An Analysis of Beyoncé's MVs from the Perspective of Multimodal Metaphors
DOI:
https://doi.org/10.63313/LLCS.90002Keywords:
multimodal metaphor, conceptual metaphor, music video, Beyoncé, cognitive linguisticsAbstract
In recent years, multimodal metaphor has become a prominent research topic in cognitive linguistics and discourse analysis, emphasizing the collaborative role of language, image, sound, and gesture in meaning construction. However, existing studies have predominantly focused on static or semi-static texts such as advertisements, comics, and posters, with relatively limited attention to dynamic audiovisual media like music videos (MVs). This study explores Beyoncé’s representative MVs from the perspective of multimodal metaphors, aiming to uncover how linguistic, visual, auditory, and kinetic modes interact to construct complex layers of meaning and convey ideological and emotional messages. Drawing on Conceptual Metaphor Theory (Lakoff & Johnson, 1980) and Multimodal Metaphor Theory (Forceville, 1996, 2006), this research adopts a combination of qualitative and quantitative methods. Using ELAN 6.8 software, the study identifies, categorizes, and analyzes different types of multimodal metaphors in selected Beyoncé MVs, including Formation, Freedom, and Brown Skin Girl. The findings reveal that multimodal metaphors in Beyoncé’s works not only function as aesthetic and expressive devices but also serve as ideological tools that articulate themes of racial identity, gender empowerment, and cultural resistance. Furthermore, the interaction between dominant and subsidiary modalities demonstrates the dynamic mechanism of cross-modal mapping, through which abstract concepts such as freedom, power, and identity are embodied and visualized. This research enriches the theoretical application of multimodal metaphor in dynamic media discourse and contributes to a deeper understanding of how contemporary popular music participates in socio-cultural meaning-making through multimodal communication.
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