'I'm battered and bruised': Vanessa Feltz spends her 61st birthday as a single woman following split from cheating Ben Ofoedu, 50 Jude Law, 50, 'becomes a father for SEVENTH time! Actor's wife Phillipa Coan, 35, welcomes their second child together as couple are seen with a baby'
Harry Styles does a SHOEY on stage - and immediately regrets it - as he belts out Daryl Braithwaite's The Horses at his sold-out concert in PerthĪngelina Jolie and daughter Zahara Jolie Pitt are spotted spending quality time together as they step out in New York City While some praised Beyonce's risqué lyrics and images as a ‘feminist manifesto’, others critique the implicit reinscription of historical sexual violence against (and objectification of) black women through a hypervisualised medium.How Emma Thompson's real-life heartbreak after her very public break-up from Sir Kenneth Branagh inspired THAT Love Actually sceneĮd Sheeran makes surprise career move away from music after revealing fetish for something VERY saucyĬashing in on Kate! Princess of Wales' sold-out £18 Zara earrings are listed by royal fans for £110 on eBayįrom the stunning Norwegian Fjords to historic European cities and the sun-kissed Caribbean, there are so many incredible places to visit and exciting things to do on a P&O Cruises holiday. Drawing from popular discourses on Beyoncé and women in hip-hop, the paper aims to offer an alternate perspective on notions of performativity and emancipatory possibilities of the performer’s hypervisuality through visual representations and strategies.Unlike commercialized ideals of (white, Eurocentric) beauty and femininity which objectify the female figure (and sexuality) as either Madonna or whore, the visual album utilisies provocative sexual politics to denote contesting and lived female experiences that refuse easy categorization. The paper argues that the performer utilises bodily notions of excess and control through her physical body ie. These songs explore different facets of sexual experiences in its corporeality as well as psychosexuality. Specifically, I examine the deployment of risqué content in the music videos for “Yoncé/Partition”, “Blow”, “Mine” and “Grown Woman” ,Beyoncé. The paper deploys concepts of risk through an exploration of African-American pop superstar, Beyoncé’s, visual album released in 2013 - " Beyoncé". This paper was submitted as part of a Ideas & Exposition Module - Risk and Popular Culture, at Tembusu College, NUS.
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