1

ANALYSIS OF TONI FOWLER’S “MPL” MUSIC VIDEO: A FEMINIST

APPROACH

_______________________________________

A Philippine Pop Culture Analysis Paper Presented

to Dr. Jose Marie E. Ocdenaria
Ateneo de Davao University

_____________________

In Partial Fulfillment of the Course Requirement

in GE 3219 (16-415) Philippine Pop Culture

Conel R. Mamolang

March 2023
 2

ACKNOWLEDGMENT Commented [1]: 3 to 4 paragraphs

I would like to express my heartfelt appreciation to the following people who have
supported and contributed to the completion of this analysis paper:
First and foremost, I would like to thank my supervisor/mentor for their guidance,
encouragement, and feedback throughout the writing process. Their insights and expertise
were invaluable in shaping the direction and scope of this analysis.
I would also like to acknowledge the support of the research websites particularly
Google Scholar that provided access to the necessary resources, including journals, books,
and databases, which were essential in conducting this analysis.
I am thankful to my family and friends for their unwavering support and
understanding during the writing process. Their encouragement and motivation were
instrumental in keeping me focused and motivated to complete this analysis paper.
Lastly, I would like to express my sincere appreciation to all those who have
provided feedback and constructive criticism on the analysis paper, helping to refine and
improve its quality.
Overall, I am grateful for the contributions of all those who have played a role in
the completion of this analysis paper. Thank you for your support, guidance, and feedback.
 3

TABLE OF CONTENTS Commented [2]: Edit page numbers

Page
Acknowledgment ii

Table of Contents iii

Introduction 1

Synopsis 9

Analysis 3

References 5

Curriculum Vitae 7
 1

INTRODUCTION

The emergence of social media has significantly changed how music, art, and
entertainment are consumed, created, and disseminated in recent years, having a profound
effect on pop culture. For artists and creators, social media platforms like Facebook,
Instagram, Twitter, and YouTube have opened up new channels for reaching larger
audiences and interacting with their followers. Pop culture has become more democratic
as a result, allowing independent innovators and artists to compete on an equal footing with
well-known, mainstream ones. Gender stereotypes have been significantly reinforced by
social media, especially through the use of advertising and influencer culture. These
stereotypes are frequently reinforced by social media influencers, who are having a
growing impact on pop culture. They do this by showcasing idealized portrayals of
masculinity and femininity. Male influencers are frequently required to exemplify
traditional ideas of masculinity, such as physical strength and emotional stoicism, whereas
female influencers are frequently expected to adhere to strict beauty standards.
This paper analyzes Music videos. Music videos, as seen through the lens of pop
culture, are short movies or videos made to go along with a particular song or piece of
music. They are a type of audiovisual entertainment that combines visual storytelling with
music, combining graphics, motion, and visuals to give spectators a gripping audiovisual
experience. A common component of popular culture, music videos are widely
disseminated via social media, internet streaming services, and television networks. The
reasoning behind choosing this kind of pop culture phenomenon is the emergence of
observable women stereotyping in media platforms. The problems that this paper delves
into are: Objectification of women, Stereotyping of women and Male gazing. When
examining issues related to gender representation and stereotypes in music videos, a
feminist lens can be used to critique and analyze the portrayal of women in the media. A
feminist lens seeks to examine the social, cultural, and political implications of gender
norms and representations, with a focus on the ways in which they can reinforce or
challenge power dynamics and inequalities between men and women. By applying a
feminist lens, one can analyze the ways in which Toni Fowler's MPL music video
reinforces or challenges traditional gender roles and stereotypes, and how it contributes to
the larger cultural context of gender inequality and objectification of women in the media.
Furthermore, Media, as a form of entertainment, are believed by some to be a
vehicle for behavioral influence. For many years researchers have hypothesized a
relationship between media and behavior, suggesting that media content shapes cultural
norms and indirectly affects behavior. Therefore, it needs more studies involving how
gender stereotyping is depicted in mainstream media and its effect on viewers.
 2

Synopsis Commented [3]: (a) For visuals (e.g., Print ads and
other 2D images), paste the image you are analyzing.
-Describe the image. (Do not analyze it yet. Focus on
the denotation or its literal meaning here.)
(b) For films, short ads, videos, music/song,
novel/book, other types of media:
-Include a screenshot of the pop culture phenomenon.
-IF POSSIBLE, provide a link to the video, song, e-
book, Wattpad story, etc.
- (NOTE: For films, a link to the teaser will suffice.)
-Include a synopsis.

