How have female hip hop artist like Nicki Minaj , changed the alternative representations of females in the hip hop industrie today?
http://www.nordicom.gu.se/common/publ_pdf/42_263-276.pdf
http://pa.oxfordjournals.org/content/61/2/237.abstract
http://www.guardian.co.uk/politics/2011/oct/05/women-gender
http://latimesblogs.latimes.com/music_blog/2011/02/female-music-industry-insiders-talk-being-in-the-boys-club.html
http://voices.washingtonpost.com/hs/mckinley/2007/03/mtv_portrays_female_as_sex_obj.html
http://blog.muzu.tv/2010/01/20/female-domination-of-the-brit-awards/
http://www.guardian.co.uk/music/musicblog/2010/apr/12/nicki-minaj-female-rapper?INTCMP=SRCH
http://www.guardian.co.uk/music/2010/nov/28/nicki-minaj-interview-hermione-hoby?INTCMP=ILCNETTXT3487
http://www.guardian.co.uk/music/2010/feb/18/female-mcs-ms-dynamite-lady-chann?INTCMP=SRCH
Nicki Minaj and the rise of the titillating female rapper
"The female body is rarely a site of empowerment except when it is being objectified to define female strength through heterosexist sexiness, which, displayed for male satisfaction, creates little real power for women. Because female rappers' value lies in their ability to perform masculinity as well as be sexually objectified, when a femcee is not performing the role of the sexually available coquette nor the female thug, her power and agency are nonexistent.""
"The opening shot of Minaj's face quickly cuts to her bouncing chest, while the camera pans slowly over Trina's exposed thighs as she struts around the set, proclaiming their five-star status. "
"However, her image and positioning mark her out as different to her male counterparts. On the Rhymesayer's artist page, Psalm One is surrounded by male artists in thoughtful, pensive, or playful poses. She is pictured in a shoulder-baring tube top, with one hand clasped across her throat – an image that positions her as feminine, vulnerable, and coquettish. "
A funky new era: why women MCs are ruling UK clubs again?
"British female rappers have always been a breed apart. While their male counterparts have tended to wear their debt to US hip-hop greats with pride, the likes of Ms Dynamite and Stush have shied away from the sexually explicit shock tactics employed by Americans such as Lil' Kim and Trina. "
"Stush, the chipmunk-voiced chatterbox who first came to prominence in 2002 with the grime classic Dollar Sign, laughs at the thought of copying the Americans. "Over here, if you came out with that talk, you'd just get people going, 'Oh, that girl's a slag, man!' All the guys would switch on you, you'd get no respect.""
"Chann, for example, made her name last year with the funky house/dancehall hybrid Your Eye Too Fast. Over garage producer Sticky's Fugitive Riddim, a bucking bronco of a beat, she delivers a rambunctious verbal whipping so ferocious that you fear for the poor, cowering man's life. "Me ah the Chris Brown! You ah the Rihanna!" she hollers. Chann is just as boisterous in person, her 19-to-the-dozen chatter punctuated only by the occasional uproarious laugh. "Hahahaaaa! Obviously, it wasn't funny as such, but I have to use metaphors!" she guffaws. "I just thought, I'm switching it! And yeah, if I was in that situation and Chris Brown tried to do that to me" – she smacks her fist into her palm – "Nah. I'd go Chris Brown on him."
'We can beatbox just as well as the boys'http://www.guardian.co.uk/music/2007/nov/01/popandrock.urban?INTCMP=ILCNETTXT3487
"Being a woman in hip-hop isn't about wearing a little pair of shorts and shaking your arse for guys," she says. "It's about empowering yourself by performing something you believe in."
The first track on the album is called "I'm the Best" and, as opening salvos go, it's a pretty irrefutable claim. On it, she raps: "I'm fighting for the girls that never thought they could win" and: "I am here to reverse the curse that they lived in." Minaj is fully aware that "a lot is riding on this album".
But recently," as she says, "I've switched it up and just tried to show people a whole different bunch of sides to me. I would be lying if I said I don't like to look sexy. But then there are some days when I don't want to look or feel sexy. So it just plays into how women are so multifaceted. Men don't understand that because they wake up and they're the same person unless you're a KenBarb [a Nikki-ism for a gay guy] and you can understand the girls.
Wednesday, 30 November 2011
Monday, 28 November 2011
Critical investigation
"How do female hip hop artist like nicki minaj represent females within the music industries"
- A music video to show alternative representations within the music industrie
- Mark , Shna , Jason working is who i am working with
MIGRAIN
M- can be constructed by wearing different clothes , hair , make up , to show the alternative repsentation of the females in the music industrie
I - the institutions is socially constructed , for example the language which may be within the music video and where the song is from a hip hop hollywood genre or british songs
G - the genre of this music video is going to be edgy and rough , it will also have a hip hop genre
R- the music video will represent both typical and alternative representations of a females , however a different represernation will be shown more
A - thr audience for this music video will be young teenagers and older teenagers , this is due to the content of the song and how the video is directed ,
I
N - the narrative of the story will be due to the song behind the music the video , which will tell the story of the viedo
HOW ?
