Objectification in Music Videos: Patriarchy or Raunch Cultural?

By Alexander Praag

Intro
Since, the rise of MTV in the 1980's, the topic of objectification in music videos has provoked much discourse,
particularly concerning, the sexualization of women. Sexual objectification in music videos has led to much
debate, with concerns over; the effects that such media texts have on society and the dominance of
hegemonic masculinity in the film and music industries. Objectification can be best defined as seeing or
treating an individual or group of people without regards to their dignity. In this sense, their status is
diminished of to an object of use. Objectification can be subdivided into ten sub-contexts, through Martha
Nussbaum's (1995) and Rae Langton's (2009) objectification theories. One of Nussbaums most notable sub
contexts is Instrumentality-the treatment of a person as a tool for the objectifier's purposes. Gender Equality
has taken a central focus in modern history, with its roots being traced back to 18th Century Shaker
Communities and the rise of the Suffrage Movement. Objectification, undoubtedly, has taken place for
thousands of years. Its body is believed to have stemmed from biology and human nature, as-well as, social
and cultural conditions, leaving its primal roots unidentifiable. This paper, will seek to establish the degree to
which objectification in music videos arises from Patriarchy and to examine the 'growth' of Raunch culture as a
factor of objectification in music videos. A variation of media texts will be examined in this paper, however.
Music Videos, however, will take a main focus in this paper. Such music videos as .. And will be
analysed alongside numerous other cases. These texts will be analysed by drawing upon an assortment of
theories and schools of thought, with a particular look at Patriarchy and Raunch Culture.
The definition of Patriarchy is a much-disputed topic. Feminists argue that the term associates best to an
oppressive societal structure. The London Feminist Network describes Patriarchy as a term used to describe
the society in which we live today, characterised by current and historic unequal power relations between
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women and men whereby women are systematically disadvantaged and oppressed. This definition implies
that masculine hegemony dominates society and as a result creates gender inequality. The LFN also believes
that patriarchy takes place across almost every sphere of life but is particularly noticeable in womens under representation in key state institutions, employment and industry. This view reinforces the idea of masculine
hegemony and suggests that it takes place within various industries, presumably the music industry being one
source. The LFN also consider male violence against women to be a key feature of patriarchy. They also believe
that Women in minority groups face multiple oppressions in this society, as race, class and sexuality intersect
with sexism for example. Violence against women in music videos, especially those of an ethnic background
have arguably become astoundingly prominent in videos from all genres of music, but particularly those of the
Rap/Hip Hop genre. In 2014, the Violence against Women Coalition published Pornographic Performances, a
paper which linked violence in music videos to domestic violence of woman in society. This further expressed
the concern and allowed it to become more apparent to society, in particular the ruling institutions of states,
which inherently are consumed by masculine hegemony. However, the Feminist definition of the term is
counterpointed by a definition given by the Collins Dictionary. This source breaks the term down into two
defining points. Firstly, as a form of social organization in which a male is the head of the family and descent,
kinship, and title are traced through the male line. When approached in this sense, the term suggests a set of
genealogy rules, which determine how society is structured. Secondly, it can be thought as any society
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governed by such a system.
Raunch culture is a term coined by feminist Ariel Levy in her book, Female Chauvinist Pigs: Women and the
Rise of Raunch Culture. Raunch culture refers to the over-sexualised culture of the United States, which not
only objectifies women, but also encourages women to objectify themselves in the false belief that this is a

form of female empowerment. In the broadest sense, the concept suggests that women are being influenced
as a result of being victimised. Cultural globalization and the growth of an US homogenization have allowed for
US culture to spread across the Western world, creating a Raunch culture pandemic. It is undeniable that
patriarchy conceived Raunch Culture; however it is now arguable that Raunch Culture has progressed to
become a form of liberation (albeit perhaps false liberation.)

