Women s Studies in Communication· 2026Q2
A Black Feminist Critique of Deformed Consent in Ololade Asake’s Terminator Music Video
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- Q2SCImago
- 2026year
Short summary
This paper introduces the concept of 'deformed consent,' arguing that the opposite of informed consent is not always its absence, but a complex mix of consent and non-consent features that are difficult to decipher, using Ololade Asake’s “Terminator” music video as a case study.
AI-generated from the title and abstract; the full text is not read.
Key points
- Introduces the concept of 'deformed consent' as a new theoretical framework.
- Argues that the opposite of informed consent can be a blend of consent and non-consent, not just absence.
- Analyzes Ololade Asake’s “Terminator” music video lyrics and visuals as a case study.
- Applies Black critical cultural and feminist theories to the analysis.
AI-generated from the title and abstract; the full text is not read.
Abstract
Scholars have debated and offered varying views of what constitutes informed consent. The scholarly consensus assumes the opposite of informed consent is the absence of consent. Engaging critical textual and visual analysis blended with Black critical cultural and feminist theories, this article takes a different position. Using Ololade Ahmed (Asake)’s “Terminator” lyrics and accompanying moving images, I argue that the other side of informed consent is not always the absence of consent but the co-mingling of features of consent and lack of consent in a way that may not be easily decipherable, which I framed as deformed consent.
The authors' abstract, as published at the source. Women s Studies in Communication, 2026 · DOI ↗
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Field: Music
MusicArts and Humanities