2. VIDEO CONCEPT
The music video demonstrates genre characteristics. In this case the quality of the
action filmed by the camera works in parallel to create a sense of an authentic 1950s
movie. Therefore the video is a highly cinematic narrative . This reflects Carol
Vernallis’ ideology that music videos demonstrate genre characteristics.
3. CONCEPT
Glamorised
Very post 90’s
Hard to imagine someone as successful and beautiful as the one being portrayed in
the video experiencing feelings of heartbreak and depression deriving from decaying
relationships. From the lyrics in the song the theme of the video is conveyed to the
audience – Beyonce is asking for a plead for help – emulating about a cheating husband
or boyfriend. Here we as an audience, and the character played by Beyonce that beauty is
not everything. The stereotypical female projection of an object of sexual desire can no
longer manipulate the mind of the male in this scenario.
4. BEYONCÉ'S AESTHETIC
Beyonce plays the role of a traditional 1950s housewife named BB “Homemaker”. The video
follows many of the genre characteristics of 1950s homemade movie ; elements such as the artificial
lighting, credits on screen, colouring and costumes portray this. However, throughout the duration of
the video Beyoncé acts out a number of traditional housewife “responsibilities” such as cleaning,
cooking and gardening, assisting in the overall perception of the video.
5. BEYONCE’S AESTHETIC
Beyonce is the only subject on screen throughout the whole video. She is dressed in tight
fitting outfits and traditional 1950s underwear whilst rolling around, crouching and crawling on
the floor whilst singing “Why don’t you love me”. It could be suggested through the videos
portrayal of Beyonce that she is inanimate – purely an object of desire for the egotistical male
that doesn’t really love her. This ideology or concept of sexual fantasy or desire is highlighted by
Beyonce exaggerating or flawing her female assets such as her breasts, bottom, midriff, legs and
face. The face is particularly highlighted as a main focal point through the elaborate eye makeup
and bright red lipstick connoting feelings of lust and infatuation; where Beyonce bites her finger
it could even allude to the idea of promiscuity when considering that during the 1950s, what is
perceived to be acceptable in Beyonce’s video by today’s standards, would have been classified as
a form of pornography.
6.
7. BEYONCE’S AESTHETIC
Throughout the narrative there is a conscious portrayal of BB.Homemaker’s vivacity and contrastive nature to that of
“traditional” or “real” 1950s housewives e.g.. Tries to carry out everyday tasks but manages to fail (sets food on fire). The
ostentatious and exaggerative jewellery connotes wealth and luxury, projected stars behind BB Homemakers silhouette signify
honour, glamour and her clothing conveys BB Homemaker as lascivious , unique and desirable woman. This is done primarily
to juxtapose Beyonce’s aesthetic with the lyrics of the song – why wouldn’t any man want to love a woman as gratifying as this?
This is justified by the lyrics
“Why don't you need me, tell me baby why don't you need me?
When I make me so damn easy to need.
I got beauty. I got class. I got style and I got ass.
And you don't even to care to care. Looka here
I even put money in the bank account don't have to ask no one to help me out
you don't even notice that.”
9. CAMERA
MOVEMENT/ANGLES
The cuts and soft focus reflect genre characteristics to indicate an air of age and authenticity.
There are various straight cuts and zooms throughout the narrative to emphasise the body of “B.B
Homemaker” and also creates a sense of voyeurism which also abides by Goodwin’s theory of reference to notion
of looking, and the demands of the record label being reflected through the video .
At the beginning of the video there are mainly straight cuts in mid shots and long shots to act as a topic
marker – what we see is Beyonce standing over a steaming bonnet of a car in a cropped chequered shirt, stockings
and high heels. The camera then cuts to a medium shot of Beyonce rolling a tire on the floor towards the car.
The camera then cuts to a close-up of Beyonce’s face showing her hand wiping across her forehead leaving a
dark greasy stain. Here the female is juxtaposed with very traditionally male traits such as grease, cars, steam and
mechanics to add to the air of mystery and ambiguity which is so keenly portrayed. This shot could suggest that
Beyonce is taking on the role of a male – maybe she had had to learn to do things for herself as the male she
loves so dearly is no longer in her life, hence her lyrics “Why don't you love me, tell me baby why don't you love
me”.
