scholarly journals Representation of Women Power in Beyoncé Knowless’ song “Run The World (Girls)”

E-Structural ◽  
2021 ◽  
Vol 4 (01) ◽  
pp. 68-79
Author(s):  
Neni Kurniawati
Keyword(s):  
Black Women ◽  
Black Feminism ◽  
Video Clip ◽  
Feminist Movement ◽  
Social Changes ◽  
Black Feminist ◽  
Representation Of Women ◽  
Video Clips ◽  
The World ◽  
Song Lyrics

Song is one of the propaganda media for ideolgy. Beyonce Knowless's song “Run the World (girls)” is an example of a song that raises the issue of Black Feminism Thought. This paper will discuss how textual and discursive practices through the signs in the text of the song lyrics and video clips of the song in constructing the paradigm of black women power or black feminism thought. By interpreting the structure of the text in the lyrics of the song and the visual signs in the video clip of the song "Run the World (girls)" to find meaning and ideology reproduced in the song. The results show that the dialectic of verbal and visual signs represents black women power and to bolster black women to become well-respected women especially by black men. The presence of this song is also related to the black feminist movement which propagates their ideology through song media. The independence of black women in the economic and educational aspectss, as well as the ability to bare children are discourses that are reproduced by the singer to make social changes in black women’s live.Keywords: Black woman, discourse, hermeneutics, ideology, Paul Ricouer

scholarly journals REPRESENTASI PEREMPUAN DALAM VIDEO KLIP GIRLBAND KOREA (ANALISIS SEMIOTIKA VIDEO KLIP DALLA DALLA DARI GIRLBAND ITZY)

MEDIAKITA ◽  
2021 ◽  
Vol 5 (2) ◽  
Author(s):  
Salma Zuhaira, Sukma Ari Ragil Putri
Keyword(s):  
South Korea ◽  
Social Movement ◽  
Gender Equality ◽  
Video Clip ◽  
Positive Energy ◽  
Equal Rights ◽  
Representation Of Women ◽  
Video Clips ◽  
Self Confidence ◽  
Song Lyrics

Feminism is a social movement that demands justice and equal rights of women with men. Gender equality is still a matter of debate. One of them is in South Korea. Women who support feminism are considered to hate, do not need, and will feel their position is higher than men. This demand for equality covers the fields of economy, politics, social, lifestyle, culture and so on. This research was conducted with the aim of knowing how the representation of women displayed by Korean Girlband Itzy in their video clip entitled Dalla Dalla. Dalla-Dalla's video clip with the theme of women's freedom depicts the life movements of women who want freedom from the criticisms of others who consider them weak and discriminate. This video clip also shows them different from the others. Although in this video clip it is not clearly stated the relevance of feminism in it. Therefore, in order to get a detailed description of the issue of feminism and women in the video clip, the researcher uses John Fiske's semiotic theory with the main theory, namely The Codes of Television, to see that behind the video clips there are connotative and denotative representations. According to John Fiske's Semiotics, there are 3 levels, namely the level of reality, representation and ideology. So it is hoped that the representation of women in this video clip is clearly described. The results of the study show the meaning of signs at the level of reality, and representations indicate freedom, self-confidence, and personal existence. At the ideological level, it shows the existence of postmodern feminism. So at the level of signs and symbols related to the representation of post-modern feminism, namely creating new discourses or messages that are meaningful and provide positive energy to other women, so that they dare to fight oppression and discrimination. The song lyrics and narrative code in the video clip show several scenes that lead to on postmodern feminist symbols

scholarly journals Black feminist intersectionality is vital to group analysis: Can group analysis allow outsider ideas in?

2021 ◽  
pp. 053331642199776
Author(s):  
Suryia Nayak
Keyword(s):  
Black Women ◽  
Black People ◽  
Black Feminism ◽  
Group Analysis ◽  
Black Feminist ◽  
Online Platform ◽  
Large Group ◽  
Diversity And Inclusion ◽  
Analytical Structure ◽  
The Relationship

This is the transcript of a speech I gave at an Institute of Group Analysis (IGA) event on the 28th November 2020 about intersectionality and groups analysis. This was momentous for group analysis because it was the first IGA event to focus on black feminist intersectionality. Noteworthy, because it is so rare, the large group was convened by two black women, qualified members of the IGA—a deliberate intervention in keeping with my questioning of the relationship between group analysis and power, privilege, and position. This event took place during the Covid-19 pandemic via an online platform called ‘Zoom’. Whilst holding the event online had implications for the embodied visceral experience of the audience, it enabled an international attendance, including members of Group Analysis India. Invitation to the event: ‘Why the black feminist idea of intersectionality is vital to group analysis’ Using black feminist intersectionality, this workshop explores two interconnected issues: • Group analysis is about integration of parts, but how do we do this across difference in power, privilege, and position? • Can group analysis allow outsider ideas in? This question goes to the heart of who/ what we include in group analytic practice—what about black feminism? If there ‘cannot possibly be one single version of the truth so we need to hear as many different versions of it as we can’ (Blackwell, 2003: 462), we need to include as many different situated standpoints as possible. Here is where and why the black feminist idea of intersectionality is vital to group analysis. On equality, diversity and inclusion, intersectionality says that the ‘problems of exclusion cannot be solved simply by including black [people] within an already established analytical structure’ (Crenshaw, 1989: 140). Can group analysis allow the outsider idea of intersectionality in?