https://www.facebook.com/100090048679140/videos/1570804626726084

The graphics above are snippets of Toni Fowler’s music video with the title “MPL”.
In the upper picture, the woman in the middle who’s licking her thumb is the social media
influencer Toni Fowler. The three other women are one of the casts included in the music
video. The picture is the introductory part of the music video. The lower picture is a part
of the music video where a woman is dancing in the middle of a group of men partying and
praising the woman.
Toni Fowler's “MPL” music video features the artist in various settings, including
a bedroom, a living room, and a swimming pool. Throughout the video, Fowler is depicted
in a sexualized manner, with camera angles and shots that emphasize her body and
clothing. The lyrics of the song and the imagery in the video reinforce traditional gender
roles and stereotypes, with Fowler presented as a submissive and sexually available
woman, while the male characters in the video are portrayed as dominant and in control.
The video also features scenes of Fowler in suggestive poses and engaging in sexually
 3

suggestive behavior, such as licking a lollipop and pouring champagne over her body. The
video ends with Fowler lying in bed, surrounded by male characters, suggesting a sexual
encounter or relationship. The video has received criticism for its portrayal of women and
reinforcement of harmful gender stereotypes.

Analysis Commented [4]: This is where you start explicating the

phenomenon using the theory/theories you have
The power of media in shaping the world’s perception has increased manifold over chosen. The following serves as a guide:
the years. Due to the outreach and technological sophistication, Media’s role has now -Articulate the key tenets/postulations of the
theory/theories.
expanded and increased beyond the mere supply of information (Sharda, A. 2014). Sharda -Take your reader to the phenomenon and cite
A. (2014) further stated that the greatest fear in today’s world of information explosion is concrete points/insights where the theory (or each
theory) particularly applies to, solves, explains, or
that we are imbibing all the gender biases subconsciously and reinforcing existing locates issues/problems in this phenomenon.
inequality without even being aware of it. -Elucidate your ideas cohesively.
-Conclude your analysis with a clinching
Media, as a form of entertainment, are believed by some to be a vehicle for paragraph/statement.
behavioral influence. For many years researchers have hypothesized a relationship between
media and behavior, suggesting that media content shapes cultural norms and indirectly
affects behavior (DeFleur, M. L., & Ball-Rokeach, S. 1989). This may be particularly true
during adolescence, and especially so with respect to music videos. Music videos have
raised concern because of the combination of explicit music and sexual visual images
(Arnett, JJ. n.d.). Many music videos are laden with sexual content, and often reflect
situations where women are presented as submissive, passive, or promiscuous (Robillard,
2012).
Music videos show a clear demarcation along lines of gender roles (Arnett, JJ. n.d.).
A recent content analysis found that gender displays (i.e., involving nonverbal behavior)
reinforced stereotypes of women as sexual objects, and women as subordinate compared
to men (Wallis C. 2011). In Toni Fowler’s “MPL” music video, in the lens of a feminist
approach to address the issues stipulated in this paper. The feminist approach is a
theoretical perspective that emphasizes the importance of gender in understanding social
relations and power structures. According to The Stanford Encyclopedia of Philosophy,
"Feminist philosophy is an approach to life and thought that has been shaped by the
experience of women and the ideas of feminism" (Haslanger, 2019). Feminist scholars and
activists seek to challenge and change gender inequality and other forms of oppression that
impact women and marginalized groups.
A feminist study of the video may concentrate on a few different things:
Objectification: The camera angles in the video sexualize Fowler's appearance and
highlight her body and attire. The emphasis on Fowler's physical attributes raises the
possibility that she is valued more for her physical allure than for her abilities or
capabilities. Male gaze: In order to appeal to the male gaze, the camera angles and shots in
the video portray Fowler's body and motions in a way that is meant to be sexually
provocative to male viewers. This supports the notion that women exist primarily to fulfill
the desires of males and are objects of their desire. The more men are exposed to such
 4

