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GIRL POWER REPRESENTATION IN LADY GAGA’S MUSIC VIDEOS
THESIS
Submitted as a Partial Fulfillment of Requirement
for the Sarjana Sastra Degree of the English Department
Faculty of Letters and Fine Arts
Sebelas Maret University
by:
Candra Pudyastuti Christinasari
C0307014
English Department
Faculty of Letters and Fine Arts
Sebelas Maret University
Surakarta
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GIRL POWER REPRESENTATION IN LADY GAGA’S MUSIC VIDEOS
THESIS
by:
Candra Pudyastuti Christinasari
C0307014
Approved to be examined before the Board of Examiners
Faculty of Letters and Fine Arts
Sebelas Maret University
Thesis Consultant:
Fitria Akhmerti Primasita, S.S., M.A. NIP.196912161998022001
Head of English Department:
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GIRL POWER REPRESENTATION IN LADY GAGA’S MUSIC VIDEOS
by:
Candra Pudyastuti Christinasari
C0307014
Accepted and approved by the Board of Examiners
On July 31, 2012
Chairman of Examiners : Dra. Endang Sri Astuti, M.S. ( ) NIP. 195208141981032001
Secretary : Karunia Purna K., S.S., M.Si. ( ) NIP. 198211242009122002
First Examiner : Fitria Akhmerti P., S.S., M.A. ( ) NIP.196912161998022001
Second Examiner : Dra. Nani Sukarni, M.S. ( ) NIP. 195103211981032002
Surakarta, July 31, 2012
Dean of Faculty of Letters and Fine arts
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PRONOUNCEMENT
Name : Candra Pudyastuti Christinasari
Number : C0307014
I certify that this thesis entitled Girl Power Representation in Lady Gaga’s
Music Videos is not a plagiarism nor written by others. Any materials and
theories used as references are written in direct quotation or in paraphrase. I am
fully responsible for the pronouncement. If this is proven to be wrong, I am
willing to take any responsible actions given by Faculty of Letters and Fine Arts,
Sebelas Maret University, including the withdrawal of the degree.
Surakarta, July 31, 2012
The researcher
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MOTTO
THE FUTURE BELONGS TO THOSE WHO
BELIEVE IN THE BEAUTY OF THEIR DREAMS
(Eleanor Roosevelt)
Do not allow people to dim your shine because they
are blinded. Tell them to put on some sunglasses,
cuz we were born this way bitch!
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DEDICATION
For my self,
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ACKNOWLEDGMENT
It has been a long journey in writing this thesis, indeed. Throughout the
journey, I met people whose direct and indirect helps keep me moving. To them,
this acknowledgement goes to.
“ Hear my cry, o GOD; attent unto my prayer. From the end of the Earth
will I cry unto Thee, when my heart is overwhelmed: lead me to the rock that is higher than I. For Thou hast been a shelter for me, and strong tower from the enemy (Psalm 61: 1-3)”. First and foremost, my deepest gratitude goes to my Lord Jesus Christ. Thank God for every hope and love You show me. Thanks for
blessing me more than I deserve. You are an awesome God.
I also want to thank Drs. Riyadi Santosa, M.Ed., Ph.D, the Dean of Faculty
of Letters and Fine Arts and Drs. Agus Hari Wibowo, M.A., Ph.D, the Head of
English Department, for giving me permission to conduct a research on this topic.
I want to thank all English Department’s lectures, especially the American
Studies’ lecturers for giving me valuable knowledges.
I give my deepest gratitude to Fitria Akhmerti Primasita, S.S, M.A as my
academic consultant and thesis supervisor who has helped and supported me
during the course of writing this thesis. Her patience, advice and thought are
incredibly amazing.
To my family. Bapak,I’ll always be grateful to be your daughter. Ialways
love and miss you and dedicate this thesis in memory of you. May it make you
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both as a means to keep you happy as what I have promised to bapak. I hope this
thesis will be a starting point to give you a better life. I have been blessed with a
wonderful family and for that I am thankful.
To my girls. Chrisinta Anggraeni, thank for your arms everytime I need a
hug. Canti Widowati, for every support, love, and laugh we share. Thank for your
ears everytime I need to spill my feeling out. Shofi Mahmuddah Budi Utami,
thank for every valuable discussion, idea, and thought not only about American
Studies stuffs but also about this wonderful life. Stevia Andromeda, Permita
‘Gondrong’ Adi and geng pendekar, thank ses for the fooling around time we
share. You girls make my life complete. I heart you, BFF! Group hug!
For big family of Sebelas Maret University Student Choir, Voca Erudita, especially to Isebel, Christofer, Bayu, ebret Bintang, and Rifqy. I thank God for sending you all to my life. May our friendship last forever. And also for Mas Re,
you are the best conductor ever mas! Thanks for choosing me as part of your singers and giving me chances to see the world. I pray for you to always be happy
and healthy. Long live mas Re. God bless you. Mbak Mayang, Mas Al, and Mas
Dita, who let me experience how it feels to be a little sister. Gilang and Depe. I
love you little girls. Yohana, Tucik, Tiwi, Widi, Evi, Unna, Ipung, Mini, Janta,
Bang Yanu, all altos, Pesparawi, Unpar, WCG, BICC, and Pattaya team. Thank for every song, prayer, and love we share. I am forever grateful to have you in my
life. Viva Voca Erudita!
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making me stay still in Amstud while I lost my confidence and did not believe in
myself. It was still hard to beat you all in exams though,haha. And for my Amstud
senior, mas Kikik, for letting me befriend with you. ED 07, Karen, Ikke, Cui, Erna, Pathy, Ikul, Idul, Giwang, Dika, Gerry, Bara, Tino, Irma, mb sisca, Farida, pakdhe, Zein and others I cannot mention one by one. It was a five pleasant year with you guys.
Gereja Kristen Muria Indonesia, for a never ending prayer.Persekutuan Mahasiswa Kristen Sastra dan Seni Rupa. Dea, and Patha.
Stefany Angelina Germanotta, you rock!