From Blaxploitation to Black Macho

2019 ◽  
pp. 183-201
Author(s):  
Terrion L. Williamson
Keyword(s):  
Women Writers ◽  
Popular Culture ◽  
Black Women ◽  
Black Woman ◽  
Cultural Production ◽  
Reality Television ◽  
Feminist Movement ◽  
Ntozake Shange ◽  
Black Feminist ◽  
Black Women Writers

For commentators concerned with black cultural production in the contemporary era, there are few images more controversial than the angry black woman, particularly as it is reproduced within the confines of reality television. This chapter traces the lineage of the angry black woman back to key black feminist texts of the 1970s, arguing that the trope emerges out of a distinct sociopolitical history that was codified within both public policy and popular culture throughout the decade. Blaxploitation films became the site where black women’s anger was most visibly commodified, even as black women involved in an emergent black feminist movement worked to combat withering social commentaries that included Daniel Patrick Moynihan’s matriarchy thesis and sexist takedowns of black women writers like Ntozake Shange and Michele Wallace.

Replaying Video Game History as a Mixtape of Black Feminist Thought

2020 ◽  
Vol 6 (1) ◽  
pp. 93-118
Author(s):  
TreaAndrea M. Russworm ◽  
Samantha Blackmon
Keyword(s):  
Black Women ◽  
Video Games ◽  
Digital Media ◽  
Video Game ◽  
Black Feminism ◽  
Women Performers ◽  
Women's Labor ◽  
Black Feminist ◽  
Combahee River Collective ◽  
Game Industry

This article, a Black feminist mixtape, blends music, interviews, and critical analysis in order to demonstrate some of the ways in which Black women have impactfully engaged with the video game industry. Organized as musical “tracks,” it uses lyrics by Black women performers as a critical and cultural frame for understanding some of the work Black women have done with video games. In prioritizing the personal as not only political but also instructive for how we might think about digital media histories and feminism, each mixtape track focuses on Black women's lived experiences with games. As it argues throughout, Black feminism as defined and experienced by the Combahee River Collective of the 1970s has been an active and meaningful part of Black women's labor and play practices with video games.

scholarly journals A Reading of Bhabendra Nath Saikia's Films from Feminist Lens

2020 ◽  
Vol 8 (2) ◽  
pp. 247-274
Author(s):  
Minakshi Dutta
Keyword(s):  
Twentieth Century ◽  
Film Industry ◽  
Feminist Movement ◽  
Historical Overview ◽  
Representation Of Women ◽  
Indian Cinema ◽  
The Third ◽  
Women’S Representation ◽  
The World ◽  
Images Of Women

Feminist movement deconstructs the constructed images of women on the screen as well. The gap between real and reel woman is a vibrant topic of discussion for the feminist scholars. As a regional genre of Indian film industry Assamese film flourished during the third decades of twentieth century. Like the films of other parts of the world, Assamese films also constructing the image of woman, particularly Assamese women, in its own way of projection. Hence, this article is an attempt to explore the questions related to women’s representation by taking the films of Assamese director Dr. Bhabendra Nath Saikia as reference. Moreover, as per the demand of the article it will cover a historical overview of the representation of women in Indian cinema and Assamese cinema. Different theories from psychoanalysis and feminism will be applied to analyze the select movies.

scholarly journals Black feminist methods of activism are the tool for global social justice and peace

2020 ◽  
Vol 40 (2) ◽  
pp. 234-257
Author(s):  
Chris Sheehy ◽  
Suryia Nayak
Keyword(s):  
Social Justice ◽  
Black Women ◽  
Global Justice ◽  
Black Feminism ◽  
Social Injustice ◽  
Black Feminist ◽  
Political Warfare ◽  
Feminist Methods ◽  
Relationship Of ◽  
The Relationship

We use the method of conversation as a tool of living activist struggles to end social injustice. We draw on Black feminism to create an intersectionality of diverse activist voices across time and space. We insist on an intersectional acuity to analyse Global alienation, subjugation and exploitation. We use examples from activist contexts such as the Trade Union and Rape Crisis movements. Our conversation speaks of the tensions and risks of solidarity and organizing across difference. We use Gramsci’s idea of the ‘interregnum’ to look at the in-between space of protest and transformation. We argue that the ‘interregnum’ is an opportunity to build solidarity for Global justice. In the context of intersectional racism, we ask, can the racial grief of Black women speak? We like Lorde’s idea that ‘Caring for myself is not self-indulgence, it is self-preservation, and that is an act of political warfare’ (Lorde, 1988: 332). We argue that the relationship of Black feminism to oppression, constitutes its revolutionary potential, and this distinguishes Black feminist activist methodologies from other methodologies as the tool for Global social justice and peace.

