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Find love in 2017 - franklinkelsey5 - 23-09-2025
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Article about find love in 2017:
ABSTRACT: This paper presents an interpretive approach to music
Finding Love in Hopeless Places: Complex Relationality and Impossible Heterosexuality in Popular Music Videos by Pink and Rihanna. ABSTRACT: This paper presents an interpretive approach to music video analysis that engages with critical scholarship in the areas of popular music studies, gender studies and cultural studies. Two key examples—Pink’s pop video “Try” and Rihanna’s electropop video “We Found Love”—allow us to examine representations of complex human relationality and the paradoxical challenges of heterosexuality in late modernity.
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We explore Zygmunt Bauman’s notion of “liquid love” in connection with the selected videos. A model for the analysis of lyrics, music, and images according to cross-domain parameters ( thematic, spatial & temporal, relational, and gestural ) facilitates the interpretation of the expressive content we consider. Our model has the potential to be applied to musical texts from the full range of musical genres and to shed light on a variety of social and cultural contexts at both the micro and macro levels. [1.1] This paper presents and applies an analytic model for interpreting representations of gender, sexuality, and relationality in the words, music, and images of popular music videos. To illustrate the relevance of our approach, we have selected two songs by mainstream female artists who offer compelling reflections on the nature of heterosexual love and the challenges it poses for both men and women. Unlike many love songs in the pop genre, Rihanna’s “We Found Love” (2011) and Pink’s “Try” (2012) do not romanticize relationships by perpetuating gender stereotypes and reinforcing clichés of heterosexual intimacy. Instead, the songs explore the struggle faced by both partners as they come to grips with the implications of intense emotional connection. In fact, we argue that each of the songs, and their accompanying videos, can be seen as powerful commentaries on love in late modernity—that is, at a time when conventions of gender and sexuality are in flux due to the rapidly changing nature of economic structures and social roles (Rosin 2012). Through a multi-layered integration of lyrics, music, and images, these commentaries defy dominant ideologies of gendered subjectivities and sexual normativities in the context of romantic love. [1.2] The two videos share a number of common elements on the levels of form and content. With respect to form, both videos unfold in bleak and transient settings, both use color to express elevated states of feeling, and both show the vicissitudes of love to be intensely embodied experiences. With respect to content, both videos represent the male and female partners as engaged in a quest for sustainable relationships, both link sexual passion with physical aggression, both connect ecstasy and euphoria to conflict and destruction, and finally, both eschew a narrative of male domination and female subordination in favour of one of equal partnership—one in which men and women bear equal responsibility for a relationship’s successes and failures as well as its pleasures and pains. Of course, we are not suggesting that power relations privileging men and marginalizing women no longer exist. What we are suggesting, however, is that stories of male privilege and female marginalization are not the ones being told in these videos. They will, therefore, not be our focus here. Instead, our focus will be on making sense of how complex relationalities are bound up in the lived experience of heterosexual love as it is represented in these music videos by Pink and Rihanna. Context: Love Songs in Late Modernity. [2.1] Popular musicologist Simon Frith declares emotions to be significant for popular music scholarship. More specifically, he claims that music is—first and foremost—“a way of managing the relationship between our public and private emotional lives” (Frith 2004, 39). Turning shortly thereafter to the subject of love songs, he explains: It is often noted but rarely discussed that the bulk of popular songs are love songs. This is certainly true of twentieth-century popular music in the West, but most non-Western popular musics also feature romantic, usually heterosexual love lyrics. This is more than an interesting statistic, it is a centrally important aspect of how pop music is used. Why are love songs so important? Because people need them to give shape and voice to emotions that otherwise cannot be expressed without embarrassment or incoherence. Love songs are a way of giving emotional intensity to the sorts of intimate things we say to each other (and to ourselves) in words that are, in themselves, quite flat (39). [2.2] Despite Frith’s claim that love is an important part of what propels popular music, representations of it have received relatively scarce attention in the academic literature. With the exception of Martin Stokes’s (2010) study of love as a form of cultural expression and B. Lee Cooper’s (2015) study of romance recordings, there has been very little work done on how love is represented in popular music, and even less on how these representations are bound up with issues of gender and sexuality. Our work seeks to fill this significant gap in the scholarship. (1) [2.3] To fully understand the love songs of interest to us, it is important to situate them in the context of contemporary trends in popular music studies. In a recent article, Madaninka and Bartholomew (2014) examine top-40 chart data from 1971 to 2011 in order to track lyrical emphasis on lust (i.e., sexual desire) and/or love (i.e., romance). The authors demonstrate a significant shift in the topical focus of love songs, from a period of “love” themes in the 70s to 90s to a period of “lust” themes in the early postmillennium. (2) There can be no doubt that “Try” and “We Found Love” emerge at a moment when lyrics relating to love are on the decline and lyrics relating to lust are on the rise. Both songs buck this trend by exploring love relationships without exploring sexual desire. And although the video images associated with the songs do suggest sexual activity, this activity takes place in a context that is clearly characterized by romance. [2.4] While it may be productive to consider how “Try” and “We Found Love” connect to the thematic trends identified by Madaninka and Bartholomew, the music analyst is in need of a more developed theoretical toolkit in order to fully understand the representations of gender, sexuality, and relationality that characterize the videos in question. We thus turn our attention now to the theoretical writings that have helped us to make sense of these representations. Theory: Love and The Cultural Politics of Emotion. [3.1] When feminist media theorists study music videos, they often focus on how women are both subjected to and the subjects of power relations that grow out of what bell hooks (hooks 1997) calls “white supremacist capitalist patriarchy.” Concentrating on how women are represented in a range of sexist, heterosexist, and racist ways, feminist media theorists tend to avail themselves of theoretical tools such as the male gaze (Mulvey 1975, Kaplan 1987, Sturken and Cartwright 2009), the male imaginary (Jhally 2007), and symbolic annihilation (Clément 1979). All of these tools allow us to think critically about how “regimes of representation” (Attwood 2005) rely on gendered, sexualized, and racialized dynamics of domination and subordination. And while they are appropriate for making sense of macro-level phenomena relating to issues of power and discourse, they are somewhat less appropriate for micro-level phenomena relating to issues of experience and feeling. In other words, the feminist media-studies toolbox is unlikely to allow us to fully understand the representations of the challenges posed by intimacy and love in the two selected videos, particularly since these representations do not appear to be mediated in any meaningful way by oppressive overarching norms and values. [3.2] With their emphasis on the personal experience of love, the songs we have chosen for analysis do not offer much in the way of opportunities for thinking about gender and sexuality in macro terms.