Surakarta, July 31, 2012
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TABLE OF CONTENTS
COVER ... i
APPROVAL BY THESIS CONSULTANT ... ii
APPROVAL BY BOARD OF EXAMINERS` ... iii
PRONOUNCEMENT ... iv
MOTTO ... v
DEDICATION ... vi
ACKNOWLEDGMENT ... vii
TABLE OF CONTENTS ... x
ABSTRACT ... xii
CHAPTER I: INTRODUCTION ... 1
A. Research Background ... 1
B. Scope of Study ... 5
C. Research Questions ... 5
D. Objectives of the Study ... 6
E. Benefits of the Study ... 6
F. Research Methodology ... 6
G. Theoretical Approach ... 7
H. Thesis Organization ... 10
CHAPTER II: LITERATURE REVIEW ... 12
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xi
B. America in 2000s ... 23
C. Music Video and Semiotics ... 26
CHAPTER III: ANALYSIS ... 34
A. Girl Power Representation through Sexuality ... 34
B. Girl Power Representation through Style ... 44
C. Girl Power Representation through Heroine Characteristics ... 50
CHAPTER IV: CONCLUSION AND RECOMMENDATION ... 88
A. Conclusion ... 88
B. Recommendation ... 90
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ABSTRACT
Candra Pudyastuti Christinasari. C0307014. Girl Power Representation in
Lady Gaga’s music videos. Undergraduate Thesis. Faculty of Letters and Fines Arts. Sebelas Maret University.
Lady Gaga’s music videos, Paparazzi, Telephone, and Bad Romance are
interesting music videos since they present additional representation of Girl Power that cannot be found in another female singer’s music videos. It means that there is a shift in how Girl Power is perceived in contemporary American society. Although those music videos present unusual representation of Girl Power yet they are considerably successful music videos. Since music video is a popular culture product, it can be analyzed in its relation to American society. Therefore, this research is conducted to explain how the music videos represent Girl Power.
This research is a descriptive qualitative research that takes three music videos of Lady Gaga as its source of data. The main data consists of lyrics, music,and moving images. It is supported with supporting data consisted of Lady
Gaga’s another songs and music videos and some articles and related references
about her.
This research is conducted in American Studies framework. Thus, it incorporates various disciplines in the forms of theory and approach in analyzing the music videos. It incorporates semiotics theory, socio-cultural perspective, and also postfeminist theory in answering the research question.
After conducting the research, it is found that in the three music videos of Lady Gaga, the values of Girl Power are represented through sexuality, style, and heroine characteristics. It represents unusual values of Girl Power that are rarely
found in another female singer’s music videos. They turn the representation of a
beautiful female style to a wacky style. In addition, they represent heroine as girls who do not hesitate to harm or kill others. It fits to the socio-cultural of American society nowadays that is filled with more complex issues.
commit to user CHAPTER 1
A. RESEARCH BACKGROUND
A new shape of feminity is formed in American society since the emergence of Girl Power, “A post feminist movement, in the sense of coming after and perhaps overcoming feminism” (Hopkins, 2002, p.2) which came in the end of 1990s and shaped American women. Girl Power, in a broad sense, “is highly popular ideology which emphasizes strength and confident attitude for girls” (McClure, 2004, p.2). It empowers and encourages girls and young women to respect and transform themselves as new humans with power, freedom, and choice. Those values can be seen from how it influences girls and young women to challenge traditional expectation required by patriarchy system toward them.
Traditional expectation required girls and young women to be passive, submissive, and weak to be considered as good ones. It required abilities of good mother and wife that are kind, gentle, nurturant, and supportive to be considered as successful women. Thus, female gained success not from „doing‟ but „being‟.
They had to keep themselves busy and excellent in domestic duties, such as cooking, sewing, knitting, and bearing child. Winning a man, pleasing a man, and having perfect marriage are placed in the first priority of women‟s life. Their
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employed to be attractive and sexy enough to attract man but at the same time she must be careful in showing her sexuality and must act like a „lady‟. It is clear that
women completely live in patriarchal society with its male gaze. “Male gaze is not necessarily men looking at women, rather it is a subconscious bias in that everything one does should be filtered so that it will reflect the standarts of the patriarchal society in which we live” (McClure, 2004, p.11).
In combating patriarchal system and its male gaze, Girl Power which comes under the umbrella of Postfeminism uses different ways compared to first and second wave of feminism. In the first wave of feminism, women had ever wore „bloomers‟, the first ballooning trousers wore underneath a knee-length skirt, to replace hoop skirt and corset. They wore it as a symbolic attempt to free them from weakness, helplessness, and passiveness. However, in the end they got back to their conventional style wearing corset and long skirt because they thought that bloomers produced no political or social equality. In the second wave of feminism, women striked opposing Miss America Pageant in 1968 because this competition represented women as a passive, fragile, and submissive. They also did a „Freedom Trashcan‟ action in which they throwed away all things
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Different from the first and second wave of feminism which kept the ladylike and manlike manner, Girl Power prefers „be yourself‟ manner which
enables girls and young women to do whatever they like base on their own desires. Girl Power is so celebrating girls and young women. It teaches girls and young women to be tough, independent, and competent rather than caring and sharing to be considered as good girls. The idea of having marriage to be an ideal woman does not come at the first place for them. It is replaced by active, sexy, aggressive, and confident attitude. Girls and young women now are longing for their own dream, success, and status (Hopkins, 2002, p.1-4). Girl Power makes girls and young women brave to fight for their „personal expression, improved
self-esteem, and individual success‟ (Hopkins, 2002, p.34). Girl Power ensures girls and young women that they can make anything happens and be everything they want to.
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spread ideology where the performers can represent certain ideology they belong to (Peeters,2004, p.9).
Madonna and Spice Girl are ones that are always associated with Girl Power and more pronounced among the others. Madonna was celebrated because of her ability in using sexual power as the source of self determination. She is aware of sexual power but does not let male gaze to get benefits from it. (Hopkins, 2002, p.39-49).Meanwhile, Spice Girl reclaimed that girlieness is their source of power. They created stage-name ( Baby Spice, Spicy Ginger, Scary Spice, Sporty Spice, and Posh Spice) to show their different personality which can blend together without being afraid of being rejected by the society. They also offered a girlie performances by wearing blond hair, pastel or light colored short dresses, high heels, and other things to add each characterictics of them (Lemish, 2003, p.19-20).
The discussion so far centers on Madonna and Spice Girl while actually there are other celebrities who also take Girl power into their music video. Therefore, it is interesting and worthy to seek the contributions of other celebrities in introducing Girl Power to the society. One of them is Lady Gaga. The achievements that Lady Gaga already attained through her performance in music videos made it interesting to take her as an object of research.
