Beyonce plays the role of a traditional 1950s housewife named BB “Homemaker”. The video follows many of the genre characteristics of 1950s homemade movie; elements such as the artificial lighting, credits on screen, colouring and costumes portray this. However, throughout the duration of the video BeyoncĂ© acts out a number of traditional housewife “responsibilities” such as cleaning, cooking and gardening, assisting in the overall perception of the video.
Beyonce is the only subject on screen throughout the whole video. She is dressed in tight fitting outfits and traditional 1950s underwear whilst rolling around, crouching and crawling on the floor whilst singing “Why don’t you love me”. It could be suggested through the videos portrayal of Beyonce that she is inanimate – purely an object of desire for the egotistical male that doesn’t really love her. This ideology or concept of sexual fantasy or desire is highlighted by Beyonce exaggerating or flawing her female assets such as her breasts, bottom, midriff, legs and face. The face is particularly highlighted as a main focal point through the elaborate eye make-up and bright red lipstick connoting feelings of lust and infatuation; where Beyonce bites her finger it could even allude to the idea of promiscuity when considering that during the 1950s, what is perceived to be acceptable in Beyonce’s video by today’s standards, would have been classified as a form of pornography.
Throughout the narrative there is a conscious portrayal of BB.Homemaker’s vivacity and contrastive nature to that of “traditional” or “real” 1950s housewives e.g.. Tries to carry out everyday tasks but manages to fail (sets food on fire). The ostentatious and exaggerative jewellery connotes wealth and luxury, projected stars behind BB Homemakers silhouette signify honour, glamour and her clothing conveys BB Homemaker as lascivious , unique and desirable woman. This is done primarily to juxtapose Beyonce’s aesthetic with the lyrics of the song – why wouldn’t any man want to love a woman as gratifying as this? This is justified by the lyrics
“Why don't you need me, tell me baby why don't you need me?
When I make me so damn easy to need.
I got beauty. I got class. I got style and I got ass.
And you don't even to care to care. Looka here
I even put money in the bank account don't have to ask no one to help me out
you don't even notice that.”
Camera movements
The cuts and soft focus reflect genre characteristics to indicate an air of age and authenticity.
There are various straight cuts and zooms throughout the narrative to emphasise the body of “B.B Homemaker” and also creates a sense of voyeurism which also abides by Goodwin’s theory of reference to notion of looking, and the demands of the record label being reflected through the video .
At the beginning of the video there are mainly straight cuts in mid shots and long shots to act as a topic marker – what we see is Beyonce standing over a steaming bonnet of a car in a cropped chequered shirt, stockings and high heels. The camera then cuts to a medium shot of Beyonce rolling a tire on the floor towards the car.
The camera then cuts to a close-up of Beyonce’s face showing her hand wiping across her forehead leaving a dark greasy stain. Here the female is juxtaposed with very traditionally male traits such as grease, cars, steam and mechanics to add to the air of mystery and ambiguity which is so keenly portrayed. This shot could suggest that Beyonce is taking on the role of a male – maybe she had had to learn to do things for herself as the male she loves so dearly is no longer in her life, hence her lyrics “Why don't you love me, tell me baby why don't you love me.
The evident pattern of shots in the narrative is from close-up to medium or long shot; close ups to convey emotion or implied meaning through BB Homemaker’s facial expressions and long shots to purposely reinstate the theme of female gender representation as an object of sexual desire.
When BB Homemaker carries out traditional house wife responsibility there is emphasis on what task she is doing through the conscious crafting of mis-en-scene and camera work. The low angle shot shows the mop juxtaposed with her high heel shoes, followed by a mid shot showing her expression as well as the scenery (an ironing board and washing detergent is visible in the background as every object within the frame remains in soft focus)
Sound and editing
To work in conjunction with the theme of the music video, and the time period of which it is set, there is a section of the video which pauses whilst “B.B Homemaker” takes a bubble bath using cheery yet slow music resembling a theme tune as a sound bridge. The camera then cuts to “B.B Homemaker” dressed in a maids outfit dusting off her 16 Grammy awards – the sound here is parallel; just as the camera cuts back to the narrative the music does in conjunction with the action to restart the narrative and the sound resumes as contrapuntal throughout.
The dissolves or cuts into other scenes flicker and are sepia/aged in colour to create the illusion of a deteriorated 1950s home movie – the quality of the image is expected to be far less than videos that are made today.












