Lady Gaga has crafted a career in performative storytelling through specific archetypes that represent her personal, spiritual, and professional growth. My goal in this paper is to analyze the 911 short film, and connect the representations to her personal struggles and music in order to describe her 12 year career and process of individuation as an artist and public figure in terms of the Hero's Journey framework. It is important to keep in mind the many "realities" referenced in this paper - the unconscious and conscious worlds in the video, and the parallels between those worlds, and Lady Gaga's real life experiences and influences. For ease of flow, lyrical references will be bolded and italicized.
A dark figure stands over the sand dunes; a man dressed in all black, a cape and tophat, atop a dark coloured horse. Given that the video eventually references a terrible accident, could he be Death? He is visually similar to the Death tarot card, and also effectively seems to represent the Guide of the Hero's Journey - a seemingly supernatural aid leading the "Hero" through the threshold among the sandy abyss (Campbell, 1945). He is looming over a sand pit, to a stranded unconscious woman (Gaga) lying in the sand, surrounded by her personal wreckage. Her bicycle lies in half on either side of her, mangled. A bag of pomegranates lie strewn at her feet - pomegranates are not only an obvious reference to The Color of Pomegranates (Parajanov, 1969), which Lady Gaga visually references throughout the short film - however, pomegranates also hold a lucrative and everlasting symbolism indicating life, regeneration, and transition between worlds [Persephone, after eating pomegranate seeds, is indebted to spend her life between the underworld and the world of the living, which we associate with the changing of seasons. (Langley, 2000)]. Pomegranates as they allude to Persephone also refer to the forcefulness in which Persephone was taken to the underworld - reflective of Lady Gaga's real-life rape at age 19 and the trauma that she has carried all her life, and has, in her opinion, manifested as PTSD and fibromyalgia (Winfrey O., Lady Gaga, 2020). Her left foot is noticeably adorned by a bright red beaded anklet, which is a reference to her real-life ankle-injury for which she takes pain medication, and seriously impacted her career as a performer (Lady Gaga, 2021). Gaga is blindfolded with a bright red tailored cloth, indicating her journey into the unknown/unconscious (Campbell, 1945) as a trauma response following an accident (and her real-life trauma). She is dressed in a light, airy chiffon in white and pink hues, wrapped in a manner similar to a toga - clearly of high quality, possibly signifying some sort of societal importance, which would make sense as a reflection of Lady Gaga's real-life fame. Additionally, chiffon fabric is draped around her in the sand, alluding to blood and injury. Though blindfolded, she senses the presence of the Dark Horseman and she bolts up, following him through the desert - ripping off the blindfold midway through her journey as she crosses the threshold across the sands, signifying her descent into the unconscious.
The Dark Horseman leads her to beautiful white stone ruins, and as she passes through the archway, the gold plate fixed atop it appears, briefly, as a halo behind her head - perhaps symbolizing her potential ascension to Heaven. Her head abruptly pivots to the right and a young man is shown on his knees, repeatedly slamming his head into a velvet pillow on the ground, his hands held behind his back. The music's heavy electronic beat is timed with the impact of the man's unwilling movements. He is looking Gaga straight in the eyes. The camera moves to the Pillow Man's point of view, which shows Gaga behind a Mondrian-esque frame [a direct reference to The Color of Pomegranates (Parajanov, 1969)], held by two figures dressed in orange hues, with geometric sheaths and headpieces, as well as black blindfolds.
The lyrics begin, but although the camera repeatedly pans over Gaga, the first line is "sung" by a figure draped in bright blue, walking towards Gaga ("Turning up emotional faders; keep repeating self-hating phrases"). She listens intently, very aware of the person's presence, and makes a halting movement with her gloved and bejeweled hand, stopping the imposter in their tracks and delivering the rest of the verse herself ("I have heard enough of these voices; almost like I have no choice"). She mimics mental illness with her dance moves, and we see a woman in purple, crying while stroking a wrapped corpse - an assumed casualty of the real-life accident ("This is biological stasis; My mood's shifting to manic places"), and perhaps a reflection of things Gaga has had to sacrifice in her real life as a popstar, such as relationships ("Wish I'd laughed and kept the good friendships; Watch out, here I go again"). Another blindfolded Orange Figure is stirring a cauldron, perhaps signifying the alchemical coniunctio of Lady Gaga's realities as a stage-persona and Stefani Germanotta (Edinger, 1985). The imposter in Blue is joined by two uniform counterparts, gazing at her from far away, one holding a long staff with a squared endpiece ("I can't see me cry, ever again"). Gaga dramatically mimics swallowing pills, and gasping for air - these actions mirror her drug use and eventual resuscitation.
