By Diane Railton
ISBN-10: 0748633227
ISBN-13: 9780748633227
How do we have interaction severely with tune video and its position in pop culture? What do modern track movies need to let us know approximately styles of cultural identification at the present time? dependent round an eclectic sequence of bright case stories, this clean and well timed exam is an enjoyable and enlightening research of the types, pleasures, and politics that song movies provide. In rethinking a few vintage techniques from movie reviews and renowned song stories and connecting them with new debates in regards to the present 'state' of feminism and feminist concept, Railton and Watson exhibit why and the way we should always be learning track video clips within the twenty-first century. via its thorough review of the tune video as a visible medium, this can be an amazing textbook for Media stories scholars and all people with an curiosity in well known track and cultural experiences.
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Additional resources for Music Video and the Politics of Representation
Sample text
Indeed, a number of critics argue that it is precisely the commodification of feminism, its increasing collocation with capitalist practice, that recasts the image of the modern feminist from a political identity into a consumer choice. Put simply, postfeminism becomes equated with, or worse reduced to, images of successful women. That is to say, stories of women’s educational and professional success, images of empowered female sexuality, and even accounts of women who ‘choose’ to return to domesticity are seen as mileage markers on the road to women’s liberation.
The upshot is that femininity is a game with definite rules but no winners. Secondly, Brownmiller argues that women can only work at femininity in the first place ‘by accepting restrictions, by limiting one’s sights, by choosing an indirect route, by scattering concentration and not giving one’s all’. 37 So for all these critics, femininity is a powerful force for preventing women’s success in the world. They can only ever aim to be successfully feminine, successful at being a woman, and the project of successfully being a woman distracts from, interferes with, and ultimately prevents, their success in any other field.
36 And it is precisely this impotence, the necessary disavowal of sexual subjectivity, that underpins Greer’s definition of the female eunuch. But perhaps the most sustained second-wave critique of the political workings of femininity is Susan Brownmiller’s 1984 study, Femininity. For Brownmiller, femininity ‘is a romantic sentiment, a nostalgic tradition of imposed limitations’. She suggests that, for the woman who works at femininity the world ‘extends little courtesies and minor privilege’. indd 30 31/05/2011 12:02 SITUATING MUSIC VIDEO tesies and privileges are in two senses illusory.
Music Video and the Politics of Representation by Diane Railton
by Paul
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