dc.contributor.advisor | Behm-Morawitz, Elizabeth | eng |
dc.contributor.author | Quick, Rachel K. | eng |
dc.coverage.spatial | United States | eng |
dc.date.issued | 2011 | eng |
dc.date.submitted | 2011 Spring | eng |
dc.description | Title from PDF of title page (University of Missouri--Columbia, viewed on June 30, 2011). | eng |
dc.description | The entire thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file; a non-technical public abstract appears in the public.pdf file. | eng |
dc.description | Thesis advisor: Dr. Elizabeth Behm-Morawitz. | eng |
dc.description | Includes bibliographical references. | eng |
dc.description | M.A. University of Missouri--Columbia 2011. | eng |
dc.description.abstract | Using the framework of symbolic interactionism, the concept of meaning, when discussing the relationship between hip-hop cultural members and how hip-hop culture is represented in advertisements, can be shaped by certain elements concerning a cultural authenticity. This is shown by how hip-hop cultural members make meaning of the images and messages that derive from commercial advertisements with a hip-hop influence on claims of what is an authentic cultural hip-hop identity. The present study investigated how portrayals of hip-hop artists in U.S. television commercials represented a hip-hop identity, using the analysis of McLeod's (1999) dimensions of hip-hop authenticity. A content analysis of 102 commercials was conducted to explore the relationship between each dimension of hip-hop authenticity and the categories of rap genre, race, and gender of the hip-hop artist featured in the advertisement. There were four significant findings. First, political hip-hop artists geared their message to the Black audience, and secondly, emphasized their connection to the community from which they came more than popular hip-hop artists. Third, Black hip-hop artists' exhibited masculine mannerisms more than White hip-hop artists. Lastly, male hip-hop artists significantly presented more masculine mannerisms than feminine, and female hip-hop artists expressed more feminine mannerisms than masculine; which suggests that there are certain elements involved in gender role performances surrounding hip-hop culture. | eng |
dc.format.extent | vi, 74 pages | eng |
dc.identifier.uri | http://hdl.handle.net/10355/11503 | |
dc.language | English | eng |
dc.publisher | University of Missouri--Columbia | eng |
dc.relation.ispartofcommunity | University of Missouri-Columbia. Graduate School. Theses and Dissertations. Theses. 2011Theses | eng |
dc.rights | OpenAccess. | eng |
dc.rights.license | This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 License. | |
dc.subject.lcsh | Hip-hop -- Marketing | eng |
dc.subject.lcsh | Hip-hop -- Influence | eng |
dc.subject.lcsh | Mass media and music | eng |
dc.subject.lcsh | African Americans -- Race identity | eng |
dc.subject.lcsh | African Americans -- Cultural assimilation | eng |
dc.subject.lcsh | Subculture | eng |
dc.subject.lcsh | Advertising and youth | eng |
dc.subject.lcsh | Advertising in popular culture | eng |
dc.subject.lcsh | Rap musicians | eng |
dc.title | The cultural commodification of identity : hip-hop authenticity | eng |
dc.type | Thesis | eng |
thesis.degree.discipline | Communication (MU) | eng |
thesis.degree.grantor | University of Missouri--Columbia | eng |
thesis.degree.level | Masters | eng |
thesis.degree.name | M.A. | eng |