El videoclip como ventana de lo posible: Ficciones de lo disidente en «It's raining men»
In this article we analyze, from a feminist perspective, the video clip and the song «It's raining men» published in 1982 by The weather girls. This work and its evolution as a dissident anthem function as a milestone that allows us to understand the ways in which artistic aesthetics and strate...
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| Formato: | Artículo revista |
| Lenguaje: | Español |
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Universidad Nacional del Litoral
2024
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| Acceso en línea: | https://bibliotecavirtual.unl.edu.ar/publicaciones/index.php/ISM/article/view/13724 |
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| Sumario: | In this article we analyze, from a feminist perspective, the video clip and the song «It's raining men» published in 1982 by The weather girls. This work and its evolution as a dissident anthem function as a milestone that allows us to understand the ways in which artistic aesthetics and strategies are related to the disruptive paths of songs, within the framework of industrialized popular and mass music. The repercussions of this single on the dance floors of the main urban centers of the United States, as well as the paths that made its existence possible, are a privileged space to think about the relationships between music, sexual politics, bodies, performativity, industry, visual representations, politics and public disputes.
The work was carried out understanding the music video as an extension of the song in the framework of media culture. Based on the idea that mass popular music encompasses a series of practices and operations that involve technical, musical, traditional aspects, linked to the industry, markets and modes of production, circulation, legitimization and valuation of music; and that therefore, popular music is social and complex, we analyzed the video clip from Soares' methodology, since it allows us to reposition notions linked to montage as an expressive and political resource, making possible the performative, corporeal and media approach of the senses conveyed in music.
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