Towards an Aesthetic of Feminine Malice? The Visual Proposals From Female Pop Artists
This proposal aims to highlight problems surrounding the ethics-aesthetics relationship projected by female pop singers in their music videos and the formulation of new models of femininity. However, it is possible these models never existed and this is a reformulation of female roles and stereotype...
| Main Author: | |
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| Format: | Electronic Article |
| Language: | English |
| Check availability: | HBZ Gateway |
| Journals Online & Print: | Drawer...
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| Fernleihe: | Fernleihe für die Fachinformationsdienste |
| Published: |
David Publishing Company
2015
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| In: |
Cultural and religious studies
Year: 2015, Volume: 3, Issue: 6, Pages: 299-310 |
| Further subjects: | B
Lipovetsky
B aesthetics of female malice B gender stereotypes and roles B videoclip B "right to malice" B Values B female pop artists B post-modern society B Valcárcel B "third woman" |
| Online Access: |
Presumably Free Access Volltext (lizenzpflichtig) Volltext (lizenzpflichtig) |
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| 520 | |a This proposal aims to highlight problems surrounding the ethics-aesthetics relationship projected by female pop singers in their music videos and the formulation of new models of femininity. However, it is possible these models never existed and this is a reformulation of female roles and stereotypes invented by patriarchy. Spanish philosopher Amelia Valcárcel spoke of how women had a "right to malice", a concept appropriated by men, while women were excluded from it and relegated to the field of kindness and sacrifice. Based on this premise, could it be stated that the image of women in modern culture prefers to use malice to attain equality? In the 2010 music video for Telephone, Lady Gaga and Beyoncé appeared as murderers who killed some diner customers. Seduction, arrogance and indifference were intertwined using postmodern aesthetics with nods to pin-up style. So do women need to take up malice in order to feel more self-confident and prepared to play a dominant role in society? Would they be repeating the traditional male model characterised by the use of violence? It is here that we would have to reformulate Lipovetsky’s "third woman" model, which claims that women aim to attain equality by repeating old female stereotypes that present them as the "fair sex" or old male stereotypes, adopting Valcárcel’s "right to malice". And more importantly, what kind of message is this sending out to people, particularly to teenagers and young adults who are hugely influenced by the media. As a teacher and philosopher, I am concerned about the kinds of values being promoted by pop music culture and whether they are improving or harming society. Could new models of femininity change the way in which younger generations relate to one another? Could they be feeding into the "crisis of values" that characterises post-modern society? During a class discussion, several female students commented that the singer Beyoncé was a role model for women: strong, self-confident, and an advocate for those same rights for women; a mirror to hold up to oneself. So what kind of image is Beyoncé projecting in her videos? Does she truly break away from old feminine roles and stereotypes? | ||
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| 650 | 4 | |a Valcárcel | |
| 650 | 4 | |a "right to malice" | |
| 650 | 4 | |a "third woman" | |
| 650 | 4 | |a aesthetics of female malice | |
| 650 | 4 | |a female pop artists | |
| 650 | 4 | |a gender stereotypes and roles | |
| 650 | 4 | |a post-modern society | |
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