Contrasting Representations of Ethnic Minorities in Media: A Comparative Analysis of Beyoncé's Formation and Guinness's Compton Cowboys

Representations of Social Groups in Media

Constructing Meaning Through Visual and Technical Codes

Representations in media involve how producers portray social groups using visual and technical codes. These codes reveal the producer's intended ideology. Stuart Hall suggests that representations are formed through the repetition and remixing of media trends. Ethnic representation, in particular, manifests diversely in media, influenced by social, cultural, and historical contexts. This essay explores how producers represent ethnic minorities in Beyoncé's 2016 music video "Formation" and the 2017 Guinness television advertisement "Compton Cowboys," highlighting the contrasting ideologies presented.

Beyoncé's "Formation": Subverting the "Black" Narrative

Beyoncé's "Formation" presents a powerful and subversive representation of Black identity. Through slow-motion dolly shots, high-key lighting, and strategic shot composition, the video emphasizes Black empowerment and challenges racial hierarchies. Beyoncé's consistent foreground presence in group shots underscores this message. The absence of white representation further aligns with Paul Gilroy's post-colonialism theory, highlighting the persistence of racial tensions. By incorporating antebellum costumes and a stereotypically white, high-class mansion setting, Beyoncé reclaims the narrative surrounding Black history and slavery. The video's historical context, set against the backdrop of Hurricane Katrina, amplifies these ideologies. The opening montage of Beyoncé atop a sinking police car carries a polysemic meaning, referencing both the crisis and the issue of police brutality.

Guinness's "Compton Cowboys": Conforming to Stereotypes

In contrast, the Guinness advertisement reinforces stereotypical representations of Black individuals. The characters, with their tattoos, chains, and association with police sirens and helicopters, evoke associations with gang violence. The screen caption "South Central LA," an area notorious for such stereotypes, further anchors this representation. The advertisement's glorification of alcohol, a substance often linked to violence, perpetuates the harmful stereotype connecting Black people with drugs and violence. This approach exemplifies commodity fetishism, where the product is imbued with magical qualities, obscuring the human labor involved. This aligns with Hall's reception theory, potentially eliciting an oppositional reading from the audience, who may interpret the advertisement as condoning violence, despite the producer's intentions.

Conclusion: Contrasting Ideologies, Shared Social Group

In conclusion, "Formation" and "Compton Cowboys" offer contrasting representations of the same social group: ethnic minorities. While Beyoncé's music video subverts stereotypes and empowers Black identity, the Guinness advertisement reinforces harmful tropes. These contrasting representations highlight the power of visual and symbolic codes in shaping audience perception and perpetuating or challenging existing ideologies.