Michelle Grace

Representation Theories

Introduction

Within this task, I will be evaluating a variety of music videos in terms of the representations they
construct. Representations are inevitably formed within each media text, therefore it is vital that we
understand their construction in order to ensure choices are made consciously. As a result, analysing
the way in which a certain combinations of micro-elements can create impact and meaning when
shown to audiences will enable me to make more conscious and informed decisions within my own
production.

Ed Sheeran A Team

The music video for Ed Sheerans A Team constructs

strong representations of character, the most evident of
which surrounds her gender and class. Within his text
(Mis)representing Underachievement, Paul Connolly
argues that when taking a critical stance on the impact
of factors such as class, gender or ethnicity, they must
not be considered in isolation, but rather on the basis of
the interactions effect between them. The representation of the protagonist, therefore, cannot be
considered on the basis of only gender or only class, as the impact they have on one another
arguably leaves them inextricable.

This can be applied to Hooks feminist theory, wherein it is stated it is not only sex, but also race and
class which determine the extent to which can individual is oppressed, exploited or discriminated
against. Within A Team, the protagonist is represented in a manner which is atypical of her gender,
hence supporting the idea that her class is an impacting factor. Where it is stereotypical for women
to be represented in a sexualised manner, the video (perhaps due to its narrative style) focuses on
her story as opposed to her body. Though she is shown in a sexual context, this is through the
implication of prostitution and selling her body in order to fund her drug addiction. The absence of
conventional technical codes used to depict female characters (i.e panning shots to which objectify
the body by displaying it as a series of sexual objects rather than an individual) opposes Mulveys
male gaze theory, wherein the purpose of both her
presence as a character as well as the sexual content
of the video are not for male pleasure, but instead
exist to drive her narrative. This is supported by the
fact that much of the scene is implied rather than
shown for example, though long/mid shots are
used, wearing a coat conceals the sexual
connotations of her clothing.

If the purpose of her character is not to entertain, it is arguably to inform (both of which are uses
and gratifications theorised by Bulmer and Katz). The combination of gender and class, in this
instance, creates a representation for which the preferred reading (Hall) is viewer sympathy. This
directly opposes Liesbet Van Zoonens idea that a core element of western patriarchal culture is the
display of womens bodies as objects, constructed through technical and symbolic codes which
Michelle Grace

objectify the female body. Rather than portraying her as an idealistic spectacle, the character is
represented with an intended degree of honesty and realism. This is arguably applicable to the indie
genre, wherein there is a stronger focus on narrative within lyrics (as opposed to the focus on
mainstream, up-beat rhythm in genres such as pop or hip-hop). If Goodwins idea that a successful
music video requires a strong audiovisual relationship is applied, then the ease of representing an
individual as opposed to an icon is increased, allowing on-screen storytelling to match the narrative
of the lyrics.

Florence and the Machine No Light, No Light

Unlike A Team, this video features the artist

acting in the role of the protagonist, hence
allowing for representation of both performer
and character to be constructed. The video
features a combination of both narrative and
performance styles, portraying the torture of
Florence by a masked man. Iconography within
the piece is heavily religious, with the primary
setting being a church, and other characters consisting an ensemble of young boys singing/praying
(presumably for the protagonist). This religious imagery can convey ideas of sacralisation or of
protection, wherein the artist is made to appear either heavenly or in need of religious aid to fight
an upcoming battle. It can be argued that, based on narrative, the preferred reading (Hall) is a
combination of both, wherein the artist should be idealised by viewers (as is conventional of music
videos) and her character protected from the villain.

