Ersectional Frames and Digital Storytelling by Eastyn Baleto

INTERSECTIONAL FRAMES AND DIGITAL STORYTELLING
___________________________
A Thesis
Presented to the Faculty in Communication and Leadership Studies
School of Professional Studies
Gonzaga University
___________________________
Under the Supervision of Dr. Pavel Shlossberg
__________________________
In Partial Fulfillment
Of the Requirements for the Degree
Master of Arts in Communication and Leadership Studies
___________________________
By
Eastyn M. Baleto
May 2020
Intersectional Frames and Digital Storytelling
We the undersigned, certify that we read this thesis and approve it as adequate in scope and
quality for the degree Master of Arts in Communication and Leadership Studies.
____________________________________________________________
Thesis Director
Gonzaga University
MA Program in Communication and Leadership Studies
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TABLE OF CONTENTS
Abstract
Chapter 1: Introduction 4
Importance of the Study 5
Statement of Purpose 5
Definitions of Terms Used 6
Organization of Remaining Chapters 8
Chapter 2: Review of Literature 9

Philosophical and Ethical Assumptions 9
Theoretical Basis 10
The Literature 11
Significance/Rationale 22
Specific Purpose 22
Research Questions 23
Chapter 3: Scope and Methodology 24

Scope of the Study 24
Methodology 25
Data Analysis 27
Methodological Choices 27
Ethical Considerations 28
Chapter 4: The Study 30

Introduction 30
Results of the Study 30
Discussion 42
Chapter 5: Summaries and Conclusions 52

