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The documentary explores the changing role and representation of women in music videos over time. It profiles several women currently working as "video girls" in music videos. They discuss increasingly sexualized depictions of women in videos and the challenges they face in the industry, including exploitation, lack of pay, and safety issues. While some feel empowered, others recognize their dependence on male artists and directors limits their power and autonomy. The documentary suggests young women should be cautious about pursuing this line of work and sees a need for greater protections for those involved.
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Hip hop honeys ws.ppt matthew mc donald
This document discusses issues related to the representation of women in hip hop music videos. It notes that while music videos in the past featured women dressed normally and classily, current videos often show nearly naked or pornographic depictions of women. Several people interviewed express concerns that the sexualization of women in videos has negatively impacted societal attitudes. However, some women argue they have power and choice in their portrayals, while others acknowledge risks but see being in videos as their chosen career. The documentary does not clearly conclude whether on balance the trends have been positive or negative for women.
Hip hop honeys ws
This documentary examines the exploitation of women in hip hop music videos over the past few decades. It notes that while music videos in the 1990s featured more fully clothed women portrayed as elegant, today's videos often show scantily clad or naked women in an overtly sexual manner. Several people interviewed believe this objectification negatively influences youth. Many women who participate also report being taken advantage of, such as being promised payment but not receiving it or being pressured into sexual situations. The documentary concludes that a culture of exploiting women for male gratification still dominates the music video industry.
Hip hop honeys ws
The documentary discusses the changing role of women in music videos. It notes that older videos focused more on happiness, while modern videos often show scantily-clad women exploiting themselves for attention. Several people interviewed express negative views - a dancer felt other women were "slutty," directors saw women as commodities, and a sexual equality expert argued videos treat women like slaves. However, an artist said empowered women can also exploit men, and one woman found her video experience positive. Overall the documentary explores debates around female objectification and empowerment in the genre.
Hip hop honeys ws
This documentary examines the role of women in modern hip hop music videos. It explores how music videos have become increasingly sexualized over the years, with women often dressed in revealing clothing and dancing provocatively around men. Some women discussed feeling exploited by this process, being asked to do more than they were initially comfortable with. While fame and money attracted some to become "video girls", others recounted experiences of unwanted sexual advances and assault. The documentary scrutinizes the message this sends to young audiences and questions whether change is needed to promote more positive representation of women.
Hip hop honeys ws
This document discusses the changing role of women in music videos over time. Early music videos featured much less nudity, while modern videos often feature scantily clad women as objects for male viewers. Many video girls are not paid for their appearances and believe they have power over men, though they are really being exploited. Experts argue that music videos promote a lack of sexual equality and influence young viewers with excessive sexual imagery.
Hip hop honeys ws
The documentary discusses the changing portrayal of women in music videos over time. In the 1990s, women were shown dancing and having fun in videos, whereas now they are often depicted in a more sexualized manner. Some women feel exploited by the expectation to appear half-naked in videos without adequate compensation. Others believe they hold the power in the artist-video girl dynamic, but many experts argue that the unequal treatment and representation of men and women in videos is a sign that exploitation is still a major issue.
Hip hop honeys
This documentary examines the portrayal of women in music videos and how it has changed over time. It explores how early music videos from the 1990s featured nearly naked women and helped establish a standard where revealing outfits and sexualization of women is now common across many genres of music. Several people involved in the music industry offer their perspectives, with many acknowledging that the primary purpose of including women in videos is to attract more viewers rather than represent women's empowerment. The documentary also highlights some of the exploitation and lack of consent that can occur.
Gerry mangione hhh
1) Music videos have become increasingly sexual and revealing over time, from the 1990s to 2010s. Videos now often feature scantily clad or naked women dancing provocatively.
2) 'Video girls' are sometimes taken advantage of, promised money or fame but not receiving it. Some feel pressure to engage in sexual behavior or plastic surgery to appear 'perfect.'