The Blue spectators gaze upwards towards the highest stone balcony of the chapel where two figures look on, one twirling a black parasol ("This is the end"). The figures, a man and a woman, are gliding down from the balcony. The man has long hair and a dark beard, dressed in a black braided leather vest; his appearance is similar to Western depictions of Jesus, and reminiscent of Gaga's Judas character from the music video of the same name (Lady Gaga and Gibson, 2011) - this Jesus figure is playing both the Saviour and his Betrayer. His counterpart is a woman dressed in modest white beaded fabric reflective of the High Priestess and Empress tarot cards, with a red cross badge, signifying the woman as a healer [also seeming to call back to another religious-themed video Alejandro (Lady Gaga and Klein, 2010)]. She holds a brass jeweled mirror in her hands as she mouths the lyrics ("Please patch the line"). Might these figures represent Jung's Anima and Animus? Her guardians and life-keepers, who are a paramedic and doctor in the video's conscious reality, are tethering her to the life she is ready to leave behind (Saviour and Betrayer), ready to ascend from the pain, but knowing that she isn’t meant to go yet. These figures represent the balance and equanimity of her male and female energies, coming together to help her heal and come back to life (and achieve individualization with her Self). Gender and sexuality have always been a central theme to Lady Gaga's popstar identity (Winfrey and Lady Gaga, 2020), and Jesus/Mary figures are projections of her anima and animus - already fairly harmonious, but also binding her to certain roles, ideals, and expectations that work in tandem to keep her in balance, yet sometimes creating the pain itself. The scantily-clad Jesus figure is representative of her Animus - dressed in black, appearing traditionally masculine (yet soft), powerful, and taking control of the situation (Jung, 1967) - touching her, holding her back. The Mary figure is completely draped in opulent white material save for her face, representing repression and the purity of femininity (Jung, 1967) She is attempting to heal Gaga, nurture her, but always from afar - in contrast to the Jesus figure.
Gaga dances in a sort of belly dance routine, with tiny handmade dolls in one hand and a jeweled box in the other; her arms move up and down, showing the highs and lows of her pills and mental states ("My biggest enemy is me, pop a 911"). The floating couple walks across the background and the woman puts a gold blanket over the Pillow Man. The Jesus figure grabs the wrapped corpse by the neck in one hand, spinning the parasol upright in the other. Gaga secures these tiny dolls in the box and snaps it shut ("Pop a 911, and pop another one"). Gaga dances in a new blue burlesque outfit - sheer, revealing, elegant, with the same white gloves from before. She wears a bright gold headpiece with sharp spikes protruding from the head and eye areas, perhaps symbolizing a defensive mechanism around her head, attempting to keep the voices and bad thoughts at bay ("Keep my dolls inside diamond boxes; Save them 'til I know I'm gon' drop this; Front I've built around my oasis; Paradise is in my hands"). The Jesus figure is holding a shell to the mouth and nose of a man dressed in elaborate gold clothing and headpiece while the Mary figure shines her mirror into Gaga's eyes, attempting to capture her attention and bring her back to reality.