Chapter 1- Patriarchy: An entrenched value in society

Although the roots of Patriarchy are unclear; it has become an entrenched segment of modern society, having
been widely ingrained into various cultures. It is arguable that the earliest form of patriarchy couldve
developed biologically in hominidae, early mammals and hominin. It is very evident that early hominin and
mammals had very distinct sex roles. Biologically, men have more defined muscles giving them a greater
strength advantage over women- this being defined by males having a higher hormone ratio of Testosterone
to Oestrogen and vice versa with females. This resulted with Males becoming the hunters, whilst the females
generally remained in their habitat to nurture their young and cook. Another reason for this division of labour
was that it is much easier to look after a baby while gathering fruit than while hunting a fast-moving animal.
Women also have the biological disadvantage of becoming pregnant, which gave men an advantage-the ability
to dominate various fields of early society. The development of gender roles in early societies is arguably a
form of passive objectification, in which men excluded women from certain roles in society, e.g. hunting or
tool-craft. As society developed, men continued to take dominant roles in society and predominantly
dominate social, governmental and economic systems- leading to masculine hegemony. In modern society,
this led to women being sidelined or labelled as housewives. The term housewife may sometimes be used in
contrast to a career woman. In consideration of Nussbaums features of objectification, this could be
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considered as Inertness: the treatment of a person as lacking in agency, and perhaps also in activity. By
considering a biological approach, it is possible to suggest that patriarchy has become passively entrenched
into society, without forceful exertion. Despite an upsurge in Gender Equality, in particular, the Womens
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rights movement in the 19 century, this has arguably, resulted with women becoming objectified in various
ways. In effect, resulting with woman being objectified as a norm of society and through their exclusion to
practice the arts professionally this has become reflected in film, literature and music.
Both Classic and Shakespearean literatures alike have arguably objectified female characters in some shape or
form. Because literature often reflects the views of a culture, the sexual objectification of women commonly
appears in literature. Whether they have small or large roles in a plot, female characters are sexually
submissive in some way and portrayed as subservient to men. Queen Gertrude in Shakespeares Hamlet
(est.1602) can be thought to be driven by lust. This portrayal could reflect the sexual objectification of women
during this period. By depicting Gertrude as he did, Shakespeare suggests that Gertrude thinks little of
anything other than passion. This portrayal of Gertrude conforms to the belief that woman are merely objects
of sexual desire, showing the sexual objectification of woman during this time period. Similarly, the sexual
objectification of women is evident in Dracula (1987) by Bram Stoker. Dracula was written in the Victorian era,
so the novel reflects Victorian ideals, most notably the pureness and virginity of a woman. In Dracula, the
character of Lucy appears to be similarly driven by passion and lust. Other characters in the novel value Lucy
merely for her uses rather than her personality. Lucys actions reflect this belief when her desire for intimacy
causes her to be lured in by Count Dracula. Many nights, when Lucy is alone in bed, Count Dracula will enter
her room and suck her blood; a symbol of sexual intercourse. As a result of entering into sexual relations with
Dracula, Lucy transforms into a vampire herself. As a vampire, Lucy is no longer the virginal Victorian women
engaged to Lord Godalming. Her sexual exploitation leads to desire, which transforms her into a terrible beast

