Red Lights by Tiesto and Nobody to love by Sigma are both songs from the dance genre. Their individual music videos show similar conventions in their actions. Both videos have upbeat music, playing in unison to the editing of the video as well as a constant rhythm throughout. Both videos also heavily imply their dance genre, as a main feature of them includes dancers moving along to the music. The representation of gender (particularly women) is shown greatly in these two videos and is politically incorrect in the representation.
The video by Tiesto begins in a lower class American diner, with a tracking shot of a working waitress. This shot most likely uses a hand held camera to give the video a sense of realism, which is carried out throughout the continuity of the video and constructs the narrative performance to look like a 'home video'. The performance as a narrative itself follows two young women taking a spontaneous journey. The video uses many close up shots with excessive focus on their bodies which links to Mulvey's theory of the male gaze due to the objectification of women used here for the male audiences benefit.
However this focus on the women may arguably be empowering to females and create a sense of desire for female audiences.
The main focus in the music video for 'Nobody to love' is again on women. The video is also based on the journey of two young women through music.
At the start of Sigma's video a lower angle hand held camera tracking shot is used as the women are shown dancing in the ocean with focus on their bottoms and bodies in minimal bikinis. This again links to the male gaze with close up shots of the women dancing to appeal to heterosexual male audience. As the narrative of this video continues the representations of race arguably become inappropriate with the cultural appropriation shown specifically through the use of the native Indian headdress. The video narrates two white middle to upper class women driving through a lower class town/village where the population is predominantly of African decent, presenting them to be poor. This is problematic for the video however it may be expressing the dance genre's history from Africa yet the appropriation does not portray that clearly.
In each of these videos the Dance genre fanbase is arguably presented to be both male and female aged from young teens to around 30. The songs relate to many demographic categories due to accessibility with radio and online access and the fact that both songs are mainstream.
As previously mentioned there is particular focus on the women in both videos especially their bodies which links to the male gaze and therefore appeals to the male audience.
Overall these two videos share similar qualities and conventions (such as the dancing and narrative of two female girls) which promotes the dance genre yet does include some problematic scenes as listed above. I believe that through these videos the target audience has been catered for and addressed.
The video by Tiesto begins in a lower class American diner, with a tracking shot of a working waitress. This shot most likely uses a hand held camera to give the video a sense of realism, which is carried out throughout the continuity of the video and constructs the narrative performance to look like a 'home video'. The performance as a narrative itself follows two young women taking a spontaneous journey. The video uses many close up shots with excessive focus on their bodies which links to Mulvey's theory of the male gaze due to the objectification of women used here for the male audiences benefit.
However this focus on the women may arguably be empowering to females and create a sense of desire for female audiences.
The main focus in the music video for 'Nobody to love' is again on women. The video is also based on the journey of two young women through music.
At the start of Sigma's video a lower angle hand held camera tracking shot is used as the women are shown dancing in the ocean with focus on their bottoms and bodies in minimal bikinis. This again links to the male gaze with close up shots of the women dancing to appeal to heterosexual male audience. As the narrative of this video continues the representations of race arguably become inappropriate with the cultural appropriation shown specifically through the use of the native Indian headdress. The video narrates two white middle to upper class women driving through a lower class town/village where the population is predominantly of African decent, presenting them to be poor. This is problematic for the video however it may be expressing the dance genre's history from Africa yet the appropriation does not portray that clearly.
In each of these videos the Dance genre fanbase is arguably presented to be both male and female aged from young teens to around 30. The songs relate to many demographic categories due to accessibility with radio and online access and the fact that both songs are mainstream.
As previously mentioned there is particular focus on the women in both videos especially their bodies which links to the male gaze and therefore appeals to the male audience.
Overall these two videos share similar qualities and conventions (such as the dancing and narrative of two female girls) which promotes the dance genre yet does include some problematic scenes as listed above. I believe that through these videos the target audience has been catered for and addressed.
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