How are representations of gender encoded through media language in the video to Formation by Beyoncé?

• The range of portraits on the wall behind white dress Beyoncé constructs a complex representation of womanhood. It suggests the conflation of both the past and the present to suggest that not much has changed in terms of the treatment of black women 
• There are huge portions of the video that solely focus on women. The mid shot of Beyoncé dancing in the narrow corridor of the old-fashioned house constructs a sense of female empowerment, and the idea that B is more powerful when ‘dancing in formation’ 
• Beyoncé is wearing a red, vaguely 19th century costume that is nonetheless heavily sexualised. Her legs and chest are emphasised through the cut of the costume. This self-sexualisation connotes confidence and empowerment, yet also clearly appeals to the male gaze and ultimately targets a wider audience
• Constructed through a range of binary oppositions, this representation is highly complex and even polysemic
• The contrast between Beyoncé in the hallway and Beyoncé stranded on the police car opposes confidence with vulnerability
• The white dress and the red dress are completely contradictory. The red dress is highly revealing, with the colour red symbolising passion, yet the white dress has connotations of purity and modesty. Once more, a complex representation of femininity
• Her dance movements are jerky and aggressive, which constructs an ideology that women are not vulnerable, and can fight their own battles: a clear binary opposition to the shot on top of the police car
• While the time period of some of B’s costumes are indeterminate, one thing that links them is that they are often very revealing. With the red costume, her breasts and buttocks are emphasis through the cut of the costume. This is somewhat stereotypical for the representation of pop stars. By appealing to the male gaze, B chooses to self-sexualise. Far from a negative representations, this sexualisation could be empowering, demonstrating her confidence in her own appearance. However it can also be argued that she is cyclically seeking validation. 
• B’s dance movements are distinctive and precise. Almost like a marionette puppet, Beyoncé is making symbolic reference to themes of control, and her past career when she essentially did exactly what she had to do to succeed as a black woman in mass media popular culture. Furthermore, the anchorage of the lyrics “I like my negro nose with Jackson 5 nostrils” connotes Beyoncé's journey and her acceptance of her black features and her promotion of black beauty

Bonus - themes of conflict

• Conflict between race is constructed through the lyrics of the song. The lyric ‘albino alligators’ refers to white people symbolically, and not only does this line present a damning representation, but also makes reference to an animal common in Louisiana. 
• Conflict is constructed between black communities and the US government. This is constructed through the MES of the empty police car falling into the flood waters, symbolically encoding empty promises and a sense of helplessness. 
• Conflict is constructed between Beyoncé, a multimillionaire celebrity, and the impoverished streets of New Orleans. While B is not mocking this location, her presence still forms a binary opposition, that makes for striking visuals, although some might question her authenticity 
• Themes of conflict are also constructed through the blunt and confrontational lyrics that address appropriation of black culture, as well as celebrating black identity
• The lyric “My daddy Alabama/mama, Louisiana” self represents Beyoncé as a southern black woman with a complex heritage, and constructs a sense of authenticity