Females are represented as sex objectives however that has changed due to a various of female hip hop artist that have come out. For example ,
The video doe relate to the contemporary media landscape as it relates tot he critital investigation. The issues and debates for selecting this media investigation is that females may still be represented as video vixens and sexualised objectives , however others can argue that this is different and females are more independent and males are used a video vixens instead
Laura Mulvey argued that Hollywood cinema objectified women in a image for the pleasure of men, where cinema followed a patriarchal ideology this, vision was called the ‘Male Gaze’. The theory made in the 1970s where not just Hollywood but most of the world was male dominated. The action genre in particular has been challenged by Mulvey’s theory; men have played the active role whereas the woman plays a more passive role.
Mulvey argued that women where set into to different characters one which was to be the sexually active female and the other who was seen as a powerless female stereotypically seen as ‘The housewife’
http://www.youtube.com/watch?v=ZMKYXIvRYRQ
http://www.youtube.com/watch?v=4JipHEz53sU&ob=av2n
http://www.youtube.com/watch?v=UODX_pYpVxk
http://www.youtube.com/watch?v=bMuHtUDId0Y
http://www.youtube.com/watch?v=VBmMU_iwe6U&ob=av2e
- A music video to show alternative representations within the music industrie
- Mark , Shna , Jason working is who i am working with
MIGRAIN
M- can be constructed by wearing different clothes , hair , make up , to show the alternative repsentation of the females in the music industrie
I - the institutions is socially constructed , for example the language which may be within the music video and where the song is from a hip hop hollywood genre or british songs
G - the genre of this music video is going to be edgy and rough , it will also have a hip hop genre
R- the music video will represent both typical and alternative representations of a females , however a different represernation will be shown more
A - thr audience for this music video will be young teenagers and older teenagers , this is due to the content of the song and how the video is directed ,
I
N - the narrative of the story will be due to the song behind the music the video , which will tell the story of the viedo
SHEP
HOW ?
Females are represented as sex objectives however that has changed due to a various of female hip hop artist that have come out. For example ,
The video doe relate to the contemporary media landscape as it relates tot he critital investigation. The issues and debates for selecting this media investigation is that females may still be represented as video vixens and sexualised objectives , however others can argue that this is different and females are more independent and males are used a video vixens instead
Theorys
Laura mulveyLaura Mulvey argued that Hollywood cinema objectified women in a image for the pleasure of men, where cinema followed a patriarchal ideology this, vision was called the ‘Male Gaze’. The theory made in the 1970s where not just Hollywood but most of the world was male dominated. The action genre in particular has been challenged by Mulvey’s theory; men have played the active role whereas the woman plays a more passive role.
Mulvey argued that women where set into to different characters one which was to be the sexually active female and the other who was seen as a powerless female stereotypically seen as ‘The housewife’
http://www.youtube.com/watch?v=ZMKYXIvRYRQ
http://www.youtube.com/watch?v=4JipHEz53sU&ob=av2n
http://www.youtube.com/watch?v=UODX_pYpVxk
http://www.youtube.com/watch?v=bMuHtUDId0Y
http://www.youtube.com/watch?v=VBmMU_iwe6U&ob=av2e
Wednesday, 9 November 2011
critical investigation
Bianas critical investigation
A fluent and analytical investigation which explores the chosen topic from a clear, autonomous
and critical perspective, making use of extensive and wide-ranging research which has clearly
been employed in the investigation and detailed in the bibliography, making use of a wide range
of academic, media and contextual sources. The investigation demonstrates sophisticated
research and engagement with the primary text(s) and a range of secondary texts. It is well
presented with a very detailed bibliography/source list (AO4).
The investigation demonstrates sophisticated knowledge and understanding of media
concepts, contexts and critical debates relevant to the chosen area of investigation. The work
contextualises the study and the linked production piece effectively within the contemporary
media landscape (AO1).
At the top of this level candidates demonstrate very good understanding of the chosen area
of investigation, very good, independent research skills and very good application of media
concepts, contexts and critical debates. The link between the investigation and the production
is cogent, clear and evident.