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Fame‟ album sold over 15 million copies worldwide and earned six Grammy nominations and won two of them. The success of „The Fame‟ was followed by
the next album, „The Fame Monster‟. Its success was both for the songs and music
videos. It was proven by the latest award given by the MTV Video Music Award 2010. Her „Bad Romance‟ music video won 8 awards. They are Best Dance, Best Female, Best Pop, Best Direction, Best Choreography, Best Editing, and Video of the Year. Whereas her „Telephone‟ in which she collaborated with Beyonce
Knowles won the Best Collaboration. She was also included in Time's annual "The 2010 Time 100" list of the most influential people in world. Forbes also listed her in "The World's Most Powerful Celebrities" and placed her at number seven of its annual list of the world's "100 Most Powerful Women (http://www.ladygaga.com/bio/default.aspx).
Madonna and Spice Girl use the displaying of their sexuality and girlieness to gain power. What about Lady Gaga? Does she use the same strategy to show her power? It is to this questions that this research is devoted.
B. SCOPE OF THE STUDY
This research focused in finding the representations of Girl Power which are embodied in Lady Gaga‟s music videos. The lyrics, music, and moving images of it would support to describe and explain those representations.
C. RESEARCH QUESTION
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How are the values of Girl Power represented in Lady Gaga‟s music videos?
D. OBJECTIVE OF THE STUDY
The objective of this study is:
To describe how Girl Power values are repesented in Lady Gaga‟s music videos.
E. BENEFITS OF THE STUDY
The significance of this study is to help understand the current happening dealing with American women. By understanding American women, it may help us to understand how America is today. It is also meant to contribute in broadening the knowledge and topic of American Women class in English Department. This research is also intended to give additional information to the other researchers who have related topic in Sebelas Maret University.
F. RESEARCH METODOLOGY
1. TYPE OF RESEARCH
commit to user 2. DATA AND SOURCE OF DATA
Themain data of this research were lyrics, music, and moving image which source from three Lady Gaga‟s music videos taken from „The Fame‟ and „The Fame Monster‟ album. They are “Paparazzi, “Bad Romance”, and “Telephone‟.
They were uploaded by LadyGagaVEVO on November 25th, 2009 for “Paparazzi”, November 23rd, 2009 for “Bad Romance”, and March 15th, 2010 for “Telephone”. They were downloaded from Youtube on March 31st, 2011, March, 14th, 2011 and March 31st, 2011.
The supporting data of this research were Lady Gaga‟s another songs and music videos and some articles about her.
3. TECHNIQUE OF COLLECTING AND ANALYZING DATA
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G. THEORITICAL APPROACH
American studies is a study related to all issues of America which emerged in 1950s (Spiller, 1973, p.611). American studies is becoming a significant study due to the position of America as a super power nation which rule the world. Its position makes its culture and issues become so important to study. However, the culture and issue of United States of America are so complex since its people were coming from various and different background of ethnics, religions, social life, and so on (Spiller, 1973, p.613). Because of those complexity, therefore, American Studies involves many disciplines and approaches to analyze its problem. That is the reason why American Studies is called as an interdisiplinary studies.
In taking American studies as the umbrella and center of a study, it is needed to look on the fact that the happening and reality which are used by American Studies is “socially constructed” (Kelly, 1984, p.53). It is further explained by Kelly that human activity and creativity are involving within reality so that reality can be controlled by men. Because of human creativity and activity, the result of „socially constructed‟ reality is seen as the mirror of reflection and
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radical changes in society and culture which is never universal. One manifestation of the new American studies which emphasizes on the human creativity, activity, and rhetoric is popular culture that represents the identities and values of Americans.
The study of popular culture within the scope of American studies is becoming so significant because the popular culture reflects the belief and values of people. Moreover, Jack Nachbar and Kevin Lause in their book Popular Culture, p. An Introductory Text state that “Popular Culture is a „Funhouse Mirror‟ because it both reflects our „image‟ back to us but also alters our image in
the process of doing so” (Nachbar and Lause, 1992, p.7). These dual functions of popular culture contribute to the significance of the study of popular culture. In this sense of research, Lady Gaga and her music videos are examples of the object of new American Studies since they are formed by human activity and creativity. Besides, Lady Gaga and her music videos denote the shifting from the myth of male dominance and patriarchy system to the rhetorics of women‟s movement.
In conducting this research, Semiotics theory was needed to analyze and answer the research question. Semiotics which was used in this research was the one coined by Roland Barthes. His semiotics theory enabled this research to find out the hidden ideology which was represented by the music videos.
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individualism, choice, self-expression and determination and independence toward patriarchal culture. Postfeminist theory was important to help answer and analyze the focus of the study because the main point of this research was about girls and young women‟s life in Girl Power which appears in Postfeminism era. It was useful in understanding the ideas and issues about them. Moreover, this theory would give many opinions on how girls and young women look on themselves.
At last, to understand the meaning of music videos clearly and completely, socio-cultural perspective was needed to be applied to find and understand the influences of social and cultural background in certain period in American society which influenced girls and young women. The social and cultural condition of a society would absolutely influence the way they think and behave.
H. THESIS ORGANIZATION
The thesis consists of four chapters and each chapter is divided into several subchapters. There are Chapter I Introduction, Chapter II Literature Review, Chapter III Analysis, and Chapter IV Conclusion and Recommendation
The first chapter, Introduction, consists of eight subchapters. There are Research Background, Scope of the Study, Research Question, Objective of the Study, Benefits of the Study, Research Methodology, Theoretical Approach and Thesis Organization.
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The third chapter, Analysis, consists three subchapters. The first is about Girl Power representation through sexuality. The second subchapter discusses about Girl power representation through style. The third subchapter is about Girl Power representation through heroine characteristics.
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CHAPTER II LITERATURE REVIEW
A. GIRL POWER IN AMERICA
1. A BRIEF SKETCH OF POSTFEMINISM IN AMERICA
Women‟s right movement was pioneered in 1792 when Mary Wollstonecraft published her book „Vindication Rights of Woman‟ which
suggested middle class women to be more intelligent, rational, and independent. It
was required for women to involve in both domestic and public area so they did
not become passive women but the active one who could stand up for their own
life without depending on their husband.
The women‟s right movement began with the first wave movement which
happened in 1848-1960s. It was marked by Seneca Falls Convention, a response
to the prohibition of women‟s representations in Anti-Slavery Convention in
London in 1840. Seneca Falls Convention was held in 19 and 20 July, 1848 to
discuss the way to end discrimination based on sex toward women and how to
achieve full civil rights with equality in every aspect of life. The first wave of
feminism fought for the right to vote, birth control, and control of women‟s own
body especially reproduction and sexuality. Feminist tried to gain those rights by
working individually through their works which was hoped to bring emancipation.
