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SOCI1019: InvestigatgCont Pop Culture 5

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CM Morris

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HU/UG
50.00%
29/03/2012

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UNIVERSITY OF GREENWICH

Consumption and identity through music videos, and its

relevance to Western society

Investigating Contemporary Popular Culture 5

Arnold Waswa-Iga
(Level 5)

This research addresses issues relating to identity, consumption and representation in the media. A
number of theories look at these issues in different ways, positing different effects on individuals in
society. Giddens argument seems the most compelling, whereby the self (and self-identity) is a
reflexive project, and we consume to define who we are. I seek to argue that the music video has
become a significant tool for both its producers and consumers to use in promulgating to others
their creations of identity. I use two examples of music videos to illustrate my points, while
disputing the claim that individuals are not instrumental in producing their own identities. I
conclude that consumers, by virtue of product choice, take on certain identities, which ultimately
means the active rejection of other identities.

ABSTRACT
Contents
INTRODUCTION......................................................................................................................3
STATEMENT OF RESEARCH QUESTION............................................................................4
RESEARCH AIMS....................................................................................................................5
CHAPTER 1...............................................................................................................................6
CHAPTER 2...............................................................................................................................8
CONCLUSION........................................................................................................................10
REFERENCE LIST..................................................................................................................11
APPENDICES..........................................................................................................................12

INTRODUCTION
People find that questions of how to behave, how to feel and how to think are asked of us, by
both society and ourselves. This is the essence of identity. We are arguably in a latemodern
period in western society, characterised by uncertainty (Jones and Raisborough, 2007: 4).
Identity now encompasses ideas of how to behave, feel and think which are constantly
changing. A growing phenomenon in sociology is how people construct identity through the
consumption of particular goods and services.Implicit in this behaviour is a notion of us and
others (Bauman, 1991: 8).The products we buy and use now indicate the ways in which we
see ourselves and people around us. Our interaction with products of representation
(magazines, films, music) illustrates this even more.

The purpose of this research is to investigate how music video consumption informs the way
people create and change identity. The research proposes to do this by addressing two issues
surrounding consumption and identity. The first issue is the influence music videos have on
shaping identity. The second issue looks at the agency of consumers with regards to the
construction of identity. A conclusion will serve to tie together all the findings and discuss
their social significance.

STATEMENT OF RESEARCH
QUESTION
How does the music video, and its consumption, relate to ideas of identity, and what
does it mean for society?

Our consumption of goods and services can influence the ways in which we relate to social
groups. The purchase of particular products forms a picture in an individuals mind about
how women, for example, talk and behave. Music videos represent social groups too, and
thus provide a certain way of looking at certain people. Consumption of products can also
reinforce and validate our opinions on how we understand ourselves. Music videos feature
recording artists behaving in a certain way. Simple identification with the recording artists
and their values inspires viewers to emulate their behaviours. Additionally, products have
connotations attached to them. Watching the music videos of one recording artist will
inadvertently reveal the consumers tastes in other products.
All forms of representation reveal the relationships between people in terms of power,
distribution of economic and cultural resources, and so on. Music videos were originally
marketing devices used by record labels for the promotion of music singles. Now, music
videos are just as capable of conveying issues pertaining to different kinds of identity
(gender, ethnic, sexual, etc.). Because of this, music videos have significant effects when
watched by large numbers of people, which is often the case. Recording artists and record
labels are highly selective with the individuals and materials used in the filming of music
videos. The messages chosen to communicate to consumers of music videos must not present
a significant challenge to societys moral code, while also establishing a recording artists
popularity.

The research question allows a focus to be placed on two things. The primary focus is the
relationship between consumption and identity. The secondary focus is the ramifications of
such a relationship in a wider context. Once it is clear how the two are correlated, an analysis
on the links music video consumption and identity have in other areas of society can begin.

RESEARCH AIMS
This research intends to meet two aims, which collectively will answer the research question.
The first aim is to look at how consumption and identity are related. Firstly, Giddens
(1991)concepts of self-identity and social identity will be looked at. Bourdieus work on
consumption and identity in Distinction (1984) will also be discussed. The writing of Vernalis
(2004) will be used to briefly examine the form of the music video and its effect on
consumers. Once a theoretical basis for connecting the music video and identity is
established, the music video Erotica (Madonna, 1992) shall be used to show how the issues
previously discussed have materialised.
The second aim is directed at how much influence people have in shaping their own
identities. It questions ideas that media consumption is less pertinent than media production
in terms of its relationship with identity. Such ideas chiefly originate from Adorno (1941) and
others in the Frankfurt School. I will relate this to music videos, to explore whether music
videos support the notion that people are passive in constructing their identities. The music
video Smells Like Teen Spirit (Nirvana, 1991) will determine the extent to which consumers
can actively create their own identities.

