Misogyny, Fashion and Intertextuality in Paparazzi by Lady Gaga
September 21st 2009 06:07
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Postmodern Style
Category: No Category
You may or may not be aware that the MTV Awards have just passed, and Lady Gaga's video for Paparazzi won two awards (for art direction and special effects).
The best version of this video is here, but if you're too lazy you can watch the slightly out of sync version below:
It is just as I feared: Post-Atonement, the vile c word has once again made an appearance in popular culture - this time in the award-winning Paparazzi video by Lady Gaga. Even though the person who uses it is a 'villain', by incorporating it within the discourse that surrounds her, Lady Gaga is (perhaps subconsciously) identifying herself with it. She is indirectly giving lip service to the kind of misogynistic venom she ostensibly hopes to suppress, and is attempting to give it mainstream airplay. Let us not forget that the actor who verbalises it is a) extremely good-looking, b) very famous in Sweden, and c) somewhat famous in Australia and the USA, which means that a certain section of his audience will still regard him as a model of good behaviour, even if he is cast as criminally minded.
I am aware the c word has also been subject to the thoroughly misguided attempt to use derogatory terms (like 'queer' or 'bitch') in a way that allegedly empowers the subject(s). (It is my hope that 'queer' will grow out of fashion, become archaic, in fifty years' time. I hope that people come to view it as a partial rebellion against the past, which locks in the hateful intent through its reproduction - c'mon people, in with the new already - we need new terms in the area of sexual orientation.) An old school friend, elected to affect that it could be used in an affectionate manner. Sure, if you think affection and self-hatred are a good mix, go ahead and draw attention to your women-hating ways. For the rest of us, if we should be unfortunate enough to be exposed to such gutter speak, we will sadly note the hatred, misogyny, and, inevitably, self-loathing that informs it, and move on, knowing that the word is not part of a healthy vocabulary, and it does not generate a productive mindset.
Lady Gaga claims that she has been mistaken for a transvestite or intersexed person due to her being a 'strong female'. Well, letting/encouraging/instructi ng men like Jonas Akerlund (the director of Paparazzi) and Alexander Skarsgaard (the Swedish actor) to level such misogynistic insults at her shows that she has issues with self-loathing and is externalising them on camera (, on stage and (not to mention) in her personal life). This gives further voice to the argument that working as a stripper (as Lady Gaga used to do) is more demeaning than it is empowering for the person involved. When watching Paparazzi I am reminded that women who are fiercely confident about being able to enjoy their sexuality are seen as threatening to a significant part of the male (and female) population. It is important to remember the words of Christina Aguilera in 'Still Dirrty' - Why is a woman's sexuality / always under so much scrutiny / why can't she do exactly as she please / without being called a million things?
Looking deeper into the themes of Paparazzi, a psychoanalytical perspective might offer that Lady Gaga's persona is in love with the man who hates her long after he has revealed his 'true nature'. Doubtless, a person with better self-esteem would probably not have fallen in with someone who hated her so much, being able, as she would be, to recognise genuine signs of respect, love and affection, not to mention healthy sexual interest. (Curiously enough, the interaction between the two is based on sex, with Lady Gaga asking permission for the act of love, not the other way around. That says a lot about the culture she has been inspired by, and is reinforcing in her video.) She comes back to him, to kill him. It would be healthy to move on, forget about him, and get her revenge by regaining her confidence and sense of self-worth. They say love and hate are on flip sides of the coin. What Lady Gaga needs to do is abandon this coin altogether and seek new currency. By spending time with the man who violated her trust, exploited her and almost ended her life, she is giving herself time to savour his energy once more, before the 'climax' of wiping him off the face of the planet.
When it comes to pioneering 'glamtrash', Lady Gaga is without peer
When I'm writing music, I'm thinking about the clothes I want to wear on stage. It's all about everything altogether - performance art, pop performance art, fashion. - Lady Gaga
Perhaps my favourite original contribution to the fashion world in Paparazzi is the white and navy outfit she wears for one of her choreographed dance sequences in the middle of the song. Its frills make it feminine, it's streaks of navy give it a severe austerity, and its asymmetry gives it postmodern theatricity.
It is glamorous, kooky, playful and it interacts with the rest of her dynamically - it is all over her Christina Aguilera-inspired downlights (let's not forget that Akerlund was also the director of CA's Beautiful), and accentuates (and rubs against) her dark eye make-up. Lady Gaga beckons the camera drastically forth, inciting them to wish to 'eat and taste and lick every part' of her performance.
But let's talk about the blatant 'It's My Life' rip-off at the end. Actually, I might do that in Part 2.
From the second version of the video
The best version of this video is here, but if you're too lazy you can watch the slightly out of sync version below:
It is just as I feared: Post-Atonement, the vile c word has once again made an appearance in popular culture - this time in the award-winning Paparazzi video by Lady Gaga. Even though the person who uses it is a 'villain', by incorporating it within the discourse that surrounds her, Lady Gaga is (perhaps subconsciously) identifying herself with it. She is indirectly giving lip service to the kind of misogynistic venom she ostensibly hopes to suppress, and is attempting to give it mainstream airplay. Let us not forget that the actor who verbalises it is a) extremely good-looking, b) very famous in Sweden, and c) somewhat famous in Australia and the USA, which means that a certain section of his audience will still regard him as a model of good behaviour, even if he is cast as criminally minded.