Their fighting was paid of by the ratification of the 19th amandment right to vote
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After the victory of first wave of feminism, the women‟s movement then
entered new era called second wave of feminism which happened in 1960s-1980s
or beginning of 1990s. It was marked by Betty Friedan‟s Feminine Mystique in
1963. This book protested male supremacy which required women to be good
domestic women by being a mother and wife who was submissive and passive
(Gamble, 2010, p.35). Second wave of feminism opposed the idea of submissive
and passive women and did everything to fight it. Women striked opposing Miss
America Pageant in 1968 because this competition represented women as passive,
fragile, and submissive. They also did a „Freedom Trashcan‟ action in which they
throwed away all things representing oppression to women such as high heels,
corsets, and bra (Gamble, 2010, p.37). In addition, second wave of feminism also
stood for body politics. Body politics were practices which were able to show the
similarities between men‟s and women‟s body. It was so common for women in
the second wave of feminism era not to shave the armpit, not to put on make-up,
not to wear revealing clothes and high-heels, and do body building (Adriaens,
2009). Those actions showed that the second wave of feminism fought
collectively and revolutionarily in gaining their goals. Their goals were to get the
rights to seek freedom to define sexuality and its practices, the rights for
reproductive freedom and abortion pratices. The collective and revolutionary way
in combating pathriarchy system was realized through establishment of many
political organisations. It made women reflect their personal choice in combating
male dominance through political implication and therefore no space for
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second wave of feminism failed. There were no space for individuality because all
efforts to fight patriarchy system were done in political implication. Besides, the
struggle centered to the one to help white upper middle class only. „Sisterhood is powerful‟ tagline of second wave of feminism failed to be proven since they only
focused on the suffering of white women. Other women from other races and
status were forgotten and their needs were not accomodated. The strikes which
they did and their manner in imitating male added bad representation of second
wave of feminism as men haters. Those things marked the failure and weaknesses
of the second wave of feminism which led it to the end and enter the new era
called Postfeminism (Zaslow, 2009, p.26-28).
Post feminism era started in America in 1990s. It is an era when the term
„feminism‟ is no longer required because its goal has been achieved. Thus, to begin the new era, the term „post feminism‟ is used to provide a whole new
meaning (McRobbie, 2004, p.255). The term „post feminism‟ is also needed
because second wave feminism is considered „old-school‟ since it no longer can
accommodate the needs of women. Because of that, post feminism is often
recognized as a backlash toward second wave of feminism whose aim is to create
antagonism toward it (Brooks, 1997, p.4). Susan Faludi, the writer of Backlash ,
p. The Undeclared War Against American Women (1991), claimed that
postfeminism that is dominated by young generation is a new age criticizing
women‟s movement (Brooks, 1997, p.3). However, it is actually not a backlash. It
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Criticisms toward second wave feminism which are launched by post
feminism deal with women‟s sexuality and femininity. First, second wave feminism believes that women‟s sexuality is only a disadvantage for women. It
holds a pessimistic vision on women‟s sexuality. Being female is being in danger
and difficulty because women are easily abused and objectified. Second wave of
feminism only sees women‟s sexuality from negative perspective. Second, being
feminine and feminist at the same time is not allowed in the second wave of
feminism because when woman is being feminine, she is being the victim of
patriarchy. Since she is the victim of patriarchy, she cannot be a feminist. Thus, in
second wave feminism, one can be achieved by sacrificing the other (Adriaens,
2009).
In contrast to second wave of feminism, Postfeminism offers more choices
for women. It has a more optimistic vision on sexuality. It guarantees women‟s
right to celebrate their sexual freedom and choice based on their own willingness
(Adriaens, 2009). Post feminism “celebrates women‟s sexuality and encourages
women to explore sexual options and express themselves in whatever ways they
feel comfortable (Gladen, 2007)”. In addition, Postfeminism places women as a
subject who is active and desiring. Their activists “like to think of themselves as survivors, not victims (Gladen, 2007)”. Moreover, a feminine woman can be a
feminist in post feminism era without feeling afraid of being considered as a
victim of patriarchy. Lipstick, high-heels, and revealing clothes do not decrease
the feminist power which lies in woman‟s soul. Therefore, Postfeminism opposes
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of identity (Adriaens, 2009). In short, Postfeminism is just “a movement beyond
feminism to a more comfortable zone where women are now free to choose
themselves” (Beck in McRobbie, 2004, p.259). Post feminism only wants to
encourage women personally by giving them wider space to build their own
identity and choose what they want to do based on their own willingness so they
can make such a social change rather than encourage them to be active on political
activism (Adriaens, 2009; Gladen, 2007).
Women can unapologetically celebrate a plate full of entrée choices like soccer mom, career mom, lover, wife, lesbian, activist, consumer, girly girl, tomboy, sweetheart, bitch, good girl, princess, or sex symbol (Gladen, 2007).
As a recent women‟s movement, women who take part in Postfeminism are
mostly young generations. They are Generation X demographic (born roughly
between 1966-1976) or Generation Y (born roughly between 1977-1997). Since
Generation X and Y live in modern era in which media and technology are widely
used, it becomes clear that Postfeminism presents their idea through popular
culture (Gladen, 2007). There are some other movements under the umbrella of
Post feminism which promote its beliefs. One of them is Girl Power.
2. GIRL POWER IN AMERICA
There are many reasons of the coming of Girl Power in American society.
In early 1990s, it was found that girls and young women in America were living
with low self-esteem and confidence. It was caused by high traditional expectation
in male dominated culture which placed girls and young women‟s experience as
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and feedback went to boys. Girls were stereotyped as weak students who were
incapable of handling math and science subject. It made girls lose their
self-awareness and weaken their academic achievements and future goals. The low
self-esteem and confidence were also grounded from less involvement of mother
who focused on the battle against patriarchy system and forgot to involve in
teaching family values to her kids and spend time together with other family
members. Those two things put girls and young women in crisis.
The crisis was not only caused by the low self-esteem but also the
demonisation of girls especially color girls. Unlike white middle class girl who
was considered as a victim, the color girls were considered as the causes of all
crisis happened to girls and young women. It was so because those girls are color
girls. They were blamed for producing poverty, welfare dependency, high school
drop out, abortion, and pregnancy. The crisis marked the first reason of the coming
of Girl Power.
