Panel Presentation: "Justify My Love" and "One of Your Girls"
"JUSTIFY MY LOVE" BY MADONNA
The No. 1 hit single âJustify My Loveâ by Madonna is a song that explores desire, love, sex, and choice. The music video shows Madonna as she kisses men and women, and it also features other queer couples. The music video was banned from MTV and created a scandal due to its sensual nature.Â
Judith Butler, âGender is Burning: Questions of Appropriation and SubversionâÂ
Butlerâs essay explores the construction and representation of gender. Specifically, she claims that gender is just a performance reinforced by repeated acts [1]. At the start of the music video, there is an androgynous figure shown in the hallway. They appear to be a topless woman with pearls and gloves; however, they have short hair and a slightly more masculine face (00:00:22). At a glance, it is difficult to tell whether or not this is a man or womanâdoes it even matter?âbut it shows that gender is a performance. You choose how to present yourself to the world and looking like a man/woman is based on societal norms. A similar argument can be made for the two women in drag with drawn on mustaches; at a glance itâs difficult to tell whether they are men or women, again, supporting the idea that gender is a performance (00:04:17). At this moment, they present as men, although they are women. There are also several other people, such as an androgynous women Madonna kisses (00:02:00-00:02:41), a man cross dressing (00:04:33), and two transgender women that appear in a mirror (00:02:50) that support this idea that gender isnât necessarily a ânaturalâ thing, we just associate certain traits with certain genders.Â
Furthermore, Butler claims that ââimitationâ is at the heart of the heterosexual project⌠[and that] hegemonic heterosexuality is itself a repeated effort to imitate its own idealizationsâ [2]. This statement can be applied to the heterosexual couples featured in the video. At the beginning of the video, thereâs a man tightening a womanâs corset. The man is muscular, dressed in leather, and has a mustache. The woman has an hourglass body figure, prominent breasts, and makeup on (00:01:21-00:01:27). The way they look follows the heterosexual ideal. The couple clearly follows gender norms through body shape and dress. They imitate hypersexual heterosexual idealizations, whether consciously or subconsciously, furthering the heterosexual project. There are several other heterosexual couples too. For one, Madonna is seen with a man, and they are both clearly feminine/masculine (00:01:05-00:01:20). Madonna is also seen on the bed as he stands above her, until the man is swapped with a woman (00:01:44-00:01:54). Additionally, thereâs a close up where a man forces a woman to look at the camera. She appears to be frightful (00:04:25-00:04:28). These two examples show the following of heterosexual norms because in both, the women seem to have less power. Because Madonnaâs the one on the bed, sheâs the one going to have things done to her, tying into our readings about the male gaze and how women are typically featured with less power. In the second example, the woman clearly is not in control; the man forces her to look at the camera by grabbing her face. In these scenes, the couples follow the heterosexual norm of the women being more submissive.Â
Also, Iâd like to mention the dancer in a black bodysuit. They may be a symbol of change/fluidity. When Madonna was on the bed, at first, she was with a man. Then the dancer in a black bodysuit appeared, and next there was a woman (00:01:55-00:01:57). Another time the dancer makes an appearance is before the audience sees the two transgender women in the mirror (00:02:43-00:02:46). The dancer appears again before Madonna is seen with the original man (00:03:37-00:03:40). The dancer is also seen in the shot with two men and a cross dressing man on the couch (00:04:29). In each instance, change is featured: the man is swapped for a woman, there has been a transition in gender, and there has been a transition in appearance. This ties into Butlerâs essay because it shows how fluid gender is, showing how ââbeing a manâ and âbeing a woman are internally unstable affairsâ [3].Â
Judith Halberstam, âLooking Butchâ
Halberstamâs essay discusses the queer gaze, positive images, and butches. The queer gaze is getting around codes/barriers by identifying queer characteristics in the people on screen. Itâs a way to identify with the characters on screen even if there arenât queer characters [4]. In Madonnaâs music video, there are many queer people. However, Madonna herself can be used as an avatar within the queer gaze. Specifically, in regard to this music video, through her lyrics and performance sheâs able to express her sexuality. She got pushback for it but was still able to be herself. Closeted queer people want to openly express their sexuality, so they may make Madonna their icon/live through her.Â
Halberstam also discusses a âpositive image,â or rather, âthe opposite of a stereotypeâ [5]. Â Â Positive images are when societally good images use marginalized peoples. Madonnaâs music video has both positive and negative images, and also many neutral images. Madonna herself is a positive image. In the music video, sheâs portrayed as bisexual. When sheâs on the bed with the man about to have sex, she puts up her hands and says, ânot like thatâ (00:01:50-00:01:55). This shows Madonna, the woman in the relationship, having power. Itâs a positive image of women and bisexual women - they have the power to refuse what they donât want. Furthermore, at the end of the video, thereâs a black screen with a quote âpoor is the man whose pleasures depend on the permission of anotherâ (00:04:58). In this case, the man is the one presented as weaker, further supporting that women can control their situations. This is a negative image for men, though, because it promotes the stereotype that theyâll do anything for and are dependent on sex. An even more negative image would be when a man grabs a womanâs face, forcing her to look at the camera (00:04:25-00:04:28). This promotes the negative image that men have the power, and women can do nothing about it. Generally, though, there are happy, queer, couples in the video, pushing the positive image that queer couples are happy. Ultimately, thereâs a blend of positive and negative in the music video.Â
