Acknowledgments xi A Note on the Cover xiii Introduction 1 I. Post-Classical Cinema at the Limit 1. Partying in The Great Gatsby: Baz Luhrmann’s Audovisual Sublime 27 2. Shattered Pleasures: Michael Bay’s Transformers: Age of Extinction 48 II. Music Video and the Art-Video Border 3. Beyoncé’s Overwhelming Opus; or, the Past and Future of Music Video 71 4. Avant-Gardists and the Lure of Pop Music 97 5. Beyoncé’s Lemonade: She Dreams in Both Worlds (Carol Vernallis, Lisa Perrot, and Holly Rogers) 122 6. Tracing the Carters through the Galleries: “APES**T/APESHIT” and the Louvre 138 7. Storytelling on the Ledge: Lady Gaga and Jonas Åkerlund’s “Paparazzi” 154 III. Music Video’s Late Late Style 8. How to Analyze Music Videos: Beyoncé and Melina Matsoukas’s “Pretty Hurts” 175 9. Dave Meyer’s Moments of Audiovisual Bliss 196 10. Janelle Monáe’s “You Make Me Feel” and Anderson.Paak with Kendrick Lamar’s “Tints”: Getting Up in My [Rearview] Mirror 211 IV. Audiovisual Aesthetics Online 11. Who Needs Music Documentaries When There’s TikTok and Carpool Karaoke ? 231 12. TikTok and Costume-Drama Mashups on YouTube 247 V. New Modes of Analysis: Industry 13. The Art of Color Grading (Carol Vernallis, Jonathan Leal, Eric Weldt, and Aubrey Woodiwiss) 265 14. Music Video Directors, Production Houses, and the Media Swirl 290 VI. New Modes of Analysis: Neuroscience 15. Music Video’s Multisensory 307 16. Tracing the Asset: Humanistic and Quantitative Approaches to Cybercrime Film Trailers (Snowden and Bourne) 319 VII. New Modes of Analysis: Politics and Vernacular Culture 17. New Technologies, Social Justice, and the Future in Beyoncé’s Audiovisual Albums 335 18. Fox News, COVID-19, Brief Media Aesthetics, and Historical Resonances 356 Afterword 369 Notes 373 Bibliography 403 Index 429
Acknowledgments xi A Note on the Cover xiii Introduction 1 I. Post-Classical Cinema at the Limit 1. Partying in The Great Gatsby: Baz Luhrmann’s Audovisual Sublime 27 2. Shattered Pleasures: Michael Bay’s Transformers: Age of Extinction 48 II. Music Video and the Art-Video Border 3. Beyoncé’s Overwhelming Opus; or, the Past and Future of Music Video 71 4. Avant-Gardists and the Lure of Pop Music 97 5. Beyoncé’s Lemonade: She Dreams in Both Worlds (Carol Vernallis, Lisa Perrot, and Holly Rogers) 122 6. Tracing the Carters through the Galleries: “APES**T/APESHIT” and the Louvre 138 7. Storytelling on the Ledge: Lady Gaga and Jonas Åkerlund’s “Paparazzi” 154 III. Music Video’s Late Late Style 8. How to Analyze Music Videos: Beyoncé and Melina Matsoukas’s “Pretty Hurts” 175 9. Dave Meyer’s Moments of Audiovisual Bliss 196 10. Janelle Monáe’s “You Make Me Feel” and Anderson.Paak with Kendrick Lamar’s “Tints”: Getting Up in My [Rearview] Mirror 211 IV. Audiovisual Aesthetics Online 11. Who Needs Music Documentaries When There’s TikTok and Carpool Karaoke ? 231 12. TikTok and Costume-Drama Mashups on YouTube 247 V. New Modes of Analysis: Industry 13. The Art of Color Grading (Carol Vernallis, Jonathan Leal, Eric Weldt, and Aubrey Woodiwiss) 265 14. Music Video Directors, Production Houses, and the Media Swirl 290 VI. New Modes of Analysis: Neuroscience 15. Music Video’s Multisensory 307 16. Tracing the Asset: Humanistic and Quantitative Approaches to Cybercrime Film Trailers (Snowden and Bourne) 319 VII. New Modes of Analysis: Politics and Vernacular Culture 17. New Technologies, Social Justice, and the Future in Beyoncé’s Audiovisual Albums 335 18. Fox News, COVID-19, Brief Media Aesthetics, and Historical Resonances 356 Afterword 369 Notes 373 Bibliography 403 Index 429
Es gelten unsere Allgemeinen Geschäftsbedingungen: www.buecher.de/agb
Impressum
www.buecher.de ist ein Internetauftritt der buecher.de internetstores GmbH
Geschäftsführung: Monica Sawhney | Roland Kölbl | Günter Hilger
Sitz der Gesellschaft: Batheyer Straße 115 - 117, 58099 Hagen
Postanschrift: Bürgermeister-Wegele-Str. 12, 86167 Augsburg
Amtsgericht Hagen HRB 13257
Steuernummer: 321/5800/1497
USt-IdNr: DE450055826
