has existed for generations.
Traditionally, an image of Honky tonk girls permeate the collective unconscious of the American country music (Wilson, 2000). Honkey tonk are referred to bars that play country music and women in country music are represented as corrupted temptresses who sit in honky tonks with painted lips and tinted hair to seduce men or as innocent virgins who are loving and patient (Wilson, 2000). However, contemporary female country musicians reject this traditional view on women because such simplistic dichotomy fails to recognise diverse identities that are adopted by women in a contemporary world (Wilson, 2000). In other words, country music provides a space for female musicians to challenge normative gender roles that dominant culture embraces and
In society today, media such as movies and music share huge roles in the dynamics of culture especially concerning communication. In Dream Worlds 3: Desire, Sex, and Power in Music Video we see how famous singers and producers in the making of their music videos have the power of illustrating our language and beliefs. From the music we listen to and things we watch, we are constantly gaining new knowledge by the message that is being presented to us. The main focus of this specific documentary was how women in the music or media industry all together are treated. From this documentary and lectures in class we see that media objectifies, stereotypes, and degrades women and their bodies as advertisements and money makers. Themes in the film discussed
I see the rattle and the hum of music television. Flash upon flash of sensory information lights the screen with sound bites, flashbulbs, sex and rock and roll. I am watching MTV in the semi-darkness of a friend's living room and it is easy for me to understand the attraction of this style of television. MTV is pure energy. It has vitality, powerful images, larger-than-life heroes, and the edginess that the best pop music always has. I find MTV strangely hypnotic. I could sit, entranced by the flickering images and incessant beats, for hours.
Since young girls today spend more time surfing the web, they are exposed to more mainstream advertisements that boast sexual content, and as a result, many girls want to do the things they are seeing young girls just like Winifred do. In addition to exposure to sexual content on the internet, the music of popular culture leaves very little to the imagination. Women in these music videos are more often shown as provocative and wearing revealing clothing. Many girls look up to these women and want to emulate them because they are their favorite artist. For instance, Beyoncé’s album “Beyoncé” features the song “Partition”, where Beyoncé says “He Monica Lewinski all on my gown”. The sexual reference to Monica Lewinski is hypersexu...
Holmstrom, A. (2004). The effects of the media on the body image: A Meta-Analysis. Journal of Broadcasting and Electronic Media, 48(2), 196-217.
According to Dr. West, “rap music identifies young black women in five sexual personas: Diva, a woman who trades sexual favors for luxury; Gold Digger, a woman who trades sexual favors for basic necessities and leaves men bankrupt; Freak, a sexual powerhouse; Gangster B----, a "tough" girl; and Baby Mama, a child's needy mother” (Saengianpittsburgh, 2008). Since the 80s, hip hop artists has been accused to objectifying women. It captures the idea of controlling and demeaning women by “pimping them.” In “Why do music videos portray black women as exotic sex objects?”, the author draws attention highlighting what is put on bodies of African American women, which are “seen as inherently sexual and animalistic, with a heavy focus on body shape, particularly the posterior. The black woman’s ‘butt’ has been considered a distinct point of fascination for centuries” (Larasi, 2013). Although, rap and hip hop get more attention in popular media for sexualizing women, it is also being represented in other
Thrash, Rodney. "Women Say Rap Videos Demean, Not Define." St. Petersburg Times 14 June 2005. 29 November 2009 .
A common trend in the entertainment industry today is the objectification of women in society. Sexualizing women are seen in media such as; movies, advertisement, television show and music video, where their main focus is providing the audience with an image of women as sexual objects rather than a human. This is detrimental to society since the media is producing social stereotypes for both genders, which can further result in corrupted social habits. Objectification in media are more focused on females than male, these false images of women leave individuals with the wrong idea of the opposite sex. As media continuously use sexual contents regarding women, the audience starts underestimating women. Specifically movies, it allows media to shape the culture’s idea of romance, sex and what seems
Research suggests that experimental exposures to the thin ideal in television commercials was correlated with lower body satisfaction in females (Levine & Murnen, 2009; Slevec & Tiggemann, 2011). Girls were also found to have higher food consumption after playing with an averaged-sized doll compared to girls who played with a thin Barbie doll, and researchers propose that more realistic dolls may have reduced the pressure of feeling the need for restrictive diets (Anschutz & Engels, 2010). Studies examining the impact of Disney movies on young children indicate similar findings. Kindergarten girls who were exposed to Disney movies with female themes reported significantly lower body image satisfaction than the children exposed to Disney movies with nonhuman themes (Asawarachan, 2014). However, Hayes and Tantleff-Dunn’s (2010) findings report that girls ages 5-6 years old selected a thinner ideal self after Disney movie exposure, while children ages 3-4 did not, suggesting that there may be a relationship between developmental shifts and changes in body
This study hopes to gain a more in depth view of a demographic that is believed to put a great amount of focus on body image in the way the...