#MUSIC VIDEO BEYONCE SINGLE LADIES MOD#
Gatson had introduced Fosse’s work into Beyoncé’s repertoire before “Single Ladies”: The “Get Me Bodied” video is a direct tribute to the mod “Rich Man’s Frug” scene from Sweet Charity, and shades of the musical’s stand-out “Big Spender” number made it into her live show as well. The white, panoramic field initially intended for “If I Were A Boy” found a home on the second video shoot set, which would focus on putting a modern twist on Bob Fosse’s choreography. Though their experiences differ, they’re unanimous on two points: that Beyoncé is a genius, and that “Single Ladies” is a testament to not just that genius, but also her ability to cultivate it. Billboard also spoke to Ebony Williams, the dancer who completed the trio with Beyoncé and Everett Lorraine Schwartz, the designer behind Beyoncé’s bionic glove and Bobby Moynihan, who wrote and performed in one of the most affectionate (and hilarious) tributes to the song on Saturday Night Live.
Perhaps most importantly, it set the precedent for an artist who’d go back to the drawing board, only to flip it over and stun her fans, long before setting the titanium standard for the visual album as a format.īelow, Nava, Gatson and Knight all speak on “Single Ladies,” their contributions to the visionary visual and its lasting imprint on pop as we know it. It showcased a pop star wielding the music video as a revolutionary medium on a level her peers couldn’t touch while reviving the form during a low point of relevance in the process. It served as the jumping-off point for some of her most formative creative partnerships. “If I Were A Boy” is a standout in her videography and puts her acting chops to work, but the seismic impact of “Single Ladies” went on to dwarf it as a cultural phenomenon. Premiered alongside “Boy” on MTV’s Total Request Live in October 2008, “Ladies” cemented Beyoncé’s status as a triple-threat who can marry the grace of a ballerina and the formidable bombast of a J-setting dance corps with a body roll. We also need to analyze the choreography itself and what it signifies or conveys.The 100 Greatest Music Videos of the 21st Century: Critics' Picks Personally, I think the recourse to marriage is utterly "reactionary" in that marriage is hardly an institution that has "liberated" women (though even marriage is a contradictory institution in that it both restricted women's rights and gave them some financial stability.) But the contradiction between this reactionary narrative scenario and the image of three women moving in these particular ways is startling.
In other words, when we look at the representation of sexuality, we have to think about the larger "pictorial" context. The fact that so many spectators, male and female, decided literally to place themselves into this fantasy by reenacting the dance seems to suggest that the dance movements themselves are a kind of fantasy, perhaps even a fantasy of empowerment. The fact that the scenario of the video is not embedded in a narrative fantasy - contrast, for example, this video with her "Irreplaceable" video - makes it more difficult for a spectator to "identify" with the image (in terms of placing one'e self in the narrative scenario). The starkness of the background, the use of the moving camera rather than editing, the black and white, the "three" Beyonces: I think the video is more contradictory than your analysis suggests. Given how different this video is from those that typically highlight women's bodies in a sexual manner, I cannot help thinking that the makers of this video thought seriously about avoiding it. I'm not so sure I agree with your last comments.
0 kommentar(er)