Gaga is now dressed in a soft green linen outfit, holding a white carnation in her white gloved hands, and a simple metal bar encircling her head while she floats upward. This refers to her journey to Heaven - she gazes adoringly and peacefully at the carnation, concentrating only on it's purity and life. The silver headpiece may signify her eventual halo upon her arrival in the afterworld - almost there, but not quite. The "halo" can also represent an anticipated cyclical end to her journey into death - the circle of life, the hero's journey, the wheel of the year (Hyde, McGuinness, and Pugh, 2015). This is a direct opposite of her other metal headpieces in the film, which were prickly, sharp, and defensive. Her hopefulness for the pain to cease and readiness to transcend life is shown through her soft demeanor and dress. Lights shine in her face, reflections from the Mary figure's mirror. She is abruptly tugged to the ground by the Jesus figure by a rope tied just above her adorned ankle; her flower is now withered and dead as her heavenly delusions of impending death are quelled - potentially indicative of a manic episode. This flower is the one of the only references to non-human life in her unconscious - there are no animals (save the horse - used as a vehicle by the Dark Horseman), no trees or greenery inside the ruins - only humans who are reflections of her consciousness. Nothing lives here except her own projections and complexes. There is a split-second flash to real life, as she is being resuscitated by the paramedic/Jesus. The scene changes and she is back on the ground of the unconscious, in a red leather brassiere and skirt with a sprawling butterfly-like headpiece ("My biggest enemy is me, pop a 911; and pop another one"). I believe that this is referencing her 2011 song Bad Romance - one of her most famous songs to date - and an important stage of her life that propelled her further into fame and notoriety. The Jesus figure clasps her ankle in his hands, firmly pressing it into the ground, representing the tourniquet the paramedic is dressing her with in the conscious world. The butterfly headpiece also represents her yearn to transform and transcend into her next chapter.
A procession of all the figures in the unconscious simultaneously guide (Death), follow (the Blue onlookers), and support her (the Orange and Navy figures), as she strides along the promenade, flower petals and blue streamers floating in the air. The Mary figure holds up a toy snake - the fact that it is a toy again indicates that we are still in the unconscious ("I can't see me cry; ever again"). Snakes can represent the journey between worlds, and are connected to the Roman god of medicine Aesculapius, and Mercurial energy (Jung, 1968). Behind the Mary figure is a fresco depicting the horrible car accident that happened in the film's conscious world, and the images flash quickly on the screen. Gaga, dressed in yellow and a spiky defensive headpiece similar to the previous Blue outfit, is gesturing towards her head and her trauma while the Jesus figure holds his hand over her chest ("I can't see me cry, this is the end"). She gasps, and leans over to a black ensemble hanging on the wall behind her.
The scene changes again, and Gaga is dressed in this black ensemble - head to toe in all black, covering everything but her eyes. The outfit nearly blends into the background, save for the bright floral patterns adorning the fabric ("My biggest enemy is me, pop a 911"). I believe that this is representative of her ARTPOP album - a time in her life when she experienced incredible trauma stemming from her 2013 hip injury, fibromyalgia, and drug dependency. ARTPOP is generally known to be her worst-performing album, though it was a very honest commentary of her life and mental health of the time (Winfrey and Lady Gaga, 2020). Behind her is a yellow tape with Armenian script, looking incredibly similar to police tape. The Mary figure sits at her feet, the Jesus figure places a wooden box next to the Mary figure, and the Orange figures bring a board that looks almost identical to a spine board used for medical emergencies (the lines between the unconscious and the conscious are now blurring more intensely). The black background drops to reveal the white ruins once more, pulling her out of her Shadow. The Mary figure opens the box, revealing two sharp brass devices, which the Jesus figure holds up while singing "please patch the line". The camera zooms out, revealing all the figures from the video inside the church, all singing "please patch the line, please patch the line; need a 911, can you patch the line". She looks around, scared, and screams viscerally. On her forehead we see the album's main symbol - the Sine, which is the mathematical symbol for sound. Lady Gaga used this as the main icon for the Chromatica album to explain the way music and creation has saved her life (Lowe , 2020), just as Jesus and Mary do. The Jesus figure sticks the brass objects into her chest as the Mary figure snaps the box shut.