The second reason of the coming of Girl Power is the different point of
view toward femininity. For the second wave of feminism, femininity is the source
of women oppression. In contrast, Girl Power celebrates femininity as the source
to end the oppresion, for example the use of make up. For second wave of
feminism, make up led to male gaze and capitalism. But for Girl Power, make up
is something that makes girls and young women sexy and stylish without being
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The next reason of the coming of Girl Power is an emergence of Riot Girl
in early 1990s. Riot Girl was “a female youth subculture which developed out of
the underground music scenes of Seattle, Olympia, and Washington in the United
States (Hopkins, 2002, p.29)”. Through their music, they expressed their anger
about the experience of being young female human being who was forced to fulfill
traditional expectation that girls and young women must be passive, submissive,
weak, meek, innocent, and obedient (Hopkins, 2002, p.29). Since then, the „Girl
Power‟ term developed and reached its peak when this term was used by Spice
Girl as their girl band slogan, “Hold tight, get ready-Girl Power is coming at you”
(Hopkins, 2002, p.16). Because of the use of „Girl Power‟ term in popular culture
industry, this term then widely spreads among girls and young women.
To respond all of those problems and happenings, Girl Power comes out as
the answer. In answering those crisis and happenings, Girl power comes to the
world by empowering girls and young women to have high self-esteem,
confidence, self-awareness, future goals and interpersonal relationship which are
better than before, through individual empowerment in many ways.
There is a basic difference between traditional feminism and Girl Power.
Traditional feminism fights patriarchy system using „a voice for women‟ vision. In
contrary, Girl Power uses „a voice to women‟. For traditional feminism, a feminist is someone who fights for and works for change. She believes in feminist ideals of
gender equality and fights for it even if she does not face gender oppression.
Feminist is not a person who only believes but also acts. She fights not only for
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She uses her voice to be vocal in any advocacy which is done through marching,
public speaking, and organization to speak her beliefs out. Unlike traditional
feminism which considered feminist as a fighter of gender inequality, a feminist in
Girl Power era is someone who places herself as a role model for others. She
represents a strong and empowered woman who acts her personal strength and
power out in her daily life. She performs her beliefs without being vocal and
fighting for other women directly through marches and organizations but through
her own ways in living her life. She tries to make a difference in her life so that
any other girls and young women will be empowered by the way she lives her life
and other men will recognize her as a woman in a different better way. Thus, it
can be said that a traditional feminist is an „activist‟ feminist who works for and
with others while Girl Power feminist is a „performative‟ feminist who works for
and by herself (Zaslow, 2009, p.133-151).
Girl Power emerges in society bringing new values and visions for girls
and young women. “The whole concept of Girl Power is about being aware of yourself, of not taking any crap from anyone and getting what you want”
(Hopkins, 2002, p.34).
Girl Power teaches girls and young women to be tough, independent, and
competent rather than caring and sharing to be considered as good girls. The idea
of having marriage to be an ideal woman does not come at the first place for girls
and young women. It is replaced by active, ambitious, sexy, strong, aggressive,
and confident attitude. Girls and young women now are longing for their own
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young women brave to fight for their „personal expression, improved self-esteem,
and individual success‟ (Hopkins, 2002, p.34). Girl Power ensures girls and young
women that they can make anything happen and be anything they want to.
Media and popular culture have done a significant role in spreading Girl
Power ethos so that girls and young women can find and imitate these values
easily. Many female celebrities like singer, model, and actress often show up
bringing Girl Power values within their work. It becomes acceptable that the
heroes of Girl Power are celebrities. Their success, wealth, status, and fame
become a role model for girls and young women to fight and reach the same
things (Hopkins, 2002, p.1).
One of the most influential models of Girl Power is Madonna. She has
inspired millions of girls and young women through her performances as a singer
or completely a female individual. She offers an alternative way to gain power
and challenge the traditional feminism by expressing her thought freely. Her
motto „I‟m tough, ambitious, and I know exactly what I want‟ makes many people
welcome her as a role model because of her good example in showing her
independence, self-determination, and ambition (Hopkins, 2002, p.43).
After Madonna era, there are many other female celebrities who become
the role model of Girl Power. Spice Girl, Destiny‟s Child, Beyonce, and Lady
Gaga are some of them. Charlie‟s Angel, Buffy the Vampire Slayer, and Xena
Warrior Princess are also examples on how Girl Power values are used in popular
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3. GIRL POWER VALUES
1. SEXUALITY
Due to men domination over the world, female body and sexuality were
positioned as a passive object. Their body and beauty were often sexualized,
objectified, and used by patriarchy system as commodities to sell products and
gain money. Women were seen powerless in controlling their body. It made
female sexuality and body became a consumable victims in male gaze. (Allen and
Rawin, 1997, p.10-11). Therefore, female body and sexuality were seen as a weak
thing, something that can reduce girls and young women‟s power. However, in
Girl Power era, female body and sexuality are seen as a source of power because
by objectifiying female body and sexuality, it is proven that girls and young
women are brave enough to challenge traditional expctations and representations
(Zaslow, 2009, p.61). Besides, objectification of female sexuality is seen as a way
to honor girls and young women becuase Girl Power turns “powerful male gaze
into self-regulating narcisstic individual gaze” in which they can please
themselves through narcisstic pleasure of watching their images as beautiful and
powerful human being without fear and frustration to fulfill male standards
(Adriaens, 2009). Displaying female sexuality is seemingly patriarchy domination
over women but that point of view no longer exists in Girl Power era since it is
now a means to control their own body, life, and future and a strategy to reach
power over men and other women (Hopkins, 2002, p.94&102). Girls and young
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victim of patriarchy domination but survivor because they know how to use it and
being comfortable with it (Zaslow, 2009, p.64-66).
2. STYLE
Style in Girl Power is seen as a way to contruct and describe what we truly
are. It is also a means to empower. Girl power uses style as a tool of
empowerment but does not use appearance as a main point. Girls and young
women may concern about their appearance, however, the main reason is not to
please other people and to get male approval but to please themselves and make
themselves comfortable. She is brave enough to do what she wants whenever she
wants without caring about what other people may think. Girl power suggests
girls and young women to do their own style and be happy and comfortable with
it because that are what make girls and young women strong. This strength which
girls and young women get from their own style can be expanded by the
consistency they bring together with it. Bringing consistency means bringing her
own heritage and bringing the same style since the very first time. It is so because
consistency shows originality and authenticity. It also means that they are
effortlessly becoming themselves (Zaslow, 2009, p.85-91).
