The document discusses various theories of representation that could be applied to a music video. It begins by defining representation and explaining that different representations convey different messages depending on the creator's point of view. It then lists several theorists and briefly summarizes their ideas about representing gender: Mulvey discussed the male gaze and passive female figures; Goodwin noted some music videos feature active, direct female gazes; Railton and Watson addressed masculinity being defined through desexualizing or removing the male body from view; and Trujillo associated masculinity with physical force, control, and portrayals of men in outdoor, public settings. The document suggests analyzing one's own music video by applying these representation theories across six paragraphs, then concluding by reflecting on

1. Section 1B
Representation

2. LQ: How do I apply the theories
of representation to my Music
video
Lesson Aims
◼To look at a variety of different approaches to
representation, both for males and females, and
decide which ones are useful for my own work
◼To look at how I might apply theories of
representation

3. What is Representation?
What do you understand by the term
‘representation’ ? Write down a definition.
What have you written ?

4. Representation can be defined as:
• The action of speaking or acting on behalf of someone
• The description or portrayal of someone or something in a
particular way or as being of a certain nature
• A likeness to something
Representation usually involves presenting ‘something’ to the
audience from a specific point of view.
It isn’t the ‘real’ thing that we see but a likeness or
reflection of the reality.
Different representations will tend to have different
messages and values, depending on the point of view of the
person who makes the representation.

5. What do the theories of
representation mean ?
I am going to put up a number of theories about
representation
I want you to put into your own words what these mean
– you can discuss this with the person next to you if you
want
Then either fill out the grid or write directly into your
books

6. Mulvey
“In a world ordered by sexual imbalance, pleasure in
looking has been split between active/male and
passive/female. The determining male gaze
projects its fantasy onto the female figure which is
styled accordingly”.

7. Goodwin
What is different in [music] videos is that [some
women] directly look back at the viewers through
the camera and they cease to be passive.

8. Railton and Watson
“Very often … the absence of the
sexualised male body…comes to define
masculine subjectivity in music video
and is important in … masculinity
maintaining its power.

9. Railton and Watson
“Music videos employ a number of
strategies to variously displace, disguise
and disavow the sex of the male body,
or even delete it from the field of
vision entirely”.

10. Railton and Watson
“Music videos employ a number of
strategies to variously displace, disguise
and disavow the sex of the male body,
or even delete it from the field of
vision entirely”.

11. Trujillo
“Masculine power is defined through physical
force and control, particularly in the
representation of the body…”

12. Trujillo
"Masculinity is represented in terms
of...Patriarchy"

13. Trujillo
“Masculinity is symbolised by the
daring ‘outdoors’ man…”

14. Intro – define concept / say you will analyse your music video and give the name of your artist, the song and
genre you worked in / you could also mention some of the theorists you will look at
1B-ExamQuestionParagraphPlan
Paragraph 1
Paragraph 2
Paragraph 3
Paragraph 4
Paragraph 5
Paragraph 7
Paragraph 6
Conclusion – Summarise the main theories & ideas that your Music Video supports and those it challenges – reflect
on the success of the music video in relation to the concept.
MULVEY MALE GAZE
A2 EG1.1
Camera – shot type
& movement
A2 EG1.2
Mise-en-scene
COSTUME
DIRECT ADDRESS –
ACTIVE FEMALE
ARTISTS
GOODWIN A2 EG2.1
Camera – shot type
A2 EG2.1
Editing – jump
cuts
RAILTON &
WATSON
MASCULINE
POWER THROUGH
DESEXUALISATION
A2 EG 3.1
Mise-en-scene
costume
A2 EG 4.1
Mise-en-scene -
location
TRUJILLO
MASCULINITY AS
STRONG AND
PHYSICALLY
POWERFUL
A2 EG 3.2
Camera – camera
angle
A2 EG 4.2
Camera – shot
distance
TRUJILLO
MASCULINITY AS
BEING OUTDOORS &
IN PUBLIC SPACES
A2 EG 5.1
Camera – shot-
type & angle
A2 EG 5.2
Editing – cuts
and screen time

15. INTRODUCTION

16. THEORIST 1
or
THEORY / IDEA 1

17. THEORIST 2
or
THEORY / IDEA 2

18. THEORIST 3
or
THEORY / IDEA 3

19. THEORIST 4
or
THEORY / IDEA 4

20. THEORIST 5
or
THEORY / IDEA 5

21. THEORIST 6
or
THEORY / IDEA 6

22. CONCLUSION