1. Megan Beauchner
Gender Issues
Dr. Beerman
Fall 2016
The Reality of Attractiveness: Objectification In Music Videos
Throughout time, we have often lived by the phrases, “The bigger the better,” or,
“the more the merrier,” but as time evolves, these phrases seem to be less relevant than
ever before. In fact, in today’s day and age, the smaller tends to seem to be the better.
This is especially relevant to body images. We’ve gone from admiring thicker legs and a
curvy figure to searching the web for “thin-spiration” in order to achieve that perfect
thigh gap. The “ideal body” has been changing for decades, following the trends of the
celebrities in the media. Change is inevitable as society continues to evolve, but what
happens when society decides on a new ideal body image, plastering those “changes” all
over media, and creates an unnatural body image goal?
Context
Objectification can be defined as the viewing of a human body as just that, a
body. Whether the person being objectified is a man or a woman, they are transformed
into an object and reduced to body parts, such as legs or breasts, and seen as a commodity
that can be bought, touched, or even viewed for pure enjoyment. When critically viewing
a body, the viewer takes on, what Laura Mulvey (1975) called, “the gaze” whether they
are aware of it or not. The gaze operates around the idea that men act, women appear.
When taking on this gaze, regardless of gender, the viewer sees others through a male
perspective. This view mediates gender and exposes women to being viewed as a
physically passive, ineffective sexual entity.

2. The objectified gaze prompts the internalization of expected body norms through
its notion that physical attractiveness determines value. A person may begin to take part
in their own self-objectification as a result of internalizing the objectifiers’ views. Self-
objectification occurs when “individuals value their observable appearance based body
attributes in relationship to their competence based attributes” (Vandenbosch &
Eggermont. 2012. p.871) and rank their attractiveness as most important. The
attractiveness norms “reinforce and privilege White heterosexual gender expectations and
help maintain women as objects” (DeFrancisco & Palczewski. 2014. p83) while
encouraging the secularization of the female body.
“Media representations are not only a reflection of society reality but also actively
construct it.” (DeFranscisco. p.88) Media is an inevitable part of daily life. Survey’s
show that in the US, at least 2.8 hours are spent viewing some form of media per person
each day; with TV, movies, and music videos being the most influential. The dominant
broadcast throughout the media is a message that supports the hegemonic ideology that
constructs gender. Hegemonic ideologies provide a sense that things are how they should
be, while being formed by one dominating group’s power over others. The dominance is
maintained through the use of rhetoric strategies and practices that support these
messages.
The prevailing messages in the media today places value on a person’s sexual
appeal by “holding them to a standard that equates physical attractiveness with sexiness”
(DeFrancisco. p.80) Though both men and women experience this harassment through
media, their bodies are not sexualized the same way. Studies show that 3 to 5 women are
more likely to be hyper-sexualized through clothing, nudity, and/or body descriptions.

3. Heterosexual gender expectations are reinforced through different mediums, leaving
those who don’t comply as targets for harassment, discrimination, and humiliation. The
unrealistic and narrow standard that media has set has no age limit because of it’s easy
accessibility and tempting appeal.
In order to analyze the influence media had on the view of women, the pop song
“Bang Bang” can be explored for its conformity to the standards and norms that women
are held to. The pop song by well-know recording artists, Ariana Grande, Nicki Minaj,
and Jessie J, topped the charts after its release in 2014. By 2015, the songs high energy
and catchy beat won it the award for favorite song of the year. After “Bang Bang”
quickly became a hit among all ages, a music video featuring all three of the songs
popular singers was quickly generated and released.
That being said, while “91% of sample music videos of female artists contained at
least 1 of the following indicators of sexual objectification: close-up shots of individual
body parts, self-touching of sexual body parts, ample skin exposure, or sexualized
dancing” (Aubrey. p.271), the “Bang Bang” music video contained all four indicators.
The attractiveness standards and norms put in place by society normalize and cover up
the deeper, negative messages that are sent out through the objectification in the video.
Analysis
Music videos present in media adhere to the ideology that promotes women as
sexualized objects, based on how they are presented, filmed, and interacted with. The
domination of the male view ascertained through compliance of beauty norms,
objectifying gazes, and actions of women themselves. Consequently, through audience
acceptance of these videos, they encourage the views normality and comply with them by