3) While some video girls enjoy the attention and validation, experts argue it promotes the objectification and treatment of women as disposable objects. Younger viewers may see these portrayals as the norm.
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Hip hop honeys ws.ppt matthew mc donald
This document discusses issues related to the representation of women in hip hop music videos. It notes that while music videos in the past featured women dressed normally and classily, current videos often show nearly naked or pornographic depictions of women. Several people interviewed express concerns that the sexualization of women in videos has negatively impacted societal attitudes. However, some women argue they have power and choice in their portrayals, while others acknowledge risks but see being in videos as their chosen career. The documentary does not clearly conclude whether on balance the trends have been positive or negative for women.
Hip hop honeys ws
This documentary examines the exploitation of women in hip hop music videos over the past few decades. It notes that while music videos in the 1990s featured more fully clothed women portrayed as elegant, today's videos often show scantily clad or naked women in an overtly sexual manner. Several people interviewed believe this objectification negatively influences youth. Many women who participate also report being taken advantage of, such as being promised payment but not receiving it or being pressured into sexual situations. The documentary concludes that a culture of exploiting women for male gratification still dominates the music video industry.
Hip hop honeys ws
The documentary discusses the changing role of women in music videos. It notes that older videos focused more on happiness, while modern videos often show scantily-clad women exploiting themselves for attention. Several people interviewed express negative views - a dancer felt other women were "slutty," directors saw women as commodities, and a sexual equality expert argued videos treat women like slaves. However, an artist said empowered women can also exploit men, and one woman found her video experience positive. Overall the documentary explores debates around female objectification and empowerment in the genre.
Hip hop honeys ws
This documentary examines the role of women in modern hip hop music videos. It explores how music videos have become increasingly sexualized over the years, with women often dressed in revealing clothing and dancing provocatively around men. Some women discussed feeling exploited by this process, being asked to do more than they were initially comfortable with. While fame and money attracted some to become "video girls", others recounted experiences of unwanted sexual advances and assault. The documentary scrutinizes the message this sends to young audiences and questions whether change is needed to promote more positive representation of women.
Hip hop honeys ws
This document discusses the changing role of women in music videos over time. Early music videos featured much less nudity, while modern videos often feature scantily clad women as objects for male viewers. Many video girls are not paid for their appearances and believe they have power over men, though they are really being exploited. Experts argue that music videos promote a lack of sexual equality and influence young viewers with excessive sexual imagery.
Hip hop honeys ws
The documentary discusses the changing portrayal of women in music videos over time. In the 1990s, women were shown dancing and having fun in videos, whereas now they are often depicted in a more sexualized manner. Some women feel exploited by the expectation to appear half-naked in videos without adequate compensation. Others believe they hold the power in the artist-video girl dynamic, but many experts argue that the unequal treatment and representation of men and women in videos is a sign that exploitation is still a major issue.
Hip hop honeys
This documentary examines the portrayal of women in music videos and how it has changed over time. It explores how early music videos from the 1990s featured nearly naked women and helped establish a standard where revealing outfits and sexualization of women is now common across many genres of music. Several people involved in the music industry offer their perspectives, with many acknowledging that the primary purpose of including women in videos is to attract more viewers rather than represent women's empowerment. The documentary also highlights some of the exploitation and lack of consent that can occur.
Gerry mangione hhh
1) Music videos have become increasingly sexual and revealing over time, from the 1990s to 2010s. Videos now often feature scantily clad or naked women dancing provocatively.
2) 'Video girls' are sometimes taken advantage of, promised money or fame but not receiving it. Some feel pressure to engage in sexual behavior or plastic surgery to appear 'perfect.'
3) While some video girls enjoy the attention and validation, experts argue it promotes the objectification and treatment of women as disposable objects. Younger viewers may see these portrayals as the norm.
Hip hop honeys ws
Music videos have increasingly featured scantily clad women to draw viewership and make money for artists. Many "video girls" are found through social media, do not get paid for their appearances, and feel exploited by the experience. While some believe this empowering for women, experts argue it promotes the sexual objectification of women and negatively influences youth.