CHAPTER 1
How and why do music videos shape our identity?

The academic definition of identity is subject to debate in the social sciences, namely because
identity has various functions in different academic disciplines. Giddens defines self-identity
as the self as understood by the person in terms of her or his biography (1991: 53).
Individuals create a narrative about themselves, using the available cultural resources. These
narratives formulate a reflexive project, in which we impart to others our cognitive
component of personhood (Giddens, 1991: 53). Primary identities, such as that of class and
gender, are no longer integral to our reflexive project (and identity). Individuals create new
ways in which to look at ones life and to identify others. Lifestyle choices give material
form to a particular narrative of self-identity (Giddens, 1991: 81). In this way, consumption
plays an important role in, and becomes in some part a substitute for the genuine
development of the self (Giddens, 1991: 198). Using Giddens theory, music video
consumption is a way of affirming oneself to their cultural environment. One can define their
character by associating it with that attached to the music video. The individual will
necessarily see various options as out of character (Giddens, 1991: 82). Consequently, the
individual internalises from music videos ideas on how to be, as well as indicating what
constitutes uncharacteristic choices for them.
Bourdieu writes in a similar vein to Giddens concerning self-identity. He argues that
individuals consume products to display their tastes, which in turn distinguish them from
other social groups, namely class-based ones. Bourdieu writes that tastes are the practical
affirmation of inevitable difference that leads to rejecting others as unnatural (Bourdieu,
1984: 56). In the case of consumption, consumers purchase products while unwittingly
affirming that their preferences align with that of others. Individuals, in this sense, watch
music videos that reflect their way of viewing the world. Rather than adding to a narrative, as
Giddens argues, the consumption of music videos signals to others how one chooses to think,
behave and feel. This becomes part of a wider affirmation of an individuals preference. For
example, if an individual enjoys watching the music videos of Marilyn Manson, this
categorises them as possibly sharing the consumption tastes of the metal rock subculture.
Taste behaviours around music video consumption highlight to others how ones identity is
also constructed.

Carol Vernalis has written an engaging thesis on how to read music videos, drawing on
concepts from film theory and cultural studies. Music videos generate kinds of expressive
nuance, through variations in phrasing, rhythm and pacing (Vernalis, 2004: 200). Audio
material is pieced together with visual material and an aesthetic imposed by the director. It is
possible to find a directorial voice speaking in the video that states how he or she feels
about different parts of the music (Vernalis, 2004: 200). With the visual, the viewer observes

a rhythmic stratification of the image (Vernalis, 2004: 212). These distinctions serve to
place the viewer in a particular location to establish a core of sensation and experience
(Vernalis, 2004: 211). The effects music videos have on consumers are numerous, though
such material has to complement a marketed music single. A videos impact on identity
depends on, and is increased by, the editing techniques used by its director. This is in addition
to the ideas and messages communicated through the music single. Music video narratives
are an arc where a songs lyrics are played out. Often, such narratives will mirror the essence
of a song, lyrically and musically. Being subjected to the ideas and values portrayed in music
videos can lead people to question themselves. This can be in terms of their worldview, their
ambitions, etc. Through music videos, consumers are challenged to think about various issues
briefly through the perspective of the recording artist and music video director. This
interaction with others ideas and beliefs develops into a discourse on what it means to
behave, think and feel in certain ways. Should the audiovisual material of a music video
coincide with an individuals notions of identity, it is likely the individual will consume more
of the artists products. Even if not, a process of identification occurs. This explains why
people seek to emulate the behaviours and fashion senses of their favourite recording artists,
for example.

