The concept of the male gaze can be understood by examining its historical development and its presence in contemporary society, especially in music videos. According to John Berger, traditional societal norms dictated that men were the ones who took action while women simply appeared. Men would look at women, while women watched themselves being looked at (Berger 1972, 45, 47). Initially observed in European art during the Renaissance period, Berger noted that women were depicted as aware of being observed by male spectators (ibid. 49). He further explained that realistic portrayals in oil paintings and later color photography represented a desire to possess those objects when they appeared within close reach (ibid. 83). In his subsequent writings, Berger emphasized that women continued to be presented differently from men because society always assumed the “ideal” viewer to be male. This resulted in images of women designed to flatter him (ibid. 64).
To support Berger’s theory, in 1996 Jib Fowles asserted that in advertising, men are the ones doing the gazing while women are the ones being gazed at (Fowles 1996, 204). Similarly, Paul Messaris suggests that female models in advertisements directed towards women perceive the camera as representing the viewpoint of an imaginary male observer, and it can be argued that when women view these ads, they see themselves through the lens of how a man would see them (Messaris 1997, 41). These advertisements often imply a male perspective, even though the intended audience is often women.
The ads entice women to relate to both the person being viewed and an implied viewer of the opposite sex (ibid., 44). This male gaze, characterized by dominance and control, is a voyeuristic pleasure embraced by white males in a patriarchal society. It objectifies and sexualizes women for the pleasure of male viewers, resulting in a culture of sexualization and distortion of reality. Women are encouraged to dress and appear sexy not for their own benefit but for men’s satisfaction. This gaze has led to self-reflection and increased awareness of societal expectations regarding appearance for both men and women, though its impact on women is more significant. The male gaze undermines women’s efforts and has infiltrated popular culture through various mediums like films, magazines, advertisements, and billboards. Women have been depicted as models, pinups, and strippers—all aimed at generating profits while attracting a predominantly male audience.
The use of women as sexual objects to promote products has been viewed as a highly profitable concept. Bell Hooks argues that the oppositional gaze, a strong and challenging gaze, is a valuable tool for black people worldwide who have been colonized. Black women view this gaze as a way to resist the traditional male gaze and its portrayal of the ideal woman. In contrast, the white male gaze has perpetuated the stereotype and belief in racial superiority and white supremacy.
The portrayal of the ideal women in various forms of media tend to be white women who embody notions of beauty and sex appeal. According to Bell Hooks, black women are not allowed the privilege of being seen. The oppositional gaze serves as a way to challenge the male gaze and its societal dominance. In agreement with bell hooks, “I not only want to stare, but also desire to look in order to transform reality.” The oppositional gaze empowers women and motivates them to alter the perception of reality.
Is Berger’s theory still relevant in today’s world? Nowadays, accomplished women have achieved great success and possess the power to form their own perspectives on how the male gaze should be defined. They have the ability to decide whether to accept or reject the messages portrayed by the media, selectively taking what resonates with them. In domains such as music videos and the cultivation of ‘Divas,’ these influential women may even leverage their sexuality for professional advantages.
The influence on the prominence and glamorization of sex in contemporary music videos can be attributed to influential women in the music industry, including Beyonce, Madonna, and Lady Gaga. These talented musicians are renowned for their provocative music videos. Nevertheless, there remains a lack of adequate attention and seriousness from the government regarding the regulation of sexually explicit imagery and lyrics featured in these videos and songs.
Today’s typical music video aims to capture the viewers’ attention using explicit sexual imagery and vulgar lyrics. This strategy has proven effective, as the target audience seems to be drawn to these ideas and lyrics. The record industry association of America conducted studies, in collaboration with professors, to determine if sexual images were randomly inserted into music videos or if there was a consistent pattern to their appearance. The findings revealed that sexual images appeared in over 25% of the videos. These images included provocative clothing, suggestive movements, kissing, sexual bondage, and sadomasochism. As music videos are primarily directed towards men, they have become increasingly focused on sexuality. Whether it is a male or female singer, most music videos in the past decade showcase partially nude individuals performing provocative dances. Artists like Britney Spears and 50 Cent consistently feature female figures who are scantily clad and engage in seductive choreography. This appeals to the male audience who watch these videos.