Hip hop honeys
This document discusses the role and treatment of women, referred to as "video girls", in hip hop music videos. It notes that early music videos featured more modestly dressed women dancing, while current videos often show scantily-clad or nude women. Several people interviewed express that video girls are exploited and seen as disposable objects used to sell videos and songs. However, some video girls believe they hold the power and are exploiting male artists. The document raises issues around the objectification and sexualization of women in hip hop music videos.
Hip hop honnies
This documentary examines the role of women in music videos. In the past, music videos featured artists having fun, but now often feature semi-naked women dancing sexually. Some video girls are exploited and don't get paid. Others believe they have power over men by exposing themselves. However, some experts argue that sexualized music videos negatively influence teenagers. The documentary profiles various women's experiences as video girls, which range from exploitation to high pay working with famous artists. Overall, it shows that while the business can be lucrative, there are also dangers for women involved in music videos.
Hip hop honeys ws
This documentary examines the role and experiences of women, called "video girls", who participate in music videos. It finds that the portrayal and treatment of women in videos has increasingly focused on their sexuality and physical appearance over time. Many video girls see it as an opportunity to advance their careers, but it can also be exploitative and even dangerous at times. The film explores a range of perspectives on this controversial issue from people involved in the music industry.
Hip hop honeys ws
This documentary discusses the role and treatment of women in modern hip hop music videos. It notes that while music videos were once classy, they now often feature scantily clad or nearly naked women to attract viewers. Several people interviewed express concerns that this hypersexualization negatively influences young people and reduces women to sex objects. However, some women involved argue they wield their own power and are not being exploited. The documentary explores differing views on the changing nature of music video culture and its impact.
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This documentary examines the role of women in hip hop music videos over the past 20 years. It discusses how videos have become increasingly sexualized and how women are often portrayed primarily as sex objects. Several women involved in the music industry share their perspectives, with some saying it has empowered them while others argue it encourages the objectification of women. The film also explores some of the exploitation that can occur, such as women being promised opportunities or payment that do not materialize.
Representation in music videos
Music videos use various locations to represent different themes. Ibiza is used for dance music and depicts partying and beaches. Mansions show wealth through expensive items. Berlin videos show freedom and partying. London videos are often black and white and depict emotions, crime, and gangs. Miami videos show partying and fun in the warm weather.
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The document provides analysis of music videos by Ed Sheeran, Rihanna, Beyonce, Taylor Swift, and Sia. It summarizes key elements of each video, such as their narrative structures, themes relating to gender and social issues, and how they engage their target audiences. Common techniques discussed include the use of close-ups to elicit sympathy, symbolic costumes, choreography linking to lyrics, and incorporating star power to attract viewers. Sia's "The Greatest" video specifically references the Orlando nightclub shooting and represents the 49 victims at the end.
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The documentary explores how the representation of women in music videos has changed over time. It notes that older videos featured fully clothed women, while modern videos often show scantily clad or naked women. Some industry insiders feel this exploitation negatively impacts young viewers, while others argue that the women choose to participate and are not victims. The documentary also examines the pressures and financial motivations that drive many aspiring artists and models to participate in sexually objectifying music videos.
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Hip hop honeys ws
Music videos have increasingly featured scantily clad women to draw viewership and make money for artists. Many "video girls" are found through social media, do not get paid for their appearances, and feel exploited by the experience. While some believe this empowering for women, experts argue it promotes the sexual objectification of women and negatively influences youth.
Hip hop honeys
This document discusses the role and treatment of women, referred to as "video girls", in hip hop music videos. It notes that early music videos featured more modestly dressed women dancing, while current videos often show scantily-clad or nude women. Several people interviewed express that video girls are exploited and seen as disposable objects used to sell videos and songs. However, some video girls believe they hold the power and are exploiting male artists. The document raises issues around the objectification and sexualization of women in hip hop music videos.