3. HEROINE CHARACTERISTIC
In Girl Power era, representation of physically weak girls and young
women is over. It is replaced by ambitious and tough character who knows
exactly what she wants and how to get it. It is common in Girl Power to find girls
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attack and kill. Girls and young women in Girl Power are not afraid to take any
risks and involve in rebellious and adventurous journey to get what she wants.
Unlike traditional feminism which portrayed its heroine as a good girl, Girl
Power‟s heroine is not always a good girl. It is possible to find a bad girl who is
mean, selfish, competitive, and cruel. She does not reject to use violence to get
what she wants. She is also often driven by anger and revenge as a motivation and
source of energy to beat others. She is also brave enough to kill (Hopkins, 2002,
p.108-111).
B. AMERICAN GIRLS AND YOUNG WOMEN IN 2000s
To understand why Girl Power is able to run well in American society in
2000s, it is important to highlight what happens to American society which
influences girls and young women around 2000s. The 2000s is considered as a
millenium era when mass media is used widely in every part of life. As a result,
postfeminism grows fast, world-wide known, and influences girls and young
women in America. Girl Power nowadays mainly grows up from this
phenomenon.
American girls and young women in this era is generally marked by the
femininity values which are given by postfeminism. In this era, being female is
not a mistake and barrier but a privilege. A fifteen year old teenager named Karli
said “When my mom was younger, if someone said you play (or run or throw) like a girl, it was considered an insult. But I think it‟s like a compliment now... So
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(http//www.ninamunk.com/articleDetails.htm?doc=GirlPower). It is proven that being a female is very refreshing and empowering. Girls and young women are so
praised in every part of life. They are portrayed as the ones who can lead as well
as attack the world.
This era is also marked by the regime of girls and young women
magazines which provide the celebration of girls and young women era.
Seventeen, CosmoGirl and Cosmopolitan are such examples. It is easy to find out
the advantages and attentions which are given to girls and young women. In teen
magazines, it is now a common thing to find articles, advertisement, and colomns
which are about to empower them. There are such articles which show the
attention given to girls and young women regarding the Girl Power ethos such as
the latest “hot haircut” and “hot looks” together with an article about “flirt your way to date” suggesting that girls and young women are now independently
leading their own path of life without any interuption of male.
Another media that suggests girls and young women‟s domination is
American music that is dominated by girls and young women singers who shout
for girls and young women liberation. Christina Aguilera, Beyonce Knowles,
Lady Gaga, Destiny‟s Child, Pussycat Dolls conquer the American music market
with their empowerment songs and performances. They suggest girls and young
women to celebrate female sexuality and encourage them to explore and express
it. Therefore, there is no wonder if it is found in their performances how they
objectify their body in every way they like, for example the performance of
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elegantly to signify the feminine side of a young woman without being afraid of
being labelled as a weak woman. She also exploits her long, tight, and smooth leg
without being afraid of being considered as a slut. “Joan Jacobs Brumberg
(Author of The Body Project, p. An Intimate History of American Girls) says, p.
"The body has become the central personal project of American girls. This
priority makes girls today vastly different from their Victorian counterparts.
Although girls in the past and present display many common developmental
characteristics--such as self-consciousness, sensitivity to peers and an interest in
establishing an independent identity--before the 20th century, girls simply did not
organize their thinking about themselves around their bodies. Today, many young
girls worry about the contours of their bodies--especially shape, size and muscle
tone--because they believe the body is the ultimate expression of the self."
(
http://www.womensenews.org/story/uncovering-gender/031029/teen-magazines-send-girls-all-the-wrong-messages).
Girls and young women in this era are also very stylish. Their styles are
unique and different from each other. They are more brave and dare in unlimiting
themselves to be their ownselves. 15 year old student of Hellgate High School in
Missoula, Mont, named Anya said “I like wearing clothes that no one else would dare to wear”. She often wears lace -up vinyl shin- high boots. They can wear
v-neck t-shirt combined by tight jeans and sneakers or whatever they like to wear
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This era is also dominated by the potrayal of heroine figure in many
movies or TV series. Many female heroes who are not unattractive and weak
dominated the world. Some of them are Buffy The Vampire Slayer, Xena The
Warrior Princess, Charlie‟s Angels, Mulan, and Powerpuff Girls. Buffy is cool.
Different from old heroine, she wears pink miniskirt and knee-high boots and
drives stakes through the hearts of monsters. From those examples girls and
young women got, they are more brave to weapon themselves from this cruel
world. Among 9th grade students, 10,9% say they carried weapon such as knife,
gun, club. This shows that American girls and young women are more violent
now. It is strenghtened by FBI‟s violent crime data saying that arrest rates in
United States increased 103 percent for girls while for boys it only increased 27
percent(
http//womensenews.org/story/crime-policylegislation/031214/arrests-female-teens-violent-crime-).
C. MUSIC VIDEO and SEMIOTICS
The fact that MTV has become the ultimate forum on which youth is both expressed and constructed has transformed the music video not only into the most effective tool for promotion within the music industry, but also into a powerful ideological force (Peeters, 2004).
In the past, music video was considered as only a means of entertainment,
only a visualization of a song. However, as time goes by, MTV dominates music
industry and youth culture. It makes music video goes beyond that. Nowadays,
music videobecomesone of the medium to communicate ideas and ideologies
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not only a means of entertainment but also a powerful ideological force which is
adaptable to the historical and cultural context in which it is viewed.
The position of music video as an ideological tool transformated by MTV
goes hand in hand with music video‟s purpose and specificity which are called
creation of stars. Music video tries to create a utopian world in which the star of
music video becomes the center of that world. The star in music video represents
the ideals of the time and becomes the role model for society. Therefore, music
video can be analyzed because it consists of symbolic contents and signs which
carry beliefs and values of happening social phenomenon of a given society. It
carries meanings and leads the audience to find and produce the meaning based on
their own interpretation. Those symbolic contents can be found in three essential
elements of music video. They are music, lyrics, and moving images. They work
together in forming the whole meaning of music video (Carlsson, 2010).
In analizing and interpreting music video, signifier from different social
domains and interdisiplinary approaches of the field of cultural studies are needed
because music video is a multidimensional object (Peeters, 2004). One of the
approaches which can be used in analizing and interpreting music video is
semiotics. It was Ronald Barthes who pionerred the use of semiotics in analyzing
popular culture to show how such events generate meaning.