Gaga awakens in the real world as she is defibrillated, gasping for air, in a state of confusion and shock. She is lying on the pavement, strapped to a spine board. She looks up, and the Jesus figure is revealed to be the paramedic attempting to resuscitate her. The Mary figure is revealed to be the emergency doctor, and the mirror flashing in Gaga’s eyes in the unconscious is actually a medical flashlight. The medical staff are questioning Gaga, and she responds (in shock), "I took pain pills", "I can't feel my leg", and "I'm sorry". The camera pans to her ankle, covered in blood and adorned with an ankle monitor - which is reminiscent of the red beaded anklet she wore in the unconscious. She looks around - the Pillow Man from the unconscious is now in a car against an airbag (the velvet pillow), and covered in an isothermal sheet (the silver blanket). The head slamming from the unconscious is a repetition of his head on impact of the crash, which involved the Pillow Man and the Gold Man in their respective cars, and Gaga on her bicycle.
We see now see the background - a poster for The Color of Pomegranates, a theatre marquis for an Armenian Film Festival (the chapel), shooting sparks (flower petals) from the impact of the cars into the electrical, the firefighters attending the scene (blindfolded Orange and Navy support figures guiding the procession in the unconscious), a helicopter (the Jesus figure's parasol), a spitting fire hydrant (the blue streamers), her broken bike and her grocery bag full of apples strewn about (pomegranates), and an ad for New Mexico White Sands National Park (the white desert), featuring the silhouettes of the woman (Gaga), the Dark Horseman (Death), and the white chapel (Heaven or purgatory). The Blue figures in the unconscious are revealed to be passersby who are watching the aftermath of the accident - the long squared staff is actually a selfie stick that the onlookers are recording the scene with, a representation of Gaga's fame and lack of privacy as a public figure, unable to completely hide her pain and vulnerabilities. The Purple Woman from the unconscious is a woman holding the deceased body, a casualty from the crash (the wrapped corpse), lifted in the helicopter (the parasol). Firefighters are attending to a relatively unhurt but shaken man dressed in an expensive gold tailored suit (the Gold figure in the unconscious), holding oxygen to his face (the shell). The television flashes to reveal an ad for LG - "Life's Good", indicative of her celebrity status, and they also happen to be Lady Gaga's initials - alluding once again that this was all happening in her unconscious mind.
Verse 1
Turnin' up emotional faders
Keep repeating self-hating phrases
I have heard enough of these voices
Almost like I have no choice
"Turning up emotional faders" is a reference to Gaga's antipsychotic, antidepressant, recreational, and alternative drug use throughout her life and career. She "manages" her illnesses, her anxiety, and her fast-paced life with various substances in order to quell bad feelings and emotions. She divulges in an interview with Apple that she takes Olanzapine, an antipsychotic, after psychotic breaks stemming from PTSD connected to a history of sexual assault, and stress related to her fibromylagia (Lowe, 2020)."Keep repeating self-hating phrases" is indicative of her tendency to spiral without these medications, which she manages with her Olanzapine (Winfrey and Lady Gaga, 2020). This may also be referring to her Shadow self, keeper of her traumas and personality splits that limit her emotional and physical well-being (Hyde, McGuinness, and Pugh, 2015).
"I have heard enough of these voices; Almost like I have no choice"- Victim not only to her own critical thoughts and abusive inner monologue, Olanzapine is commonly prescribed to manage Bipolar Disorder, which has been evidenced to worsen audio-hallucinatory effects in some patients (Volpe, Vignapiano, Gallo, and Fabrazzo, 2014). She explains these "voices" as intrusive and very hard to ignore. While these lyrics reference inner-sabotage and auditory hallucinations, the 911 video references a trauma-induced psychotic break which triggers a total hallucination, following the car accident. This hallucination can be interpreted as a reflection of her unconscious mind following the near-death incident, only returning to "real" consciousness after resuscitation by the Jesus and Mary figures (a paramedic and doctor in "real life") (Lady Gaga, 2020). The first lyric being sung by an onlooker is important, as Gaga is alluding to losing her own power to the voices not only in her head, but those speaking on her behalf in real-life, or quotes of hers that have been sensationalized or misconstrued.
