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Music/Video
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Table of Contents

Table of Contents Acknowledgements List of Illustrations Notes on Contributors Introduction: The Persistence of the Music Video Histories and Pre Histories Introduction: Gina Arnold 1. Visual Pleasure and Music Video - Sunil Manghani, University of Southampton, UK 2. From Broadway to Phineas and Ferb: The Rise of Music(al Comedy) Videos - Michael Saffle, Virginia Tech, USA 3. `The Message' is the Medium: Aesthetics, Ideology, and the Hip Hop Music Video- Greg de Cuir Jr., Independent Scholar 4. The Boy Keeps Swinging: David Bowie, Music Video, and the Star Image - Julie Lobalzo Wright, University of Warwick, UK 5. Substance and Technique: New Order, the Music Video, and the 1980s - Andrew Burke, University of Winnipeg, Canada Gender and Sexual Representation Introduction: Kirsty Fairclough 6. Liquidities for the Essex Man: The Monetarist Eroticism of British Yacht Pop- Benjamin Halligan, University of Wolverhampton, UK 7. Completing the Mystery of her Flesh: Love, Eroticism and Identity in Bjork's Videos - Vera Brozzoni, Independent Scholar 8. Soundtrack Self: FKA Twigs, Self Documentation and Feminist Authenticity in the Music Video - Kirsty Fairclough, University of Salford, UK 9. Anal Terrorism: Nicki Minaj's `Anaconda' video - Fabricio Silveira, Universidade do Vale do Rio dos Sinos, Brazil The Art of the Music Video Introduction: Michael Goddard 10. Moving the Music: Dance, Action and Embodied Identities in Music Video - Sarie Mairs Slee, University of Salford, UK 11. Total State Machine and Gesamtkunstwerk: The Audiovisual Poetics of First and Second Generation Industrial Music Video - Michael Goddard, University of Westminster, UK 12. One. World: Self-Effacement of H.P. Baxxter in the Video Work of Scooter - Paul Hegarty, University College Cork, Ireland 13. Blackened puppets: Chris Cunningham's weird anatomies - Dean Lockwood, University of Lincoln, UK Digital Mediations and Mutations Introduction: Daniel Cookney 14. Timeline Philosophy: Technological Hedonism and Formal Aspects of Films and Music Videos - Jose Claudio Siqueira Castanheira, Universidade Federal de Santa Catarina, Brazil 15. Play All / Random Play / Track Selection: Analyzing Music Videos on Greatest Hits DVD Collections - Jaap Kooijman, University of Amsterdam, the Netherlands 16. Why Psy? Music videos and the global market - Gina Arnold, Evergreen State College, USA 17. Vimeo Killed the Video Star - Daniel Cookney, University of Salford, UK Notes to Chapters Videography Works Cited

Promotional Information

A lively, wide-ranging and timely edited collection that takes a cross-disciplinary approach to the music video.

About the Author

Gina Arnold is Visiting Professor at the Evergreen State College in Washington, USA. Daniel Cookney is Lecturer in Graphic Design at the University of Salford, UK. Kirsty Fairclough is Director of International and Senior Lecturer in Media and Performance in the School of Arts and Media at the University of Salford, UK. Michael N. Goddard is Senior Lecturer and Course Leader in Film, Television and Moving image at the University of Westminster, UK.

Reviews

The strange beast we call "music video" has long since overflowed the contexts and aesthetics first set for it in the era of 1980s MTV. This superbly edited collection expands our understandings of both music and video, and brings to our attention the multiplicity and complexity of their combinations in 20th and 21st century audiovisual cultures. * Adrian Martin, author of Mise en scene and Film Style: From Classical Hollywood to New Media Art (2014) and Professor, Monash University, Australia * What can we learn from music videos? The essays in this brilliant collection move between MTV and YouTube, analog and digital, Bjork's erotics and Bowie's multiple masks, Laibach's televisual subversions and Duran Duran's audiovisual "transfiguration [from] suburban wannabes to global pop stars." * Steven Shaviro, DeRoy Professor of English, Wayne State University, USA * Music/Video panoramically explores the separate and simultaneous effects of the two media. The collection incisively probes pre-existing critiques, and literally offers re-vision of the music video in challenging expositions with broad historical and cultural inclusivity. This book's analytical discourses will certainly affect the ways its readers see music. * Mike Alleyne, Professor of Recording Industry, Middle Tennessee State University, USA * Music video may well be a promotional device for the music industry, reproducing hegemonic representations of identity, but as this collection of engaging essays shows, alternative visions proliferate in the multiple spaces between high art, low culture, and viral video. Bookended by a historical view on the music video aesthetic, and an assessment of contemporary digital and online music video, the collection offers welcome examples of female self-representation that attempt to reach beyond objectification, as well as of experimental approaches to the art of music video. * Hillegonda C Rietveld, Professor of Sonic Culture, London South Bank University, UK * Music video has been a key cultural driver and remains beloved by audiences all over the globe, but there's much we don't understand about its history and poetics. This book is required reading for aficionados of the genre, scholars engaged with popular culture, and anyone thinking about audiovisual media in our historical moment. Full of startling connections and deep insights, the essays in Music/Video show how rich the genre has been--and how much we can learn from it. * Carol Vernallis, Affiliated Researcher, Stanford University, USA *

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