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In retrospect: What was so special about the Bad Romance video?


tomsches

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xoxo Craig

But yeah, imo its overrated. Its not my personal favourite but I guess for the time period it was released, it was pretty groundbreaking... but Telephone, Judas, G.U.Y, John Wayne + Perfect Illusion are better imo

End Racism Now
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You must remember everyone already loved the song because the record came out a month before the video. Every special moment of the video only added to the collective sentiment. Her spine. The red lace. The diamonds. It was all special. Nowadays, that would/could never happen with a lead single. Also, people were just buying what she was selling  ¯\_(ツ)_/¯ it's partially why she thought she could get away with wild claims about her music during BTW and ARTPOP. 

As for myself, I remember daydreaming about her outfits and The Bedroom at the End of the Universe set that Thanksgiving but I don't think I even registered she was being sold (aka the plot of the MV), which kinda speaks to the perplexing impact of everything but the plot. 

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Just, in my opinion (in addition to what’s already been mentioned) 
 the comprehensive cohesion of The Fame Monster narrative, ushered in through the introduction of “Bad Romance” as a genuine work of sonic cinema, elevated the expectation of how a music video should and could function within the realm of pop music culture and pop music promotion.

The video encompasses a spectrum of “special,” across the board; but one thing that stood out to me was the symbolic imagery, and how it spoke directly to the narrative of The Fame’s nemesis, in sheer levels and layers 
 particularly through the intersections of, I guess, the celebrity apparatus, the entertainment industrial complex, human trafficking, and technology 
 there’s also something salient about Francis Lawrence directing the video — on account of The Hunger Games (Catching Fire, Mockingjay Pt. 1 & 2) 
 Alexander McQueen as the fashion anchor underscored strong narrative interplay, beyond the immediate focus of Plato’s Atlantis, McQueen consistently explored juxtaposition of glamour and grotesque (e.g. Savage Beauty, for instance) in his work 
 There’s a seamlessness to how everything came together (from the technical production to the creative direction and visual projection) in a truly panoramic way, all of the elements converged into a cultural moment that spoke to the viability of the music video as an art form, the pop music video as a response to and reflection of the culture itself, and more broadly, I guess, in retrospect, it evidenced how pop musicians with that inherent artistic vision can capture the zeitgeist and craft a global cultural moment through their signature work 


Also, that it was all shot in one room 
 still feels “special.”

But, tbh, that was just top-line rambling on a few fleeting fragments of the video that came to mind 
 none of it is binding, just how it reads to me, so neither here nor there really 


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migamiga

The number one thing was the quality. It was so cinematic and as other people mentioned, back then most videos were just a formula and very cliche. The video looked expensive and there were a lot of moments that piqued people's interest like her googly eyes, the razor blade glasses, the fashion, etc. 

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the inorganic evil bitch vibe of it

you could feel like the most powerful woman in the world listening to it, even if you're a man :firega:

Bad Romance makes me think of a pseudo-future filled with black marble architecture, white neons, plastic and metal clothing and sadist and masochist behavior 

 

ice heard one side from above
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LordEnigma
1 hour ago, bxr said:

Just, in my opinion (in addition to what’s already been mentioned) 
 the comprehensive cohesion of The Fame Monster narrative, ushered in through the introduction of “Bad Romance” as a genuine work of sonic cinema, elevated the expectation of how a music video should and could function within the realm of pop music culture and pop music promotion.

The video encompasses a spectrum of “special,” across the board; but one thing that stood out to me was the symbolic imagery, and how it spoke directly to the narrative of The Fame’s nemesis, in sheer levels and layers 
 particularly through the intersections of, I guess, the celebrity apparatus, the entertainment industrial complex, human trafficking, and technology 
 there’s also something salient about Francis Lawrence directing the video — on account of The Hunger Games (Catching Fire, Mockingjay Pt. 1 & 2) 
 Alexander McQueen as the fashion anchor underscored strong narrative interplay, beyond the immediate focus of Plato’s Atlantis, McQueen consistently explored juxtaposition of glamour and grotesque (e.g. Savage Beauty, for instance) in his work 
 There’s a seamlessness to how everything came together (from the technical production to the creative direction and visual projection) in a truly panoramic way, all of the elements converged into a cultural moment that spoke to the viability of the music video as an art form, the pop music video as a response to and reflection of the culture itself, and more broadly, I guess, in retrospect, it evidenced how pop musicians with that inherent artistic vision can capture the zeitgeist and craft a global cultural moment through their signature work 


Also, that it was all shot in one room 
 still feels “special.”

But, tbh, that was just top-line rambling on a few fleeting fragments of the video that came to mind 
 none of it is binding, just how it reads to me, so neither here nor there really 


When you are trying to impress the English 101 professor on day one :ladyhaha:

But correct nonetheless!

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Smother Em Eh

There wasn’t anything like it at the time.

Get Applause & G.U.Y to 1B views!
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Woolfsmck

Better get security ..  barbeques are gonna be an issue now.  

like a cat in a sil, I observe life, moving and still. My words give a clue,look inside to see whats true
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