"This is biological stasis; My mood's shifting to manic places; Wish I laughed and kept the good friendships; Watch life, here I go again" - "biological stasis" is a term associated with the incapability for change or evolve within a species (Hopkins and Lidgard, 2017). She uses this term to refer to her own personal stagnation; feeling trapped within herself and limited by her trauma from her sexual assault, and pain from her fibromyalgia (Winfrey and Lady Gaga, 2020). Her mood shifts as her mental faculties experience disarray, which her medications can both help and hinder (Volpe, Vignapiano, Gallo, and Fabrazzo, 2014), and can also occasionally send her spiralling (Lowe, 2020). She explains that while her medications can have negative effects, it is preferable over not having the medications at all. She explains in the Oprah interview that she highly values her medications and is public about her use of Olanzapine in order to spread awareness about the positive impacts of prescription drugs, and to dispel stigma surrounding mental healthcare (Winfrey and Lady Gaga, 2020). Trauma can manifest similarly to Bipolar, Borderline, and Emotional Dysregulation disorders, which Olanzapine and other drugs can help manage (or worsen). Since the aforementioned disorders all have high comorbidity rates (and are often misdiagnosed as each other in many patients), their symptoms can also conflate (Fletcher, Parker, Bayes, Paterson, and McClure, 2014). Manic ups-and-downs are common in patients diagnosed with these conditions, which she references in the last three lines of the above verse. She has lost relationships due to her behaviour, and has experienced constant dramatic mood shifts to the point where she is used to these effects and knows to expect them ("watch out, here I go again"). She may be referring to her own self-awareness during her manic/depressive episodes, identifying her moods and emotions as intricate and expected parts of her Self and her complexes.
[Pre-Chorus]
I can't see me cry
Can't see me cry ever again (Ooh)
I can't see me cry
Can't see me cry, this is the end (Ooh)
Some medications can have depressive or apathetic mental effects on a person (Volpe, Vignapiano, Gallo, and Fabrazzo, 2014). Gaga can't see herself cry because she is detached from reality as a trauma response stemming from sexual assaults and injuries that still have very real triggers to this day (Winfrey and Lady Gaga, 2020). She is dissociated, blindfolded to her feelings and her "soul" (her Self), and is anticipating death and/or transcendance supported by her drug use to cease the pain.
[Chorus]
My biggest enemy is me, pop a 911 (x2)
My biggest enemy is me ever since day one
Pop a 911, then pop another one
In her 2020 interview with Oprah, Gaga opens up about her struggle with fibromyalgia, which causes her significant and constant pain throughout her body (2020). She also talks about her experience having a psychotic break. This is shown in the short film when she is being resuscitated and flung back into the conscious world:
LADY GAGA: "I had a psychotic break. I'll explain what happened. Here's my brain. Right? Here's my center. Right? And then I was triggered, really badly, in a court deposition, and I just, like, this - this part of the brain where you stay centered and you don't disassociate, right? It went like this. (Indicating.) It slammed down. And my whole body started tingling, and I started screaming". (Winfrey and Lady Gaga, 2020)
"My biggest enemy is me" refers to her struggle not only coming to terms with having an alter ego (Lady Gaga vs Stefani Joanne Angelina Germanotta), which acts as a mask and a buffer between her identities as a "normal" person, and the larger-than-life superstar Lady Gaga. She refers to this alter ego in the Oprah interview (Winfrey and Lady Gaga, 2020):
LADY GAGA: And it was in creating Gaga, that I was able to create a superhero for myself.
OPRAH: And so you created this sort of alter person, Gaga.
LADY GAGA: Who now has become me also.
OPRAH: Yes.
LADY GAGA: I don't know what happened but it sort of—but that's what happens when you have a vision for yourself, you can be here, right? (Indicating.) And then you have your vision. And then all of a sudden - (indicating).
OPRAH: The two merge.
LADY GAGA: They come together.
OPRAH: You become aligned.
Lady Gaga has always identified as such, having changed her title from Stefani Germanotta at the age of 19 when her career took off - coincidentally, the same year she was sexually assaulted (Winfrey and Lady Gaga, 2020). She created this persona as a form of self-protection, and as a way to empower the world through her creative endeavors.
