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you a stone freak in yo own skin: Missy Elliott's and Lil' Kim's Constructions of Black Womanhood
Unformatted Document Text:  Black Womanhood 20 (and as some may argue empowers her). The last photo is an old school picture from 1982. This photo is the only one that does not sexualize Jones or draw attention to her body in any way (which is good since she is a child). The only photo that gives a suggestion of turning around the male gaze is the police officer parody, yet even its defiance is overshadowed by Jones’ sexualization. Honey. The photos of Elliott reflect the story told about her. The cover shot is an extreme close-up of half Elliott's face that highlights her long eyelashes. Like in most photos of Elliott, her lips are parted and she is flawlessly made up. A smaller photo of Elliott appears on the contents page, but it is virtually the same shot except Elliott's full face is shown and she is looking off to the side smiling. The first photo to accompany the feature story appears on another contents page (made especially for the features). This is a close-up shot of Elliott. It is difficult to tell, but she appears to be sitting backward in a chair. She smiles widely and a black spiked bracelet makes a stark contrast to the white shirt and diamond jewelry Elliott wears. The second photo is a full-page shot, but once again, Elliott is cropped above the waist. She is not smiling and wears a black, low-cut v- neck shirt with netted sleeves. This is the only photo that really gives a hint to her sex appeal. The last photo is almost exactly the same as the second photo of Elliott except she is smiling to the other side. These photos are strictly glamour shots, but they do not subject Elliott to the male gaze. Instead, they highlight the "happy girl who seems more intent on making us smile than exploiting her womanhood." Furthermore, she is once again disembodied.

Authors: Brooks, TaKeshia.
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Black Womanhood 20
(and as some may argue empowers her). The last photo is an old school picture from
1982. This photo is the only one that does not sexualize Jones or draw attention to her
body in any way (which is good since she is a child). The only photo that gives a
suggestion of turning around the male gaze is the police officer parody, yet even its
defiance is overshadowed by Jones’ sexualization.
Honey. The photos of Elliott reflect the story told about her. The cover shot is an
extreme close-up of half Elliott's face that highlights her long eyelashes. Like in most
photos of Elliott, her lips are parted and she is flawlessly made up. A smaller photo of
Elliott appears on the contents page, but it is virtually the same shot except Elliott's full
face is shown and she is looking off to the side smiling. The first photo to accompany the
feature story appears on another contents page (made especially for the features). This is
a close-up shot of Elliott. It is difficult to tell, but she appears to be sitting backward in a
chair. She smiles widely and a black spiked bracelet makes a stark contrast to the white
shirt and diamond jewelry Elliott wears. The second photo is a full-page shot, but once
again, Elliott is cropped above the waist. She is not smiling and wears a black, low-cut v-
neck shirt with netted sleeves. This is the only photo that really gives a hint to her sex
appeal. The last photo is almost exactly the same as the second photo of Elliott except
she is smiling to the other side. These photos are strictly glamour shots, but they do not
subject Elliott to the male gaze. Instead, they highlight the "happy girl who seems more
intent on making us smile than exploiting her womanhood." Furthermore, she is once
again disembodied.


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