driven by lust. The portrayal of women as either pure virgins or lust driven beasts suggests that women are
little more than sexual objects, exemplifying the sexual objectification of women in the Victorian period.
The Film industry is another familiar participant in the objectification of women. Much like literature, film has
also been known to reflect culture, hence leading to the objectification of women. It has perhaps also occurred
through literature adaptations being fed into film, notably; Jane Austens classic novel Pride and Prejudice.
Despite being a female author, Austens work inevitably inherited some form of objectification and when
adapted by a male director it possibly became further entrenched.
Unlike literature, film has the ability to visually objectify characters through the use of shot types, costume and
stock characters. Generally speaking film has become critically renowned for women characters taking on the
role of a Femme fatale. In film theory, this archetype is a stock character of a mysterious and seductive woman
who attempts to achieve her hidden purpose by using feminine wiles such as beauty, charm, and sexual
allure. In itself, the definition of this archetype could be viewed as objectification as this role involves the
female character being lustful and needy of males. In almost every noir film, the femme fatale attempts to use
her sexual power to manipulate and finally destroy the male protagonist. Mary Astors character of Brigid
OShaugnessy in John Hustons, The Maltese Falcon (1941) is a prime example of this stock character. Although
the character of Spade falls in love with the femme fatale, wonderly, he is ultimately immune to her spells.
When he discovers that Brigid murdered Miles Archer, he refuses to protect her and instead turns her over to
the police. This yet again, portrays female characters as lust driven, who without their sexual persuasion
cannot pursue their aims and hence suggesting that women are little more than sexual objects.
Both, the use of various shot types and costume can also objectify female characters within film. The framing
of a shot has the ability to objectify female characters by creating what Laura Mulvey in Visual Pleasure in
Narrative Cinema (1975) coined as the Male Gaze. The concept of the Male Gaze, suggests that audience views
the film from the perspective of a heterosexual male. Mulvey states that in film women are typically the
objects, rather than the possessors, of gaze because the control of the camera. Thus the gaze comes from
factors such as the as the assumption of heterosexual men as the default target audience for most film genres.
The theory suggests that the male gaze denies women human identity, relegating them to the status of objects
to be admired for physical appearance. Women are usually displayed on two different levels; firstly as as an
erotic object for both the characters within the film and secondly, for the spectator who is watching the film.
In the opening scene of Peeping Tom (1960), an anonymous male character, with a camera concealed within
his jacket approaches a woman. As the man nears the woman, the camera lingers over the curves of a
womans body. By using such camera movements, the woman instantly becomes an object of desire for both
the male character and the spectator of the film, whilst creating a sense of voyeurism.

The final industry in consideration has perhaps become the most infamous when it comes to objectifying
women. The Music business has become overwhelmed by female objectification as a result of two factors; the
lyrics of songs and promotional material such as advertising and music videos. The Popular and Rap genres
have been most criticised in doing so, having been repeatedly accused of using lyrics that are derogatory and
misogynistic. Scholars have proposed various explanations for the presence of misogyny in hip-hop culture.
Some have argued that rap artists use misogynistic lyrics and portrayals as a way to assert their masculinity.
Others have suggested that rap music is a product of its environment, reflecting mainstream attitudes toward
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women. In turn, hip-hop artists have internalised negative stereotypes about women. The conjunction of
lyrics and visuals within a music video has created amplifying the representations and consequently amplifying
sexuality. Perhaps logic to why the Music industry has become one of the most criticised actors in the
objectification of women.