10. CAMERA
MOVEMENT/ANGLES
Throughout the introductory section of the video the happy and cheery 1950s music is
played to create an essence of nostalgia why the story is being foretold.
The camera cuts from close-up and zooms out to a mid shot, followed by a long shot to
show BB homemaker walking away to the front door of a retro/avant garde styled house –
this is portrayed by the bright green colouring of the front door. The camera cuts to a low
angled position as BB homemaker walks up the steps to the front of the house, poses, and
enters. There is then another cut in the style of an aged 1950s film accompanied by a sound-
bridge to another scene. We can see a shot in close up of a board with the words “Why don't
you love me”, the camera then zooms out to reveal the setting.
BB homemaker is finally revealed. She holds the board in front of her body and walks
across the camera and places the board onto a stand in the corner of the room.
11. CAMERA
MOVEMENT/ANGLES
There is matched cuts throughout the narrative, however a jittery/jumpy effect
makes the movement seem distorted to add to the aged feel of the video. The
camera cuts to a tilt in low angle shot to reveal B.B Homemaker dressed in a corset
and smoking a cigarette which creates the illusion of power or alludes to the ides
that she is looking down on someone.
Next there are continuous close-ups in order to refer back to Beyonce’s facial
features. The tears in her eyes and smoke from the cigarette she blows in front of
her face creates and obscure ideology as to why she is crying, yet conveys her fragile
state.
12. CAMERA
MOVEMENT/ANGLES
The evident pattern of shots in the narrative is from close-up to medium or long shot;
close ups to convey emotion or implied meaning through BB Homemaker’s facial
expressions and long shots to purposely reinstate the theme of female gender
representation as an object of sexual desire.
When BB Homemaker carries out traditional house wife responsibility there is emphasis
on what task she is doing through the conscious crafting of mis-en-scene and camera work.
The low angle shot shows the mop juxtaposed with her high heel shoes, followed by a mid
shot showing her expression as well as the scenery (an ironing board and washing detergent
is visible in the background as every object within the frame remains in soft focus).
13. CAMERA
MOVEMENT/ANGLES
There is then a buffer shot where the action followed by the preceding shot is
synchronous in the next. As Beyonce moves her hands upwards, the camera cuts to a
separate visual of the narrative where “B.B Homemaker” is dressed as a stereotypical
secretary, complete with red lipstick and glasses. Just as the camera cuts the moment of
Beyonce’s hands continues in a downward motion whilst holding a book.
14. CAMERA
MOVEMENT/EDITING
As the narrative progresses we as an audience are in a way, voyeurs,
into the frantic decline of BB Homemakers psychological state of
mind as it grows increasingly evident of her desperation and downfall
to submission through her tears and stumbling around the bedroom,
rolling around on the floor and spilling the contents of her martini
glass.
15. SOUND AND EDITING
To work in conjunction with the theme of the music video, and the time period of
which it is set, there is a section of the video which pauses whilst “B.B Homemaker”
takes a bubble bath using cheery yet slow music resembling a theme tune as a sound
bridge. The camera then cuts to “B.B Homemaker” dressed in a maids outfit dusting off
her 16 Grammy awards – the sound here is parallel; just as the camera cuts back to the
narrative the music does in conjunction with the action to restart the narrative and the
sound resumes as contrapuntal throughout.
The dissolves or cuts into other scenes flicker and are sepia/aged in colour to create
the illusion of a deteriorated 1950s home movie – the quality of the image is expected to
be far less than videos that are made today.
16. LYRICS
According to Goodwin's’ analysis theory there is evidence that there is a relationship
between the lyrics and the visuals within the narrative. Prime examples of this are:
“...keep my head in them books
I'm sharp. But you don’t care to
know I'm smart”
“Tell me baby why don't you love me?
When I make me so damn easy to
love?”