Limitations of the Study 52
Recommendations for Further Study 52
Conclusions 53
References 57
Appendices 60
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Abstract
The overall purpose of the study is concerned with how imagery and nonverbal cues in
framing combined with lyrics and tone in hip-hop music videos impact the interpretation of a
message. It is also important to examine how intersectionality impacts the reception of such
frames but also forms individual frames for the interpretation of messages. The theories that
informed this work are that of the concepts of visual & non-verbal cues in framing,
intersectionality, and digital storytelling but also previous studies regarding communication as a
social influence. A semi-structured survey/questionnaire was conducted via email with 10
volunteer teachers from Lafayette Elementary School. The hip-hop music video analyzed in the
current study was This is America by Childish Gambino. The implications of our findings
allowed us to conclude images and non-verbal cues in framing do impact how a message is
interpreted. Our findings improved our understanding of the presence of intersectional identities
and how they inform the reception of frames with the combination of lyrics and images as
compared to the lyrics alone. Future students can utilize this work to instigate further
investigation of visuals and non-verbal cues in journalism and breaking news or by focusing on
how a specific demographics intersectional identity informs the reception of frames in a different
shape of media than music videos.
Keywords: visuals, non-verbal cues, framing, intersectionality, digital storytelling, hip-
hop, social influence
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Chapter 1: Introduction
Importance of the Study
This study is important and has real world application because these findings demonstrate
the importance of understanding the benefit of visuals and non-verbal cues in framing as an
avenue in which communication as a social influence may be enhanced and reach a wider, more
diverse audience. Further, these findings validate the concept of a progressive mindset as
beneficial in the process of comprehension because it opens receivers’ minds to different
intersectional experiences they may not have inhabited or are considered outside their
experience. Finally, this study is significant because the presence of communication as social
influence shows how individuals can share their intersectional experience through digital
storytelling, thus enlightening the dominant society about important social issues experienced by
members of the marginalized and disenfranchised.
Statement of Purpose
The concept of how images and non-verbal cues impact the reception of messages in
music videos is an area in extant research that warrants further investigation. This study is
concerned with how imagery and nonverbal cues in framing combined with lyrics and tone in
hip-hop music videos impact the interpretation of a message. It is also important to examine how
intersectionality impacts the reception of such frames but also informs individual frames for the
interpretation of messages. To make a claim as such, requires clarifying the concepts of visual &
non-verbal cues in framing, intersectionality, and digital storytelling but also analyzing previous
studies regarding communication as a social influence. After completing these tasks, one can
make an argument to render the claim plausible.
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Definitions of Terms Used
Visuals “constitute a largely analogical system of communication […] the relationship
between most words and their meanings is purely a matter of social convention, whereas the
relationships between images and their meanings are based on similarity or analogy” (Messaris
& Abraham, 2001as cited by D’Angelo & Kuypers, 2010, p. 234). Furthermore, “visual images
do not allow a communicator to make explicit claims, such as casual statements or comparisons.”
(D’Angelo & Kuypers, 2010, p. 235).
Non-verbal cues include communication between people using body movement, body
positioning, distinctions of the voice, facial expressions, features of dress, and choice in the
movement of objects, that do not have a direct verbal translation (Smith, 2014). Non-verbal cues
“provide semantic information, they may enhance comprehension through adding more semantic
features at the point of processing the message” (Folger & Woodall, 1982 as cited by Abraham &
Appiah, 2006, p. 188).
Framing theory is “selecting some aspects of a perceived reality and making them more
salient in a communicating text, in such a way as to promote a particular problem definition,
causal interpretation, moral evaluation, and/or treatment recommendation” (Entman, 1993 as
cited by Scheufele, 1999, p.107). Communication scholars define framing as “the framing and
presentation of events and news in the mass media can thus systematically affect how recipients
of the news come to understand these events” (Price, Tewksbury, & Powers, 1995, as cited by
Scheufele, 1999, p. 107).
Intersectionality consists of “the inter-locking ways in which social structures produce
and entrench power and marginalization, and by drawing attention to the ways that existing
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paradigms that produce knowledge and politics often function to normalize these dynamics.”
(Carbado, 2013). Cho et al. (2013) define intersectionality as the idea that when it comes to
thinking about how inequalities persist, categories like gender, race, and class are best
understood as overlapping and mutually constitutive rather than isolated and distinct (Cho et al.,
2013).
The concept of digital storytelling is defined by Oliva et al. (2017) as “a persuasive
narration of a story; a significant context for the understanding of a story; text, images, and
graphics that attract or expand the emotions found in narrative; voice, music and sound effects
that reinforce themes; and mechanisms that invite reflection and target-audience participation”
(Oliva et al., 2017, p. 463). Digital Storytelling “enhances traditional oral story-telling with
images, music, and the text” (Leopold, 2010, p.187). Per Robin (2013), Digital storytelling can
be defined as “the idea of combining the art of telling stories with a variety of multimedia,
including graphics, audio, video, and Web publishing” (Robin, 2013).
Hip-hop is identified by Akom (2009 as “a liberatory practice rooted in the long history
of the Black freedom struggle and the quest for self-determination for oppressed communities
around the world” (Akom, 2009, p. 53). Akom (2009) concluded “hip hop as a vehicle to explore
social justice themes such as police brutality, Black incarceration, misogyny, homophobia,
racism, sexism, white supremacy, Black nationalism, and commodification while articulating the
demands for social justice.” (Akom, 2009, p. 58).
Social influence is defined “as change in belief, attitude, or behavior, or some
combination of these three factors, that occurs as a function of exposure to an external message
or series of external messages” (Boster as cited by Shepherd et al., 2006, p.180). Essentially “a
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potential impact of the frames people use to interpret conflicts, is the mobilization for collective
action aimed at social change” (Gamson, 1985 as cited by Scheufele, 1999, p.113-114).
Organization of Remaining Chapters
A review of communication theory relevant to this study as well as existing research
involving the selected variables is presented in Chapter 2. The specific research questions
selected for this study are noted as well. Chapter 3 lays out the methods used to collect and
analyze the data, and provides background and reliability statistics on the selected scales. The
results of the study, including descriptive statistics and thematic analysis data, are presented in
Chapter 4, with discussion regarding implications. Finally, study limitations and
recommendations for future research are included in Chapter 5.
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Chapter 2: Review of Literature
Philosophical and Ethical Assumptions
Personal philosophies play a role in education by keeping our work or ideas original to us
creating a positive ethical culture in education but also society. This logical analysis of the
principles underlying conduct, thought, knowledge, and the nature of the universe, serve as
social cognition to understand constructs of society. According to Trevino (2006), "ethical
culture as a subset or slice of the organization's overall culture that can moderate the relationship
between an individual's moral reasoning level and ethical/unethical behavior," this challenges
individuals to interpret information originally and form their perspective of the world (Brown &
Trevino, p. 601). Thus, developing a progressive society with diverse opinions and perspectives.
Young individuals tend to be passive thinkers, not realizing the importance of seeking out
information on their own until, questioning everything, and developing their personal perspective
on any subject. When confronted by media produced with the sole purpose to instigate a
behavior or influence a certain belief, the ability to form their own perspective is essential. When
an ethical leader is producing this media to influence, individuals are more likely to be receptive
if the producer “demonstrates care and concern and treat others fairly are attractive to followers
and garner positive attention […] and are credible because they are trustworthy and practice what
they preach” (Brown & Trevino, p. 597). The messages they receive are distributed by an ever-
growing number of diverse platforms, it is up to these individuals to develop an ethical culture
providing them the educational perspective to navigate these many messages and platforms
successfully, but also the ethical foundation to do so in service of the common good.
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Theoretical Basis
It has been said that the role of the media in influencing the way people understand
messages from media distributors, is very apparent in American society. Key variables in this
research include media’s capacity to affect the character, behavior, or belief of an individual is
present not just in journalism but also in the advertising and entertainment industry. Media’s
influence can be accidental, but many communication scholars would argue their influence is
intentional. Despite the prevailing motivations, media’s effect is unavoidable. Journalists and
public relations practitioners are aware of media’s presence in the message-receiver process and
are taught how to use it to their advantage. Framing theory is “selecting some aspects of a
perceived reality and make them more salient in a communicating text, in such a way as to
promote a particular problem definition, causal interpretation, moral evaluation, and/or treatment
recommendation” (Entman, 1993 as cited by Scheufele, 1999, p.107). Although mass media is
yet to predict how audiences will accept the point of view and opinions in media content, they
have been effective in deciding the focus and significance of a media report through framing
theory.
Examining the research problem, we understand framing occurs in the way media
presents the facts of a narrative so that the audience is provided with a particular state of values
concerning which judgments and interpretations can be made. For instance, media may report on
a political issue or event, with “radical” Republican beliefs being portrayed. By reporting in such
a way, media has set a basic standard for future reporting on an issue but ultimately has bestowed
a frame through which an audience is to interpret a story. Framing is important because the way
something is presented to the public influences the choices the audience makes about how to
interpret a message.
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The Literature
Visual and Non-verbal Cues in Framing
Previous research from Scheufele & Iyengar (2014) and Abraham & Appiah (2006) has
provided the related exploration for visual and non-verbal cues in framing relevant to the current
study. Visual and non-verbal cues have been used in framing to encode messages without the
presence of text. Non-verbal cues include communication between people using body movement,
body positioning, distinctions of the voice, facial expressions, features of dress, and choice in the
movement of objects, that do not have a direct verbal translation (Smith, 2014). These elements
of non-verbal cues find their place in the context of framing because “nonverbal cues provide
semantic information, they may enhance comprehension through adding more semantic features
at the point of processing the message” (Folger & Woodall, 1982 as cited by Abraham &
Appiah, 2006, p. 188). Abraham & Appiah (2006) study of nonverbal cues provides applicable
research to the discussion of message interpretation relating to framing by applying the dual code
theory, a theory that helps to explain “the observations made that in dual-modal presentations of
information pictorial juxtapositions with verbal messages can enhance the memory for and
comprehension of verbal information” (Burgoon, 1985; Folger & Woodall, 1982; Gunter, 1987;
Stone, 1987 as cited by Abraham & Appiah, 2006, p. 187).
Framing is media supplying a center of attraction and atmosphere for telling a story,
influencing how the public will interpret and understand it. Communication scholars define
framing as “the framing and presentation of events and news in the mass media can thus
systematically affect how recipients of the news come to understand these events” (Price,
Tewksbury, & Powers, 1995 as cited by Scheufele, 1999, p. 107). Therefore, “nonverbal cues
thus represent an ecologically valid test of framing effects on mass opinion […] Most things
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which one makes a judgment about or has a feeling toward in the political domain are effectively
laden; nonverbal frames, therefore, represent a potentially more powerful means of influencing
political attitudes and actions.” (Scheufele & Iyengar, 2014, p. 12). Media can either legitimize a
narrative or trivialize a whole story or certain components of it, by emphasizing a portion of the
narrative. Therefore, it is important to note, “visual images constitute a largely analogical system
of communication […] the relationship between most words and their meanings is purely a
matter of social convention, whereas the relationships between images and their meanings are
based on similarity or analogy” (Messaris & Abraham, 2001as cited by D’Angelo & Kuypers,
2010, p. 234). Thus, there is this notion as Americans, that our relationship between the reality
mediated and the truth, do not always intersect with each other.
Framing in videos contribute to this notion because “images, unlike words, are indexical-
they are treated as direct pointers, as opposed to constructed representations of reality”
(D’Angelo & Kuypers, 2010, p. 217). Furthermore, “visual images do not allow a communicator
to make explicit claims, such as casual statements or comparisons.” (D’Angelo & Kuypers,
2010, p. 235). This conceptual distinction follows Scheufele’s (1999) study of framing as media
effects suggesting there are two concepts of framing to be specified: “media frames and
individual frames” (Scheufele, 1999). Gamson and Modigliani (1987), conceptually defined a
media frame as “a central organizing idea or story line that provides meaning to an unfolding
strip of events . . . The frame suggests what the controversy is about, the essence of the issue”
(Gamson & Modigliani, 1987 as cited by Scheufele, 1999, p. 106). Media frames can be
distinguished as the scheme in which media is presented, whereas individual frames are that in
which media is comprehended (Scheufele, 1999, p. 106). Entman (1993) theoretically explains
individual frames as “mentally stored clusters of ideas that guide individuals’ processing of
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information” (Entman, 1993 as cited by Scheufele, 1999, p. 107). Intersectional experiences or
long-standing political views have the capacity to shape a persons’ lens or effect an individual’s
frame in which they process information.
There are many examples in our country demonstrating both media frames and individual
frames. Particularly any narrative that displays an honest depiction of inequality and racial bias
