Explore the ways in which media language combines to create meaning in Streets by Doja Cat. Make reference to
How ideologies are constructed by the producer
Editing
The use of colour
Knee jerk reaction
The video uses a sexualised representation of a hegemonically attractive woman to appeal to a target audience
Plan
Red
Close up shots
Slow paced editing
Window shopping
Seductive
Moody lighting
MES
Lingerie
Provocative
Puppetry
Robot
Silhouette
Male gaze
Van Zoonen
Voyeurism
New York
Sex, passion, aggressive, love: red
Hegemonically attractive man
Rapid editing
Reaction shots
Rolling sub bass
Hybrid
Trap
R&B
Stuart Hall representation and stereotypes
Black people
Paul Gilroy: post colonial representations
Stereotypes
Judith Butler: gender performativity
Introduction
Media language refers to the way in which the producer encodes their meanings and ideologies in to a media product. In this essay, I will argue that Streets by Doja Cat uses sexualised images of a hegemonically attractive woman and a hegemonically attractive man in order to appeal to a target audience. Additionally, I shall also argue that the use of sexualisation is highly stereotypical, and reinforces Van Zoonen's argument that women are typically used in media products for the purpose of spectacle
Content
- One way in which media language is used to construct a sexualised representation of women is through the selection of a woman in this music video and how she is represented. Doja Cat is wearing a sexually provocative costume which has clear connotations of sex and sexuality. This futher anchored through the mise en scene of the red lighting, which constructs a representation based on the symbolic connotations of red, namely sex, love, and even agression. Furthermore, the slow zoom on her body construct's the voyeuristic gaze of the taxi driver positions the audience in this voyeuristic mode of address. This is a clear example of the male gaze, in which codes and conventions female sexuality are used as a spectacle for the assumed heterosexual male audience. The preferred reading of this music video is one of female empowerment through self-sexualisation.
- In addition the the significant sexualisation, a number of elements combine to create meaning in the structure of the song itself. The song heavy bass which overwhelms the vocals, and could symbolise power, aggression and violence. This is further anchored through the choreography of DC's dance, which is both aggressive and highly sexualised. Her dancing is robotic and jerky, which may be symbolically connotative of control and domination
- A range of close up shots are shown in a fast paced montage, which emphasise the sexual and voyeuristic characteristic of the music video
- DC is situated behind a pane of glass in a shop window, which once more is highly suggestive of voyeurism
- The combination pf the use of red light and the setting of the shop window combine to create a referential code to Amsterdam's red district, which encodes and represents DC as a sex worker, a clearly stereotypical representation
- Gender performativity is the argument that our performance of gender changes the world around us
- Doja Cat moves and dances like a stereotypical male fantasy. Her movements include moving her hips in an exaggerated way, and moving her hands in a way which emphasises her lips. Her gender performativity has a very real effect on the taxi driver, who, in a close up reaction shot, is shown opening his mouth in a proairetic code suggesting awe and lust.
- It is important to note there are real implications for hypersexualised representations of women. Representations re construct reality, and in doing so, can construct unrealistic standards and expectations. These expectations can include an inferred obligation to appear sexually attractive all the time, and may also reinforce hegemonic beauty standards