This document provides an analysis of the music video for Nicki Minaj's song "The Boys" featuring Cassie. The analysis discusses various postmodern elements in the video including its use of retro film styles, references to Minaj's persona and past work, merging of reality and hyperreality, and deconstruction of gender roles. The video takes place in an exaggerated pink world representing a Barbie doll fantasyland, with Minaj and Cassie depicted using common Barbie imagery and tropes. Through elements like editing, cinematography, and narrative devices, the video blurs lines between reality and fiction.

1. NICKI MINAJ – THE BOYS
FT. CASSIE
Presentation of a Postmodern music video by Georgia Leaper

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3. The video begins
through an opening
of a circle. This
“through the
keyhole” effect
suggests the
audience are being
allowed an insight
into Minaj’s world.
There is also an
element of homage
evident as this is
typically how retro
films began/

4. The suggesting of the retro film
style is continued as the video
follows the generic conventions
of film as director’s name is seen,
whilst Nicki Minaj is presented as
the leading lady.
The MES of the writing is very
round and 60s, reinforcing the
retro theme.

5. The narrative is then presented to the audience, through
the use of a CU shot of the heading “Barber Shop Burns
Down After “Freak” Flame Thrower Accident.
In true Minaj style, the artist is interxtually referencing
herself her as she often refers to herself as a “freak” and is
suggesting that even if you don’t like her, the media is
always talking about her, reinforced by the large
photograph of herself.
Reinforced by ECU shots of the headline
being pasted into the frame – suggests
Minaj is “in your face”.

6. Through use of direct address, the artist
conforms to Laura Mulvey’s theory of the Male
Gaze. This is because she acts submissively and
appears to obey to the masculine camera.
This is also an element of Postmodernism, as it is
clear to the audience that the artist knows she is
on camera and therefore real life and hyper
reality are merged into one.

7. Again, this element of hyper reality is
introduced as the MES suggests Minaj
is in a “Barbie world”, seen through the
pink settings and the “Ken dolls” pink
tuxedos.
Once more, this is an intertextual reference
to herself, as the artist as been know to
refer to herself as the “Black Barbie” whilst
also naming her album, of which this song
features on, “Pink Friday”.

9. Through editing, the director dehumanises the artist as her mouth moves
unnaturally during the lyrics “shhhh-ould’a”.

10. Cassie’s part of the song then
begins and the audience is then
introduced to the co-singer.
Through MES she represents her
genre of RnB and hip hop, by her
gold chain and loud shirt.
She immediately stands out
from the girly and pink
surroundings, particularly due to
her short hair.

11. The video then cuts to Cassie in the pink, spotted room sporting a
white “bathing suit”. This may be an element of pastiche as the white
swimming costume and heels are very similar to Barbie’s famous
beach outfit. This suggests she can fit into this Barbie World, however
still stands out because of her shaved head and cross earrings.

12. Through parody, it is suggested that Cassie really fancies “the boy” she is singing
about. This is through the use of a love-heart thought bubble, which is typically
associated with this.

13. Again, hyperreality is suggested through
the pink “cotton candy” clouds.
Minaj is suggested as a Barbie once more, as
she is seen having her hair “blow-dried” by the
plastic hair dryer. This is pastiche of a typical
Barbie toy set which would contain plastic
accessories such as these.

16. Through
editing, the
audience
again begin to
question the
concept of
reality. The
editing are
very
animated,
suggesting
they are not
real, however
as the rest of
the video is so
exaggerated
too, the line
between
reality and
hyper reality
becomes
thinner.