scholarly journals Awkward Black girls and post-feminist possibilities: Representing millennial Black women on television in Chewing Gum and Insecure

2019 ◽  
Vol 14 (4) ◽  
pp. 435-450 ◽  
Author(s):  
Francesca Sobande
Keyword(s):  
Black Women ◽  
Black Feminism ◽  
Black Girls ◽  
Chewing Gum ◽  
Media Discourse ◽  
Black Feminist ◽  
Contemporary Context

Focusing on television depictions of ‘millennial’ Black women, this article explores how such on-screen identities are crafted through entwined issues concerning race, gender, sexuality and feminism. Theorising post-feminism in this contemporary context necessitates discussion of post-feminism’s (dis)connection to and from Black feminism and the politics of intersectionality. Thus, this article examines how Black feminist and post-feminist media sentiments push against each other in ways that may indicate a form of Black post-feminist television. It considers how ‘millennial’ Black women are depicted in Chewing Gum (2015–2017) and Insecure (2016–present) and analyses how feminist media discourse is implicated in these representations.

scholarly journals The body, the house and the city: the territorialities of black women in Brazil

2021 ◽  
pp. 1-30
Author(s):  
Maya Manzi ◽  
Maria Edna dos Santos Coroa dos Anjos
Keyword(s):  
Black Women ◽  
The Body ◽  
Feminist Movement ◽  
Black Feminist ◽  
Historical Process ◽  
The Right ◽  
The Relationship ◽  
The City

This article presents a discussion on the relationship between territoriality and intersectionality based on the experience of Black Brazilian women throughout the historical process that has triggered a long trajectory of struggle against racism and sexism. Bibliographical and documentary research has been used in order to discuss the territories of the body, the house and the city, understood as spaces of oppression and resistance. While these analytical categories have received considerable attention, especially within the Black feminist movement itself, few studies have explicitly or thoroughly addressed the relationship between intersectionality and territoriality based on an expanded conception of territory that goes from the body through to the city. Reflecting upon these concepts as a collective unit and through a multi-scalar perspective may help to provide greater visibility to the protagonist spaces of Black Brazilian women in their struggle for reparation, recognition and the right to exist.

scholarly journals IMPACTS OF BLACK FEMINISM ON THE PROMOTION AND PROTECTION OF BLACK WOMEN'S RIGHTS

2021 ◽  
Vol 2 (1) ◽  
Author(s):  
Rafaelle Franchini ◽  
Caio Eduardo Costa Cazelatto ◽  
Valéria Silva Galdino Cardin
Keyword(s):  
Black Women ◽  
Social Movement ◽  
Women's Rights ◽  
Black Feminism ◽  
The United States ◽  
Fundamental Rights ◽  
Feminist Movement ◽  
Women’S Rights ◽  
The Social ◽  
Victims Of Violence

This article analyzed, through bibliographic review, the social movement of feminism as an instrument of protection and promotion of black women's rights. To this end, the historical development of the feminist movement was investigated, with a focus on European countries and the United States of America, as well as the legal developments and achievements obtained by Brazilian black women from the Carta das Mulheres aos Constituintes or Letter of Women to the Constituents. It explored the fundamental rights that were claimed and achieved by the feminist movement for black women. Thus, it was found that the trajectory of black women is strongly marked by the reflexes that slavery and social marginalization have historically brought to this vulnerable segment, as it was also observed that the social movement of black feminism ended up not effectively representing the claims of black women, who, for the most part, are still related to the consequences of the period of slavery, such as low or no education, underemployment, victims of violence against women, among others.

“A New Spelling of My Name”: Becoming a (Black, Feminist, Immigrant) Autoethnographer Through Zami

2019 ◽  
Vol 20 (2) ◽  
pp. 124-133
Author(s):  
Tanja Burkhard
Keyword(s):  
Black Women ◽  
African Diaspora ◽  
Black Feminism ◽  
Historical Context ◽  
Black Feminist ◽  
Marginalized Communities

In this article, I provide the historical context for the reception of Audre Lorde’s biomythography Zami’s by Black women across the African diaspora as a backdrop for my own autoethnographic engagement of the book. I narrate my journey to claiming space within the field of autoethnography by anchoring my discussion in Zami and its themes. The goal of this work is to illustrate the crucial nature of autoethnographic work to transnational Black feminism, and its ongoing importance to women from and in marginalized communities.

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