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Desperately Seeking Marilyn: Madonna, Myth, and MTV
| Article
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13934 |
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Section : |
THE ARTS
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| Issue
Date : |
2 / 1988 |
2,376 Words |
| Author
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Paul Coates
Paul Coates is professor of literature at McGill University,
Montreal, Canada. |
The protagonists of myths are gods and goddesses; their divine status stems from the multiplicity of forms they are able to adopt. The ancient deity Diana is triform: goddess of the moon, the hunt, and fertility. The secular goddess of the moment, Madonna, is biform--both whore and virgin in the MTV video "Like a Virgin"; showbiz star and girl grateful for flowers in "Material Girl"; peep-show performer and runaway big sister in "Open Your Heart."
The dual identity of the goddess as MTV performer gives her the best of both worlds, which also means allowing her to preserve primary narcissism into adult life: In the "Who's That Girl?" video, Madonna watches a self so well known that the cursory notation of a cartoon is sufficient to identify her.
The rock video as art form, of course, feeds on a multiplicity of inconsistent images, and Madonna is perhaps the first (or best) artist of a new kind--that of rock video. A compact, transistorized version of Wagner's Gesamtkunstwerk, the rock video so overwhelms one with a surfeit of information as to prevent one's perceiving the emptiness of rock's self-celebration. Information becomes indistinguishable from the noise.
Music becomes a form of ideology ("rock is the only true religion," the graffito tells us): anyone can subscribe to it, for it is fundamentally a matter of rhythms and patterns, not of concepts. It may be relevant to note that the rhythms of rock are of an extreme simplicity. Music may function at present as a social cement that appears to bypass ideology (and so to escape the general disillusion with failed ideologies), yet it too can be considered an ideology: that of
... (1993 of 14098 Characters)
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