A SEMIOTIC ANALYSIS OF THE NEGOTIATION OF FEMININITY THROUGH SATIRE AND HYPER-FEMININE AESTHETICS IN SABRINA CARPENTER’S MANCHILD

Abstract

The increasing popularity of postfeminist media has transformed the representation of femininity in contemporary popular culture, where hyper-feminine aesthetics are increasingly combined with themes of empowerment and female autonomy. Sabrina Carpenter's Manchild music video presents this contradiction by juxtaposing highly feminine appearances with satirical lyrics and the reversal of traditional gender roles. This study aims to examine how hyper-feminine aesthetics and satire negotiate femininity within the music video. Employing a qualitative approach, the research applies Roland Barthes' semiotic theory to analyse denotative, connotative, and myth meanings across thirteen selected scenes. Taking viewpoints from Andrew Goodwin's music video theory combined with Brad Osborn's contemporary perspectives on music videos and Laura Mulvey's concept of the male gaze, supports the interpretation of audio-visual relationships and gender portrayal. The findings reveal that the music video deconstructs conventional myths of female fragility and male authority by portraying femininity as compatible with competence, independence, and agency. However, these representations simultaneously remain embedded within the commercial aesthetics and beauty standards characteristic of postfeminist media culture. The study concludes that Manchild negotiates rather than completely rejects traditional femininity, illustrating how contemporary music videos function as contested spaces where empowerment and commodification coexist.