in this America, is greeted with extensive denial and opposition. The two concepts proposed in
the framing theory are: who tells the story first and how is the audience influenced. Framing in
media focuses on the significance of how gatekeepers portray a story and what they deem salient.
D’Angelo & Kuypers (2010) includes a great example of how visual images do not allow a
communicator to make explicit, casual statements or comparisons,
“For example, everyone knows anecdotal evidence about the impact of images from
September 11, or the chilling impression of mental illness conveyed in the video diary of
the Virginia Tech shooter. More ordinary news events include the stereotypical visuals
laced with racial and gender stereotypes that would never pass newsroom muster if
communicated in words. In these cases, it is more than a saying that pictures show what
words could never convey” (D’Angelo & Kuypers, 2010, p. 235).
Digital Storytelling
The concept of digital storytelling has been discussed in many ways, Oliva et al. (2017)
define digital storytelling or “digital narratives” as “a persuasive narration of a story; a
significant context for the understanding of a story; text, images, and graphics that attract or
expand the emotions found in narrative; voice, music and sound effects that reinforce themes;
and mechanisms that invite reflection and target-audience participation” (Oliva et al., 2017, p.
463). A modern theory such as the work of Lisa Leopold (2010), Digital Media Stories for
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Persuasion, suggests the concept of Digital Storytelling “enhances traditional oral story-telling
with images, music, and the text” (Leopold, 2010, p.187). Per Robin (2013), Digital storytelling
can be defined as “the idea of combining the art of telling stories with a variety of multimedia,
including graphics, audio, video, and Web publishing” (Robin, 2013). This multimedia helps the
author convey their point of view and perspective, as well as express emotional content about a
serious issue that comes alive in a powerful and personal way and relates the audience to the
story (Robin, 2013). If an audience can relate to a story the greater influence the message of a
story will have on a viewer. Oliva et al. (2017) advocate digital storytelling “helps us to
understand the individual experience and to develop a perception of the world around us” (Oliva
et al., 2017, p. 463). Digital storytelling provides a way to individualize a story to help the
audience comprehend the context but also gives just enough content to communicate the story
without overwhelming the viewer (Leopold, 2010).
The discussion of digital Storytelling in music videos is another concept significant to
this study. Oliva et al. (2017), attempts to unpack storytelling in the context of video clips
mentioning, “storytelling in video clips becomes more complex if we analyze some important
remarks such as the music timing, the advertising and marketing of the songs, and the artist’s
image and performance” (Oliva et al., 2017, p. 465). A central element the current study aims to
analyze is the role visuals play in the enhancement of the language in the song. Oliva et al.
(2017) highlights video clip language in that it is typically “fast, active, based on slow or fast
rhythmic arrangements. It is necessary to pay attention to the connection between the rhythm of
the songs and the visual images” (Oliva et al., 2017, p. 465).
Framing in the context of digital storytelling is relevant to our study because the frame
guides the audience from the larger narrative into one or more supporting narratives within one
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piece of media. As identified by Alexander (2011), “a simple photograph does not imply a
narrative in itself. It needs to be introduced in a time sequence, in a logic association with other
sequences” (Alexander, 2011 as cited by Oliva et al., 2017, p. 466). The process of constructing
a digital story shapes communication, perspective, visual and audio literacy. Frames assist the
communicator in engaging with their audience establishing a lens in which the audience can
interpret a perspective and articulate visual and audio components. Friedland and Zhong (1996)
summarized the perspective that frames serve as “the bridge between . . . larger social and
cultural realms and everyday understandings of social interaction” (Friedland & Zhong, 1996 as
cited by Scheufele, 1999). Music videos provide another medium to connect to the audience
because images do not “just enhance memory for verbal themes; they provide a contextual
framework in which semantic comprehension of the narrative takes place” (Gunter, 1987 as cited
by Abraham & Appiah, 2006, p. 188). The frame sets the stage in digital storytelling for
emphasized imagery, change of pace, as well as point of view to take place within the piece of
media.
Communication as Social Influence
Dated studies have revealed that “when exposed to a message, persons first comprehend
it and then decide either to embrace it or reject it” however, it has been discovered that
communication is more complex than such revelations (Shepherd et al., 2006, p.183). Boster
(2006) defines social influence “as change in belief, attitude, or behavior, or some combination
of these three factors, that occurs as a function of exposure to an external message or series of
external messages” (Boster as cited by Shepherd et al., 2006, p.180). Therefore, “social influence
is a result of all communication” regardless if a viewer accepts or rejects it, they still were forced
to form a belief about it (Shepherd et al., 2006, p. 183). The concept of frames as an example of
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communication as social influence refers to media frames and individual frames because the
media frame in which information is presented triggers the individual frames comprehension,
thus, forcing an individual to accept or reject the presented information. Gamson (1985), for
example, conceptualized “a potential impact of the frames people use to interpret conflicts, is the
mobilization for collective action aimed at social change” (Gamson, 1985 as cited by Scheufele,
1999, p.113-114). Futhermore, Klanderman (1988, 1992), and Entman & Rojecki (1993) focused
more on how “master frames invented by social movements can influence people’s motivation to
support these movements and to form consensus” (Klanderman, 1988, 1992; Entman & Rojecki,
1993 as cited by Scheufele, 1999, p.114). Understanding the idea of communication as a social
influence is relevant to the current study because the selected music videos use elements of
communication, such as framing and digital storytelling, to influence people’s motivation for
collective action aimed at social change.
Intersectionality
Studies on intersectionality have been conducted to understand this concept that
encompasses the interconnected nature of social classifications. Cho et al. (2013) define
intersectionality as the idea that when it comes to thinking about how inequalities persist,
categories like gender, race, and class are best understood as overlapping and mutually
constitutive rather than isolated and distinct (Cho et al., 2013). Communication scholars have
instigated the conversation centered around intersectionality because it “has facilitated
intersectionality’s movement within and across disciplines, pushing against and transcending
boundaries, while building interdisciplinary bridges, and prompting a number of theoretical and
normative debates” becoming a major theme in modern media (Carbado et al., 2013, p. 304).
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This concept is pertinent to the current study because intersectionality contains the theoretical
framework for grasping how facets of one’s social and political identities might combine to
produce distinctive methods of discrimination. Intersectionality consists of “the inter-locking
ways in which social structures produce and entrench power and marginalization, and by
drawing attention to the ways that existing paradigms that produce knowledge and politics often
function to normalize these dynamics.” (Carbado, 2013). Now more than ever, mass media has
shed light on these methods of discrimination, in efforts to spread awareness for the oppressed in
hopes to create change. Thus, “the practical dimensions of Critical Race Theory within which
intersectionality was situated, the goal was not simply to understand social relations of power,
nor to limit intersectionality’s gaze to the relations that were interrogated therein, but to bring the
often hidden dynamics forward in order to transform them” (Carbado, 2013).
The audience or receiver is also impacted by elements such as race, gender, class, in the
interpretation of messages. Because the goal of the current study is to examine how images and
non-verbal cues impact the reception of messages, it is equally important to discuss how
intersectionality impacts the reception of such frames but also forms individual frames for the
interpretation of messages. The intersectional character in the survey/questionnaire participants
and how their intersectional experience impacts their interpretation is significant to acknowledge
when selecting participants for the study. Carbado (2013), assists our understanding explaining
the “intersectional lens can reveal, on a given issue and between separate identity groups,
perspectives of both privilege and victimhood, and thereby create a connection around shared
experiences of discrimination, marginalization, and privilege” (Carbado, 2013). Because the
selected song happens to be from the Hip-Hop genre, intersectionality is intrinsically present in
both the message and the receiver. There is an intersectional lens in which the communicator
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portrays the message, meaning hip hop demonstrates complex (intersectional) depictions of
identity. As well as an intersectional lens in which the audience accepts this message. It is
pertinent to recognize this relevance and supporting research is required to attempt to define the
Hip-Hop genre.
Hip-Hop & Intersectionality
There is relevant literature on the critical and complex messages about the reality of race,
poverty, inequality, etc., that is featured in some hip hop. Hip-hop was originally described as an
outlet and a voice for marginalized individuals from disenfranchised backgrounds and low-
income areas because hip-hop culture reflected the socioeconomic and political dynamics of their
lives. Hip-hop culture itself is diverse and complex; presenting many sub varieties of hip hop.
Some artists, labels, and lyrics are more expository in their point of view or general attitude, than
others. Some videos and lyrics might have a social message but other hip-hop videos, as well as
other genres, also reproduce gendered and raced stereotypes, therefore, all hip hop is not the
same. Despite the stereotypes that the hip-hop genre perpetuates violence and “thug” behavior-
traditional hip-hop aims to expose common social issues that more people in modern America
can relate to that not. The video I have selected is more of the critical sort because it refers to the
origin of hip-hop, with the intentions of achieving exposure of elements of intersectional
experiences. Hip-hop articulates “the death of civil rights; the militarization of urban space; the
infiltration of political movements (Black Panthers, Brown Berets, Young Lords); massive
joblessness; the digital age; declining parks, schools, and youth programs; the growth of the
prison industrial complex; epidemics of drugs, guns, and violence; and innovation, creativity,
and play” (Hoch, 2006 as cited by Akom, 2009, p. 52). All these components intersect to make
“Hip Hop’s origins multifaceted, politically conflicting, consistently debated, and highly
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complicated” (Hoch, 2006 as cited by Akom, 2009, 52). With so many social issues in modern
America personified, hip-hop cannot be limited to just a genre of music, it is an entire culture.
Intersectionality can be defined as the presence of overlapping and interconnected systems of
race-class-gender-identity, some possibly dominant and others disadvantaged, thus, hip-hop can
be defined as the medium in which artists express their intersectional experiences. However, hip-
hop cannot be defined as just one entity. Characteristics of hip-hop acknowledged by Akom
(2009) include “hip hop as a vehicle to explore social justice themes such as police brutality,
Black incarceration, misogyny, homophobia, racism, sexism, white supremacy, Black
nationalism, and commodification while articulating the demands for social justice.” (Akom,
2009, p. 58). Communication scholars believe hip-hop to be a means of representation for the
disenfranchised youth declaring “hip hop is an important lens for socio-political analysis and
representation of marginalized communities, and that youth-driven research on hip hop and
popular culture is an instantiation of reading and acting upon the world, that is, critical
pedagogy” (Fischer, 2002; Freire, 1970; Stovall, 2006; Yang, 2006 as cited by Akom, 2009, p.
55). Akom (2009) identified social messages of hip-hop originated as “a liberatory practice
rooted in the long history of the Black freedom struggle and the quest for self-determination for
oppressed communities around the world” (Akom, 2009, p. 53). Hip-hop encompasses messages
that reflect social, economic, and political realities for the socially disadvantaged and those
relegated to the fringe of society.
“This Is America” by Childish Gambino
Relevant scholarship speaks to the social meaning and impact of the chosen songs and the
genre of hip-hop, that reinforce this notion of media as a social influence. As I think about
frames, digital story-telling, intersectionality, and media as social influence, it is useful to present
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“This Is America" by Childish Gambino with and without the video component because the
audio invokes emotion on its own. However, the music video combined with the evocative
elements in the audio elevates the songs complexity. The lyrics predominantly address being
black in the United States and gun violence in the country as well as police brutality. Pitchfork's
Stephen Kearse described the song as a representation of the "tightrope of being black", with the
song "built on the sharp contrast between jolly, syncretic melodies and menacing trap cadences"
(Kearse, 2018). The music video identifies social messages and characteristics of hip hop
identified in our articles through graphic imagery addressing the high rate of mass shootings in
the United States, the overarching issue of gun violence in the United States, as well as the deep-
rooted racism and discrimination against African Americans.
The reception to be analyzed in the study includes that of the video component of “This
Is America” by Childish Gambino. Referring to previous research, the framing in the music
video will influence the reception from the audience. The present study plans to analyze how the
audience interprets the most apparent use of framing in this music video; that of the handgun and
automatic weapon. Within the first 53 seconds of the video, Gambino shoots a man in the back
of the head with a handgun, while emulating an unusual stance like that of a Jim Crow caricature
(Shamsian, 2018). At a later point, Childish Gambino uses an automatic weapon to gun down a
church choir. In both occurrences, a child emerges from off-screen carrying a red cloth, on which
Gambino gently lays the automatic weapon, while the bodies are passively dragged away. This
could be interpreted "as a reference to Americans' willingness to protect gun rights over people"
(Gramlich, 2019).
This music video represents complex intersectional themes related to identity; concepts
of racism and upward mobility present in the video represent intersectionality as defined by Cho
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et al. (2013). The current study aims to analyze the reception of the juxtaposition of the lyrics
with the video component, enhanced by digital storytelling. If we understand digital storytelling
as enriching traditional oral-storytelling with elements such as visuals, song, and text, Gambino
not only utilizes all these elements but pushes them to the limit (Leopold, 2010). There are many