4. recreating the looks or actions. These accepted attitudes determine the interpretations and
suggest values and beliefs within a specific artifact. The beliefs that develop advocate
social and cultural interests while also encouraging certain attitudes and actions towards
it. Clothing, camera angles, gestures, and words all play a role in forming these
ideologies. Through the clothing choices, body language, and beauty standards present in
the music video “Bang, Bang”, media’s influence on women can be proven and can
reinforce how “sexually objectifying content informs media users on which appearance-
related attitudes, perceptions, and behaviors are desirable” (Vandenbosch. 2001. P873).
Driven by men and women’s increased depiction of sexuality on television,
bodies are not sexualized the same way or to the same extent. “Sexual objectification can
be conveyed through body exposure, as in the case of a woman who is not wearing much
clothing” (Aubrey, Henson, Hopper, & Smith. 2009. P273), making females three to five
times more likely to be hyper-sexualized than males. By employing semiotics to analyze
the artifact, the wardrobe choices can be studied and also provide insight to uncover a
deeper meaning. Each outfit was form fitting and complimented the artists’ form in order
to focus on specific body part. The video uses of short skirts and slits in dress as a way to
emphasize the artists’ legs and backsides, while the low cut revealing tops draw attention
to their torsos and chests.
A study done on women noted that “exposure to images of barely clothed women
activated state self-objectification” and suggests that “a high degree of body display
activated for women semantically related thoughts concerning their own appearance,
resulting in more negative descriptions of the self” (Aubrey. p281). According to these

5. studies, “Bang, Bang” objectifies the artists through the clothing choices while also
increasing viewers’ self-objectification by the videos excessive body display.
Body segmentation, sexual positioning, and the perfect camera angles are other
tactics utilized to place emphasis on an artist’s body, in order to capture the attention of
viewers. A study done on sexualization within music entertainment reported, “adolescent
viewers are receiving a consistent picture of sexuality as appearance and body focused”
(Aubrey, J. S., Hopper, K. M., & Mbure, W. G. 2011. p 191), as a result of media
exposure. The ideology that sexuality is based on appearance and body can provide an
interpretation of how these patterns of beliefs are becoming dominant in younger
generations.
Based on the statement “female characters in music videos were more likely than
male characters to exhibit behaviors meant to elicit sexual arousal” (Aubrey, J.S. &
Frisby, C.M. 2011. p.482), the focus on the body can be further examined. Scenes from
the studied artifact captured close ups of each artist by panning the cameras up and down
their bodies. Zoomed in shots of body parts, such as legs, stomachs, and lips, were
segmented from the rest of the women’s bodies multiple times throughout the video.
According to the definition that describes sexual objection as “the representation of a
woman as a collection of body parts” (Aubrey. 2011. p279), the scenes that solely feature
the segmentation of different body parts are participating in sexual objectification of the
women in the video. When compared to Mulvey’s (1975) concept of the gaze, the scenes
exploit the women to being sexually objectified “when camera shots linger on bodies or
body parts instead of focusing on the face or the total subject” (Aubrey. 2011. p480).

6. In order to examine the video to explore how media constructs gender, feminism
ideology can be applied to scenes that illustrate gender domination. The artifacts
conformity to beauty norms can be used as an example. The video featuring the artist’s
primping and applying make-up in the beginning sends a negative message the statement
that “women and girls are expected to learn what the prevailing beauty ideals are from
the media” (Vandenbosch. 2012. p.968) rings true. Popular artist’s compliance with
society’s beauty norms has been proven to heighten body awareness in younger girls due
to music videos placement of “strong visual emphasis on beauty ideals” (Vandenbosch p
874). According to a study done on the internalization of beauty standards, it was
reported that “adolescent girls have been shown to experience various intrapersonal and
interpersonal developmental changes” (Vandenbosch p870).
To keep up with the constantly shifting attractiveness norms, millions of dollars
are spent on cosmetics, diets, hair products, plastic surgeries, and other beauty enhancers
each year, in order to meet these standards. “Attractiveness norms are maintained and
transformed through commercialism and consumer markets” (DeFrancisco. p 83), as well
as being reinforced through the media. Back when stretch marks and rolls were indicators
of higher status, the ideal body consisted of expansive thighs, curvy waists, and fuller
figures. Just as media had the power to influence body trends in the past, it holds that
same influential power today.
Significance
Starting as early as age six, young girls are comparing themselves to the images
they see in the media and are judging their bodies based off of societies standards.
“Increasing exposure to sexual content on television is a significant contributor to sexual