But as mentioned before, are female singers producing videos like this solely for the male benefit or to showcase themselves as strong, successful individuals? Many female singers have been iconic figures for young girls for years, serving as role models and depicting aspirations for their future. This can be perceived positively and negatively. On one hand, it demonstrates that women can achieve success, earn money, and live in luxurious homes. However, the downside is that it may convey to young girls that the only path to emulate these singers is by adopting their appearance and style, using their bodies as objects for men to admire.
Many women in music videos play additional roles that cater to the sexual fantasies of men. This includes acting as strippers, exotic dancers, prostitutes, and even dominatrixes. To fulfill the fantasies of young boys, women are also shown dressing up as teachers and, in turn, as schoolgirls for older male viewers. Other roles include cheerleaders, prisoners, playmates, and even the suggestion of lesbians. The portrayal of lesbians in these videos relates to the common theme of voyeurism or the desire to be watched.
Pornographic elements can be found in music videos as well, with explicit content being subtly concealed but still discernible. Such videos frequently showcase performances and outfits that center around comparable themes. Their intention is to portray the dominance of men over female sexuality, leaving little room for women to express their genuine emotions. This pattern is also apparent in various other media forms like television, magazines, and movies.
Do the rules still apply to female artists as mentioned earlier? The story is heavily influenced by both the individual artist and the ideas established by pre-existing women’s movements. In numerous cases, the artist’s lyrics contradict the visuals in their music videos. The primary challenge for these artists is to convey a unique narrative without losing audience engagement. Madonna’s provocative videos exemplify this, as they may be offensive to some but are presented under the guise of promoting female sexuality.
The female singers demonstrate control over male dancers, making them the sexual objects instead of themselves. However, there is a contradiction between the lyrics and images in their videos. In most cases, female singers express a desire to be taken care of and treated right in their songs, but simultaneously portray themselves as sexual objects by dancing provocatively in minimal clothing.
One significant song that exemplifies these ideas is Britney Spears’ music video “Not a Girl, Not Yet a Woman.” This song expresses the singer’s journey of change and her desire to be seen as a woman while protecting her heart. However, the video portrays her in revealing clothing, seductively gazing into the camera. The lyrics convey the artist’s message, but the videos are used to generate profit. In her work, Mulvey discusses how cinema incorporates the act of looking at women into the spectacle itself, extending beyond highlighting a woman’s appearance. Sut Jhally explores this concept further in the documentary series “Dreamgirls,” referring to music videos as a “male dreamworld.” Jhally argues that these portrayals shape cultural opinions and expectations of women. Critics of MTV assert that these idealized images have greatly influenced young, impressionable women’s fashion choices and sexual behavior over the past few decades. However, this issue extends to men as well, as those raised on these MTV images come to expect certain submissiveness from their female peers.
Such expectations are unfair but prevalent in our culture. 50 Cent is not a feminist. In Pink’s song “Stupid Girls,” she criticizes pop icons like Jessica Simpson and Paris Hilton who seem to go against feminism, and sings, “What happened to the dream of a girl president? / She’s dancing in the video Next to 50 Cent.” Even though scantily-clad women are a common feature in 50 Cent’s videos, his latest video “Ayo Technology” delves into the darker side of this fantasy world, though its message is somewhat unclear.
In terms of aesthetics, the music video for “Ayo Technology” – which also features Justin Timberlake and Timbaland – is not just a portrayal of attractive people in bikinis, but it delves into a much darker realm of voyeurism and sexual violence. Timberlake confidently maneuvers through this world, seemingly determined to shed his previous image as a teen idol by embracing a creepy persona. Likewise, Timbaland eagerly embraces his own eccentricity. On the other hand, 50 Cent awkwardly navigates the video’s sexual fantasies, almost ashamed to expose his own vulnerability.
The content of “Ayo Technology” revolves around sexual frustration. Both 50 Cent and Timberlake have developed these expectations through their exposure to music videos and pornography. However, they come to the realization that real-life women do not behave in the same way. Timberlake expresses his dissatisfaction and inability to achieve sexual gratification in the physical world by singing, “I’m tired of using technology.” In a pathetic manner, he adds, “She wants it, she wants it,” without any specific person in mind. This raises the question of whether we should hold 50 Cent and Timberlake accountable for promoting the notion of submissive female behavior, or if they are simply naive products of popular culture.
