Entre a “Boss Bitch” e a “Malvadona Safada”: uma análise crítica do discurso multimodal sobre hipersexualização e empoderamento em videoclipes de Anitta, Iza e Luísa Sonza

Abstract

This qualitative and interpretative research aims to investigate how the discourses present in the music videos Funk Rave (Anitta), Mole (Iza), and Campo de Morango (Luísa Sonza) construct, reinforce, or challenge expressions of hypersexualization and/or empowerment, based on a three-dimensional view of discourse: text, discursive practices, and social practices (Fairclough, 2001). To analyze these dimensions, the study draws on Critical Discourse Analysis, incorporating the transitivity system of Systemic Functional Linguistics (Halliday; Matthiessen, 2004) for verbal text analysis and the representational metafunction of Visual Grammar (Kress; van Leeuwen, 2006) for multimodal analysis. Additionally, it adopts an intersectional and decolonial perspective to understand how gender, race, class, and sexuality intersect in the discursive construction of representations (Akotirene, 2019; Lugones, 2020; hooks, 2020; Berth, 2023; Bezerra, 2023). The results indicate that expressions of hypersexualization and empowerment manifest ambiguously across the three music videos. Funk Rave emphasizes self-assertion and economic power but reinforces racial stereotypes that may be associated with the hypersexualization of black bodies. Campo de Morango highlights the tension between sexual freedom and self-objectification, while Mole conveys collective and intersectional empowerment, although elements such as sensual dance can be perceived as hypersexualized by some viewers. Discursive practices show that the artists’ creative participation, digital circulation, and media consumption influence the construction, reception, and interpretation of these discourses, revealing both commodification and spaces of resistance. Furthermore, at the level of social practices, the music videos are traversed by power relations, ideology, and hegemony, exposing both the commodification of female bodies in the cultural industry and spaces of subversion and resistance. These findings contribute to critical studies of multimodal discourse by proposing an integrated analytical model grounded in intersectional and decolonial perspectives, emphasizing the need to understand empowerment as a collective practice and hypersexualization as a historically constructed discursive process.