<b>Subjective Perspectives through Word, Image and Sound</b>
            : Temporality, narrative agency and embodiment in the Dixie Chicks' video 'Top of the World'

Burns, Lori; Watson, Jada

doi:10.3828/msmi.2010.1

Cited by 8 publications

(5 citation statements)

References 2 publications

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“…47 This integration of methodologies from different disciplines can be seen in a range of recent literature, such as a recent article by Lori Burns and Jada Watson on a music video by the Dixie Chicks. 48 More relevant in this context is Burns's and Watson's essay, "Live Concert Film." 49 Here they develop what they call three "crosscutting analytical concepts: form and space, gesture, and address."…”

Section: <2> Methodologymentioning

confidence: 99%

Introduction

Doctor¹,

Elsdon²,

Heile³

2016

Watching Jazz

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Section: <2> Methodologymentioning

confidence: 99%

Introduction

Doctor¹,

Elsdon²,

Heile³

2016

Watching Jazz

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“…"""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""" " Burns and Lafrance (2017), Burns and Watson (2010), Hawkins (2013), and Hearsum and Inglis (2013). See also Arnold et al (2017).…”

Section: Music Video and Audiovisual Analysismentioning

confidence: 99%

Empowered or Objectified? Personal Narrative and Audiovisual Aesthetics in Beyoncé’s Partition

Hansen¹

2015

Popular Music and Society

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2017ii"iii"1 Also see Reynolds, who envisions pop coming to an end "not with a BANG but with a box set whose fourth disc you never got around to playing" (2011, ix). " 2"was frequently made evident by the three aforementioned artists. For example, the lyrics from Prince's "I would Die 4 U" (1984) seem to playfully reference how pop artists at times are able to transgress and oppose the strictures of gender -which is bound up with how his persona 2 was characterized to a large degree by genderplay 3while also raising the issue that pinpointing how this is achieved can be an arduous task. Certainly, matters of gender in pop music are intricate. And even though pop performances have the potential to subvert and transgress gender norms, it is striking how prevailing perceptions and expectations of gender persist both in popular culture and in Western culture more generally. As is made clear in this dissertation, gendered representations in pop are more often than not characterized by contesting symbols and signs, which can result in performances that elaborately redress dominant norms in the guise of opposition or innovation.Developments in the field of gender research have happened rapidly. Stan Hawkins (2017, 1) states this in the introduction to The Routledge Research Companion to Popular Music and Gender, 4 a volume that marks the twentieth anniversary of the seminal book on popular music and gender, Sexing the Groove (Whiteley 1997a).Hawkins (2017, 1) also points out that while there has been a surge of interest in research on popular music and gender, there is much work to be done still. Indeed, due to the ever-changing conventions of pop music production, performance, and consumption, there is a necessity for continuously devising new theories and methods for studying gendered identity in pop music. In particular, continuous developments in technology and media practices have led to changes in modes of representation and production that warrant scholarly scrutiny, not least with regard to the increasing significance of media convergence in the staging and showcasing of pop personae. 5 """""""""""""""""""""""""""""""""""""""""""""""""""""""" 2 In my usage of the term "persona" I am referring to the social role that pop artists assume, which can be described as the part of their personal selves that audiences are granted access to. This is not to be confused with how some artists perform in character, one notable example being David Bowie performing as Ziggy Stardust. The concept is revisited and discussed more thoroughly later in this introduction chapter, particularly in relation to personal narrativity (the stories that circulate around pop artists) and how specific parts of artists' identities are conveyed to audiences while others are undercommunicated.3 "Genderplay" denotes a switching of roles and toying with gender norms in ways that are designed to entertain as well as aspire to strategies of self-fashioning (Hawkins 2009; 2016, 28). See studies by Hawkins and Niblock (2011) and Walser (1994) that plac...

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“…20 Recorded with Lloyd Maines-Natalie Maines's father-in Austin's Cedar Creek Studios, the album received rave reviews and sold six million units in its first seven months on store shelves. 20 Recorded with Lloyd Maines-Natalie Maines's father-in Austin's Cedar Creek Studios, the album received rave reviews and sold six million units in its first seven months on store shelves.…”

Section: Dixie Chicks and Lubbock Txmentioning

confidence: 99%

“…At the beginning of 2003, the Dixie Chicks were riding high on the success of their third studio album, Home (2002), a largely acoustic album featuring folk-inspired lyrics, bluegrass instrumentation, and even classical orchestration. 20 Recorded with Lloyd Maines-Natalie Maines's father-in Austin's Cedar Creek Studios, the album received rave reviews and sold six million units in its first seven months on store shelves. 21 But everything changed dramatically after 10 March 2003 when, from the concert stage at Shepherd's Bush Empire in London, Natalie Maines proclaimed that the trio was "ashamed the President of the United States was from Texas."…”

Section: Dixie Chicks and Lubbock Txmentioning

confidence: 99%

The Dixie Chicks’ “Lubbock or Leave It”: Negotiating Identity and Place in Country Song

Watson¹

2014

J Soc American Mus

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The concepts of "place," "space," and "home" are integral to the study of country music, a genre conventionally associated with geographic regions, rural landscapes, and domestic values. Place-songs have emerged as an important way in which country musicians communicate life experiences and define elements of their identity, emphasizing the influence of family and community on their character, beliefs, and values. However, just as place can signify belonging, it can also represent a constricting environment from which artists struggle to escape. Such narratives enable us to see vital parts of regional identity that would otherwise be hidden, obscured, or overshadowed. The Dixie Chicks' song "Lubbock or Leave It" (2006) is an interesting case study for an inquiry into how artists struggle to define themselves within the country genre. The song spurred immediate uproar insofar as the lyrics portray lead singer Natalie Maines's hometown of Lubbock, Texas as small and narrow-minded. Many listeners and critics interpreted the song as a rejection of both Lubbock and country values.Drawing from the fields of cultural geography and musicology, this study examines how the Dixie Chicks draw on musical codes and conventions in an act of defiance and genre subversion, as they struggle with parochialism and conservative thinking.

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Subjective Perspectives through Word, Image and Sound : Temporality, narrative agency and embodiment in the Dixie Chicks' video 'Top of the World'

Cited by 8 publications

References 2 publications

Introduction

Introduction

Empowered or Objectified? Personal Narrative and Audiovisual Aesthetics in Beyoncé’s Partition

The Dixie Chicks’ “Lubbock or Leave It”: Negotiating Identity and Place in Country Song

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