Reality shows aim to reflect reality by using real people in real situations, however Supernanny and Wife Swap have a more constructed nature to them. Cinema verité was a movement that inspired filmmakers to explore realism in film; no use of narrative and little ideology was imposed in the text. This is seen in Titicut Follies (Frederick Wiseman, 1967), a documentary about “the horrid conditions at a Massachusetts asylum” showing the “raw, hellish reality of living” there. The cinema verité style is also seen in Police (Roger Graef, UK, 1982), a popular “fly-on-the-wall documentary” . These documentaries showed real people in real situations, and this concept of “reality” is what programmes like Supernanny and Wife Swap aim to achieve. For example, Supernanny’s voice over provides specific information about the family, representing them as real people with real situations. We are given their names, “the Collins family”, we see them in their house and back garden. However, some may argue this is hyper-reality, "the simulation of something which never really existed" , and that audiences are unable to distinguish reality and constructed reality.
- use of theorys and name of theorist given
- specific case study
"Reality TV couldn't be the success story it is if it didn’t appeal to lots of different kinds of audiences” . Wife Swap is targeted at 16-45 year olds with a wider audience of 14-60 year olds. Interestingly, the documentary has the capability to appeal to all of Young and Rubican’s 4Cs as the documentary represents these people through their lifestyle and values, which audiences can identify and support. For example the Ahmed’s are a Resigned family as they stick to historical and cultural traditions as the father says “it is Islamic tradition when we touch food to wash hands”, while the Escotts are Reformers, independent with their individual values as “the one thing they are united on is drama student Beck’s sexuality”. Not only does it appeal to a wide range of 4Cs but a wide range of ethnicities as they want to see how they are represented in the documentary showing its wide appeal.
- Good knowledge of topic and who it apply to
- links back to critical investigation
A fluent and analytical investigation which explores the chosen topic from a clear, autonomous
and critical perspective, making use of extensive and wide-ranging research which has clearly
been employed in the investigation and detailed in the bibliography, making use of a wide range
of academic, media and contextual sources. The investigation demonstrates sophisticated
research and engagement with the primary text(s) and a range of secondary texts. It is well
presented with a very detailed bibliography/source list (AO4).
The investigation demonstrates sophisticated knowledge and understanding of media
concepts, contexts and critical debates relevant to the chosen area of investigation. The work
contextualises the study and the linked production piece effectively within the contemporary
media landscape (AO1).
At the top of this level candidates demonstrate very good understanding of the chosen area
of investigation, very good, independent research skills and very good application of media
concepts, contexts and critical debates. The link between the investigation and the production
is cogent, clear and evident.
Reality shows aim to reflect reality by using real people in real situations, however Supernanny and Wife Swap have a more constructed nature to them. Cinema verité was a movement that inspired filmmakers to explore realism in film; no use of narrative and little ideology was imposed in the text. This is seen in Titicut Follies (Frederick Wiseman, 1967), a documentary about “the horrid conditions at a Massachusetts asylum” showing the “raw, hellish reality of living” there. The cinema verité style is also seen in Police (Roger Graef, UK, 1982), a popular “fly-on-the-wall documentary” . These documentaries showed real people in real situations, and this concept of “reality” is what programmes like Supernanny and Wife Swap aim to achieve. For example, Supernanny’s voice over provides specific information about the family, representing them as real people with real situations. We are given their names, “the Collins family”, we see them in their house and back garden. However, some may argue this is hyper-reality, "the simulation of something which never really existed" , and that audiences are unable to distinguish reality and constructed reality.
- use of theorys and name of theorist given
- specific case study
"Reality TV couldn't be the success story it is if it didn’t appeal to lots of different kinds of audiences” . Wife Swap is targeted at 16-45 year olds with a wider audience of 14-60 year olds. Interestingly, the documentary has the capability to appeal to all of Young and Rubican’s 4Cs as the documentary represents these people through their lifestyle and values, which audiences can identify and support. For example the Ahmed’s are a Resigned family as they stick to historical and cultural traditions as the father says “it is Islamic tradition when we touch food to wash hands”, while the Escotts are Reformers, independent with their individual values as “the one thing they are united on is drama student Beck’s sexuality”. Not only does it appeal to a wide range of 4Cs but a wide range of ethnicities as they want to see how they are represented in the documentary showing its wide appeal.
- Good knowledge of topic and who it apply to
- links back to critical investigation
Wednesday, 2 November 2011
Newspapers - The Effect of Online Technology
The Arab Spring
http://www.youtube.com/watch?v=y6S8iQ5KSkU
http://www.youtube.com/watch?v=y6S8iQ5KSkU
http://www.youtube.com/watch?v=U_1mt4LJnr8&feature=related
http://www.guardian.co.uk/artanddesign/2011/nov/01/arab-spring-art-exhibition-paris
Ian Tomlinson's death
Ian Tomlinson's death
http://www.youtube.com/watch?v=HECMVdl-9SQ
http://www.guardian.co.uk/uk/2011/oct/17/police-officer-ian-tomlinson-g20
Gadaffi's death
http://www.youtube.com/watch?v=6Zi0qxqSVXo
http://www.guardian.co.uk/world/2011/oct/24/libya-investigation-gaddafi-death?newsfeed=true
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