Hip hop honnies
This documentary examines the role of women in music videos. In the past, music videos featured artists having fun, but now often feature semi-naked women dancing sexually. Some video girls are exploited and don't get paid. Others believe they have power over men by exposing themselves. However, some experts argue that sexualized music videos negatively influence teenagers. The documentary profiles various women's experiences as video girls, which range from exploitation to high pay working with famous artists. Overall, it shows that while the business can be lucrative, there are also dangers for women involved in music videos.
Hip hop honeys ws
This documentary examines the role and experiences of women, called "video girls", who participate in music videos. It finds that the portrayal and treatment of women in videos has increasingly focused on their sexuality and physical appearance over time. Many video girls see it as an opportunity to advance their careers, but it can also be exploitative and even dangerous at times. The film explores a range of perspectives on this controversial issue from people involved in the music industry.
Hip hop honeys ws
This documentary discusses the role and treatment of women in modern hip hop music videos. It notes that while music videos were once classy, they now often feature scantily clad or nearly naked women to attract viewers. Several people interviewed express concerns that this hypersexualization negatively influences young people and reduces women to sex objects. However, some women involved argue they wield their own power and are not being exploited. The documentary explores differing views on the changing nature of music video culture and its impact.
Joe gage hip hop honeys ws
This documentary examines the role of women in hip hop music videos over the past 20 years. It discusses how videos have become increasingly sexualized and how women are often portrayed primarily as sex objects. Several women involved in the music industry share their perspectives, with some saying it has empowered them while others argue it encourages the objectification of women. The film also explores some of the exploitation that can occur, such as women being promised opportunities or payment that do not materialize.
Representation in music videos
Music videos use various locations to represent different themes. Ibiza is used for dance music and depicts partying and beaches. Mansions show wealth through expensive items. Berlin videos show freedom and partying. London videos are often black and white and depict emotions, crime, and gangs. Miami videos show partying and fun in the warm weather.
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The document provides analysis of music videos by Ed Sheeran, Rihanna, Beyonce, Taylor Swift, and Sia. It summarizes key elements of each video, such as their narrative structures, themes relating to gender and social issues, and how they engage their target audiences. Common techniques discussed include the use of close-ups to elicit sympathy, symbolic costumes, choreography linking to lyrics, and incorporating star power to attract viewers. Sia's "The Greatest" video specifically references the Orlando nightclub shooting and represents the 49 victims at the end.
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The documentary explores how the representation of women in music videos has changed over time. It notes that older videos featured fully clothed women, while modern videos often show scantily clad or naked women. Some industry insiders feel this exploitation negatively impacts young viewers, while others argue that the women choose to participate and are not victims. The documentary also examines the pressures and financial motivations that drive many aspiring artists and models to participate in sexually objectifying music videos.
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The document contains the results of a questionnaire about music preferences. It includes pie charts and lists showing that most respondents were female, watched pop videos, attended concerts, preferred artists like Rihanna and Justin Bieber, and said gender of artists did not matter to them. The summaries highlight that the questionnaire provided useful information about the target audience for a new pop music video.
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Controversial music videos
The document discusses several controversial music videos:
1) Sia's "Elastic Heart" video which showed a 12-year-old and 28-year-old cage fighting in minimal clothing, leading critics to claim it had pedophilic overtones.
2) Robin Thicke's "Blurred Lines" video which was accused of glorifying rape with its sexually suggestive lyrics and imagery of half-naked women.
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This document discusses the role of media in constructing collective identity, using examples from the TV shows Misfits and the film Fishtank. It examines how the media portrays teenagers in these works and historically. In Misfits and Fishtank, the teenagers are shown engaging in criminal behavior, drug and alcohol use, and lacking structure or hope. Historically, shows like Skins and Grange Hill depicted less serious petty crimes among friend groups, allowing them to build a collective identity. The document argues that media often stereotypically portrays only the negative aspects of teen culture to lead audiences to believe all teenagers act this way.
