This article compares and examines Reputation and Homecoming, two long-form videos of 2018 performances by Taylor Swift and Beyoncé Knowles, respectively. The videos have much in common, as both were released via Netflix in 2019, and both document important milestones in the career success of two female solo artists. Moreover, the subjects of these videos have risen to the top of an industry that has not traditionally rewarded their gender, nor allowed them to headline at these types of events—a stadium in the case of Swift; a multi-day/act festival, in the case of Beyoncé. In Homecoming, Beyoncé uses her headliner status at Coachella to pay homage to deep cultural traditions of a non-white world; when considered alongside it, Reputation reveals inconsistencies in Swift’s presentation of herself as an authentic artist in charge of her own creative and career choices, and these cracks are complicated by a second documentary, Miss Americana, in which her thralldom to a conservative ideology becomes even more visible and problematic, even to herself. Viewed together, the films provide a prism through which we can reflect on serious changes regarding both race and gender in America, and the ways that they are exhibited in live performance and popular culture.

本文比较和检验了Reputation和Homecoming ，这两个分别是 Taylor Swift 和 Beyoncé Knowles 2018 年表演的长片视频。这些视频有很多共同点，因为它们都是在 2019 年通过 Netflix 发布的，并且都记录了两位女性独唱艺术家事业成功的重要里程碑。此外，这些视频的主题已经上升到一个传统上不奖励他们的性别的行业的顶端，也不允许他们在这些类型的活动中成为头条新闻——在斯威夫特的例子中是体育场；一个多日/表演节，就碧昂斯而言。在Homecoming 中，Beyoncé 利用她在 Coachella 的头条新闻向非白人世界的深厚文化传统致敬；当与它一起考虑时，声誉揭示了斯威夫特将自己描述为负责自己的创作和职业选择的真正艺术家的不一致之处，而第二部纪录片《美国小姐》使这些裂缝变得更加复杂，在这部纪录片中，她对保守意识形态的束缚变得更加明显和成问题，甚至对她自己。综合来看，这些电影提供了一个棱镜，通过它我们可以反思美国种族和性别方面的严重变化，以及它们在现场表演和流行文化中的表现方式。