Gender Representation in Music Videos

Two music videos will be analysed in order to discuss the representation of gender and whether they conform or subvert.

 

When studying this screen grab from the music video, Maroon 5, Move Like Jagger, it becomes evident that it subverts the stereotype of females being objectified in music videos. We can denote the lead singer, Adam Levine, located in the centre of the screen and through the rule of thirds we connote him being important to the scene. However denoting the outfit; topless, wearing only track suit bottoms, this could connote to the idea of female gaze as he is being objectified. Though the video can be seen as a parody of Mick Jagger's role in the  music videos of The Rolling Stones, where he used a similar idea of female gaze. Jagger played with gender conventions through the costumes he wore and his use of eye make up in the 70's and 80's. There is also a similarity between Adam Levine and Mick Jagger as they both appeal to female audiences and this appeal is used to attract audience attention. Both display feminine traits in the way they use their bodies to attract attention. The voice of Levine is quite feminine as it is relatively high pitched, however his tattooed torso and muscles connote masculinity, this may be an attempt to reach out to a more masculine audience. We denote a slight low angle which conforms to the idea of Levine being in power, which subverts to some of the other connotations that connotes a more feminine character. This tension between the feminine and the masculine is depicted through the close up of the singers face looking back at the audience; his gaze connotes his masculine power and dominance to the scene and this undermines the more feminine images created previously due to the shots cutting up his body.

Looking at the screen shot above we see Levine through the mise en scene with no top on, his trousers are barely seen giving the illusion of him being naked and therefore more vulnerable (feminine). This mixed with the connotations of his stance, with his chest pushed forward and his hands over his chest, which is a more conventionally connotes femininity. Though this view is tempered firstly by the juxoposing of Levine's tatto 'sleeves', usually viewed as connoting masculinity, and secondly, the low angle mid shots connote masculine power and superiority. Through gender convetions in music videos these elements would conform to the idea of male superiority. The lighting focuses the audience's attention upon Adam Levine's pale skin, toned muscles and tattoos, picking him out of the darkness which surrounds him, this in conjunction with the rule of thirds, has us as the audience positioned to focus on Levine's body as he exhibits himself. These displays of masculine and feminine attributes link to Levine's star persona.

Nicki Minaj's video, 'Super Bass', seems to more overtly and intentionally subvert and conform to feminine ideals while playing with masculine conventions. The video looks at the idea and the difference between empowerment and exhibitionism.

Looking at the screen grab Nicki Minaj (left),  through the mise en scene we can identify her importance to the scene and the space, this is also seen also in the cinematography of the video. The artist is central to the scene, using the rule of thirds, this clearly puts her in a place of power. The voyeuristic pleasure of the audience is stopped by her strong gaze to the camera, this avoids her being objectified and subverts the conventions of the Rap genre.

In contrast to the first screen grab the row of female bodies conforms to the stereotypes of the music videos of the genre. The audience can only see the female bodies, not their heads and faces, the mid shot focuses on the cleavages,behinds and legs of the women. They are depersonalised. These points conform to the idea of the objectification of women and Goodwin's theory of the male gaze.

Unlike the two previous screen grabs this one does both, conforms and subverts. It conforms through the mise en scene, the costume of the skimpy swimsuit reveals Minaj's cleavage which relates to the objectification of women for the satisfaction of the male gaze. However in contrast, through the rule of thirds, she is in the centre of the screen against a backdrop of semi naked men, seen through a mid shallow focus shot. The semi naked men works merely as backdrop images as they are depersonalised as the focus of the shot does not allow their faces to be seen clearly. This disempowers the male and endorses Goodwin's theory about the power of the female gaze in music videos. This subverts the stereotype.