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Hip hop honeys ws jack
This documentary explores the role of women, known as "video girls", in hip hop music videos. It finds that early music videos featured more fully clothed women dancing respectfully, whereas now they are often nearly naked. Some women feel empowered by exploiting male artists, but others argue the videos promote unhealthy body images and objectification. While the women seek fame, the artists hold the power as they can choose different girls for each video without paying most of them. The documentary reveals stories of women being taken advantage of and suggests government concern over music videos' influence on young people.
Liiar analysis of 3 music videos
The document contains analyses of the music videos for "Black Widow" by Iggy Azalea, "Say You Like Me" by We the Kings, and "Don't" by Ed Sheeran. It discusses the language, institutions, ideologies, audiences, and representations depicted in each video. The narratives and visual elements of the videos are examined in detail over multiple paragraphs for each song.
Hip hop honeys ws
The document discusses the use of "video girls" in hip hop music videos. It notes that some video girls see it as a career and way to make money, while others view it as a choice to gain fame and connections with artists. Music producers believe including video girls is important because it can draw viewers even if the song itself is not good. However, critics argue that the frequent sexual objectification of women in these videos can negatively influence societal attitudes, especially among younger viewers.
Media task 3 (mega task)
This document summarizes and analyzes several music videos using concepts from film and media studies. It discusses how Sia's "Elastic Heart" video features a young dancer and older man in revealing costumes, which could be seen as sexualizing the minor. It also analyzes Robin Thicke's "Blurred Lines" and how it depicts stereotypical gender roles and objectifies women through Laura Mulvey's male gaze theory. Finally, it discusses Nicki Minaj's "Anaconda" video and how she portrays herself in a sexualized manner, which some feel reduces women's status but was likely intended to sell records given her fame and knowledge that sexual content performs well commercially.
Moral panics
The document discusses Stanley Cohen's theory of moral panics and how it relates to representations of gender and race in music videos. Cohen argues that the media can take minor issues and escalate them by generating controversy. This is seen when media reports disproportionately on music videos that portray women as sexual objects or that seem to condone problematic racial stereotypes. Such portrayals become normalized over time and influence societal expectations, especially for younger viewers.
Beyoncé – pretty hurts
Beyoncé's music video "Pretty Hurts" tells the story of women facing unrealistic societal pressures and standards of beauty. It follows Beyoncé's character, Miss Third Ward, as she competes in a beauty pageant. Through her preparations and interactions on stage, the video depicts the extreme measures some women take to achieve the culturally defined ideal of physical perfection, including restrictive dieting, excessive exercise, and unhealthy behaviors. By the end, Miss Third Ward has a moment of rebellion and empowerment as she destroys her trophies, rejecting society's standards that have caused her inner turmoil. The video uses its narrative and Beyoncé's powerful performance to promote a message of self-acceptance and confidence
Theories
The document discusses the music video "Future - Turn on the Lights" and analyzes it through several narrative theories and representations of gender and stereotypes. It finds that Todorov's narrative theory of equilibrium being disrupted and then resolved fits the storyline of the music video. It also finds that the binary opposition theory applies as the artist opposes the woman he cheats on. The video portrays common hip hop stereotypes of wealthy men objectifying women for their appearance and sexuality.
Beyoncé – pretty hurts
Beyoncé's music video for "Pretty Hurts" depicts the pressures women face to attain unrealistic beauty standards set by society. It shows contestants in a beauty pageant obsessively trying to make their bodies conform through unhealthy and extreme methods. Throughout the video, Beyoncé's character becomes increasingly frustrated, feeling that no matter what she does she cannot achieve the perfection demanded of her. In the climax, she smashes her trophies in anger at the suffocating expectations. The video uses its narrative and visuals to powerfully convey the dark realities behind the façade of beauty pageants.
Britney spears
1) The music video for Britney Spears' song "Toxic" depicts her transition from childhood to adulthood through more explicit lyrics and sexual imagery compared to her previous Disney career.