Halberstam also discusses butches, and some are featured within Madonnaâs music video. One is a woman that wears suspenders and a cop hat (00:03:11). They do appear to be a bit androgynous, but Halberstam may claim that this is a transvestite butch. The transvestite butch may do âcross-dressing and [assume] female masculinity in relation to the notion of disguiseâ [6]. Although women can be cops and wear suspenders, these clothes are generally more associated with men. The outfit gives the butch a more masculine feel. Also, the butch grabs the manâs head and kisses him (00:03:12-00:03:23). So, Halberstam may also classify this person as a predatory butch, a butch thatâs âthe gunslinger, the prison warden, the gang member, the female pimp; in short, the bulldaggerâ [7]. Just by dress, this person fits the bill, but based on actions, the person seems to have power, seems to be a tough guy.Â
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"ONE OF YOUR GIRLS" BY TROYE SIVAN
Troye Sivanâs âOne of Your Girlsâ expresses frustration over loving a straight man while being a gay man. The music video presents Troye Sivan dressed in drag, as heâd like to be âone of [his] girlsâ so that heâd be loved back in the same way.Â
Judith Butler, âGender is Burning: Questions of Appropriation and SubversionâÂ
The start of the video features a mix of more masculine and feminine men, with Troye himself appearing more feminine (00:00:01-00:00:30). This goes to show how gender is not a ânaturalâ concept, itâs human made and just a performance. People decided what features belong to which gender, determining which guys look more masculine or feminine.Â
When Sivan is in drag, heâs very convincing as a woman; I didnât realize it was him at first (00:00:53). This, again, goes to show that gender is just a performance. His makeup is done to look like a very feminine, pretty woman. Since anyone can adopt these features and pass as a woman, it suggests gender isnât inherent as Butler claims. There are simply societal ideals of whatâs feminine vs. masculine. If gender wasnât just a performance, there would be more of a sign indicating that he wasnât actually female.
Furthermore, when Sivan was in drag giving a lap dance to another man (00:01:49-00:01:51), it showed how heterosexuality is an imitation of itself. If you didnât know Sivan was in drag, youâd assume that this is a heterosexual couple expressing their attraction. However, because Sivan is in drag, that means this couple is not heterosexual. As Butler states, heterosexuality itself is a performance, like drag [8]. Furthermore, Sivan is literally performing; heâs dancing. He âperformsâ heterosexuality, or rather, imitates it at least, showing how heterosexuality is an imitation of itself.Â
Judith Halberstam, âLooking Butchâ
Although Sivanâs video doesnât feature any butches, it does deal with queer gaze will apply. Sivan sings about being âone of your girls or homies,â showing how he'd like to be a girl just so that this guy will like him. It already has queerness infused; however, the line could be read in multiple ways. Transgender people could identify with it because it deals with wanting to be another gender. Nonbinary/gender fluid people may also be able to relate because of the line âgirls or homies.â Sivan does not just say girls.Â
Regarding positive/negative images, there arenât many within the music video. Portions of the video are in black and white and other portions are in color. However, all parts of the video where Troye Sivan presents himself as male are in black and white. The first instance of color appearing is when heâs in drag (00:00:31). This could be read multiple ways. One is that heâs desperate for this guy to like him, and heâll only be happy when this man likes him. This is definitely a more negative image - it portrays gays as people who base their happiness off of what others think. However, this could also be interpreted as a positive image. The image (not necessarily the lyrics) could show that Sivan was happy when he could present as a girl. Being himself and doing what he wished made him happy. This is a positive image for trans people - they are happier when they can present themselves as their gender. Otherwise, though, no one is portrayed in a particularly positive/negative light. The song revolves around unrequited love, and you feel bad for Sivan, but it doesn't use particularly strong positive/negative images.Â
What are some other representations of people in drag in the media? Are these representations positive or negative? How do these representations compare to âOne of your Girlsââs?Â
In the music video for âJustify My Love,â there is representation of different identities. However, they are all in a sexual context. What implications does this have? Is it harmful or harmless?Â
Madonnaâs music video has a large array of queer people. However, sheâs still the main focus and very feminine. Even when she kisses the girl, it seems more so for the male gaze. On the other hand, in Sivanâs video, heâs the one subverting gender norms. Sivanâs video doesnât feature other outwardly queer people, though. Which video do you think is a better representation of queer people?
Halberstam states that âa cinema of positive images is simply not a very interesting cinemaâ [9]. Do you agree with this statement? Also, should we still use markers such as positive/negative to analyze representation?Â
[1] Judith Butler, âGender is Burning: Questions of Appropriation and Subversionâ in Feminist Film Theory a Reader (New York: Washington Square, 1999,) 338.
[2] Judith Butler, âGender is Burning: Questions of Appropriation and Subversion,â 338.Â
[3] Judith Butler, âGender is Burning: Questions of Appropriation and Subversion,â 339.Â
[4] Judith Halberstam, âLooking Butchâ in Female Masculinity (Durham and London: Duke University Press, 1998,) 177.
[5] Judith Halberstam, âLooking Butch,â 184.
[6] Judith Halberstam, âLooking Butch,â 206.Â
[7] Judith Halberstam, âLooking Butch,â 194.
[8] Judith Butler, âGender is Burning: Questions of Appropriation and Subversion,â 338.Â
[9] Judith Halberstam, âLooking Butch,â 184.Â
Madonna, âJustify My Love,â dir. by Jean-Baptiste Mondino, Sire Records, 1990, video, 4:58, https://youtu.be/Np_Y740aReI?si=Fw15pQmSolKPVrvY.
Troye Sivan, âOne of Your Girls,â dir. by Gordon von Steiner, Capitol, 2023, video, 3:09, https://youtu.be/ZhGl8McrOHo?si=SVN4aU5ei642a_BD.Â