Here is the synopsis of our sample research paper on Feminist Theory and Videos of Shakira’s “Whenever, Wherever” and Lil’ Kim’s “No Matter What People Say”. Have the paper e-mailed to you 24/7/365.
Essay / Research Paper Abstract
In five pages this paper compares and analyzes these videos within the context of E. Ann Kaplan’s feminist criticism, including her essay entitled “Whose Imaginary? The Televisual Apparatus, The Female Body and Textual Strategies in Select Rock Videos on MTV.” Two sources are cited in the bibliography.
Page Count:
5 pages (~225 words per page)
File: TG15_TGfemvideo.rtf
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Unformatted sample text from the term paper:
gaze and argued that womens passive role in cinema is reflective of their passivity as dictated by the social patriarchy. Typically, feminist theorists argue that in cinema, womens images
are manipulated sexually to appeal to the male gaze. The female is essentially transformed into an object for simultaneous male viewing pleasure and sexual gratification. Feminist theorist E.
Ann Kaplan expanded the media focus to include the influence of music videos, their portrayals of women, and the interpretations of these depictions. Heavily influenced by Jean Baudrillards postmodernist
philosophy, Kaplan argues that music videos are postmodern because the postmodern culture it represents "builds on and satisfies already dominant masculine qualities such as violence, destruction, consumption, phallic sexuality, and
appropriation of the female in the non-male image (Kaplan 39). She further develops her feminist theory approach to the portrayal of women in rock videos in her essay entitled
"Whose Imaginary? The Televisual Apparatus, The Female Body and Textual Strategies in Select Rock Videos," which can be applied to an analysis of Shakiras video "Whenever, Wherever" and Lil Kims
video "No Matter What People Say." Kaplan would define social imaginary as the point within a video in which there are contradictions in how old and new discourses about sex
are portrayed within the context of a "televisual apparatus" (134). This refers to how the video images are displayed on the television through the use of technology. She
incorporates Baudrillards hot and cold perceptions of the postmodern universe to her critique of MTV videos. This is certainly evident in "Whenever, Wherever," which is the quintessential contemporary video
televisual apparatus full of an incessant onslaught of Shakiras images with the emphasis clearly on the female body as seductive sex object. The videos opening sequence displays scantily clad
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