1-800-YouDoYou: Examining Drake’s “Hotline Bling”

Original Print“Although Drake’s “Hotline Bling” can be interpreted as counter-hegemonic due to its allusions to female empowerment and male sensitivity, the song still caters to a dominant masculine narrative that relies on the subordination of female sexuality. This project attempts to explore and disentangle these conflicting messages while recognizing the potential of this song to become a space in which feminist discourse and contemporary hip-hop can coexist.”
—Jade Frost, Mari Young, Charlie Britton, and Nora Teter (Block 5 2016)

“The original cover art for ‘Hotline Bling’ consists of a pink square with the text ‘1-800-HOTLINEBLING‘ written ten times consecutively. The simplicity of the italicized white writing creates a unique aesthetic and therefore distinctive impression.”

“Implicitly, his argument is that she was better off with him, despite the fact that the song is about his yearning for control over her. Here, one could argue that the promotion of male sensitivity is resistant to dominant gender ideologies; yet, the promotion of male sensitivity in the song perpetuates problematic themes, such as slut shaming and controlling male behavior […] The lyrics paint Drake as obsessed with the fact that he is no longer exuding the same degree of control over this woman; yet in the video, he is deliberately depicted as enthusiastically happy, comical even, dancing, and ‘feeling himself.'”

New Print“With ‘1-800-YOUDOYOU,’ we are feeding into the postfeminist mantra by arguing that women have the ‘choice’ to feel empowered in doing whatever they want, but we feel as though we could have delved deeper to question the notion of choice in our print component.”

“It is clear in the original text that Drake is not ‘stressed out,’ because he is lonely and single—instead, he is ‘down’ because his ex-lover is acting in a manner that he deems unsuitable and outside the ‘good girl’ narrative that he tries to impose on her: ‘wearing less’ and ‘going out more.’ This is why we chose to reflect real remorse (both visually and verbally), as well as demonstrate female liberation in the absence of the victimization of a male as well as told from the male perspective.”

Some Relationships Should Never Die: A Feminist Critique of the Female Relationships in Twilight

"Our poster deconstructs these archetypes and provides a group of women that do not adhere to male-defined femininity by taking the women out of the individualized boxes and interacting with each other."

“Our poster showcases a group of women that do not adhere to male-defined femininity by taking the women out of the individualized boxes and interacting with each other.”

“This project examines how the Twilight series continues to depict women in a light that subordinates and marginalizes them, and proposes how displaying Bella, Rosalie, and Alice in a communal and empowered light will help to diminish gendered stereotypes.”
—Melissa Barnes, Jazlyn Andrews, Atiya Harvey, Jules Norton, and Sasha Rieders

 

 

 

 

 

The Original Twilight Promotional Poster

Twilight

 

 

 

 

 

“This Twilight poster displays individualism and reinforces the gender norms within our society by physically dividing the characters and positioning the men and women in specific ways. In terms of individualism each character is acting within their own sphere uncaring of the others, which shows no sense of community or democracy […] Gender norms are reinforced through the Twilight poster because all of the men display dominating, masculine stances while two of the three women pose in a manner that reflects stereotypical feminine qualities.”

The Original Twilight Trailer


“Not once is she concerned for Bella’s health or safety because Bella is choosing to give up everything (college, career, family, friends, etc.) for her eternal love; Rosalie is merely concerned that she herself will never get to choose to have a husband who kisses her when he gets home from work or grandkids practicing to braid on her grey hair. When given the freedom to choose, both Rosalie and Bella’s heteronormative, male-centered desires pull them in the “right” direction, representing a post-feminist rhetoric that emphasizes hypersexuality and hyperfeminism as a means to gain empowerment.”

The Revised Twilight Trailer


“We wanted Bella to spend more time with Alice and Rosalie because conservative dating conflicts are typically caused by dominant heterosexual comprehensions of masculinity and femininity and intimate, romantic relationships come before all other relationships. If Bella understands how healthy and positive it is to have relationships outside of a romantic relationship, Edward won’t envelop and control Bella. With Alice and Rosalie at her side, she would no longer act ‘feminine.’ In other words, Bella would have the courage to embody confidence instead submission.”