[Verse 2]
Keep my dolls inside diamond boxes
Save them 'til I know I'm gon' drop this
Front I've built around my oasis
Paradise is in my hands
Holdin' on so tight to this status
It's not real, but I'll try to grab it
Keep myself in beautiful places
Paradise is in my hands
"Keep my dolls inside diamond boxes; save them 'til I know I'm gon' drop this" - "dolls" are slang for pills, and the diamond boxes allude not only to the child-proof pill container they come in, but also the need to keep them accessible enough to use them, but with enough restraint not to abuse them. The diamonds represent the promises of betterment that comes with taking the pills - the promise of relief, and the shiny lure of dependency. She anticipates the pain, knows it is inevitable and that the pills can help, but that they come with a price. The music and her voice noticeably becomes more robotic during this verse, perhaps indicating her mental states when she takes the Olanzapine, making her seem less like her "Self" and more artificial under the effects of the drug, which can cause changes to one's demeanor (Volpe, Vignapiano, Gallo, and Fabrazzo, 2014). The "Front I've built around my oasis" refers to her persona and her public image as Lady Gaga - the mask that she created to shield herself from the pain that comes with being in the spotlight, and the lengths that she goes to separate Lady Gaga and Stefani Germanotta; the former being her outward Ego/Persona, and the latter being her inner Shadow reflections, contained within herself. "Paradise is in my hands" refers to her ability to destroy this image at any point. She could easily end her life as Lady Gaga - either by actual death, stepping away from the spotlight, or perhaps a career-ending scandal. Her paradise also refers to the money and assets she gained through her career and her hope for total control over her life, her body, her pain, and her art.
"Holdin' on so tight to this status; It's not real but I'll try to grab it", means Gaga has worked for this notoriety, holds it very dearly as part of her identity - but her identity is not only Lady Gaga - she is still Stefani. They work in tandem and represent her Ego and Shadow, respectively, pulling her from all sides - the identity she wants to keep for herself, and the identity she wishes to share with the world. Lady Gaga and Stefani Germanotta are both real, and not real; Stefani is who she left behind, and Lady Gaga is an artificial public figure who represents the "fakeness" and opulence of the celebrity world. The last line also alludes to her numerous experiences with psychosis and dissociation - feeling completely detached from reality when triggered by her PTSD (Winfrey and Lady Gaga, 2020). Stefani Germanotta and Lady Gaga are coniunctio - opposite forces that are inextricably intertwined and crucial to the wholeness of who this person is in "reality" (Erdinger, 1985). She is both simultaneously Stefani and Gaga; the union of opposites, joining together to create Mother Monster herself (which is the crux for the Born This Way video, where she gives birth to herself).
[Outro]
Please patch the line, please patch the line
Need a 911, can you patch the line? (x2)
These lyrics are not only sung by Gaga, but also by the entire procession in the chapel. "Need a 911, can you patch the line" refers to the accident, and the literal 911 call in reality. The repetition of the line throughout the song is indicative of her frequent feelings of helplessness, which she talks about in the Oprah interview - her psychotic breaks and injuries have landed Lady Gaga in the hospital numerous times (Winfrey O., Lady Gaga, 2020); while Lady Gaga is working on healing her trauma, she understands that it is a journey that makes no guarantee that she will never return to the hospital, or to pain, or to psychosis, as things may fall out of her control and she may need help again in the future.
Lady Gaga is one of the most influential and interesting celebrities of the modern day. She bears open her soul through her artistic vision in order to be as authentically real as possible - ironic given the fact that Lady Gaga isn't real at all, yet simultaneously thriving and ingrained into our lives. The enigma of Lady Gaga is a journey the world has been privy to for over a decade, and yet mysteries remain. The 911 short film does a very good job explaining her struggle with mental health and her own attempts to come to terms with herself as a split person, and trying to bring all the elements of herself together into one. I think that Lady Gaga’s career is an incredible real-life example of the inner process of individuation.
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