elements of digital storytelling throughout the music video that leave interpretation open to the
audience. The content is as disruptive as you can get without overwhelming the viewer (Leopold,
2010). The disruption in the video incorporates scenes of juxtaposition involving violence with
upbeat dancing by Childish Gambino among young children. Gambino's dancing is contrasted
against scenes of violence, coinciding with the upbeat melody, then abruptly interrupted by
powerful-evocative rap. When you juxtapose the lyrics with the video featuring Gambino
dancing with a group of kids amidst anarchy or handing off his weapons carefully after he’s just
shot someone, it seems like he’s targeting racism and America’s gun problem at the same time.
The music video, “This Is America” is an unavoidable piece of media used as a channel for
social influence. “This is America” is a formidable and allegoric portrait of 21st Century
America, calling out issues that have become normalized by society. Gambino’s lyrics and
performance take viewers back to the roots of hip-hop, an origin that lays “at the intersection of
the political protest movements of Black Nationalism of the early 1970s and the impoverished
ghettoes of urban America.” (Riesch, 2005, p.2). The oxymoron of a song and video will force
the audience to want to give it a second listen or a second view because it includes common
stereotypes about black culture in America. The song and video uses an ostensible self-
contradiction to illustrate a rhetorical point and to reveal a paradox because Gambino includes
realistic graphic violence in the video but is not doing so to promote such violence but instead
aims to expose the harm it causes in society. Mahita Gajanan of Time quoted music history
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professor Guthrie Ramsey at the University of Pennsylvania: “You’re not supposed to feel as if
this is the standard fare opulence of the music industry. It’s about a counter-narrative and it
really leaves you with chills.” (Gajanan, 2018). Thus, influencing the participants to form a
belief about it, regardless if they accept or reject its message.
Significance/Rationale
This study serves as a platform to dive headfirst into this constantly evolving realm of the
online media landscape and deepen both practical and theoretical knowledge of how and why
digital media exists as a central component to framing and its intersectional reception. Efficient
and effective communication means standing out from the crowd, and this study will provide
insight for why certain stories and messages of significant substance resonate with audiences
across a variety of digital platforms. The concept of how images and non-verbal cues impact the
reception of messages in music videos is an area in extant research that warrants further
investigation. This thesis is of consequence because we all share in a reality molded by media.
Whether through news, entertainment, or advertising consumption, we are all influenced by the
mediated world – even if we are not fully conscious of it. In today’s digitized world we spend
more and more time “online;” we flip through Facebook, scroll through Twitter, and check
Instagram. It is important for individuals to see just how an audience can be influenced or
swayed by a message and mobilized to accomplish incredible achievements that no single person
could ever hope to alone.
Specific Purpose
I intend to explore how images and non-verbal cues impact the reception of messages.
Furthermore, I intend to discuss how intersectionality impacts the reception of frames/forms
individual frames for the interpretation of these messages.
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Research Questions
I am going to study if and how the elements of digital storytelling impact how well a
message is interpreted by an audience, guided by the research of various communication theories
and concepts such as framing, digital media stories, and intersectionality. The planned research
will build on and integrate the results of existing theory and publications by examining the
elements of digital storytelling that makes a message compelling to viewers.
RQ1: How do images and non-verbal cues in framing in specific hip-hop music videos
impact how a message is interpreted?
RQ2: If and how differentiated intersectional identities inform the reception of frames
with the combination of lyrics and images as compared to the lyrics alone?
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Chapter 3: Scope and Methodology
Scope of the Study
The general purpose of the study was to explore how images and non-verbal cues impact
the reception of messages. Furthermore, I intended to discuss how intersectionality impacts the
reception of frames/forms individual frames for the interpretation of these messages. The survey
will be distributed via email assisted by a moderator. The sample size of the study was a survey
distributed to 13 teachers, all of which are a part of the staff at Lafayette Elementary School. The
provided completion time for the study was a two-and-a-half-week period. The breadth of work
was moderate considering the amount of time allowed for the final copy.
The topics and theories discussed were that of Visual and Non-verbal Cues in Framing,
Digital Storytelling, Communication as Social Influence, Intersectionality, and Hip-Hop.
Although I have done a study incorporating the concept of the role of the media in influencing
the way people understand messages from media distributors, I limited the work to one specific
area of media, such as music videos in the entertainment industry. The purpose of this
concentration was to focus explicitly on the images and non-verbal cues in framing in specific
hip-hop music videos that impact how a message is interpreted. As well as, if and how
differentiated intersectional identities inform the reception of frames with the combination of
lyrics and images as compared to the lyrics alone. Thereby, topics and theories implicitly
excluded was research that included media’s capacity to affect the character, behavior, or belief
of an individual present in journalism and breaking news. This distinction allowed me to narrow
my research considering the amount of time and still gather data of valid substance for the
current study.
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Methodology
Methodological Approach
The overall approach to the research was qualitative, using the survey method. The
positivist's research method of a survey can be defined as “when you ask a large number of
people (usually called respondents) about their beliefs, opinions, characteristics, and past or
present behaviors” (Neuman, 2014, p. 317). Although surveys fall under the quantitative research
method, a qualitative approach will be beneficial for this experiment in addition because the
main objective is to confirm and test the hypothesis but also understand what experiences may
have led to the results of the study. Thus, this was a mixed method study with both quantitative
and qualitative elements. The quantitative method applied in this study, also known as
descriptive statistics, includes arithmetic categorization of results of the survey. Descriptive
statistics consists of collecting responses to the structured/likert scale questions, while also
seeking responses to open ended questions. This methodological approach allowed me to
confirm whether the images and non-verbal cues in framing in specific hip-hop music videos
impact how a message is interpreted but also to understand if and how differentiated
intersectional identities inform the reception of frames with the combination of lyrics and images
as compared to the lyrics alone. The area of research investigated was the language and
observations constructed by participants after being exposed to the audio component and video
component separately, and then drawing comparisons from the two experiences. To answer my
proposed research questions, I will need both qualitative and quantitative data.
Methods of Data Collection
To gain better insight into if and how differentiated intersectional identities inform the
reception of frames in a song’s audio and video component, a semi-structured
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survey/questionnaire was conducted with 10 volunteer teachers from Lafayette Elementary
School. The participants were recruited through a Lafayette Elementary School Teacher’s
referral, consisting explicitly of teachers. Because, “group members should be homogeneous but
not include close friends or relatives” participates were all current teachers at Lafayette
Elementary School (Neuman, 2014, p. 471). Participants signed an informed consent form. The
survey was via email in March of 2020 and responses were collected over a two-and-a-half-week
period. 10 surveys were completed and took a semi-structured form to allow participants to
articulate and express opinions/ ideas comfortably.
The survey consisted of 10 multiple-choice questions and 12 open-ended questions. The
aim was to conduct the survey with 10 participants, giving them over a two-week period to
precisely complete it. The survey was divided into two sections, with separate instructions for
each section. To begin, I introduced the study only by telling the participants I am exploring how
images and non-verbal cues impact the reception of messages by participants. First, the
participants were instructed to listen to This Is America by Childish Gambino without the video
component, just the lyrics, via the link provided. After listening to the song, participants were
instructed to answer the following listed in Appendix X as they related to them. For most
answers, participants were asked to check the box(es) most applicable to them or fill in the
blanks. For other answers, participants were asked to please provide a response in the form of a
short-answer.
Next, participants were instructed to listen to This Is America once again but this time
with the video component included, via the link provided. After listening and watching the music
video, participants were instructed to answer the following questions as they related to them. For
most answers, participants were asked to check the box(es) most applicable to them or fill in the
26
blanks. For other answers, participants were asked to please provide a response in the form of a
short-answer. Each section of the survey consisted of different prompts, comprised of questions
focusing on the impact of either the lyrics or the images combined with the lyrics.
Data Analysis
In quantitative research, the analysis was based on numbers. Before analysis, the gathered
data was prepared and the dataset was checked for missing data and outliers. The multiple-choice
data was then analyzed using descriptive statistics on the data and drew conclusions of “self-
reported beliefs or behaviors” (Neuman, 2012, p. 317). Addressing the presence of
intersectionality, the questions regarding age, gender, and ethnicity were included to identify
social context from the questions about characteristics and statistically analyzing the
“associations among the variables to identify causal relationships” (Neuman, 2014, p. 319). A
qualitative approach of content analysis was used to analyze the answers from the open-ended
questions. In qualitative research, the analysis is based on language, images, and observations
(involving some form of textual analysis). The thematic analysis includes coding and closely
examining the data to identify broad themes and patterns (Neuman, 2014, p. 17). Notes were
transcribed and thematic analysis was conducted, based on the open-ended questions completed
in the surveys. This involved coding all the data before identifying and reviewing key themes.
The responses dictated the quantity of themes that were identified during the data analysis. Each
theme was examined to gain an understanding of participants’ perceptions and motivations.
Methodological Choices
Semi-structured surveys typically produce “quantitative data and compare participant
responses on the dependent variable” (Neuman, 2014, p. 319). Although open-ended
questionnaires fall under qualitative research, a quantitative approach proved to be an additional
27
benefit for this experiment because it “analyzes after all data have been collected, tests
preexisting theories and hypotheses, and uses precise and compact abstract data” (Neuman, p.
479). Surveys find out overall trends, some advantages of surveys with a qualitative approach
include a better understanding of the reasons behind those trends through thematic analysis.
Thematic analysis was the additional method of choice for the current study because this
analytical approach contributes new knowledge and understanding of the field of
communication. This method of analysis was suitable for the current study because the current
study was designed to analyze themes and patterns of interpretation by the participants (Neuman,
2014, p. 16). I acknowledged only using a quantitative approach as a possible method for the
study, however, I did not want to exclude the study from analyzing the communication and
meaning of the survey results in relation to their social context.
Ethical Considerations
Some ethical considerations of this study that need to be addressed include risks and
benefits of the study for the participants as well as the researcher. The risks associated with
participation in this survey/questionnaire were minimal and research participants were not
subjected to harm in any way whatsoever. A thorough level of confidentiality of the research
data was ensured and full consent was obtained from the participants prior to the study through
informed consent forms. The informed consent forms signed by the participants prior to the
study addressed the anonymity of the individuals participating in the research. The informed
consent forms also declared participants were asked to complete a survey/questionnaire
conducted by student Eastyn Baleto as part of a capstone project for the course COML 602.
Stating the project is under the supervision of Professor Pavel Shlossberg in the Department of
Communication & Leadership at Gonzaga University. The protection of the research
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participant’s privacy was ensured because the respect for the dignity of research participants was
prioritized.
There was no financial compensation or direct benefits to participants for participation,
but their willingness to share their knowledge, time and experiences contributed to enrich the
knowledge of research methods and impact of new media in society. Some ethical considerations
for the researcher to consider were the risk of lack of data because the participants opted out of
answering questions. As stated in the informed consent form, individuals may choose not to
answer any particular question during the survey/questionnaire. If they felt any level of
discomfort, they may withdraw their participation of the survey/questionnaire at any point during
the completion period.
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Chapter 4: The Study
Introduction
The findings of the survey were substantial in answering the research questions of the
current study. The participants of the survey/questionnaire provided relevant data through both
the multiple-choice questions as well as the open-ended questions. A mixed-method was used to
analyze that results of the study through descriptive statistics and thematic analysis. The
descriptive statistics provided direct information regarding perspectives before and after the
visual component of the study, in addition to their age, race, and gender. The thematic analysis
was designed to analyze themes and patterns of interpretation by the participants provided in the
open-ended questions. The mixed-method study allowed us to analyze the communication and
meaning of the survey results in relation to their social context as well as develop an
understanding of the reasons behind those trends through thematic analysis.
Results of the Study
Descriptive Statistics
The survey/questionnaire was sent out to 13 participants total via email. These 13
volunteer participants were teachers from Lafayette Elementary School. The participants were
recruited through a Lafayette Elementary School Teacher’s referral, allowing the study to consist
explicitly of teachers. Of the 13 participants who received the survey/questionnaire, 10
responded (77%).
Participant Age Gender Ethnicity

