Overview

Music videos promote popular artists in cultural forms that circulate widely across social media networks. With the advent of YouTube in 2005 and the proliferation of handheld technologies and social networking sites, the music video has become available to millions worldwide, and continues to serve as a fertile platform for the debate of issues and themes in popular culture. This volume of essays serves as a foundational handbook for the study and interpretation of the popular music video, with the specific aim of examining the industry contexts, cultural concepts, and aesthetic materials that videos rely upon in order to be both intelligible and meaningful. Easily accessible to viewers in everyday life, music videos offer profound cultural interventions and negotiations while traversing a range of media forms. From a variety of unique perspectives, the contributors to this volume undertake discussions that open up new avenues for exploring the creative changes and developments in music video production. With chapters that address music video authorship, distribution, cultural representations, mediations, aesthetics, and discourses, this study signals a major initiative to provide a deeper understanding of the intersecting and interdisciplinary approaches that are invoked in the analysis of this popular and influential musical form.

Full Product Details

Author:   Dr. Lori A. Burns (University of Ottowa, Canada) ,  Dr. Stan Hawkins (University of Oslo, Norway)
Publisher:   Bloomsbury Publishing Plc
Imprint:   Bloomsbury Academic USA
Weight:   1.134kg
ISBN:  

9781501342332

ISBN 10:   1501342339
Pages:   464
Publication Date:   17 October 2019
Audience:   Professional and scholarly ,  Professional & Vocational
Format:   Hardback
Publisher's Status:   Active
Availability:   Manufactured on demand  
We will order this item for you from a manufactured on demand supplier.

Table of Contents

List of Figures List of Tables List of Examples Notes on Contributors Acknowledgements Introduction: Undertaking Music Video Analysis (Lori Burns, University of Ottawa, Canada, and Stan Hawkins, University of Oslo, Norway) Part I: Authorship, Production, and Distribution 1 Changing Dynamics and Diversity in Music Video Production and Distribution (Mathias Bonde Korsgaard, Aarhus University, Denmark) 2 Low Budget Audiovisual Aesthetics in Indie Music Video and Feature Filmmaking: The Works of Steve Hanft and Danny Perez (Jamie Sexton, Northumbria University, UK) 3 The Animated Music Videos of Radiohead, Chris Hopewell and Gastón Viñas: Fan-participation, Collaborative Authorship, and Dialogic Worldbuilding (Lisa Perrott, University of Waikato, New Zealand) 4 From Music Video Analysis to Practice: A Research-Creation Perspective on Music Videos (John Richardson, University of Turku, Finland) Part II: Cultural Codes, Representations, and Genres 5 Framing Personae in Music Videos (Philip Auslander, Georgia Institute of Technology, USA) 6 Hullabaloo: Rocking the Variety Show in the Mid-1960s (Norma Coates, Western University, Canada) 7 Détournement and the Moving Image: The Politics of Representation in an Early British Punk Music Video (Karen Fournier, University of Michigan, USA) 8 Post-Digital Music Video and Genre: Indie Rock, Nostalgia, Digitization, and Technological Materiality (Robert Strachan, University of Liverpool, UK) 9 Katy Perry’s ‘Wide Awake’: The Lyric Video as Genre (Laura McLaren, University of Toronto, Canada) Part III: Mediations: Multimodality / Intermediality / Transmediality 10 Dynamic Multimodality in Extreme Metal Performance Video: Dark Tranquillity’s ‘Uniformity’, Directed by Patric Ullaeus (Lori Burns, University of Ottawa, Canada) 11 Tying it All Together: Music Video and Transmedia Practice in Popular Music (Christofer Jost, University of Freiburg, Germany) 12 The Palimpsestic Pop Music Video: Intermediality and Hypermedia (Jem Kelly, Buckinghamshire New University, UK) 13 “How does a story get told from fractured bits?” Laurie Anderson’s Transformative Repetition (John McGrath, University of Surrey, UK) Part IV: Aesthetics: Space / Place / Time / Senses 14 How to Analyze Music Videos: Beyoncé’s and Melina Matsouka’s ‘Pretty Hurts’ (Carol Vernallis, Stanford University, USA) 15 Rural-Urban Imagery in Country Music Video: Identity, Space, and Place (Jada Watson, University of Ottawa, Canada) 16 “More Solemn than a Fading Star”: David Bowie’s Modernist Aesthetics of Ending (Tiffany Naiman, Stanford University, USA) Part V: Subjectivities and Discourses: Gender, Sexuality, Race, and Religion 17 Justin Timberlake’s ‘Man of the Woods’: Lumbersexuality, Nature, and Larking Around (Stan Hawkins and Tore Størvold, University of Oslo, Norway) 18 Gangsta’ Crisis, Catharsis, and Conversion: Coming to God in Hip-Hop Video Narratives (Alyssa Woods, University of Guelph, Canada, and Robert Michael Edwards, University of Ottawa, Canada) 19 Nicki Minaj’s ‘Anaconda’: Intersectional Feminist Fat Studies, Sexuality, and Embodiment (Anna-Elena Pääkköla, University of Turku, Finland) 20 Going Too Far: Representations of Violence Against Men in Pink’s ‘Please Don’t Leave Me’ (Marc Lafrance, Concordia University, Canada) Abstracts and Keywords Bibliography Index