The most controversial aspect of representation,

however, lies in the ethnicity of the characters.
The sole character of an ethnic minority is that of
the villain who, upon removing his mask, is
revealed to be a black man. This strongly
conforms to Paul Gilroys theory of ethnicity and
post-colonialism, wherein he argued that colonial
discourse continues to inform contemporary attitudes to race and ethnicity in a post-colonial era,
setting up hierarchies and binary oppositions based on notions of otherness. A binary opposition
(argued by Strauss to be essential in the movement of narrative) is immediately established between
good characters (identified through both victimisation and sanctity) and the sole bad character - it
is the ethnicity of this villain which constructs a further binary opposition between white and
black characters. The antagonism of ethnic minorities is a conventional representation with almost
all media texts and, in accordance with Gilroys theory, can be attributed to the notion of the other
used to legitimate a discourse of racism. This links directly to the legitimation of colonialism, wherein
European conquest was rationalised on the basis of ethnic minorities being an other whose
difference would be viewed as danger. Though this can be criticised on the basis of that postmodern
society offers greater individualism and freedom from such discriminatory labels, the establishment
of such strong binary opposition creates inevitable conformity to racist stereotypes. When linked to
Hooks feminist theory that it is gender, race and class which contribute to the extent of oppression
Michelle Grace

and discrimination faced by an individual, the former ideas gains more credibility through its
conformity to the stereotype that black men are the most common perpetrators of crime.

In order to establish this representation and heighten binary opposition, a number of technical and
symbolic codes are used. The video includes a number of cutaway shots, wherein the antagonist is
shown to be stabbing a voodoo doll and, in immediate
response to this, the protagonist is shown to be
affected. A combination of long and close up shots
increases the clarity of the scene, wherein it becomes
evident that the villain is the black man (through a
long shot) and that the voodoo doll represents the
protagonist (through a close up depicting its details).

Beyonce Run the World

This video is primarily performance-

based, featuring Beyonce alongside an
ensemble of women. The primary
representations, therefore, are of both
artist and gender.

It can be argued that the video conforms

to Liesbet Van Zoonens idea that a core
element of western patriarchal culture is
the display of womens bodies as
objects, wherein the female performers are shown to be dressed in highly revealing clothing, with
sexualised dance moves. I would, however, discredit this on the basis that such mise en scene does
not directly equate to objectification, but rather the impact on audience must be considered. In this
case, I think that Gauntletts idea of modern media offering more complex and diverse
representations from which we can pick and mix the construction of various identities is more
applicable. Evidence of this can be seen within technical codes for example, the use of low-angle
shots which communicate power and dominance, or long shots of women performing in unison to
display female unity (as opposed to their stereotypical division). Though Van Zoonens theory is
conformed to on the basis that the manner in which the male body is constructed as a spectacle
differs to the sexualisation of the female body (i.e the clothing/movement of women is more
sexualised than that of the male performers), it does not necessarily leave them entirely powerless
and objectified. Rather than depicting an on-screen representation of male pleasure as a result of
female performance, the male performers appear intimidated and side-lined as opposed to enticed.
This arguably gives power to women rather than removing it, allowing Beyonce to communicate a
preferred reading (Hall) of empowerment. The representation, therefore, stands for the idea that it
is not what women wear or how they act which determines their objectification, but rather a
patriarchal societal response to the female body.
Michelle Grace

This video can further be applied to Goodwins ideas surrounding successful music videos, wherein it
is stated that an audiovisual relationship is necessary. In this instance, the songs lyrics aid
communication of the preferred reading
for example, lyrics about women who run
the world has strong suggestions of
empowerment as opposed to
sexualisation. The song/videos focus is on
the power of women, from which it is
implied that their clothing should not
detract.

Conclusion

To conclude, this task has enabled me to understand both how representations are constructed, as
well as the impact they are able to have on audience members. Where A Team prompted me to
consider the impact of an interactions effect when combining demographic groups, Run the World
led me to understand that conventional readings do not have to be subverted by altering aspects of
the performer/protagonist, but rather by being aware of the overall message which all aspects of a
frame or sequence construct (i.e extras/background characters). I am confident that I will be able to
use this knowledge within my own production, allowing me to represent characters with more
specific intentions and preferred readings.