2) It uses rapid editing and Britney's skilled dancing to represent the fast pace of her life and career.
3) Britney is the central focus of the video through many close-ups that highlight her body and selling points of sexuality and desire to escape the pressures of fame.
A2 media hip hop honey’s research
This document summarizes a documentary about women in hip hop music videos. It discusses four statements - two that are post-feminist, viewing the sexualization of women as empowering, and two that are feminist, seeing it as objectifying and creating unrealistic expectations. Examples from interviews in the documentary are provided to support each statement.
A2 media hip hop honey’s research
This document summarizes a documentary about women in hip hop music videos. It discusses four statements - two that are post-feminist, viewing the sexualization of women as empowering, and two that are feminist, seeing it as objectifying and creating unrealistic expectations. Examples from interviews in the documentary are provided to support each statement.
DataCourtJudgeDisposedAppealedReversedP(Appeal)Rank by P(A)P(Rever.docx
DataCourtJudgeDisposedAppealedReversedP(Appeal)Rank by P(A)P(Reversal)Rank by P(R) P(R|A)Rank by P(R|A)Sum of RanksOverall RankCommon PleasPeter Tom290412410Angela M. Mazzarelli23591079Richard T. Andrias1425414David Friedman1997638John W. Sweeny Jr.32231419Rolando T. Acosta24269319David B. Saxe 313112525Karla Moskowitz302813521Dianne T. Renwick332812110Leland G. DeGrasse336412711Helen E. Freedman321313310Rosalyn H. Richter31359813Sallie Manzanet-Daniels330115019Paul G. Feinman10318911Judith J. Gische302412512Darcel D. Clark3056908TotalDomestic Relations John A. Lahtinen283192 Leslie E. Stein 5803173 William E. McCarthy8820468 Edward O. Spain13045344TotalMunicipal Elizabeth A. Garry6234415 John C. Egan Jr. 8012397Peter Tom8123315Angela M. Mazzarelli840161Richard T. Andrias58203714David Friedman720530John W. Sweeny Jr.310220Rolando T. Acosta7203317David B. Saxe 2102253Karla Moskowitz2652132Dianne T. Renwick4209354Leland G. DeGrasse7925318Helen E. Freedman7501429Rosalyn H. Richter2605250Sallie Manzanet-Daniels48753210Paul G. Feinman123592Judith J. Gische77803914Darcel D. Clark5303317Luis A. Gonzalez5381233 Leslie E. Stein 279653Total
Prompt:
Joseph Campbell advised George Lucas in making the first three installments of the "Star Wars" saga. Using the first of the Star Wars movies discuss the following propositions:
1 Can you find evidence of Von Daniken's hypothesis were he proposed the idea that ancient aliens with great technological civilization reached Earth? Give two examples of archetypes that are presented in the movie.
2 Campbell advocates for a new mythology where technology can play a role in the eternal struggle between good and evil. Identify 3 instances where this idea is evident. Explain how in your opinion- this idea can make sense in our contemporary society.
3 Explain at least two examples of mystification in the movie, and how helps advance the idea of an ancient advanced civilization.
Your paper must be at least 1500 words long, justified to the left, using Time Roman 12 font, with an annotated bibliography at the end. remember to provide a Grammarly report page along with your paper. This is a multi-modal research, which means you must use video, photos and any other media to illustrate your arguments.
You may use class texts as a resource as well. You must provide at least three scholarly references in your research. Remember to use your reference within the text to support your arguments. A rough draft of your research is due on Tuesday Apr. 19, 2016. You must post your rough draft for feedback from your instructors. Final document must be uploaded to the "Signature Assignment" tab on May 3, 2016.
Gender inequality in pop culture Comment by jessica kehinde ngo: You will need a catchier title for your final essay.
Also, be sure to capitalize each word in an essay title.
Currently when you turn on television, you will come across a lot of music videos playing, what is shocking about these music videos is the.