Music Videos have become a definitive by-product of the music industry and has seen film spill-over into the
music business. Despite the growing prominence of music videos in the 1980s, their origin had perhaps
derived fifty years prior. The creation of Sound film and subsequently, the series, Screen Songs (1929), were
the first examples of commercial music being placed in film. Similarly, early 1930s cartoons featured popular
musicians performing their hit songs on-camera in live-action segments during the cartoons. Both of the
previous were methods in which musicians could effectively advertise their music above earlier standards of
promotion. The musical sequences furnished basic templates on which countless subsequent early music clips
and later music videos were modelled. By the 1950s, short black and white video clips were being produced to
promote the music of artists. In 1957, Elvis Presleys item Jailhouse Rock, the famous theme prison rock, was
aired on live television; marking the start of music being aired on television and in particular the modern music
video. From then onwards, driving into the sixties and seventies; this spurred a trend of musicians creating
promotional material that could either be aired on TV or as a film. Nevertheless, the combination of Early
shorts, video clips and promotional clips were another undoubted victim of an ingrained patriarchal society.
The promotional video for These Boots Are Made for Walkin by Nancy Sinatra is a prime example of this. In
the first instance, the camera appears to linger across the legs of Sinatra and her dancers as they enter the
frame. Although, the male gaze theory was orientated around 1950s cinema, it can be applied to other media
texts as such. In the second instance, both are depicted flaunting their bodies; appearing teasing and
seductive.
Although, music videos were being produced there was no official platform for them to be distributed. The
1980s marked a monumental change in the distribution of music videos with the arrival of Music Television or
MTV. Such a prolific introduction created an immediate effect and allowed for music videos to be distributed
to a potential global market- to where the channel was being broadcast. Since then, music videos have
rocketed and have become a fundamental structure in music advertising. The production of music videos for
commercial gains has arguably evoked a need for sexy, eye-catching material. Although, earlier music clips had
perhaps sexualized women, this period marked a point in which music videos would further deepen into an
entrenched patriarchal culture. This deepening perhaps reflected the economic considerations on
objectification. It could be suggested that music videos use misogyny as a tool to achieve commercial success.
The video for Britney Spears Baby One More Time is a key example in highlighting sexualization to gain
commercial success. Spears appeared wearing a revealing and risqu adaptation of a school uniform;
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provoking controversy among parents associations for showing the midriff of a sixteen-year-old.
Despite their huge commercial power, record labels could occasionally be forced to remove music videos from
MTV due to censorship issues. Regulation during this era was minimal and only covered such concerns as fullon nudity or sexual acts. The music video for Mtley Cres Girls Girls Girls is a key example. The music video
was shot in a strip joint on the Sunset Strip and featured crudely dressed erotic dancers performing submissive
routines. This features women in the possession of the band; creating a sense of ownership. This diminishes
the women to little more than items of sexual desire. The original cut of the video was banned by MTV for
having completely nude women dancing around the members of the band in a strip club. The band later made
another version of the video that was accepted by MTV.
With the introduction of the World Wide Web in the 90s, information could now be stored online. This
eventually led to various online platforms being created such as the 2005 creation of YouTube- the video
sharing website. The creation of YouTube has perhaps placed an equally monumental impact on the sharing of
music videos, as MTV. Its creation has further expanded the global reach at which music videos can be
received and continually shared. The music video for Candy Shop by 50 Cent gained a fierce and volatile
reception for its use of a crude and derogatory theme. The video exploits the theme of male fantasy and in
doing so objectifies woman through instrumentality, ownership and a reduction to appearance. At the
beginning of the video, 50 Cent, enters the mansion and gazes upon a hoard of crudely dressed woman;
perhaps connoting that they are little more than items in a 'candy shop'. The actions of the female characters

are portrayed no better. In one shot, a woman dressed as a nurse is denoted seductively dancing for and
throwing herself at the rapper, whilst in another, a woman dressed as a dominatrix is seen whipping the
clothes off the rapper. This similarly objectifies women through instrumentality. Entertainment Weekly wrote
that it was an "appealing throwaway and lyrics such as "after you work up a sweat, you can play with the
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stick" are not seductions; "they're orders". This opinion suggests the denial of autonomy; the treatment of a
person as lacking in autonomy and self-determination. This music video is perhaps one of the most
transparent exhibitions of how a music video can amplify the lyrics. In 2013, music videos by Robin Thicke,
Miley Cyrus and Lily Allen generated considerable debate, reflection and controversy. Central to all these
discussions are questions about sexism and racism and what messages are conveyed about women,
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particularly black and minority ethnic women.
The objectification of men is perhaps also a consequence of a patriarchal society. The process in which this
occurs takes on two arguments. Firstly, Men, as a result of sexualizing women to benefit capital, have fallen
into a cycle of objectification. Secondly, some equity and third-wave consider that the women's sexual
liberation has led many women to a role reversal, whereby they view men as sex objects, in a manner similar
to what they criticize about men's treatment of women. The music video for Carly Rae Jepsens Call Me Maybe
is a clear example of the objectification of men. In the clip, the singer is denoted gazing out of a window at an
idealized muscular man. A later shot denotes the man removing his top in slow motion; intensifying the
sexualization of the act.
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It is undisputed that the production of top Hollywood films and music videos are dominated by men. In 2012,
the ratio of men to woman employed as directors or cinematographers on the top 250 films was particularly
drastic in comparison to other production roles. Men made up 91% of directors and 98% of cinematographers,
whereas women shadowed at 9% and 2%. Therefore a simple and perhaps unjust link could tie patriarchy to
objectification and particularly sexual objectification. Perhaps, in this sense, patriarchy is an ingrained part of
our culture and media industries.