1. BARTHES’ SEMIOTICS THEORY
Semiotics is the study of sign. It studies about how meanings are produced
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semiotics is actually a development of Saussure‟s. However, Barthes‟ and
Saussure‟s semiotics are two different things because Barthes‟ analysis is always questioning the „falsely obvious‟, what appear to be normal and seemingly right
(Barthes in Storey, 2009, p.118). By doing so, he makes what is firstly implicit to
become explicit. In Saussure‟s theory, the signification is built only by the
physical form of something that can be seen, touched, heard, smelt, and tested
which functions as signifier and the concept which function as signified (Berger,
2000, p.36-37). It can be made clearer by seeing dog as an example. In Saussure‟s
theory, dog is a four legged barking animal. It only denotes and describes the
univesal literal meaning which is shared by members of any cultures. While in
Barthes‟s, dog has another meaning more than just an animal that is unpleasant
human being. It is so because Barthes adds connotation meaning which is formed
by signifier and signified of Saussure‟s theory and cultural belief or attitude or
ideology of a given society (Baker, 2000, p.69).
language
myth
Thus, Barthes adds another level of signification to Saussure‟s signification in which denotation and connotation work together resulting „myth‟. What is meant by „myth‟ is “ideology understood as a body of ideas and practices,
1. signifier 2. signified
3. sign
I. signifier
II. signified
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which by actively promoting the values and interests of dominant groups in
society defend the prevailing structure of powers” (Storey, 2009, p.119).
In accordance to Barthes‟s concept of sign, sign in music video can also
express denotative and connotative meaning. That is why semiotics is applicable
in music video analysis. It is the use of semiotics to understand what these
signification process convey.
2. MISE-EN-SCENE and CINEMATOGRAPHY ELEMENTS
The meaning of music video also depends on its moving images. Similar
with movie, music video gives an artistic side in the form of its short moving
images. It basically has the same elements with film. Thus, it can be analized
using the mise-en-scene and basic cinematography elements of film since they go
to the same kind of recording of happening that involve pictures, sounds, acts, and
narration (Monaco, 2000, p.38- 39). Therefore, it is needed to look at and analize
the moving image using mise-en-scene and basic cinematography elements.
Mise-en-scene is a theatrical process of staging which encompass elements
below(http://classes.yale.edu/film-analysis/htmfiles/mise-en-scene.htm),
1. Setting : it is a location or place where moving image is taken
2. Lighting : it is the control of light in scene to establish mood and direct
attention to detail. It also helps the vievers to understand setting as well as
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a. Key light :It provides the primary key of a light source, tends to
illuminate most strongly the shot‟s subject and also cast the strongest
shadows. Key light is divided into high key and low key light. It is said as
high key if there is a little contrast between bright and dark, obtains soft and
revealing of details.In a broad sense, high key lighting means that the figure
is taken using bright lighting so it produces bright picture with less shadows.
High key lighting is usually used to convey and arouse feeling of
transparency, intellectuality, and clarity. It is usually used for upbeat scene,
scene that full of hope, happiness, and good feelings. While low key tend to
be in high contrast, harsh and hard.
b. Fill light : It is usually positioned near the camera roughly 120°
whose function is to soften the illumination upon the subject and its
surrounding area.
c. Back light : It comes from behid the subject and separates the
subject from the background, counter-balancing the brightness of the key
light.
3. Costume : it is the wardrobe which is worn by the characters to strenghten
their characterisation.
4. Hair and make up : Similar with costumes, hair and make up function to
strengthen the characterization.
5. Properties : It strenghtens the mood and gives the further definition to a
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6. Figure behaviour : It desribes the movement, expression of the actors and
other figures (animals, animated figures, etc) within a given shot.
Besides the elements of mise-en-scene, it is needed to pay attention on the
cinematography elements. As listed by Holland in her The Television Handbook
(2000), the cinematography elements are, p.
1. Shot
ECU (Extreme Close-Up): Detail shot.
VCU (Very Close Shots): Face shot, from mid-forehead to above the chin.
BCU (Big Close-Up): Full head, the head nearly fills the screen.
CU (Close-Up): Just above the head to the upper chest.
MCU (Medium Close Shots): Cuts the body at the lower chest, just below the armpit.
MS (Medium Shots): Mid-shot or waist shot, cuts the body just below the waist.
¾ Shots: Cuts just below the knees.
MLS (Medium Long Shot): Full length shot, the entire body, plus a short distance above and below.
LS (Long Shots): The person occupies around two-thirds of screen height.
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2. Camera angle: it deals with the angle of the camera in relation to that which
it records. The angles could be at eye level camera, low level (looking up
camera), of high level (looking down camera).
3. Camera movement: the movements of the camera during a single shot
including titling, panning, tracking and so on.
3. MUSICAL FEATURES
Since meaning in music video is built through music, lyrics, and images
within it so it is essentialy needed to examine the musical features of a certain
music video. As stated by Miller (2005), those musical features include, p.
1. Pitch : it describes thespecific frequency or tuningof a tone
2. Tempo :it is the speed of a beat of music.
A faster tempo means a faster beat; a slower tempo makes a slower song.
3. Dynamic : it is a level of loudness and softness of a song.
4. Accent : it is the way notes is stressed to gain special effects.
5. Melody : it is a progression of tones and rhythms. If it is made well, it can
give emotional effects to the hearer the melody is the heart of the song.
4. COLOR
Color plays an important roles in making the mood of an image and giving
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each color. The meaning of colors listed below were taken from
(http://www.changingminds.org/disciplines/communication/color_effect.htm)
1. Red: warmth, love, anger, danger, boldness, excitement, speed, strength,
energy, determination, desire, passion, courage.
2. Orange: cheerfulness, low cost, affordability, enthusiasm, stimulation,
creativity, aggression, food.
3. Yellow: attention-grabbing, comfort, liveliness, cowardliness, hunger,
optimism, overwhelm, Summer, comfort, liveliness, intellect, happiness,
energy, conflict.
4. Green: durability, reliability, environmental, luxurious, optimism,
well-being, nature, calm, relaxation, Spring, safety, honesty, optimism,
harmony, freshness.
