Although Jo’s physical stature isn't revealed throughout Yoü and I, the audience becomes aware that Jo is really Lady Gaga by the close association he has with the different characters. The audience can therefore conclude that what they are witnessing is not true hegemonic masculinity; despite the fact that Calderone’s body language and relationship follow normative expectations, audiences are actually viewing a performed masculinity. Gaga is biologically female, however, she is able to adopt a style of dress and behaviour for the Yoü and I music video that exudes masculinity based on stereotypical portrayals of what composes ‘male-ness’. Calderone is seen drinking beer, smoking, and stomping his feet aggressively. These seemingly manly actions contrast sharply with the normatively feminine Nymph in order to further highlight the masculine nature of his behaviour. He is even positioned so that he sits higher than Nymph in the frame, perched on top of the upright piano to hover above her and look down on her while she serenades him. This serves as a visual commentary on patriarchal understandings of masculinity and femininity. The omniscient fact that the man on the screen is, in reality, a woman undermines mainstream understandings of ‘male-ness’ and renders his masculinity a form of resistance, by virtue of the fact that these inherently male
Although Jo’s physical stature isn't revealed throughout Yoü and I, the audience becomes aware that Jo is really Lady Gaga by the close association he has with the different characters. The audience can therefore conclude that what they are witnessing is not true hegemonic masculinity; despite the fact that Calderone’s body language and relationship follow normative expectations, audiences are actually viewing a performed masculinity. Gaga is biologically female, however, she is able to adopt a style of dress and behaviour for the Yoü and I music video that exudes masculinity based on stereotypical portrayals of what composes ‘male-ness’. Calderone is seen drinking beer, smoking, and stomping his feet aggressively. These seemingly manly actions contrast sharply with the normatively feminine Nymph in order to further highlight the masculine nature of his behaviour. He is even positioned so that he sits higher than Nymph in the frame, perched on top of the upright piano to hover above her and look down on her while she serenades him. This serves as a visual commentary on patriarchal understandings of masculinity and femininity. The omniscient fact that the man on the screen is, in reality, a woman undermines mainstream understandings of ‘male-ness’ and renders his masculinity a form of resistance, by virtue of the fact that these inherently male