I NEED THIS ESSAY COMPLETED. WILL PAY ANYTHING.
FIRST TERM ESSAY D DUE NOV 21ST Length: 5 pages, double-spaced, 12 point type, excluding cover page and references. DO NOT EXCEED THIS LIMIT. Provide a COVER PAGE with assignment name, date, student name and number, course number, tutorial, and a title. DO NOT place any of this information on the first page of the essay. DO NOT use headers or footers. Page numbers are mandatory. USE CHICAGO MANUAL OF STYLE AUTHOR- DATE CITATIONS. Follow the standard style guides; failure to do so will result in marks being deducted. Purpose: This assignment should indicate your ability to develop a cogent, well-structured argument in a concise and clear manner. It is important to have a well-defined thesis statement from which the argument will proceed. It is also a measure of how well you understand the materials from the first part of the course. Topic: From an intersectional perspective, experience and understanding of the world is processed through multiple frames simultaneously, such as gender, sexual orientation, race, economic status, age, ability, and so on. All of these can be viewed as expressing something we can call a ‘subject position’ where larger social frameworks and forces inflect how individuals view the world. The combination is what is crucial for defining a position that inflects interpretation and practices in everyday life, and in relation to social institutions, as Crenshaw demonstrates. We can say that products of the media are both formed by intersections, and in turn processed and made meaningful by the audiences and/or consumers of those products from perspectives formed at their intersections. Stuart Hall, for instance, argues that media is made with particular interpretive frameworks, but also consumed by audiences with varying frameworks, which may then not coincide with the maker’s, and so lead to differing interpretations. An analysis of media representations can potentially be taken up in terms of whether representations coincide or not with lived experience, depending on where the audiences are ‘located’ with respect to intersections. An analysis can be informed by an awareness of whether a representation corresponds to some people’s experience, or whether it does not. What is in some ways unique today is the manner in which media analysis is not just domain of scholars, but (in the West at least) almost anyone, and we see this reflected in the analyses of various issues that arise on the internet also taking place on the internet. Various platforms are employed to react and interpret and analyse all sorts of media expressions, from parsing political statements to commenting on music videos, to investigating memes, tweets, and so on. With this in mind, for this essay we want you to consider as a case study the music video Mooo! by Doja Cat. With over fifty-six million views since August 2018, this is clearly a popular piece of music and video. Shortly after its release, Doja Cat was called out for homophobic comments made as a teenager, and her twitter response 1 seemed to only exacerbate the issue. This in turn invoked internet reflections on so- called ‘cancel culture’ and ‘call ins’ and the like. It also seems that despite this, her popularity was not diminished, and in some ways benefited from trends in 2019, culminating in the recent ‘Hot Girl Summer’ as Megan Thee Stallion stylised it. There is thus abundant reflection on the internet about this particular issue, as well as a myriad of responses and analysis of the Mooo! video and song itself, starting with Doja Cat herself, through the popular series “Verified” on the Genius YouTube channel. To this can be added such items as the “Adults React” video on Mooo!, and yet another layer where Doja Cat herself reacts, in “Doja Cat Reacts to Adults React to Doja Cat.” In addition, there are a large number of so-called reaction videos available on YouTube responding to the song and video. All of this points to a complex, multi-layered ‘text’ or ‘paratextual’ discourse accumulating around this video and the artist (This is similar to what Bordo discusses in her analysis of female bodies). Any sort of analysis then cannot be about the ‘meaning’ of Mooo!, but rather has to address the ways in which access to media provides opportunities to generate meanings and circulate those widely, perhaps in a manner akin to a public sphere. One has to analyse all of this meaning making, and ask what that meaning-making consists of, why it takes the form it takes, who is speaking, and why do they speak in the ways that they do. In order to undertake this analysis, you may employ elements from the types of inquiries we have examined in the course so far: ideological criticism and the culture industry; semiotic analysis, critical discourse analysis, intersectional analysis, the public sphere, or any combination of these as is appropriate. You can consider both images and lyrics as part of an analysis, or perhaps just focus on one or the other. Things to consider here to get started: firstly, your own position and how it inflects an analysis of the material, and whether the images coincide with lived experience; whether and, if so, how the videos take up a position that reflects intersections; how do the videos function in terms of their place in a music and video industry, and would that affect their character; do new media platforms offer more diverse points of view that potentially reflect experience in diverse ways? Bear in mind, however, that your position is only a starting point: any claims, even of rooted in personal experience, still have to be provided with warrants from the analytical perspectives provided by the texts we have explored so far in the course.