7. knowledge, beliefs, expectations, attitudes, and behaviors” (DeFrancisco. p. 244), that
shape the minds of younger generations. If young girls watching their favorite celebrities
and idols conforming to these norms, then why wouldn’t they start to as well? A recent
study found that 7,272 adolescent girls viewed themselves as overweight because of the
body shaming culture the media has produced.
Music videos shown today mainly feature women in tight, tiny clothing while
sexually dancing or showing off their voluptuous “goods”. The women are often used as
a prop in the video regardless of whether or not it’s their own music video. This repetitive
pattern of using women to capture viewers attention is spreading like wildfire, as is the
perfectionism mindset. The beliefs and values regarding the female body that today’s pop
culture promotes is interpreted by each viewer.
The idea of the “perfect body” is becoming so deeply internalized that mental and
physical health is at risk more than ever before. Women view each other as competitors,
comparing their own bodies to those they see in the media. The increased internalization
of these standards is leading to higher rates of depression, anxiety, eating disorders, and
even suicide. The obsession to be like the women seen on TV or in magazines has
become an unnecessary epidemic. The only way to change these body image norms so
that they do not continue or repeat is through studying these phenomena. By studying and
exploring how gender is portrayed, there is hope to rid younger generations of the
negative influences surrounding them.
Conclusion
In a society full of women trying to obtain a body image that only 5% of
the population posses, females are constantly under pressure from themselves and others

8. to be considered attractive. But when that standard of attractiveness is constantly
changing, it is next to impossible to maintain the qualities society deems acceptable. If
the ideology surrounding female attractiveness goes unchanged, body shaming, mental
health problems, and other negative effects, that accompany the abuse of objectification,
will continue and increase.
Studying artifacts from powerful sources such as the media, we can gain insight
into the “normal” behaviors of our society. Further insight allowed researchers to
understand how the behaviors began and determine a means to end them. By looking
specifically at the clothing, filming of bodies, and beauty standards present in the music
video “Bang Bang”, sense can be made of the behaviors and views encompassing the
ideology of women being perceived as sexual objects. The day when someone else’s
beauty can be admired without questioning one’s own and walking past a group of
strangers doesn’t send stress and anxiety levels skyrocketing because of what they may
think will only be possible when beauty standards no longer determine ones value.

9. References
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Analysis Comparing Gender and Genre. Mass Communication & Society, 14(4),
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Aubrey, J. S., Hopper, K. M., & Mbure, W. G. (2011). Check That Body! The Effects of
Sexually Objectifying Music Videos on College Men's Sexual Beliefs. Journal Of
Broadcasting & Electronic Media, 55(3), 360-379.
doi:10.1080/08838151.2011.597469
Aubrey, J. S., Henson, J. R., Hopper, K. M., & Smith, S. E. (2009). A Picture is Worth
Twenty Words (About the Self): Testing the Priming Influence of Visual Sexual
Objectification on Women's Self-Objectification. Communication Research
Reports, 26(4), 271-284. doi:10.1080/0882409090329355
DeFrancisco, V.P. & Palczewski, C.H. (2014). Gender In Communication: A Critical
Introduction. (2nd Edition). Thousand Oaks, CA. SAGE Publications, Inc.
Foss, S. K. (2009). Ideological Criticism. Rhetorical Criticism: Exploration and Practice
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Vandenbosch, L., Vervloessem, D., & Eggermont, S. (2013). “I Might Get Your Heart
Racing in My Skin-Tight Jeans”: Sexualization on Music Entertainment
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