摘要：Hunter and Soto argue that women in hip-hop are either hypersexualized, or depicted as “ride-or-die” chicks who are loyal to their male companions at any cost (2009). I examine Beyoncé’s 2013 Super Bowl Halftime Show performance to see how her “female empowerment” theme fits into the dominant portrayals of women in hip-hop. “Queen of Hip-Hop” Beyoncé was criticized by some as having contributed to the further objectification of women in the public eye during the Super Bowl. I argue that Beyoncé used the Halftime Show stage to present an image of womanhood that encourages control over her own money and sexuality, demands fidelity, and encouraged others to follow her lead. Drawing on the work of McClary (1991), Davis (1998) and Peoples (2013), I contend that during the Halftime Show, Beyoncé’s song selection, pyrotechnics and stage design, choice of exclusively female dancers and band members, and interaction with audience members all reinforced the event’s “female empowerment” theme. Beyoncé demonstrates her agency in the portrayal of her body through the design of camera angles that maintain her meticulously crafted public image. Ultimately, I argue that Beyoncé used the Super Bowl Halftime Show to articulate the theme of “female empowerment” through song choices and imagery that highlight financial independence and an ideal of sexual agency that is carefully couched within the parameters of a heteronormative, monogamous and committed relationship.
