Was I always a fan of David Bowie? Not particularly. I mean, I quite liked him as Jareth in the wacky cult movie Labyrinth, for which he penned much of the soundtrack. Cue saxophones, bursting singalongs by a jaded romantic prince-villain, and rousing lullabies to a borrowed/stolen baby. Weird, right? I’d expect nothing less of him.
The Apple iPod was introduced in 2001, its innovative features and interface finding a key place in the music industry by combining the technology of computing software and music stereos. Users could suddenly mobilise their desires upon their own media items: moving, mashing-up, unbundling and sharing.
How do music videos reinforce or subvert bodily performance of ‘the other’ gender?
NOTE: ESSAY AND VIDEO CONTAIN EXPLICIT CONTENT
An analysis of narrative codes (in particular, symbols and motifs) in the music video ‘Special Cases’.