5. Blue: peace, professionalism, loyalty, reliability, honor, melancholia,
boredom, coldness, Winter, depth, stability, professionalism, honor, trust
6. Purple: power, royalty, nobility, elegance, sophistication, artificial, luxury,
mystery, royalty, elegance, magic
7. Grey: conservatism, traditionalism, intelligence, serious, dull,
uninteresting
8. Brown: relaxing, confident, casual, reassuring, nature, earthy, solid,
reliable, genuine, Autumn, endurance
9. Black: Elegance, sophistication, formality, power, strength, illegality,
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10. White: Cleanliness, purity, newness, virginity, peace, innocence,
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CHAPTER III ANALYSIS
A. GIRL POWER REPRESENTATION THROUGH SEXUALITY
“ It is women who own their sexuality that are
icons of girl power.” (Zaslow, 2009, p.66)
Girl Power is always associated with empowering themes of girls and
young women, such as freedom, independence, and confidence. In Girl Power, the
empowering themes are represented through several ways. One of them is female
sexuality.
As what has been stated in Chapter II, in traditional feminism, female
sexuality was seen as a disadvantage. It was so because when girls and young
women showed their sexuality, they would be considered as victims of patrirachy
since they let their sexuality consumable for male gaze. For traditional feminism,
female sexuality was something private which required protection in any ways so
naked eyes could not see it. In contrast, men could show their sexuality in
whatever way they wanted. While women could not leave their sexuality seen by
others. If they did so, it would gain shame from society. Thus, it was no wonder
female sexuality was seen as a loss and disadvantage. However, in this Girl Power
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sexuality is able to be sexualized, celebrated, and exploited. It is believed that
female sexuality is a brand new female weapon to gain power. This power can be
achieved if women can own their sexuality.
This subchapter focuses on exploring how three music videos of Lady
Gaga represent the Girl Power message about female sexuality. The analysis
based on female performer‟s body, fashion, body language, character roles, and
cinematography elements.
In representing an ownership over her sexuality, Lady Gaga uses parts of
her body that are considered as private areas. She displays and puts them in the
focus of the camera as if to state that her body is totally her belonging that can be
displayed whenever and in whatever ways she wants. This bravery to display her
body can be one of the ways showing that she owns her sexuality. The display of
her body can also be seen as a way suggesting that she is comfortable with her
body, however it is. Thus, the way she displays her body shows the way she owns
her sexuality through her body.
The use of her body to show her ownership of female sexuality is started
with the way she displays her legs and crotch. Legs mark an important point in
defining female body and its sexuality because they have an erotic feature that is a
commit to user Figure 1Figure2Figure 3
Figure 1 and 2 which are from „Telephone‟ music video and 3 which is from
„Paparazzi‟ are taken using eye-level angle and close up camera shot which place
female legs and crotch above in the focus of the camera. By doing so, female legs
and crotch become the center of attention of the viewers. These techniques then
signify the confidence that belongs to the performer. This confidence possesed by
the performer is so significant since leg which is the way to the crotch is so
private that needs to be covered. This part of the body can trigger man to lush
since the point where leg meets is a wonderland of woman. Woman who
voluntarily displays it, is absolutely not afraid from being labelled as a bitch
because she intentionally wants to show her sexuality and the treasure she has.
The confidence owned by the performer can also be seen from the clothes she
choose to wear. The thong she wear marks the confidence since it reveals almost
everything from her legs and only covers her crotch in a sexy way.
Breasts are the next body part which are displayed to own sexuality in
Gaga‟s music video. Although men are also having breast but man‟s and woman‟s
breast are different in terms of its shape, size, and use. Men can leave their breast
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critisism about it. On the other hand, women cannot do what man does because
women‟s breast “do not remain firm and stable objects” (Roberts, 2003, p.86).
They change in shape and size so that they have to be kept. Its round, smooth, soft
nipples add the reason why it has to be covered. However, those differences
between man‟s and woman‟s breasts do not make woman‟s breasts as woman‟s
weaknesses. In contrast, those differences make woman‟s breasts as woman‟s
power because the differences mark woman‟s breast as erotics zones (Roberts,
2003, p.86).
Figure 4
Figure 4 is taken from „Telephone‟ employing breast appearance. It is taken in
close up focusing on the performer‟s breast. The breasts are clearly seen from the
left angle. It clearly shows the cleavage of the performer‟s breast suggesting her
big size breasts. The yellow off shoulder dress she is wearing adds the clear
point of her breast. It is in contrast with her dark complexion tone. Details that
add the sexualization of female breast can be seen in her gestures. She is sitting on
a chair in front of a table. She is not putting her hand to cover her breasts but
folding them and putting it on the table and bringing her breast so close to the
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Another part of female body which is displayed is bottom. Similar with
female legs and breasts, female bottoms are also seen as erotic and sex symbol. It
is a symbol of fertility and beauty (Morris, 2004, p.224- 225, 228-229).
Figure 5 Figure 6 Figure 7
The use of of female bottoms as a means to own sexuality can be seen firstly
from the wardrobe wore by the performer. Figure 5 which is taken from
„Paparazzi‟ music video shows the performer is wearing a yellow tight pants
which carves her bottom shapes from medium long shot. Figure 6 is from
„Telephone‟ music video in which the performer is wearing thong to reveal her
buttocks. Although it is taken in medium long shot and blurred, it is clear enough
to recognize the blurred area as female bottoms. The emphasis on female bottoms
is strenghtened by the gesture employed by the performer. She is laying on the
bed over her chest so her buttoms are visible. Similar with the previous figure,
figure 7 which is taken from „Bad Romance‟ music video also employs the
performer wearing thong to display her bottoms. Although it is shot in long shot
but the buttoms are still recognized.
The celebration of sexuality is not only shown from the way she displays
her body but also from the way she shows her aggressiveness. In traditional belief,
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and in contrast, women are more passive. However, this belief is challenged in
Gaga‟s music video. In „Paparazzi‟ music video, the first two minutes depict
sexual interaction between Gaga as the female performer and Skarsgard, her
on-script boyfriend, as the male performer. The aggressivity Gaga shows can be
traced from this dialog.
Gaga : Alskar du mig?(Do you love me?)
Skarsgard : Det ar klart jag alskar dig. (Of course I love you)
Gaga : Puss, puss (Kiss,kiss)
Skarsgard : Kom hit.(Come here)
From this dialog it is clear that the one who initiates the sexual interaction
between them is Gaga, the female performer. In traditional value, it is unusual and
disgraceful because women are expected to be passive and wait until man initiates
first. Another challenge about aggresivity in sexual interaction can be seen from
the performer‟s body languange and choreography in the music videos.
Figure 8 Figure 9
Both figure are taken from „Bad Romance‟ music video. Figure 8 depicts Gaga is
doing lap dancing in front of males. From eye-level angle and between male‟s leg,
it can be seen that the one who is active in intiating the sexual interaction is the