Participant 1 18-25 Female Caucasian
Participant 2 56-65 Male Caucasian
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Participant 6 46-55 Female Pacific Islander
Participant 7 26-35 Female Pacific Islander
Figure X
Descriptive statistics were used to analyze the multiple-choice questions. The multiple-
choice questions from the survey that were drawn upon for the descriptive statistics portion of
the analysis include the age, gender, and ethnicity of the participant along with the multiple-
choice questions listed below along with their results. Of the 10 participants who responded to
the survey/questionnaire:
• 10% were of the 18-25-year-old age range
Of the 10 participants who responded to the survey/questionnaire:
• 50% were Female
• 50% were Male
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• Caucasian: 8 = 80%
• Pacific Islander: 2 = 20%
First, the participants were instructed to listen to This Is America by Childish Gambino without
the video component, just the lyrics, via the link provided. After listening to the song,
participants were asked to check the box(es) most applicable to them or fill in the blanks. Of the
10 participants who responded to the survey/questionnaire:
• Did you feel you could comprehend the lyrics of the song?
o 60% felt they could comprehend the lyrics of song with just the audio.
o 40% felt they could not comprehend the lyrics of song with just the audio.
• Could you determine the message of the song?
o 50% felt they could determine the message of the song with just the audio.
o 50% felt they could not determine the message of the song with just the audio.
• Was the message obvious to you?
o 40% felt the message was obvious to them with just the audio.
o 60% felt the message was not obvious to them with just the audio.
Next, the participants were instructed to listen to This Is America once again but this time with
the video component included, via the link provided. After listening and watching the music
video, participants were asked to check the box(es) most applicable to them or fill in the blanks.
• Did any auditory elements stand out to you more after watching the video?
o 80% felt auditory elements stood out to them more after watching the video
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o 20% felt no auditory elements stood out to them more after watching the video
• Did the visuals in the video impact your reception of the song’s message?
o 100% stated the visuals in the video impacted their reception of the song’s message.
Thematic Analysis
The thematic analysis includes coding and closely examining the data to identify broad
themes and patterns (Neuman, 2014, p. 17). Notes were transcribed and thematic analysis was
conducted, based on the open-ended questions completed in the surveys. This involved coding
all the data from the 10 participants before identifying and reviewing key themes. The responses
dictated the quantity of themes that were identified during the data analysis. Thus, 4 themes were
examined to gain an understanding of participants’ perceptions and motivations based on the
codes identified below:
Codes Themes
• struggled to hear the words (p4) Uncertainty
• did not understand (p4)
• do not have a clear understanding (p2)
• did not understand the song without a
visual element (p4)
• didn’t detect a specific message (p9)
• indecipherable words (p4)
• my understanding of the lyrics was
fragmentary at best and occasionally
mistaken (p2)
• when only listening, I missed the
point(p3)
• I do not have a good hear to follow
the message (p10)
• difficult for me to make sense of all
the lyrics (p10)
• visuals in the video make it much Helpful
easier (p7)
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• image of him running from the police