Q1
My music video challenges some conventions of real hip hop music videos but also follows some conventions:
- It does not include typical elements like cars, women, drugs and uses dimly lit, deserted locations instead to convey the character's loneliness.
- It only features one character whereas real videos usually include multiple artists or people. This helps audiences connect with the character's feelings.
- However, it does use heavy lip syncing as real videos do to make the artist appear cool, which helps connect with my target audience.
Michael Shore
Michael Shore believes that music videos contain recycled styles and key features. He identifies 18 common features of music videos, including recycled styles, surface without substance, simulated experience, information overload, and image and style scavengers. Shore states that most music videos will contain at least one of these features. He notes that some features like soft-core pornography, adolescent fantasies, and death would not be suitable for a pop music video targeted at younger audiences.
Robin Thicke - Blurred Lines Music Video Analysis
The document provides an analysis of Robin Thicke's "Blurred Lines" music video through examining its conventions and portrayal of gender stereotypes. Some key points analyzed include the upbeat music drawing in viewers, use of hashtags to gain attention on social media, stereotypical depiction of women as sexual objects inferior to men through dressing and lyrics, and constant portrayal of male gaze and domination. In response, some women created a parody video putting men in the objectified role to critique the original's sexism from a feminist perspective, using similar conventions like pink background, lyrics, and hashtags for intertextual reference and humor.
Part 1In Berlatskys article, I was amazed by the headline, Bey.docx
Part 1:
In Berlatsky's article, I was amazed by the headline, Beyonce, Sex Terrorist. Although the article has many confusions for me to understand deeply, I have to reread it again and get help from the two sample summary essays. My impression for this article is Berlatsky's perspectivetoward Beyonce. His attitude for Beyonce's image is completely different from others men. Others men saw Beyonce's image as beautiful as an angel and wanted her for their ideal women. Berlatsky's main argument is anti the using of women's body for sexualizing by the public to convey young teens should not copy Beyonce. I agreed with his argument because Beyonce's image can affect other girls to think negative and do the negative thing (having sex in a limo in Beyonce's MV). The result may be abortion. But I don't like the fact that most of the readers read this article got confused. He should make his transitions more clearly in order to make the strong argument. Also, I disagreed the fact that he included his conclusion about how female musicians should be upheld in their careers.
Part 2:
My perspective about this article wasn't changed. It isn't wrong to point out Beyonce's sexuality. I believe there will be some people argue that it's wrong to criticize Beyonce without acknowledging her aesthetic abilities as singer and musician. This is making more upset. I know that Beyonce is a talented person. But she can not show the public that she had sex with her husband in her video. This will create a profound conviction for teenagers that they can have sex without concerning about getting unwanted pregnant.
My Initial reaction to the article was " I don't care for or about Beyonce" I said it out loud and my girlfriend gasped. I understand Beyonce is a big part of some womans lives and she has a lot of influence being a woman of color. I however know that she is a popstar and like every popstar she is wealthy and initially doesn't care nor has alot of problems. The main argument Berlatsky has is that she is a person, not just an image, people will be people. We express our opinions in however we see fit. I agree that she should not only be looked at for what art she produces, But I don't agree that she shouldn't be held to standards. She does affect alot of lives and should be prepared for what consequences come with her actions.
I slightly agree with both essays on two separate points they express. In the first example I agree she deserves credit. She has a networth of over Three-Hundred Million and over 13 million followers on twitter. In retrospect she is not the most successful woman in the world but she definitively has proven her worth to a good amount of people. She should not be judged just on her image.
In the second example i noticed something that the article did not touch on. Beyonce is a woman. Wait... What??? She is?? Yes, She is, and because shes a woman she is held to higher standards than famous men in her career. Its not fair to g.
Shes so lovely
The document discusses several theories that are represented in the music video for "She's So Lovely" by Scouting For Girls. It analyzes how the use of instruments, close-ups, and shots of the woman emphasize key concepts like the male gaze and how genres establish expectations for audiences. The unrealistic portrayal of the woman being "won" in a bowling match between men demonstrates hyper-reality and how she is objectified. Different readings of the video could view it as reinforcing or challenging social norms.