depictions, the more they may think of women as entities that exist for male sexual
gratification (Wright, P.J., & Tokunaga, R.S. 2016). Stereotyping: The lyrics of the song
and the imagery in the video reinforce traditional gender roles and stereotypes. Fowler is
presented as a submissive and sexually available woman, while the male characters in the
video are portrayed as dominant and in control.
Despite early debates about music videos (and music lyrics) beginning in 1983 by
the Parents Music Resource Center, Women Against Pornography and the National
Coalition on Television Violence, music videos are now an entertainment staple. Their
availability extends beyond the traditional mode of television to the Internet as well, and
they have come to be an appreciated and highly consumed form of entertainment,
particularly by adolescents. In recent years, several groups have raised concern over the
portrayal of women in music videos and its impact upon girls (Robillard, 2012).
Toni Fowler’s music video is in the rap genre. According to the analysis done by
Turner, J. S. (2011) supported the fact that videos mixing rap and rhythm and blues (R&B)
contained the highest sexual content. As supported by Conrad, K., Dixon, T. L., & Zhang,
Y. (2009) that rap videos emphasize both materialism and misogyny with females being
more likely than males to be viewed as sexual objects.
Kalof L. (1993) examined the social construction of sexual imagery of a music
video and found significant gender differences in how women and men socially constructed
the meaning of femininity, particularly in the way gender, sexuality and power interact.
Studies found that: (1) women were presented less often in leading roles and were more
likely to be cast as “dancers” and “models;” (2) men engaged in significantly more
aggressive, dominant and violent behavior; (3) women engaged in significantly more
implicitly sexual and subservient behavior or appeared affectionate, dependent, nurturing
or fearful; and (4) women wore more revealing clothing and initiated and received explicit,
implicit and aggressive sexual advances more often than men (Gow, J. 1996 & Sommers-
Flanagan, R.& Davis, B. 1996 & Seidman, S.A 1992).
The objectification of women is a significant issue that has been addressed by
feminist scholars and activists. As feminist scholar Martha Nussbaum argues,
"Objectification occurs when someone treats a person as an object or instrument, denying
her the dignity of a full human being" (Nussbaum, 1999).
It is important to challenge the objectification of women in all its forms, including
in media, advertising, and everyday interactions. We must recognize women as complex
and fully human individuals deserving of respect and equality (Nussbaum, M. 1999).
 5

References Commented [5]: APA Format

Arnett, JJ. The sounds of sex: sex in teens’ music and music videos. In Steele JR, Brown,
JD, Walsh-Childers K, eds. Sexual teens, sexual media: investigating media’s
influence on adolescent sexuality. Mahwah, New Jersey: Lawrence Erlbaum
Associates; 2002: 253-264.

Conrad, K., Dixon, T. L., & Zhang, Y. (2009). Controversial rap themes, gender portrayals
and skin tone distortion: A content analysis of rap music videos. Journal of
Broadcasting & Electronic Media, 53(1), 134-156.

DeFleur, M. L., & Ball-Rokeach, S. (1989). Theories of mass communication (Vol. 5).
New York: Longman.

Gow, J. (1996). Reconsidering gender roles on MTV: Depictions in the most popular music
videos of the early 1990s. Communication reports, 9(2), 151-161.

Haslanger, S. (2019). On being objective and being objectified. Routledge.

Kalof, L. (1993). Dilemmas of femininity: Gender and the social construction of sexual
imagery. The Sociological Quarterly, 34(4), 639-651.

Nussbaum, M. (1999). Women and equality: The capabilities approach. Int'l Lab.
Rev., 138, 227.

Robillard, A. (2012). Music videos and sexual risk in African American adolescent girls:
Gender, power and the need for media literacy. American Journal of Health
Education, 43(2), 93-103.

Seidman, S. A. (1992). Profile: An investigation of sex‐role stereotyping in music

videos. Journal of Broadcasting & Electronic Media, 36(2), 209-216.

Sharda, A. (2014). Media and gender stereotyping: The need for media
literacy. International Research Journal of Social Sciences, 3(8), 43-49.

Sommers-Flanagan, R., Sommers-Flanagan, J., & Davis, B. (1993). What's happening on

music television? A gender role content analysis. Sex roles, 28, 745-753.

Turner, J. S. (2011). Sex and the spectacle of music videos: An examination of the portrayal
of race and sexuality in music videos. Sex Roles, 64(3-4), 173-191.
 6

Wallis, C. (2011). Performing gender: A content analysis of gender display in music

videos. Sex Roles, 64, 160-172.
 7

CURRICULUM VITAE Commented [6]: White background

JUAN FILIPINO DELA CRUZ

Date of Birth : September 25, 1999

Age : 21 years old

Gender : Male

Height : 5’5’’

Weight : 57 kg.

Birthplace : Tagum City

Religion : Roman Catholic

Civil Status : Single

City Address : Purok 14, Paglaum, Salvacion, Davao City, Philippines

Parents

Father : Richard Gomez Richards

Mother : Jane Doe-Richards

 8

EDUCATIONAL ATTAINMENT

School Level School Year

Ateneo de Davao University College Student S.Y. 2018 - present

Degree: Bachelor of Science in Civil Engineering

Salvacion National High School Senior High School S.Y. 2016-2018

Salvacion National High School Junior High School S.Y. 2012-2016

Salvacion Elem. School Grade School S.Y. 2006-2012

Carmen Daycare Center Kindergarten S.Y. 2004-2006

CLUBS/ORGANIZATIONS

Club Position School Year

Supreme Student Treasurer 2015-2018

Government (SSG)

Philippine Institute of Member 2018 – present

Civil Engineers
AdDU Chapter

Circle-K Club Member 2018 – 2020