POSTMODERNISM LADY GAGA - TELEPHONE

Amy Myers

HYPERREALITY• “Baudrillard claims that our current society has replaced all reality and meaning wit symbols

and signs and that human experience is of a simulation of reality.”

• “he believes we cannot separate the image from reality”

• Applying to lady gaga:

• She has a stage name she has created for her image, rarely referred to as Stefani Germanotta.

• She keeps her personal life and her superstar status separate this gives her the ability to control her image, and get away with different things for example the meat dress.

• “I have mastered the art of fame”. She has kept her hyper-real version of herself with the outrageous fashion, she is able to keep the public and press attention away from her personal life.

INTERTEXTUAL REFERENCING • When the opening of the music video telephone begins it looks like a movie

before we actually see lady gaga. This is the typical conventions of movies and TV shows and incorporating it into her work.

• Tarantino reference comes from the “pussy wagon” used in “Kill Bill” that Lady Gaga and Beyoncé drive. Tarant lent gaga the car when they were filming.

• Gaga refers to Beyoncé as Honey Bee similar to the character in Pulp Fiction “Honey Bunny” although this may seem coincidental, a scene in a café show Beyoncé sitting opposite another male character, the framing and scene is very similar to the to the opening scene in Pulp Fiction.

BRICOLAGE• Warhol's exploration of mass consumer culture and advertising through

his Campbell's soup studies. Gaga and akerlund challenge the gender stereotype of the perfect housewife portrayed in 1950s pop culture

• Gaga plays the stereotypical 50s housewife in the scene but she uses bricolage to create a new meaning to show how she felt about the 50s house if by adding poison to the food she makes and it ends up killing everyone.