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Hip hop honeys ws completed
- 1. Music, Money & Hip Hop Honeys Name: Drew Burgess
- 2. What point did the presenter make about videos just a few years ago and videos now? Modern videos have drastically changed in content between the1990’s and now. Women are being shown in a progressively more sexual light and recent music videos are bordering on pornography.
- 3. Why were these important in the development of music videos? The videos show the change in sexual attitude towards women in music videos from 1998 to 2002. The first video is of Britney Spears singing Hit Me Baby One More Time in a skimpy school girl outfit dancing in front of a group of boys. The second video is the Thong Song in which the whole video is focused on the women in thongs dancing in front of the singers (men). The final video shows the music video of Dirrty by Christina Aguilera.
- 4. How did ‘Tashy Jay’ chose to represent herself in the documentary? She shows herself as a professional video girl, having other people do her hair and make-up every morning. What was she saying about ‘video girls’ at the shoot? She said they would try to get the closest to the artist as possible and some of them would try to have sex with the artist afterwards. Some video girls don’t care what men think of them but others (including her) do.
- 5. Why do they need these girls in their videos? What did he think about ‘video girls’? Video girls help the popularity of music videos and increase sales. He thought that video girls were essential to a good music video but they do not force them to do anything they don’t want to. Where did they find all these girls? Wouldn’t it be expensive to pay them all? The artists post adverts on Twitter and Facebook and girls turn up uninvited, some if not most of them get paid.
- 6. How does China Black illustrate some of the issues with how women are represented in music videos? They need to be good looking with a big bum and breasts. Otherwise they will not get into many (if any) videos. They can spend thousands of pounds on something they may only use once or twice to only acquire a few hundred pounds.
- 7. These women believe they are the ones with the power. They believe they are exploiting men, not the other way around. What do you think? I think that they are half right and half wrong. The fact that men seem to need them makes them right, but the fact that they depend on the men makes them wrong.
- 8. This sexual equality expert argues that music videos have a lot to answer for - what’s the issue? They mislead young women and girls into a more sexual lifestyle and show them that a video girls lifestyle is great but in fact it is not. What does the government think? They think roughly the same but are not doing much about it. They could easily put up restrictions in clothing industries but they don’t.
- 9. K.I.G use ‘video girls’ - what do they think of them? They see them as vital to a good video and they have very little respect for them, calling them ‘hoes’ and ‘bitches’. Music Video Director ‘Digital Dan’ has a lot to say - what does he think of the girls? He says the same as K.I.G. but more outright and cares even less about them. He mostly doesn't pay anyone apart from the lead girl.
- 10. What happened to Alisha? Alisha was sexually assaulted by a cast member of the music video she was dancing in. They told her to get oiled up and sent someone to do it for her. The man tried to have sex with her involuntarily. Since she was ‘just another video girl’ in court the man was not prosecuted as she could probably be lying.
- 11. This lady has been working with artists for years and cast lots of ‘video girls’ - what changes has she seen and what’s her opinion? She says that videos have become more sexual over the last decade. The video industry has become harder to get into and less forgiving. Tashy Jay needs to be a triple threat if she wants to be any good in the industry.
- 12. Why is she challenged on this performance by the presenter? Tashy Jay said that she would never wear a thong I any video and she did to get deeper into the music industry
- 13. This is the US ‘Ambassador for Hip Hop’ what is her view? She says that a lot of video girls regard themselves as powerful, and if they have a good body and they want to they should use it but not let men get power over them. How has Angel Lola Love’s experience been positive? She has become famous, she gets asked to just show up to an event for thousands of pounds. She does what she likes for a living.
- 14. What conclusions can we draw from this documentary? There are mixed feelings towards video girls but the general impression is that if you don’t start off well then you will never do well if you join the music video industry.