Prize Year
2023
Document Type
Unrestricted
Abstract
This research paper will assess the representations of female vulnerability and trauma in “sad girl” music and listeners’ role in maintaining the commodification of femininity, trauma, and marginalized experiences. To achieve the aforementioned goals, postfeminism and enlightened sexism will be introduced as frameworks to assess musical works within the “sad girl” music genre. Specifically, the musical works of Lana Del Rey and Phoebe Bridgers, prominent artists in the “sad girl” music genre, will be analyzed under postfeminism and enlightened sexism frameworks to reveal nuanced contributions these representations have in today’s feminist discourse, both positive and negative. “Sad girl” music’s intended messaging will also be highlighted. Additionally, Pierre Bourdieu’s framework on cultural capital will be utilized to reveal how the consumption of “sad girl” music commodifies trauma. The harms of such trauma commodification will be presented, urging readers to value the importance of incorporating recognition of the potential harms of consuming “sad girl” music. Through this research paper, readers are encouraged to assess and reflect upon their affinities with “sad girl” music and how consuming such media may impact their understanding of marginalized trauma experiences.
Recommended Citation
Wang, Amelia, "The Paradox of "Sad Girl" Music" (2023). Dean James E. McLeod Freshman Writing Prize. 20.
https://openscholarship.wustl.edu/mcleod/20