RewindReframe.org
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About RewindReframe.org
Former domain of a platform for young women to identify and challenge racism and sexism in music videos.
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$3,780
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BLURRED LINES: PORN OR POP? THE PERPETUATION OF PATRIARCHY IN POP MUSIC VIDEO
As sexual imagery and pornographic discourses continue to infiltrate the mainstream, the line between porn culture and pop culture is becoming increasingly blurred, as female bodies are routinely objectified for commercial ends, and exploited for profit through all platforms. The sexualisation of culture has become a topic of widespread concern as current media is inundated with sexual discourses and representations in which “pornography has become increasingly influential and porous, transforming contemporary culture” CITATION RGi11 \p 53 \l 2057 (Gill, 2011, p. 53). Nowhere is the sexualisation of culture more evident than that of Music Video, which is currently a key site through which pornographic imagery is mainstreamed, as the sexual imagery exhibited in these videos often intersects the boundaries between porn and pop.
As a powerful force in our media-driven society, the Music Industry entertains and influences many, projecting its patriarchal values onto pop music culture. As the Music Industry continues to produce a culture of demeaning women via its production of highly sexualised Music Videos, its connection to the porn industry becomes progressively apparent as young women are routinely exploited by the industry’s patriarchal values and reduced to sexualised objects who exist as lucrative puppets for their male managers. Whilst sexual connotation in Music Video is by no means a recent development, the once flirtatious display of female flesh has progressed into unrestrained spectacles of full-on nudity. Surpassing even its usual standards of demeaning women, Music Video has caused notable outrage this year with the release of explicitly sexual videos such as Robin Thicke’s “Blurred Lines”, Rihanna’s “Pour It Up” and Miley Cyrus’ “Wrecking Ball”. These videos all generated vast negative criticism, predominately due to their representation of women as sexualised objects, but all still achieved top 10 hits. Consequently, it is necessary to question the attitudes of mainstream society who fundamentally declare acceptance of the values such music and its accompanying videos promote by purchasing it, and thus allowing it to continue.
The release of such sexualised videos has recently sparked a campaign[1] for censorship to be introduced to Music Videos so as to not let pornographic imagery further infiltrate and damage the values of young people. As the most likely consumers of Music Video, and also the demographic most easily influenced by popular culture, there is an immense concern for young people who repeatedly consume such sexual imagery, as the porn aesthetic becomes increasingly commonplace in mainstream media. As overtly sexual media content continues to be unprecedented in its availability, ubiquity and explicitness, the cultural impact that the sexualisation of women in Music Video has is concerning due to its status as one of the most popular forms of media, particularly for young people whose identity is influenced by their interaction with surrounding culture. Therefore, the recurring portrayal of women as sexual objects in Music Video puts pressure on young women to conform to such hyper-sexualisation as they are not offered any alternative representations of successful femininity, and conveys to young boys that women are objects who exist to satisfy their needs.
Although it has become commonplace to argue that Music Videos are a platform where women’s bodies are sexualised and eroticised, in this essay I will further this argument to suggest that Music Video reproduces the patriarchal system developed in the mainstream heterosexual porn industry, in which women are objectified and dominated by their male counterparts and management. I suggest that although female pop stars often view themselves as empowered in their display of female sexuality, ultimately their agency is removed as they perform a model of femininity which has emerged from patriarchal stereotypes of female sexuality originating from mainstream heterosexual pornography and therefore, the over-sexualised bodily displays female pop stars perform are by no means empowering as they are enforced by patriarchy, for the pleasure of patriarchy.
Highlighting the Music Industry’s obsession with appearance and the sexualisation of women, this essay will argue that it is impossible for women in current pop music to avoid being sexualised under the patriarchal confines of Music Video. Using Lily Allen’s satirical “Hard Out Here” video which challenges the current state of pop by parodying the patriarchal oppression at play in Music Video, this essay will assess whether it is possible to challenge the sexualisation of Music Video from within the industry. Although Allen raises feminist issues and brings them to the forefront of mainstream pop, her critique falls short as she ultimately replicates the very imagery which she is criticising, displaying the limited options for women in Music Video, as ultimately they must conform to ideals produced by patriarchal values. However, Allen’s video does successfully highlight the patriarchal control of Music Video by breaking the fourth wall and introducing the dictating figure of a white, middle-aged man who is shown to control her actions and choices throughout the video. Using “Hard Out Here” as a focal evidence, this essay proposes that, as with the pornography industry, women in Music Video are consistently directed to perform a sexuality which conforms to patriarchal ideals from which there is no escape and consequently, female pop stars have no agency in the display of their sexualised bodies.