Chapter 2- Patriarchy: the effects on society

This section of the paper will consider the impacts of patriarchy in music videos, negative and positive, and the
effects they have on society. In doing so, various music videos will be analysed to help illustrate the
consequences on society. A patriarchal society indisputably comes at consequence. Considering that patriarchy
is embedded in the arts, they have also attributed these consequences. Considering the near-universal
reception of music videos and a prevalent US monoculture, these consequences could possibly affect various
western societies on a global level. The impacts in consideration are on; self image, hyper-sexualisation,
violence against women, race issues and broadly speaking gender inequality.
It is arguable that music videos are capable of influencing and distorting the self-image of people; both male
and female. However, it is thought that women, in particularly the 12-25 age group, are more vulnerable to
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such influence. There is a tendency for the choice in actors or dancers to reflect a constructed and idealized
body image, with men idealized as muscle-men and women as super-models. The choice of female actresses
in the music video for Blame by Calvin Harris reflects this inclination. The women in the video reflect this
ideal, as all of their bodies meet commercial criteria. The unintended consequences of idealized advertising
imagery have been explored mainly from the basis of social comparison theory. The common findings are that
idealized images in advertising raise comparison standards for attractiveness and lower women's satisfaction
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with their own attractiveness. This has caused people, in particular women, to be more weight and
cosmetically conscious of themselves. The influence on self-image may also result in cross-consequences.

Subsequent studies have made an association between low self-image and negative mental and physical
health implications. Eating disorders, Anxiety and Depression are thought to be the most common mental
health illnesses linked with low self-image. Meanwhile, physical implications can occur subsequent of mental
illness and can take form of; a higher risk of heart diseases, metabolic disorders and respiratory diseases. The
possible impact that music videos can have on self image is disturbing, however, it is questionable whether it is
any worse than that caused by any other form of advertising or visual media.
It is also thought that music videos have the potential to sexualize children and adolescents. These age groups
spend more time engaging with media more than any other age range. This is a time in their life that they are
more susceptible to information that they receive Children are getting sex education from the media, little kids
are exposed to sexualized images and more information than ever before in human history but are not able to
process the information, they are not developmentally ready to process it, and this impacts their development
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and behaviour. Studies have repeatedly noted that women are sexualized far more often than men.
However, this does not necessarily mean that men are not continually victimized by sexualization. The
American Psychological Societys 2007 report considered four defining situations in which an individual
12
becomes sexualized. In the first instance, when a person is held to a standard that equates physical
attractiveness with being sexy. In the second, when sexuality is inappropriately imposed upon a person. The
previous attributes have perhaps gained the most media attention with a large emphasis on the concern of
sexualized clothing; with the use of revealing attire in music videos is a possible contributor to this. The music
video for Pour it Up by Rihanna is an example of where the use of costume is explicit and grossly unnecessary.
In the video, the singer is denoted wearing skimpy shorts that reveal her behind and a bra that barely covers
her chest. Such attire could easily be imitated by young individuals and hence resulting with them selfsexualizing. These situations could be considered as sexualisation through possession as individuals are
sexualised via their attributes. Thirdly, a person is sexually objectifiedthat is, made into a thing for others
sexual use, rather than seen as a person with the capacity for independent action and decision making. And
Last of all, if a persons value comes only from his or her sexual appeal or sexual behaviour, to the exclusion of
other characteristics. These situations could be considered as sexualization through action as individuals are
sexualised via their activities. The music video for Wiggle by Jason Derulo is an example which could provoke
sexualized behaviour. The rappers lyrics are hypersexualized and persistently harass women; with commands
to execute sexual acts and shake their behinds for his pleasure. In the video, the lyrics are amplified by the
dancers imitating the lyrics of the song. There is a concern that children and adolescent females will register
such behaviour as a social norm and hence leading to them to become sexualized. Another concern is that
adolescent males which register this as a social norm and will harass women much alike the rapper.
Violence against women in music videos is another imitable behaviour that could be reflected in society. Such
violence could take the forms of domestic, physical and verbal use. Music videos depicting violence to women
causes and sustains the cycle of violence. The Scottish Home Affairs reported in 2005 the levels of domestic
abuse committed by 16-18 year olds grew by around 70%. One of the reasons suggested for this dramatic raise
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is the culture of music that depicts and glorifies violence towards women. Banduras study of Transmission of
aggression through imitation of aggressive models best reflects this concern. The study helped develop what
is known as social development theory; an approach to child development which states that children develop
through learning from other people around them. In particular social learning theorists emphasise the role of
observation and imitation of role models. The study found that aggressive male models were more likely to be
imitated than aggressive female models. One probable reason for this is to do with sex roles: perhaps it is
more acceptable in Western culture for men to be aggressive than women and even by three or four years of
age children are learning the dominant stereotypes that relate to sex-role differences. Therefore, aggressive
male models are more likely to be imitated since this is seen by the child as more fitting or appropriate for
14
men (in general) than for women (in general). The music video for Smack My Bitch Up by The Prodigy is
perhaps most infamous example of violence against women in music videos. The video was banned from
music television in both the UK and US following fierce criticism for misogyny and encouraging violence against