made it obvious (p4)
• makes it clear the message is about
race, excluded from ‘age, gender,
etc.’(p3)
• visuals added to the effectiveness of
the message (p7)
• exceedingly evident in the music
video (p7)
• the visual completely changes the
song for me (p1)
• helped me comprehend the
message(p1)
• hints throughout the video (p7)
• highlighted the transition from the two
tempos of the song (p5)
• easier to identify and comprehend the Reception/comprehension
song’s message (p8)
• all had meaning (p1)
• I did not catch these lyrics without the
video, this made me comprehend the
message (p1)
• anytime a face is connected with a
voice that individuals story comes
alive (p3)
• communicated the theme (p3)
• the visual aspect confirmed what I
picked up (p10)
• more shocking and vivid (p2) Non-verbal cues
• gunshots (p5)
• choir being murdered (p1)
• blood on the wall (p1)
• portray (p6)
• brutal or graphic imagery (p4)
• contrasting imagery (p9)
• visual completely changes the song for
me (p1)
• brutality of the killing in the video
represents the gun violence (p6)
• shootings were shocking (p2)
• the way Gambino is walking/acting
(p1)
• killing that shocked the viewer at the
start of each ‘This is America’ (p4)
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• contrast between violence and feeling

free (p8)
• odd facial expressions (p4)
• visual learner (p7)
• see what was happening vs only
listening to what I think was
happening (p7)
• shock the viewer (p4)
• chaos and violence behind them (p7)
• lighting, framing, color, costume
design, and stage/background design
(p7)
• I didn’t hear the gunshots until I saw
them (p2)
Figure Y
Review of Key Themes
The codes identified in Figure Y were transcribed after analyzing all open-ended
questions from the survey/questionnaire listed in Appendix X. Once these codes were
transcribed, key themes were generated from each set, based on the pattern of phrases in the
codes. These 4 key themes: uncertainty, helpful, reception/comprehension and non-verbal cues,
were identified after coding all the data from the 10 participants. These themes and the
questions/answers associated with each theme implicate connections between the descriptive
statistics and the thematic analysis by providing in depth reasoning behind the multiple-choice
responses. The theme uncertainty raises the hypothesis that the audio component was insufficient
in eliciting a confident reception of the song from the participants and the ability to determine the
statement that is being made about the subject of lyrics. The codes identified for the theme
Uncertainty, that subsequently led to such hypothesis, were drawn exclusively from the answers
of the questions in the audio only section of the survey/questionnaire listed below:
1. What auditory elements of the song stood out to you?
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3. What lyrics stood out to you?
6. What is the is the subject of the lyrics? What statement is being made about that
subject of the lyrics?
7. What lyrics helped you understand this message?
The theme helpful refers to the hypothesis that visuals and non-verbal cues in framing assist the
individual in interpreting a song’s message. The codes identified for the theme Helpful,
supporting this theory, were elicited from a pattern specifically recognized in the answers of the
questions of the audio & visual section of the survey/questionnaire listed below:
6. Did the visuals in the video make it easier to comprehend the song’s message? Why or
why not?
8. Do you feel that any of the visuals added to the song’s message, if yes, why?
9. Do you feel that any of the visuals took away from the song’s message, if yes, why?
10. Could you identify any specific moments where particular images conveyed
significant meanings in the video? If yes, please list.
The theme reception/comprehension established in our thematic analysis elicited further
investigation of this theme and its association with the audio comprehension when combined
with the visual component as well as comparing the comprehension levels of the participants and
their intersectional lens based on their demographic (age, gender, ethnicity) provided. The codes
identified for the theme Reception/Comprehension, motivating further investigation, were
prompted from a pattern highlighted in the answers of the questions of the audio & visual section
of the survey/questionnaire listed below:
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why not?
7. After both listening and watching, what would you say was the overall message of the
song?
Lastly, the theme non-verbal cues prompt us to think about this theme in the context of
identifying the exact images and non-verbal cues in framing, that impacted the participant’s
interpretation of the song’s message and conveyed a significant meaning that would not have
been seen without the video component. The codes identified for the theme Non-verbal cues
were generated from the answers of all the open-ended questions, included the audio & visual
section of the survey/questionnaire as well as listed below:
2. What visual elements stood out to you in the video?
4. What was the common theme of the visuals in the video?
why not?
song?
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Descriptive Statistics and Thematic Analysis
The theme uncertainty in our thematic analysis motivated further exploration of the
incomprehension of lyrics noticed in comparison to the percentage of participants who felt they
could comprehend the lyrics of the song with just the audio component. Although 60% (p1, p3,
p5, p7, p8, and p10) of the participants felt they could comprehend the lyrics of the song with
just the audio component, most participants (70%) comprehended lyrics only from the chorus
“this is America” (p1, p2, p4, p5, p6, p7, and p9), which happens to also be the title of the song.
As well as the lyrics from the refrain, “Get your money, black man” (p1, p2, p3, p4, p6, p7, p8,
and p10). Other lyrics some participants (40%) noticed and understood were from beginning of
the bridge “we just wanna party/we just want the money” (p2, p3, p6, and p7) consisting of a
more upbeat and positive melody. All the lyrics the participants took note of were repeated
several times throughout the song, sung at a slow tempo, and enunciated well in comparison to
the rest of the lyrics.
Once again, the theme uncertainty in our thematic analysis motivated us to examine the
descriptive statistics regarding the percentage of participants who believed the message was
obvious to them with just the audio component. Only 40% (p3, p7, p8, and p10) of the
participants said the message was obvious to them with just the audio component which helped
us identify the relationship between the lack of understanding of the subject of the lyrics and the
ability to determine the statement that is being made about that subject of lyrics. Participants
provided a wide variety of answers from this question and 40% (p2, p4, p9, p10) of the
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participants admitted they do not think they have a good enough grasp on the lyrics to provide an
answer when asked what lyrics helped them understand the message of the song when only
listening to the audio. One participant stated, “I don’t think I actually understood the song
enough to comprehend the message being delivered” (p4) when referring to the song’s lyrics.
Because of the wide variety of responses to this question one can infer the participants could not
consistently determine the subject of the lyrics after only hearing the song without the visuals. A
few speculated that the subject of the lyrics was “guns, violence, police” (p2), as well as, “life
and happiness isn’t free, especially if you are black” (p3) but were still unsure.
The theme helpful identified in our thematic analysis and the self-evident results from the
descriptive statistics, guided us towards key findings regarding visuals and non-verbal cues in
framing assisting the individual in interpreting a song’s message. 80% (p2, p3, p4, p5, p6, p7, p9,
and p10) of the participants said auditory elements stood out more after watching the video and
90% (p1, p3, p4, p5, p6, p7, p8, p9, and p10) of the participants said lyrics stood out more after
watching the video. The association among these results helped us identify the relationship
between the audio comprehension when combined with the visual component. Participant 1
listed the lyrics “police be trippin/guns in my area” as a lyric that stood out to them more when
paired with the visuals saying “For some reason, I did not catch these lyrics without the video.”
For other participants, more understated lyrics became more apparent in the music video,
Participant 9 acknowledged, “The line ‘we so pretty’ (or something along those lines) that was
sung while he was dancing in the midst of teenagers in their schoolgirl outfits ... that was much
more pronounced when paired with the visuals.” In addition, 100% of the participants said the
visuals in the video made it easier to comprehend the song’s message because “the visuals in the
video make it easier to identify and comprehend the song’s message” (p7). 30% (p5, p8, and p9)
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of the participants stated the visuals “highlighted the transition from the two tempos of the song”
(p5) and Participant 7 specifically expressed they are a “visual learner” (p7) and the visuals
allowed them to “see what was happening vs only listening to what I think was happening” (p7).
Guided by the theme non-verbal cues from the thematic analysis, further investigation
ensued to determine which images and non-verbal cues the participants observed when exposed
to both the audio and visual components. Specific images and non-verbal cues in framing that
impacted the participant’s interpretation of the song’s message included “the way Childish
Gambino is dressed. He is wearing neutral pants, showing he could be anyone, any of us in
America” (p7) subliminally conveying a significant meaning that would not have been seen
without the video component. Another image and non-verbal cue in framing in this specific hip-
hop music video that impacted how the message was interpreted were the dances moves from
Gambino as well as characters in the background. One participant stated:
“When only listening to it, I missed the point that black culture is also exploited for pop
culture. Society wants their beauty and fashion and dances moves but doesn’t value their
lives. As a white lady, I could not empathize but I could see the damage and absurdity of
that message, and what a contradiction this message sends to our community members of
color” (p3).
This participant explicitly acknowledged the benefit of having images and non-verbal cues in
this specific hip-hop music video to enhance their understanding of the song.
Supporting the themes helpful and non-verbal cues from the thematic analysis, 0% the
participants felt any of the visuals took away from the song’s message. In fact, one participant
explicitly said all the visuals were “intentional” and “all had meaning” (p1). When asked Do you
40
feel that any of the visuals took away from the song’s message, if yes, why? participants took the
time at this point in the survey to explain why none of the visuals took away from the song’s
message. Participant 4 explained:
“I think that as an artist, he [Gambino] has chosen his images and aligned them in such a
way as to shock the viewer. The lighter start of the song is broken immediately when [he]
murders the man with the bag […] the ‘black man’ is being killed by America” (p4).
Participants were able to identify specific moments where particular images conveyed significant
meanings in the video. Some of the moments most mentioned by participants included “each
shooting: shooting the man playing the guitar [and] the choir being murdered […] the blood on
the wall” (p1) and “The end of the song with him running from the police and his facial
expressions” (p4). Other images of significant meaning listed by participants included, “kids,
dancing, & having fun, in the midst of” all the chaos (p10).
Based on the descriptive statistics as well as the theme reception/comprehension, there
were apparent distinctions amongst the findings from the female participants of the study in
comparison to the male participants. Our survey results revealed the females, specifically
females from the age range 35 and under, understood and digested the song with and without the
visuals better than any other demographic in the study. 70% (p1, p2, p4, p5, p6, p7, and p9) of
the participants comprehended the song with and without the visuals, and of those participants
40% (p1, p3, p6, and p7) were female. Although, these female participants could comprehend the
meaning of the song without visuals, all of them explicitly stated the visuals were beneficial and
enhanced their understanding of the song. Of those women 35 and under, consisting of only 30%
(p1, p3, and p7) of the study, 2 of them were Caucasian and 1 was Pacific Islander. Based on our
thematic analysis this is because the younger participants, such as these three female participants
41
are accustomed to this the speed and style of hip-hop unlike the older participants who are less
familiar to this form of hip-hop. One participant, from the 56-65 age range said:
“Yes, partly because of my age & I do not listen to a lot of the latest music […] It is
difficult for me to make sense of all of the lyrics due to speed of the words & articulation
by the artist. The visual aspect confirmed what I picked up from the audio only
presentation.” (p10).
When asked whether the visuals in the video made it easier to comprehend the song’s message,
Participant 10 openly stated her age was a factor effecting her ability to articulate the song
without the visuals.
The Caucasian males, specifically the Caucasian males in the 46-55 age range, struggled
to comprehend the song without the visuals with only 20% (p4 and p9) of the male participants,
which consisted of 50% (p2, p4, p5, p8, and p9) of the participants of the study, comprehending
the song without the visuals. Based on our thematic analysis, the audio did not provide enough
for these male participants to confidently form their own belief about the song’s message. The
participants in the 46-66 age range, consisting of 20% (p4 and p9) of the study’s participants,
found it difficult to decipher a clear message without the visuals. Thus, these participants relied
on the visuals of “the violent gun violence” (p9) and “the final image of him running from the
police” (p4) to demonstrate the dangers that come with being an African American man in
America.
Discussion
There were significant findings from the survey/questionnaire that allowed us to answer
the RQ1 of the study: How do images and non-verbal cues in framing in specific hip-hop music
videos impact how a message is interpreted? Some key findings of the study identified include
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the lack of lyrics noticed when only listening to the audio component as well as the high
percentage of participants stating the message was not obvious to them when only listening to
the audio component. All the lyrics the participants took note of were repeated several times
throughout the song, sung at a slow tempo, and enunciated well in comparison to the rest of the
lyrics. These findings helped us identify the relationship between the lack of understanding of
the subject of the lyrics and the ability to determine the statement that is being made about that
subject of lyrics. The meaning and implications of these findings given the literature and theory/s
that informed our work are participants were unable to remember specific song lyrics because
they did not have a visual to attach the lyric too. According to Abraham & Appiah (2006),
without a visual corresponding to a set of words, the participant could not recall verbal messages
after listening to the audio component. Abraham & Appiah’s (2006) study of nonverbal cues
informed this portion of the study because it provides applicable research to the discussion of
message interpretation relating to framing by applying the dual code theory. This theory helps to
explain “the observations made that in dual-model presentations of information pictorial
juxtapositions with verbal messages can enhance the memory for and comprehension of verbal
information” (Burgoon, 1985; Folger & Woodall, 1982; Gunter, 1987; Stone, 1987 as cited by
Abraham & Appiah, 2006, p. 187). Thus, the participants struggled to remember lyrics after
listening to only the audio component, because they lacked a visual to associate the lyric with to
assist their memory for verbal information. Participant 1 contributed to this notion as they listed
the lyrics “police be trippin/guns in my area” as a lyric that stood out to them more when paired
with the visuals saying, “For some reason, I did not catch these lyrics without the video.”
Additionally, Abraham & Appiah’s (2006) study explains participants stated the message was
43
not obvious to them after only hearing the song without the visuals due to the lack of visuals with
just an audio component hindering their comprehension of verbal information.
In addition to these findings regarding comprehension, 80% (p2, p3, p4, p5, p6, p7, p9,
and p10) of the participants said auditory elements stood out more after watching the video and
90% (p1, p3, p4, p5, p6, p7, p8, p9, and p10) of the participants said lyrics stood out more after
watching the video. The association among these results helped us identify the relationship
between the audio comprehension when combined with the visual component. 100% of the
participants could identify specific images and nonverbal cues in framing in the music video that
contributed to their interpretation of the song and 0% of the participants felt any of the visuals
took away from the song’s message. Our method choice of a survey/questionnaire with open-
ended questions allowed the participants to expand on their observations, not just by listing the
images and nonverbal cues they identified in the music video but also how and why these visuals
drew their attention and the impact these visuals had on their interpretation. Given the literature
and theory/s that informed our work, the meaning and implications of these findings refer to
framing in videos because “images, unlike words, are indexical-they are treated as direct
pointers, as opposed to constructed representations of reality” making that statement that images
and nonverbal cues in the video directly told the viewers what the subject of the video is and
what statement is being made about that subject (D’Angelo & Kuypers, 2010, p. 217).
The discussion of digital storytelling in music videos is another concept significant to our
key findings. Specific images and non-verbal cues in framing that impacted the participant’s
interpretation of the song’s message included “the way Childish Gambino is dressed. He is
wearing neutral pants, showing he could be anyone, any of us in America” (p7) subliminally
conveying a significant meaning that would not have been seen without the video component.
44
Participant 3 identified “the students were especially important in communicating that this is a
race thing. It transcends age, gender, etc.” expanding further stating, “young black children are
fed this message and are also fighting for their own survival and acceptance” thus providing
another example of images and non-verbal cues in framing that impacted the participant’s
interpretation of the song’s message. Oliva et al. (2017), aims to further rationalize these
elements of storytelling in the context of This is America mentioning, “storytelling in video clips
becomes more complex if we analyze some important remarks such as the music timing, the
advertising and marketing of the songs, and the artist’s image and performance” (Oliva et al.,
2017, p. 465). Therefore, the observations of the way Gambino is dressed made by Participant 7
as well as the observation of Gambino’s “odd facial expressions” made by Participant 4 impacted
the perspective in which the participants interpreted the song’s message by making the song
more complex.
Additionally, Oliva et al. (2017) mentioned above, music timing is an important remark
to analyze that makes storytelling in video clips more complex, thus, 60% (p2, p4, p5, p8, p9,
and p10) participants noticed a contrasting/transitioning tempo when listening to the audio
component and did not know how to make sense of this rhythmic distinction at the time. Oliva et
al. (2017), attempts to unpack this example of storytelling in the context of the This is America
music video declaring, video clip language in that it is typically “fast, active, based on slow or
fast rhythmic arrangements. It is necessary to pay attention to the connection between the rhythm
of the songs and the visual images” (Oliva et al., 2017, p. 465). Participant 5 stated the visuals
“highlighted the transition from the two tempos of the song” (p5) specifically expressing they are
a “visual learner” (p7) and the visuals allowed them to “see what was happening vs only
listening to what I think was happening” (p7). Therefore, the video component of the song helps
45
bring the story together for the audience displaying a connection between each
transition/contrasting tempo and the acts of violence exhibited in the music video. As identified
by Alexander (2011), “a simple photograph does not imply a narrative in itself. It needs to be
introduced in a time sequence, in a logic association with other sequences” (Alexander, 2011 as
cited by Oliva et al., 2017, p. 466). Participants unanimously stated none of the visuals took
away from the song’s message because Gambino had “chosen his images” and the timing of
