![]() ![]() ![]() The paper argues that the performer utilises bodily notions of excess and control through her physical body ie. These songs explore different facets of sexual experiences in its corporeality as well as psychosexuality. ![]() Specifically, I examine the deployment of risqué content in the music videos for “Yoncé/Partition”, “Blow”, “Mine” and “Grown Woman” ,Beyoncé. The paper deploys concepts of risk through an exploration of African-American pop superstar, Beyoncé’s, visual album released in 2013 - " Beyoncé". This paper was submitted as part of a Ideas & Exposition Module - Risk and Popular Culture, at Tembusu College, NUS. In so doing, they remind the viewer that although she may perceive female music video stars as objects of fantasy, as fantasies they are not always under her control. ![]() These “errors” open up intervals of frustration-and potential critical reflection-in the playback and, by extension, in the temporal structures of fantasy. Working inside the genre of corporate music video and the logic of the glitch, performers like Madonna and Lady Gaga make visible their ambivalent relationships to patriarchal, heterocentric video culture through simulated freezes and drop outs in the streaming image. Some female performers recognized the potential of this electronic disruption to interrupt the male gaze and the traditional objectification of the female body. During the ascension and commodification of Web 2.0, online music videos became host to a new kind of glitch: the digital stutter of insufficient buffering in Adobe Flash Player and other streaming media software. This article appears in the Oxford Handbook of Sound and Image in Digital Media edited by Carol Vernallis, Amy Herzog, and John Richardson. ![]()
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