women. Throughout the video, women are repeatedly assaulted; being pushed, smacked or groped. It is
possible that young individuals who watch such visual material could imitate this behaviour and acknowledge
it as a social norm. Repeated exposure to violent lyrics may contribute to the development of an aggressive
personality' and thus lead to more aggressive behaviour.

Another concern is racist stereotyping. Race has become another topic of discourse surrounding the
production of music videos, with arguments highlighting the hypersexualization and racial stereotyping of
black people. Both men and women have become victimised through this consequence. Recognition of racist
stereotyping, where present, was ungendered highlighting either the invisibility of black men or equations of
15
black masculinity with aggression and criminality. This is evident throughout most music videos for black
male artists; an example being the music video for Many Men by 50 Cent. In the video, the rapper is depicted
being beaten and shot by other black men. Later on a case, presumably filled with money, is passed over to the
attackers. Meanwhile, black women are commonly portrayed as hypersexual and with a focus and fascinated
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gaze on their bottoms, invoking ideas of black women as wild and animalistic . The music video for Anaconda
by Nicki Minaj, grossly exaggerates this stereotype with several points being notable. Firstly, the singer and
dancers all wear unnecessarily sexual and revealing attire. Secondly, throughout the video, the singer and
dancers are repeatedly denoted twerking. Third of all, one shot depicts the singer crawling across the floor
like an animal and then progressing to give a man a lap dance. In all instances, the choice of actions and
clothing are unnecessary and provide no revelant function to the music, par that entertainment of the male
gaze. Psychologists Hamilton and Trolier defined a stereotype as a cognitive structure that contains the
17
perceivers knowledge, beliefs, and expectancies about some human group. This definition highlights an
important characteristic of stereotypes: they are structures in our minds, and as such, they function in much
the same way as other structures in our minds do. Psychologists call these cognitive structures schema, and
believe that schema help simplify a complex social environment by quickly and efficiently processing incoming
stimuli based on the presence of a few relevant characteristics. In this sense, the racist characteristics in music
videos have created a pessimistic schema about black men and women, presenting them with a negative
representation in society. Additionally, it could be argued that young black men and women could recognise
this racist schema and internalise to construct their own social image.

What has been done

It is not men who benefit from the oppression of women but capital

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