MASTERARBEIT Alles Nur Show?

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MASTERARBEIT Alles Nur Show? MASTERARBEIT Alles nur Show? Eine Analyse über die (Selbst-)Präsentation deutscher Rapperinnen in ihren Musikvideos Zur Erlangung des Mastergrades an der Kultur- und Gesellschaftswissenschaftlichen Fakultät, der Paris-Lodron- Universität Salzburg, am Fachbereich Kommunikationswissenschaft Eingereicht von Celebi Aylin, BA Matr. Nr.: 1221946 Gutachterin Ass. Prof. Mag. Dr. Thiele Salzburg, April 2019 Eidesstattliche Erklärung Hiermit versichere ich an Eides statt, dass ich die vorliegende Seminararbeit Bakkalaureatsarbeit Masterarbeit ohne fremde Hilfe und ohne Benutzung anderer als der angegebenen Quellen und Hilfsmittel angefertigt und die den benutzten Quellen wörtlich oder inhaltlich entnommenen Stellen als solche kenntlich gemacht habe. Diese Arbeit wurde in gleicher oder ähnlicher Form noch bei keiner anderen Prüferin/ keinem anderen Prüfer als Prüfungsleistung eingereicht. Mir ist bekannt, dass Zuwiderhandeln mit der Note „nicht genügend“ (ohne Möglichkeit einer Nachbesserung oder Wiederholung) geahndet wird und weitere rechtliche Schritte nach sich ziehen kann. Diese Arbeit wurde neben der gedruckten Version auch als E-Mail zur Prüfung der o.g. Erklärung der zuständigen Prüferin gesendet. Salzburg, 02. April 2019 (Ort und Datum) (Unterschrift) Inhaltsverzeichnis 1 Einleitung ............................................................................................................................ 1 2 Definitionen ........................................................................................................................ 5 2.1 Hip-Hop ........................................................................................................................ 5 2.1.1 DJing/Turntablism ................................................................................................ 9 2.1.2 Rap/MCing .......................................................................................................... 11 2.1.3 Breakdance/B-Boying ......................................................................................... 13 2.1.4 Graffiti/Writing ................................................................................................... 15 2.2 Hip-Hop in Deutschland/BRD .................................................................................... 17 2.3 Hip-Hop im wiedervereinigten Deutschland ............................................................. 19 3 Musikvideo ........................................................................................................................ 19 3.1 Geschichte des Musikvideos...................................................................................... 21 3.2 Geschlechterdifferenzierung in Musikvideos ............................................................ 24 3.3 Sexualisierung in Musikvideos ................................................................................... 27 3.4 Funktion von Musikvideos ......................................................................................... 27 3.5 Wirkung von Musikvideos ......................................................................................... 28 4 Sexualisierung ................................................................................................................... 30 4.1.1 Definition Sexualisierung .................................................................................... 31 4.1.2 Sexualisierung (in) der Gesellschaft ................................................................... 32 4.1.3 Sexualisierung und Medien ................................................................................ 32 4.1.4 Auswirkung von Sexualisierung .......................................................................... 36 4.2 Geschlechterstereotype ............................................................................................ 37 4.3 Gender und Musik ..................................................................................................... 41 5 Frauen im Hip-Hop ............................................................................................................ 42 5.1 Frauenbild im Hip-Hop .............................................................................................. 45 5.2 Männerbild im Hip-Hop ............................................................................................. 47 5.3 SXTN ........................................................................................................................... 49 5.4 Eunique ...................................................................................................................... 51 5.5 Schwesta Ewa ............................................................................................................ 52 5.6 Kitty Kat...................................................................................................................... 54 5.7 Lady Bitch Ray ............................................................................................................ 55 6 Objektifizierung ................................................................................................................. 56 6.1 Selbst-Objektifizierung .............................................................................................. 57 6.2 Objektifizierende Blicke ............................................................................................. 59 6.3 Medien und (Selbst-)Objektifizierung ....................................................................... 60 7 Forschungsstand ............................................................................................................... 60 8 Zwischenfazit..................................................................................................................... 65 9 Methodisches Vorgehen ................................................................................................... 66 9.1 Forschungsdesign ...................................................................................................... 66 9.2 Qualitative Inhaltsanalyse ......................................................................................... 67 9.3 Video- und Filmanalyse ............................................................................................. 69 9.3.1 Handlungsanalyse............................................................................................... 71 9.3.2 Figurenanalyse ................................................................................................... 72 9.3.3 Analyse der Bauformen ...................................................................................... 72 9.3.4 Analyse der Normen und Werte ........................................................................ 73 9.4 Untersuchte Variablen ............................................................................................... 73 9.5 Kategoriensystem ...................................................................................................... 75 9.6 SXTN – Von Party zu Party ......................................................................................... 77 9.7 Eunique – Giftig/Genau so (ft. Veysel) ...................................................................... 81 9.8 Schwesta Ewa – Escortflow ....................................................................................... 92 9.9 Kitty Kat – Sugamami ............................................................................................... 100 9.10 Lady Bitch Ray – Cleopatra ...................................................................................... 106 9.11 Zusammenfassung ................................................................................................... 110 10 Schlussfolgerung ............................................................................................................. 114 11 Literaturverzeichnis ........................................................................................................ 119 12 Abstract ........................................................................................................................... 132 Abbildungs- und Tabellenverzeichnis Abbildung 1 Szenze 1: Juju mit anderen Männern .............. Fehler! Textmarke nicht definiert. Abbildung 2 Szene 2: SXTN im Club Im Hintergrund überwiegend Frauen – wenige Männer .............................................................................................. Fehler! Textmarke nicht definiert. Abbildung 3 Szene 3: Juju und Nura auf einer weißen Hummer Limousine.. Fehler! Textmarke nicht definiert. Abbildung 4 Szene 4: Nura im Raum mit anderen Menschen ............. Fehler! Textmarke nicht definiert. Abbildung 5 Szene 1: Eunique im Studio.............................. Fehler! Textmarke nicht definiert. Abbildung 6 Szene 2: Eunique während dem Trainieren ..... Fehler! Textmarke nicht definiert. Abbildung 7 Szene 3: Eunique mit Kobra Militär auf den Treppen ..... Fehler! Textmarke nicht definiert. Abbildung 8 Szene 4: Eunique auf dem Fahrrad .................. Fehler! Textmarke nicht definiert. Abbildung 9 Szene 5: Eunique mit zwei Frauen neben einem schwarzen Auto .............. Fehler! Textmarke nicht definiert. Abbildung 10 Szene 6: Eunique am Pokertisch mit Männern im Hintergrund ................ Fehler! Textmarke nicht definiert. Abbildung 11 Szene 7: Eunique mit Kobra Militär in einem Tattoo Studio ... Fehler! Textmarke nicht definiert. Abbildung 12 Szene 8: Eunique mit Veysel in einer Lagerhalle ........... Fehler! Textmarke nicht
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