Fashion photographer Fabien Baron had directed the music video Erotica (Madonna, 1992) to
accompany the single release of the same name. The lyrics of the music single (Madonna,
1992) make explicit references to sadomasochism (Theres a certain satisfaction/with a little
bit of pain) and overt sexual activity (Put your hands all over my body). The
instrumentation of Erotica consists of Eastern-influenced chanting, suggestive groaning and
sparse percussive elements. The song itself forms the backdrop of the music video which
contains scenes of bondage, sexual domination and full-frontal nudity. (The original version
of the Erotica music video was banned by music stations such as MTV, which only aired the
video three times). Madonna wears a dominatrix suit for the majority of the video, being seen
in it by the second frame of the video.
The music video deals with a sensitive a private subject: sexuality. Immediately, the viewer is
faced with a sexualised individual who makes uninhibited calls for sexual gratification.
Questions of how to behave sexually with others formulate in the mind of the viewer. Layton
argues that Madonnas Erotica (1992) deconstructs the straight/gay dichotomy showing
how each [sexual orientation] is constructed out of the other (Layton, 2004: 96). The video
acts as a critique to the binary assumptions of sexual preference. The viewer is encouraged to
consider how their sexuality is affected by thinking of and acting out different behaviours.
Consequently, the music video consumers own values and opinions on sexuality are
challenged. Also, the consumers behaviour towards particular individuals or social groups
has been affected.

CHAPTER 2
Does the general public construct identity through music video consumption in an active
or passive way?

As previously discussed, identity is a social construct which is derived from various

behaviours and instances in social life. As well as social categorisations such as gender and
class, identity is impacted on by the goods and services we produce and consume. When the
effects of consumption on ones identity are questioned, there is debate as to how much
power the consumer holds when confronting issues about how to be, and who to be. In his
essay On Popular Music (1941), Adorno argues that products are now part of a culture
industry with two functions. The first is to provide a site whereby goods and services are
sold. As consumers often lack the economic capital to produce their own products, there is a
disproportionate ratio between goods produced to those which are sold. The second function
of the culture industry is to reinforce the ideological beliefs of those in power. Adorno writes
that songs lull the listener to inattention (Leppert, 2002: 459). Henceforth, a situation
occurs where the producers of standardised goods dictate to the general public how to be and
who to be: docile, uncritical individuals, unaware of their exploitation. Music videos,
according to this perspective, act as channels where ideas of thinking, behaving and feeling in
society are forced upon the consumer. Only those who possess economic and cultural capital
can realistically have any bearing on how modes of representation reflect issues relating to
identity. Subsequently, it becomes very difficult for music video consumers to resist the
notions of identity they are faced with.

On the contrary, it can be argued that the general public can play a role in constructing their
identity. In some instances, this can be free of corporate and bourgeois influences. With
reference to Becks writing on risk society, it can be argued that increased choices make that
person dependent upon fashions, social policy, economic cycles and markets (Beck, 1992:
131). This is opposed to the image of individual control which establishes itself in
consciousness (ibid: 131). This argument implies that social categorisations such as class
and gender no longer define ones lifestyle or identity. In this perspective, an individuals
consumption patterns hold more primacy than their other social characteristics. Music video
consumers through their choice of music videos they watch indicate to people their way
of viewing themselves and others. This occurs at least in terms of individual consumption
patterns. Music video consumption, therefore, reveals an individuals chosen lifestyle patterns
i.e. how and what one believes they should behave, think and feel. It follows that the general
public have a dominant role in the construction of their identities.

Rock band Nirvana was the disputed trendsetter of the grunge music subculture in the early
1990s. Smells Like Teen Spirit (1991) was the first single from their second album, titled
Nevermind. Nirvana, through lead singer Kurt Cobain, sought to define itself as an
alternative rock band to their commercial, sellout counterparts. Nirvanas music singles and
their respective videos placed emphasis on emotion and feeling through vocal performance,
among other things. The Smells Like Teen Spirit (1991) music video was set up in a
soundstage as a school gymnasium with the band performing their single. Cheerleaders in the
music video wear dresses marked with a red anarchist movement symbol, an encircled A
letter. Throughout the music video, Nirvana and teenagers are seen causing chaos and
pandemonium, for reasons not apparent from viewing the clip. In accordance with the music
singles lyrics, Nirvana seek to challenge the viewers perceptions of youth and subculture.
They present a contrarian, disruptive archetype of young people in the music video. Their
actions, Nirvana suggests, are both reactionary and provocative, as evidenced by the music
single lyrics (With the lights out, its less dangerous/Here we are now, entertain us). The
music video seems to echo youths dissatisfaction with their insubordinate and perfunctory
role in society. The music video helps the viewer identify with Nirvana and the ideas
conveyed through their music. Overall, the music video consumer reinforces to others how
and what they should be through choosing which videos they watch. Watching Nirvanas
music video also affirms to oneself how people share similarities with the way Nirvana view
the world. Smells Like Teen Spirit (1991) provides an example of how music video
consumers can find their own way of resolving issues of identity separately from video
producers.