I am aware the c word has also been subject to the thoroughly misguided attempt to use derogatory terms (like 'queer' or 'bitch') in a way that allegedly empowers the subject(s). (It is my hope that 'queer' will grow out of fashion, become archaic, in fifty years' time. I hope that people come to view it as a partial rebellion against the past, which locks in the hateful intent through its reproduction - c'mon people, in with the new already - we need new terms in the area of sexual orientation.) An old school friend, elected to affect that it could be used in an affectionate manner. Sure, if you think affection and self-hatred are a good mix, go ahead and draw attention to your women-hating ways. For the rest of us, if we should be unfortunate enough to be exposed to such gutter speak, we will sadly note the hatred, misogyny, and, inevitably, self-loathing that informs it, and move on, knowing that the word is not part of a healthy vocabulary, and it does not generate a productive mindset.
Read 'in between the sets' 
Lady Gaga claims that she has been mistaken for a transvestite or intersexed person due to her being a 'strong female'. Well, letting/encouraging/instructi ng men like Jonas Akerlund (the director of Paparazzi) and Alexander Skarsgaard (the Swedish actor) to level such misogynistic insults at her shows that she has issues with self-loathing and is externalising them on camera (, on stage and (not to mention) in her personal life). This gives further voice to the argument that working as a stripper (as Lady Gaga used to do) is more demeaning than it is empowering for the person involved. When watching Paparazzi I am reminded that women who are fiercely confident about being able to enjoy their sexuality are seen as threatening to a significant part of the male (and female) population. It is important to remember the words of Christina Aguilera in 'Still Dirrty' - Why is a woman's sexuality / always under so much scrutiny / why can't she do exactly as she please / without being called a million things?
The artifice of a deceased body, a recurring theme in this clip
Looking deeper into the themes of Paparazzi, a psychoanalytical perspective might offer that Lady Gaga's persona is in love with the man who hates her long after he has revealed his 'true nature'. Doubtless, a person with better self-esteem would probably not have fallen in with someone who hated her so much, being able, as she would be, to recognise genuine signs of respect, love and affection, not to mention healthy sexual interest. (Curiously enough, the interaction between the two is based on sex, with Lady Gaga asking permission for the act of love, not the other way around. That says a lot about the culture she has been inspired by, and is reinforcing in her video.) She comes back to him, to kill him. It would be healthy to move on, forget about him, and get her revenge by regaining her confidence and sense of self-worth. They say love and hate are on flip sides of the coin. What Lady Gaga needs to do is abandon this coin altogether and seek new currency. By spending time with the man who violated her trust, exploited her and almost ended her life, she is giving herself time to savour his energy once more, before the 'climax' of wiping him off the face of the planet.
Touching her lips upon the completion of the death act
When it comes to pioneering 'glamtrash', Lady Gaga is without peer
When I'm writing music, I'm thinking about the clothes I want to wear on stage. It's all about everything altogether - performance art, pop performance art, fashion. - Lady Gaga
Perhaps my favourite original contribution to the fashion world in Paparazzi is the white and navy outfit she wears for one of her choreographed dance sequences in the middle of the song. Its frills make it feminine, it's streaks of navy give it a severe austerity, and its asymmetry gives it postmodern theatricity.
I'll chase you down until you love me
It is glamorous, kooky, playful and it interacts with the rest of her dynamically - it is all over her Christina Aguilera-inspired downlights (let's not forget that Akerlund was also the director of CA's Beautiful), and accentuates (and rubs against) her dark eye make-up. Lady Gaga beckons the camera drastically forth, inciting them to wish to 'eat and taste and lick every part' of her performance.
One of the best outfits I have ever seen
But let's talk about the blatant 'It's My Life' rip-off at the end. Actually, I might do that in Part 2.
Click to enlarge
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Comment by Postmodern Critic
Postmodern Critic
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Padsoc
I feel that Lady GaGa is using the "c" word for the dual purpose of reclaiming it and demonising it. After all, she does go after the speaker in her after life.
The visual of this video are spectacular, and the whole little storyline is very engaging, adding another element to the music video, though I fail to see its link to the song.
Gaga is taking the piss, and I love how she's dancing as a paraplegic.
But at the end of the day, it is still a Music Video Clip, and despite how much cultural capital teenage girls may subscribe to it, I truly do not think that it is the epitome of culture and art. This is actually the first time that I've sat through the video in completion, yes even with all of its extraneous thrills and frills, and remembering that I do love Lady GaGa's fun music.
Also, I've noticed its link to Tarantino's KILL BILL VOL 1 2. As Gaga is obviously plagarising that concept.
In regards to the psychoanalysis of her loving a guy who hates her. I think in videos, it's a requirement to be over the top like that. And most girls do go for the hot looking jackass, over the nice sensitive guy. It's that mild sadomasochistic drive in us.