''Caught in a Bad Romance''

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''Caught in a Bad Romance'' Örebro Universitet Institutionen för humaniora, utbildning och samhällsvetenskap ’’Caught in a Bad Romance’’: En kvalitativ fallstudie om genuskonstruktioner i en musikvideo Kandidatuppsats, 2020-06-05 Medie- och kommunikationsvetenskap Handledare: Vladimir Cotal San Martin Författare: Linda Nordeman Abstract The purpose of this study is to see how gender is produced in one music video, chosen by a stratified, purposive sampling. This is done partly by studying the visual and linguistic dimensions of the text, partly by defining its discourse. The analysis is conducted by using MCDA (Multimodal critical discourse analysis). To study the material, the video was segmented into smaller sections based on the parts of the song (chours, verse etcetera). The semiotic resources that is considered in this analysis is participants, gaze and poses. The result of this study shows that, in this particular music video, gender is portrayed in similar ways through the resources. The gender of the dominant and strong woman is mostly portrayed through hands placed in the waist, legs placed wide and a neutral face combined with eye contact or hidden eyes/gaze. The innocent, emotional woman is portrayed through a including gaze towards the viewer. The gender man on the other hand is portrayed as dominant and strong through a intense, observing gaze and a relaxed body in combination with a broad-legged position. It also became clear that women were more sexualized that men in the video, even though they both established dominance through the same use of the resources in the bigger part of the video. The discourse for the material was connotated to be mostly a sexual discourse with a hint of and emotional- and/or love discourse. Key words: Discourse, Gender, Lady Gaga, Men, Multimodal critical discourse analysis, Music video, Music, Semiotics, Text analysis, Women Innehållsförteckning 1. Inledning ......................................................................................................................................................1 1.1 Syfte & frågeställningar ..........................................................................................................................2 1.2 Bakgrund ................................................................................................................................................2 1.2.1 Lady Gaga .......................................................................................................................................2 1.2.2 Genusvetenskap ...............................................................................................................................3 1.3 Disposition .............................................................................................................................................3 2. Tidigare forskning: genus inom musiken ....................................................................................................3 2.1 Kvinnans roll i musiken ...........................................................................................................................4 2.2 Sexualisering och objektifiering...............................................................................................................5 2.3 Genusskillnader i musik ..........................................................................................................................6 2.4 Sammanfattning ......................................................................................................................................8 3. Teori.............................................................................................................................................................8 3.1 Begreppet genus ......................................................................................................................................8 3.2 Populärkultur .........................................................................................................................................9 3.3 Semiotik ..................................................................................................................................................9 3.3.1 Denotation & konnotation .............................................................................................................. 10 4. Metod & material ...................................................................................................................................... 11 4.1 Kvalitativ forskningsmetod .................................................................................................................... 11 4.2 (Multimodal) kritisk diskursanalys......................................................................................................... 11 4.2.1 Begreppen kritisk, diskurs & ideologi ............................................................................................. 12 4.3 Segmentering ........................................................................................................................................ 13 4.4 Genomförande ...................................................................................................................................... 13 4.4.1 Validitet, reliabilitet & etiska övervägningar .................................................................................. 15 4.5 Material, urval & avgränsningar ........................................................................................................... 17 5. Analys ........................................................................................................................................................ 18 5.1 Bildanalys (segmentering) ..................................................................................................................... 18 5.1.1 Sekvens 1: (00:00-00:12) .............................................................................................................. 19 5.1.2 Sekvens 2: (00:13-00:45) .............................................................................................................. 21 5.1.3 Sekvens 3: (00:46-01:25) .............................................................................................................. 22 5.1.4 Sekvens 4: (01:26-02:06) .............................................................................................................. 24 5.1.5 Sekvens 5: (02:07-02:46) ............................................................................................................... 26 5.1.6 Sekvens 6: (02:47-03:27) .............................................................................................................. 28 5.1.7 Sekvens 7: (03:44-04:16) .............................................................................................................. 30 5.1.8 Sekvens 8: (04:17-04:58) .............................................................................................................. 32 5.1.9 Sekvens 9: (04:59 – 05:08) ............................................................................................................ 34 5.2 Textanalys............................................................................................................................................. 34 5.2.1 Vers 1 (00:46-01:17) ...................................................................................................................... 35 5.2.2 Refräng (01:26-01:59) ................................................................................................................... 35 5.2.3 Vers 2 (02:07-02:38) ...................................................................................................................... 35 5.2.4 Mellanspel/stick (03:44- 04:15) ...................................................................................................... 36 5.3 Diskursanalys ....................................................................................................................................... 36 6. Resultat ...................................................................................................................................................... 37 7. Diskussion & framtida forskningsmöjligheter .......................................................................................... 39 8. Sammanfattning ........................................................................................................................................ 41 1. Inledning De moderna medierna, det vill säga exempelvis TV, litteratur och Internet, är någonting som genomsyrar våra dagliga liv i allt större utsträckning. Vårat sätt att se världen, oss själva och vår omgivning på präglas till stor del av dessa mediers kunskapsspridande funktion. 1 Medier kan sprida olika budskap i olika form. Det kan exempelvis handla om reklamposters i tunnelbanan, politiska debatter i TV eller genom en musikvideo på YouTube. Musik, film och andra kulturella fenomen får alla plats under begreppet populärkultur. Begreppet populärkultur är väldigt brett, men kan i korta drag definieras som kulturella artefakter som befolkningen har generell kännedom om, är massproducerade och är den del av en marknad; men som också är omtyckta och lättillgängliga. 2 Inom musiken kan en sådan artefakt vara exempelvis en sång i sig eller en musikvideo som då blir allmänt känd hos publiken, exempelvis genom radio, YouTube eller streamingtjänster. Vad medier producerar både visuellt och textuellt kan vara formande för individen
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