those images to “shock the viewer” with the “lighter start” at the beginning of the video that is
“broken immediately when he murders the man with the bag” on his head (p4).
These findings of the survey/questionnaire were substantial in answering the RQ1 of the
study: How do images and non-verbal cues in framing in specific hip-hop music videos impact
how a message is interpreted? Allowing us to determine the graphic, contrasting images included
in the video, as the main factor impacting how a message is interpreted because this song almost
requires a music video to make sense of the lyrics and the juxtaposition of the song’s tempo. The
visuals were undoubtedly necessary to truly expose the underlying meaning of the song but also
the timing of those visuals, visuals that specifically correspond to the lyrics and change in
rhythm and tempo were necessary for comprehension.
There were findings of great substance from the survey/questionnaire that supported us in
answering the RQ2 of the study: If and how differentiated intersectional identities inform the
reception of frames with the combination of lyrics and images as compared to the lyrics alone?
The Caucasian males, specifically the Caucasian males in the 46-55 age range, struggled to
comprehend the song without the visuals with only 20% (p4 and p9) of the male participants,
which consisted of 50% (p2, p4, p5, p8, and p9) of the participants of the study, comprehending
the song without the visuals. These findings helped us identify the relationship between
46
intersectional lenses and the comprehension of a song’s message when unaccompanied by a
visual. As we know, intersectionality can be defined as the presence of overlapping and
interconnected systems of race-class-gender-identity, some possibly dominant and others
disadvantaged, thus, hip-hop can be defined as the medium in which artists express their
intersectional experiences. Characteristics of hip-hop acknowledged by Akom (2009) include
“hip hop as a vehicle to explore social justice themes such as police brutality, Black
incarceration, misogyny, homophobia, racism, sexism, white supremacy, Black nationalism, and
commodification while articulating the demands for social justice” themes also present in the
This is America song (Akom, 2009, p. 58). Given the literature and theory/s that informed our
work, it is justifiable to infer the intersectional lens of Caucasian-male participants, differ from
that of the protagonist’s in the song because issues of police brutality, racism, white supremacy,
etc. are outside of the experience of the Caucasian-male participants. Because frames assist the
communicator in engaging with their audience establishing a lens in which the audience can
interpret a perspective and articulate audio components through visuals, the participant defaulted
to their own intersectional perspective to make sense of the audio. However, the intersectional
lens of the Caucasian males, in the 46-55 age range, consists that of the privilege of being the
socially and economically dominant group in society, therefore they do not inhabit the same
experiences as marginalized groups in society making it difficult to comprehend the song without
a visual to refer to. Thus, Carbado (2013), assists us in understanding the participants that are not
part of the community in which these experiences are coming from, explaining the
“intersectional lens can reveal, on a given issue and between separate identity groups,
perspectives of both privilege and victimhood, and thereby create a connection around shared
experiences of discrimination, marginalization, and privilege” (Carbado, 2013).
47
Furthermore, it is equally important to acknowledged the intersectional lens of the
Caucasian males in the 46-55 age range in comparison to that of the Caucasian males of the 45
and under age range. Although the Caucasian males of the 45 and under age range could
comprehend the meaning of the song without visuals, all of them openly stated the visuals were
beneficial and enhanced their understanding of the song. Participant 5 demonstrated efficient
comprehension with only the audio component describing “that America pretends it stands for
one thing, equality and fairness, but its actions and people don’t reflect that truth, especially
towards minority groups” as the statement being made about the subject of the lyrics. Later,
Participant 5 once again demonstrates an enhanced understanding stating, “the contradiction of
telling black people in America that they have the tools to succeed, while putting up barriers to
that success” is the overall message of the song after listening and watching the visual
component. This does not mean these Caucasian males of the 45 and under age range
participants have inhabited the same experiences as marginalized and disenfranchised groups
have experienced, however, in the context of this studying they have exhibited a more efficient
understanding of social relations of power. Nevertheless, this key finding compels us to address
the concept of a progressive mindset from the Caucasian males of the 45 and under age range,
that differs from the Caucasian males in the 46-55 age, as well as the contrast between the
younger and older female participants. This intersectional distinction induced further
contextualization regarding the differential responses of the younger female participants (p1, p3,
and p7) in congruence with the younger male participants (p5 and p8), informed by the
theoretical lens included in the literature and theory/s used. The younger participants exhibited
efficient comprehension of social inequalities and power dynamics due to the presence of
progressive social change experienced in their upbringing as the key distinction amongst both the
48
male and female participants of the younger generation. Hence, displaying the effect of, “the
practical dimensions of Critical Race Theory within which intersectionality was situated, the goal
was not simply to understand social relations of power, nor to limit intersectionality’s gaze to the
relations that were interrogated therein, but to bring the often hidden dynamics forward in order
to transform them” (Carbado, 2013).
Contrary to the results from the male participants, the survey/questionnaire revealed the
females, specifically females from the age range 35 and under, understood and digested the song
with and without the visuals better than any other demographic in the study. Of those women 35
and under, consisting of only 30% (p1, p3, and p7) of the study, 2 of them were Caucasian and 1
was Pacific Islander. Our method choice provided us the opportunity to identify patterns
amongst age-gender-ethnicity in relation to how differentiated intersectional identities inform the
reception of frames. Although the two female participants identify as Caucasian, they maintain
an intersectional lens as a female in American society. The concept of how intersectionality
impacts the reception of such frames but also forms individual frames for the interpretation of
messages is present with this demographic. Even though the oppression and economic
inequalities women have and continue to suffer from today, is not the same as the mistreatment
and oppression African Americans face every day, they can still empathize on some level
because of their intersectional identity. Further perpetuating Cho et al.’s (2013) definition of
intersectionality as the idea that when it comes to thinking about how inequalities persist,
categories like gender, race, and class are best understood as overlapping and mutually
constitutive rather than isolated and distinct (Cho et al., 2013). Demonstrating the overlapping
nature of intersectionality, the female participant that identifies as Pacific Islander maintained a
differentiated intersectional identity that informed their reception of frames being both a woman
49
and a minority, when analyzing a song that criticizes society’s mistreatment of people of color.
Participant 7 demonstrated understanding through her intersectional lens with only the audio
declaring:
“I believe the common theme of these lyrics is discontent. (Anger and hurt are also found
throughout!). I would say the message of this song is conveyed through Childish
Gambino’s expression of how America has allowed the black man to be at the bottom of
the totem pole. It seems as if Childish Gambino is using this as a statement about the war
on guns and how a black man is viewed in America.” (p7).
Once more, Participant 7 exhibits enhanced comprehension due to her intersectional lens and
assisted by the visuals by pointing out:
“…the young people were joyously dancing with Childish Gambino with the chaos and
violence behind them. This is symbolizing the idea that we aren’t focused on ALL
NEGATIVE things, but rather we put them behind us or try to hide it. Lastly, when
Childish Gambino is running away, I felt a sense of running for his life. This symbolizes
what black people in America deal with on the daily” (p7).
These findings of the survey/questionnaire were substantial in answering the RQ2 of the
study: If and how differentiated intersectional identities inform the reception of frames with the
combination of lyrics and images as compared to the lyrics alone? Allowing us to determine
differentiated intersectional identities do in fact inform the reception of frames with the
combination of lyrics and images as compared to the lyrics alone because the visuals in the hip-
hop music video filled the gap of understanding regardless of the participants age, gender, or
ethnicity. For the sake of the study, it is important to recognize the combination of lyrics and
50
images were especially important in the receiver process for the individuals lacking an
intersectional identity relating to the issues addressed in the This is America music video.
51
Chapter 5: Summaries and Conclusions
Limitations of the Study
Some limitations of my approach to consider was the COVID-19 pandemic of 2020
which as a result affected the method of the study and the number of participants available to
participate. Originally the study was to be conducted through focus-groups and semi-structured
interviews consisting of at least 20 people over the course of a two-week period. Because
Washington’s stay-at-home order due to the current pandemic required social distancing and
prohibited mass gatherings and close contact with individuals outside your household in indoor
and outdoor spaces, some changes to the method of the study were made. Thus, a semi-structured
survey/questionnaire was conducted with 10 volunteer teachers from Lafayette Elementary
School via email in March of 2020 and responses were collected over a two-and-a-half-week
period. Due to lack of volunteers during the pandemic as well as technological limitations, only
13 teachers volunteered to participate.
Recommendations for Further Study
Future students might be informed by the work completed in this study as a reference to
further investigation of visuals and non-verbal cues in other pieces of media. Topics and theories
implicitly excluded from this research included media’s capacity to affect the character, behavior,
or belief of an individual present in journalism and breaking news. Perhaps future students can
utilize this work to generate further investigation of visuals and non-verbal cues in journalism
and breaking news. Additionally, future students might be informed by the work completed in
this study by focusing on how a specific demographics intersectional identity informs the
reception of frames in a different shape of media than music videos, such as female versus male.
52
Conclusions
For the current study the initial question motivating further exploration was: In what
ways do visuals in music videos impact how well a song’s message is interpreted? Guided by
theories and course materials this inquiry was expanded into two research questions:
RQ1: How do images and non-verbal cues in framing in specific hip-hop music videos
impact how a message is interpreted?
RQ2: If and how differentiated intersectional identities inform the reception of frames
with the combination of lyrics and images as compared to the lyrics alone?
The theories and works of literature that informed these research questions were that of Visual
and Non-verbal Cues in Framing, Digital Storytelling, Communication as Social Influence, and
Intersectionality. Abraham & Appiah’s (2006) study of nonverbal cues provided applicable
research to the discussion of message interpretation relating to framing by applying the dual code
theory, a theory that helps to explain “the observations made that in dual-modal presentations of
information pictorial juxtapositions with verbal messages can enhance the memory for and
comprehension of verbal information” (Burgoon, 1985; Folger & Woodall, 1982; Gunter, 1987;
Stone, 1987 as cited by Abraham & Appiah, 2006, p. 187). Framing in the context of digital
storytelling is relevant to our study because the frame guides the audience from the larger
narrative into one or more supporting narratives within one piece of media. Frames in digital
storytelling assist the communicator in engaging with their audience establishing a lens in which
the audience can interpret a perspective and articulate visual and audio components. The concept
of frames as an example of communication as social influence refers to media frames and
individual frames because the media frame in which information is presented triggers the
53
individual frames comprehension, thus, forcing an individual to accept or reject the presented
information. Gamson (1985), for example, conceptualized “a potential impact of the frames
people use to interpret conflicts, is the mobilization for collective action aimed at social change”
(Gamson, 1985 as cited by Scheufele, 1999, p.113-114). Intersectionality is a concept pertinent
to the current study because it contains the theoretical framework for grasping how facets of
one’s social and political identities might combine to produce distinctive methods of
discrimination. Intersectionality consists of “the inter-locking ways in which social structures
produce and entrench power and marginalization, and by drawing attention to the ways that
existing paradigms that produce knowledge and politics, often function to normalize these
dynamics.” (Carbado, 2013). The audience or receiver is also impacted by elements such as race,
gender, class, in the interpretation of messages. Because the goal of the current study was to
examine how images and non-verbal cues impact the reception of messages, it was significant to
observe how intersectionality impacts the reception of such frames but also forms individual
frames for the interpretation of messages.
The hip-hop music video analyzed in the current study was This is America by Childish
Gambino. Referring to previous research, we made the statement that the framing in the music
video will influence the reception from the audience. The present study analyzed how the
audience interpreted the most apparent use of framing in this music video; that of the handgun
and automatic weapon.
The implications of our findings allowed us to conclude images and non-verbal cues in
framing do impact how a message is interpreted. The findings of the survey-questionnaire were
substantial in answering the RQ1 of the study because they revealed the graphic and contrasting
images, and the framing of such images included in the video, as the main factors impacting how
54
a message is interpreted. The visuals are undoubtedly necessary to truly expose the underlying
meaning of the song but it is also the timing of those visuals that matters because those visuals
that specifically correspond to the lyrics and change in rhythm and tempo, were necessary for
comprehension as well. The meanings of these findings demonstrate the importance of
understanding the benefit of visuals and non-verbal cues in framing as an avenue in which
communication as a social influence may be enhanced and reach a wider, diverse audience.
Given the literature that informed this study as well as the data from the current study, images
and non-verbal cues in framing bolster a communicators statement because when accompanied
by visuals their message cannot be twisted into something that was not their intention. With the
combination of audio and visuals receivers cannot make broad statements or comparisons about
the piece of media because they are being told and showed what to think about a subject matter.
Framing in videos contribute to this notion because “images, unlike words, are indexical-they are
treated as direct pointers, as opposed to constructed representations of reality” (D’Angelo &
Kuypers, 2010, p. 217). Furthermore, “visual images do not allow a communicator to make
explicit claims, such as casual statements or comparisons.” (D’Angelo & Kuypers, 2010, p. 235).
Additionally, our findings improved our understanding of the presence of intersectional
identities and how they inform the reception of frames with the combination of lyrics and images
as compared to the lyrics alone. These findings allowed us to determine differentiated
intersectional identities do in fact inform the reception of frames with the combination of lyrics
and images as compared to the lyrics alone because the visuals in the hip-hop music video filled
the gap of understanding regardless of the participants age, gender, or ethnicity. The findings of
this study are proof that intersectional lenses effect comprehension because the participants with
similar intersectional experiences as the protagonist’s, comprehended information more
55
efficiently in comparison to the participants from a more economically/socially dominant group
of society. In addition to the meanings of these findings validate the concept of a progressive
mindset as beneficial in the process of comprehension because it opens receivers’ minds to
different intersectional experiences they may not have inhabited or are considered outside their
experience.
Therefore, the concept of communication as social influence is pertinent in this study
because now more individuals can share their intersectional experience, thus enlightening society
of social issues they have experienced as a member of the marginalized and disenfranchised
group of society. The combination of lyrics and images were especially important in the receiver
process for the individuals lacking an intersectional identity relating to the issues addressed in
the This is America music video. Elements of digital storytelling, such as visuals and non-verbal
cues in framing, help translate an individual’s message to receivers, regardless if they have
experienced something similar or not. Boster (2006) defines social influence “as change in
belief, attitude, or behavior, or some combination of these three factors, that occurs as a function
of exposure to an external message or series of external messages” (Boster as cited by Shepherd
et al., 2006, p.180). This music video is a form of communication as social influence because
many participants’ interpretation of the song’s message changed after being exposed to the piece
of media (the music video) corresponding to the song. The combination of the audio and visual
components for the song allowed the communicator to not only tell but show their audience their
intersectional experience, in which more privileged members of society could not have even
imagined.
56
References
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Priming Racial Stereotypes. Howard Journal of Communications, 17(3), 183–203. doi:
10.1080/10646170600829584
Akom, A. A. (2009). Critical Hip Hop Pedagogy as a Form of Liberatory Praxis. Equity &
Excellence in Education, 42(1), 52–66. doi: 10.1080/10665680802612519
Brown, M. E., & Trevino L. K. (2006). Ethical leadership: A review and future directions.
Leadership Quarterly 17, 595-616.
Carbado, D. W., Crenshaw, K. W., Mays, V. M., & Tomlinson, B. (2013). Intersectionality. Du
Bois Review: Social Science Research on Race, 10(2), 303–312. doi:
10.1017/s1742058x13000349
Cho, S., Crenshaw, K. W., & McCall, L. (2013). Toward a Field of Intersectionality Studies:
Theory, Applications, and Praxis. Journal of Women in Culture and Society, 38(4), 785–
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D’Angelo, P., & Kuypers, J. (2010). Doing news framing analysis: empirical and theoretical
perspectives. Routledge.
Gajanan, M. (2018, May 7). Childish Gambino's 'This Is America': Breaking Down Symbols.
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https://www.pewresearch.org/fact-tank/2019/10/22/facts-about-guns-in-united-states/
Griffin, E., Ledbetter, A., & Sparks, G. G. (2015). A first look at communication theory. New
York: Mc Graw-Hill.
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Kearse, S. (2018, May 7). Listen to "This Is America" by Childish Gambino. Retrieved from
https://pitchfork.com/reviews/tracks/childish-gambino-this-is-america/
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59
Appendix A
Survey
Purpose of study:
I am exploring how images and non-verbal cues impact the reception of messages by
participants.
Instructions:
Listen to This Is America by Childish Gambino without the video component, just the lyrics, via
the link provided. After listening to the song, answer the following questions as they relate to
you. For most answers, check the box(es) most applicable to you or fill in the blanks. For other
answers, please provide a response in the form of a short-answer.
Link: https://youtu.be/ddJqNY__9U8
About you:
1. Your age
(Select only one)
18-25
26-35
36-45
46-55
56-65
66-75
76 or more
2. Your gender
(Select only one)
Female
Male
Other
3. I identify my ethnicity as:
(Select all that apply)
Asian
Black/African American
Caucasian
Hispanic/Latino
Native American
Pacific Islander
Prefer not to answer
Audio Component Only Questions:

