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Music Video Ananysis

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Music Video Ananysis
Charlotte Myers Welcome to the Candy Shop? COM 311-02 3-16-2012

Part 1:Music Video The generation born between the mid 1980’s and the mid 1990’s were the first to grow up exposed to music videos. From shows like MTV’s TRL, Making the Video, and music video countdowns it was practically impossible to turn on the television and not see some sort of music video. Music videos became part of the culture for children and adolescents. However, these videos were not always portraying the best images to these young impressionable individuals. The most common negative illustration that one would see in a music video was the portrayal of women as both objects and highly sexualized beings. The music video Candy Shop, featuring the male rapper 50 Cent as well as the female artist Olivia woman, shows men as the superior gender, woman being subservient to men, along with woman as highly sexualized objects. In the opening scene of the Candy Shop music video the first thing you see is a big beautiful mansion. Everything is dark and there is fog rolling over the ground. You hear the roar of an engine and a red sports car as the car enters the gates that surround the home. The camera films 50 Cent emerge from his vehicle from below so our first sight of him is as a colossal man. 50 Cent walks toward the house and you see the door open. Inside the home there are about six or seven women dressed in lingerie. Inside the home there is an abundance of color. Outside everything is dark and dreary but indoors there is light and woman dressed in bright colors. Additionally, the female artist, Olivia makes her fist appearance standing in the foyer of the home dressed in lingerie as if she was waiting for 50 Cent to enter. Finally the beat of



Cited: Adams, T. M., & Fuller, D. B. (2006). The words have changed but the ideology remains the same: Misogynistic lyrics in rap music . Sage, 36(6), 938-957. Retrieved from http://www.jstor.org.libproxy.chapman.edu/stable/pdfplus/40034353.pdf Cent, 5. (Artist), & Olivia, (Artist) (2005). Candy shop [Web]. Retrieved from http://www.youtube.com/watch?v=SRcnnId15BA&ob=av2e Emerson, R. A. (2002). Where my girls at?": Negotiating black womanhood in music videos . Sage, 16(1), 115-135. Retrieved from http://www.jstor.org.libproxy.chapman.edu/s table/pdfplus/3081879.pdf?acceptTC=true Fitts, M. (2008). "drop it like it 's hot": Culture industry laborers and their perspectives on rap music video production. Indiana University Press, 8(1), 211-235. Retrieved from http://www.jstor.org.libproxy.chapman.edu/stable/pdfplus/40338918.pdf?acceptTC=true& Kalof, L. (1993). Dilemmas of femininity: Gender and the social construction of sexual imagery. Wiley-Blackwell, 34(4), 639-651 . Retrieved from http://www.jstor.org.libproxy.cha pman.ed u/stable/pdfplus/4121372.pdf?acceptTC=true Wood, J. T. (2012). Gendered lives communication, gender, & culture. (10 ed., p. 279). USA: Wadsworth Cengage Learning.

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