CONCLUSION
It is still debated whether we have reached a period of late modernity or postmodernity. The
latter would imply that life, and the construction of identity, is defined by the choices we
make. There are no set boundaries in how we should use choice to formulate ideas on who to
be and how to become that individual. Life in a late modern period would imply much of the
same. One difference between the two is that postmodernity is characterised by the interplay
and interconnection between lifestyle choices, with no right or wrong choice ever being
outlined. Notions of how to behave, think and feel are fluid and subject to constant change. It
is in this way that identities have no fixed boundaries or definitions.
In any case, it has been argued that our self-identity and social identities are moulded by what
we do every day in life. The products we consume play a vital role in disclosing what we
know of ourselves and what we know of others. However this is less obvious with short term
consumption. Bourdieu argued that consumption is also a field; a site of domination by the
social groups who possess greater cultural and economic capital. Here, individuals consume
products that others either cant afford or dont see as a necessity. The people they share
tastes and preferences with appear to have similar social characteristics. With regards to
media consumption, the inundation of choice means our identities are never exactly clear or
stay the same.

Music video consumption has become a remarkable topic to discuss in terms of how it affects
our identity. Baumans work on consumerism and identity are appropriate here. Consumption
offers consumers security as the same market that provides freedom offers also certainty
(Bauman, 1988: 61). Individuals possess a high degree of freedom in what they want to be,
but this comes with an equally high level of responsibility. Such responsibility can generate a
level of anxiety as, contrary to the arguments of Giddens and Beck, one can make the wrong
decision (Bauman, 1988: 63). The confirmation that ones choices are right and rational
(Bauman, 1988: 65) comes from scientific expertise on products and that many others
purchase the same products too.
Media consumption requires consumers to consider the associations made with products. If
media products do not fall in tandem with ones perception of self-identity and social identity,
they cannot validate how one sees the world. Instead, those products, such as music videos,
demand the consumer to put aside their own beliefs. The consumer, in order to fully
comprehend the messages behind music videos, may also briefly subscribe to an alternative
set of beliefs. On the whole, music videos are a relatively minor form of representation when
compared to television. (They are minor in terms of quantity only, as certain music videos
achieve significance, irrespective of viewership). Ergo, the impact music videos have on
society (and how social beings construct their identity) is limited. This does not diminish a
music videos ability to convincingly challenge peoples views on identity.

REFERENCE LIST
Bauman, Z. (1988) Freedom Philadelphia: Open University Press

Bauman, Z. (1991) Modernity and Ambivalence New York: Cornell University Press

Beck, U. (1992) Risk Society: Towards a New Modernity London: Sage

Bourdieu, P. (1984) Distinction Massachusetts: Harvard University Press

Giddens, A. (1991) Modernity and Self-Identity Cambridge: Polity

Jones, J. and Raisborough, J. (2007) Risks, Identities and the Everyday Hampshire: Ashgate

Layton, L. (2004) Whos That Girl? Whos That Boy New Jersey: The Analytic Press

Leppert, R. et al (2002) Essays on Music California: University of California Press

Madonna. (1992) Erotica (05:14) Music video (online)

Available from http://www.youtube.com/watch?v=WyhdvRWEWRw&ob=av2e (Accessed
20th March 2012)

Nirvana. (1991) Smells Like Teen Spirit (4:38) Music video (online)
Available from http://www.youtube.com/watch?v=hTWKbfoikeg&ob=av3e (Accessed 22nd
March 2012)

Vernalis, C. (2004) Experiencing Music Video, New York: Columbia University Press

APPENDICES

Appendix A
Vernalis, C. (2004) Experiencing Music Video, New York: Columbia University Press (pp.
209-236)
The above is an analysis of Madonnas music video Cherish (1989). This detailed
examination explores notions of race and gender identity in relation to the music video. It is a
useful analysis into the research behind music video production and further work into cultural
studies.