1. What auditory elements of the song stood out to you?
60
2. Did you feel you could comprehend the lyrics of the song?
Yes
No
3. What lyrics stood out to you?
4. Could you determine the message of the song?

Yes
No
5. Was the message obvious to you?

Yes
No
6. What is the is the subject of the lyrics? What statement is being made about that
subject of the lyrics?
7. What lyrics helped you understand this message?
Instructions continued:
Listen to This Is America once again but this time with the video component included, via the
link provided below. After listening and watching to the music video, answer the following
questions as they relate to you. For most answers, check the box(es) most applicable to you or
fill in the blanks. For other answers, please provide a response in the form of a short-answer.
Link: https://youtu.be/VYOjWnS4cMY
Audio & Visual Component Questions:

1. Did any auditory elements stand out to you more after watching the video?
Yes
No
2. What visual elements stood out to you in the video?
3. Did any lyrics stand out to you more after watching the video?
Yes
No
4. What was the common theme of the visuals in the video?
61
5. Did the visuals in the video impact your reception of the song’s message?
Yes
No
why not?
song?
10. Could you identify any specific moments where particular images conveyed significant
meanings in the video? If yes, please list.
62

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INTERSECTIONAL FRAMES AND DIGITAL STORYTELLING

Presented to the Faculty in Communication and Leadership Studies

School of Professional Studies

Under the Supervision of Dr. Pavel Shlossberg

Of the Requirements for the Degree

Master of Arts in Communication and Leadership Studies

MA Program in Communication and Leadership Studies

Chapter 2: Review of Literature 9

Chapter 3: Scope and Methodology 24

Chapter 4: The Study 30

Chapter 5: Summaries and Conclusions 52

social influence. A semi-structured survey/questionnaire was conducted via email with 10

shape of media than music videos.

Keywords: visuals, non-verbal cues, framing, intersectionality, digital storytelling, hip-

hop, social influence

Importance of the Study

beneficial in the process of comprehension because it opens receivers’ minds to different

members of the marginalized and disenfranchised.

make an argument to render the claim plausible.

Definitions of Terms Used

Visuals “constitute a largely analogical system of communication […] the relationship

(D’Angelo & Kuypers, 2010, p. 235).

Appiah, 2006, p. 188).

salient in a communicating text, in such a way as to promote a particular problem definition,

causal interpretation, moral evaluation, and/or treatment recommendation” (Entman, 1993 as

Scheufele, 1999, p. 107).

Intersectionality consists of “the inter-locking ways in which social structures produce

The concept of digital storytelling is defined by Oliva et al. (2017) as “a persuasive

including graphics, audio, video, and Web publishing” (Robin, 2013).

demands for social justice.” (Akom, 2009, p. 58).

Social influence is defined “as change in belief, attitude, or behavior, or some

Organization of Remaining Chapters

A review of communication theory relevant to this study as well as existing research

Chapter 4, with discussion regarding implications. Finally, study limitations and

recommendations for future research are included in Chapter 5.

Chapter 2: Review of Literature

Philosophical and Ethical Assumptions

social cognition to understand constructs of society. According to Trevino (2006), "ethical

growing number of diverse platforms, it is up to these individuals to develop an ethical culture

Visual and Non-verbal Cues in Framing

Stone, 1987 as cited by Abraham & Appiah, 2006, p. 187).

they are treated as direct pointers, as opposed to constructed representations of reality”

information” (Entman, 1993 as cited by Scheufele, 1999, p. 107). Intersectional experiences or

frame in which they process information.

communicator to make explicit, casual statements or comparisons,

words could never convey” (D’Angelo & Kuypers, 2010, p. 235).

define digital storytelling or “digital narratives” as “a persuasive narration of a story; a

without overwhelming the viewer (Leopold, 2010).

The discussion of digital Storytelling in music videos is another concept significant to

Communication as Social Influence

collective action aimed at social change.

Studies on intersectionality have been conducted to understand this concept that

instigated the conversation centered around intersectionality because it “has facilitated

produce distinctive methods of discrimination. Intersectionality consists of “the inter-locking

often hidden dynamics forward in order to transform them” (Carbado, 2013).

interpretation of messages. The intersectional character in the survey/questionnaire participants

experiences of discrimination, marginalization, and privilege” (Carbado, 2013). Because the

Hip-Hop & Intersectionality

origin of hip-hop, with the intentions of achieving exposure of elements of intersectional

Intersectionality can be defined as the presence of overlapping and interconnected systems of

Black incarceration, misogyny, homophobia, racism, sexism, white supremacy, Black

relegated to the fringe of society.

“This Is America” by Childish Gambino