Reviews

Skillfully curated by Lori Burns and Stan Hawkins, this Handbook engages with a wide range of music video, from punk, indie rock, pop, country, R&B, and hip-hop to more experimental practices. The authors use multimodal analysis and the theories of hypermedia and transmedia to ensure cutting-edge analysis, while innovative readings based on gender, race, and religion help situate music video within its wider cultural, social, and political contexts. From big-budget productions to low-fi work and animation, this Handbook marks an exciting new turn for the study of Music Video. * Holly Rogers, Reader in Music, Goldsmiths, University of London, UK, and author of Sounding the Gallery: Video and the Rise of Art Music (2013) * The Bloomsbury Handbook of Popular Music Video Analysis is an exciting collection of scholarship by both internationally renowned and up-and-coming scholars working at the cutting edge of music video studies. The essays here approach music video from a range of theoretical and aesthetic perspectives--from country to extreme metal, from the 1960s variety show to post-digital video, from Justin Timberlake to Laurie Anderson, from fat studies to religious studies: together these essays represent a stimulating and valuable addition to the field. * Freya Jarman, Reader in Music, University of Liverpool, UK, and author of Queer Voices: Technologies, Vocalities and the Musical Flaw (2011) *

Skilfully curated by Lori Burns and Stan Hawkins, this Handbook engages with a wide range of music video, from punk, indie rock, pop, country, R&B, and hip-hop to more experimental practices. The authors use multimodal analysis and the theories of hypermedia and transmedia to ensure cutting-edge analysis, while innovative readings based on gender, race, and religion help situate music video within its wider cultural, social, and political contexts. From big-budget productions to low-fi work and animation, this Handbook marks an exciting new turn for the study of Music Video. * Holly Rogers, Reader in Music, Goldsmiths, University of London, UK, and author of Sounding the Gallery: Video and the Rise of Art Music (2013) *

Author Information

Lori Burns is Professor of Music at the University of Ottawa, Canada. Her book Disruptive Divas: Critical and Analytical Essays on Feminism, Identity, and Popular Music (2002) won the Pauline Alderman Award from the International Alliance for Women in Music (2005). She was a founding co-editor of the Tracking Pop Series of the University of Michigan Press and is now serving as co-editor for the Ashgate Popular and Folk Music Series. Stan Hawkins is Professor of Musicology at the University of Oslo, Norway, and Professor in Popular Music at the University of Agder, Norway. He is author of numerous books, including Settling the Pop Score (2002), The British Pop Dandy (2009), Prince: The Making of a Pop Music Phenomenon (co-author Sarah Niblock, 2011), and Queerness in Pop (2016).

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