- Palo Alto, California, United States
Carol Vernallis
Stanford University, Art & Art History, Department Member
- Popular Music, Film Music And Sound, Music Video, Viral Media, Affect (Cultural Theory), Nina Simone, and 27 morePopular Culture, Popular Music Studies, Musical Theatre, Iconography (Music), Cultural Studies, Musicology, Gender, New Media, Contemporary Art, Phenomenology, Visual Studies, Media Studies, Digital Media, Sound, Sound studies, Photography, Cinema, Digital Cinema, Sound and Image, Film music and film music theory, Film Music, Audiovisual, Michel Chion, Analysis of Film Music, Stylistic analysis of films, music videos, television series, and videos, Beyonce, and Film Studiesedit
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We're experiencing a time when digital technologies and advances in artificial intelligence, robotics, and big data are redefining what it means to be human. How do these advancements affect contemporary media and music? This... more
We're experiencing a time when digital technologies and advances in artificial intelligence, robotics, and big data are redefining what it means to be human. How do these advancements affect contemporary media and music? This collection traces how media, with a focus on sound and image, engages with these new technologies. It bridges the gap between science and the humanities by pairing humanists' close readings of contemporary media with scientists' discussions of the science and math that inform them. This text includes contributions by established and emerging scholars performing across-the-aisle research on new technologies, exploring topics such as facial and gait recognition; EEG and audiovisual materials; surveillance; and sound and images in relation to questions of sexual identity, race, ethnicity, disability, and class and includes examples from a range of films and TV shows including Blade Runner, Black Mirror, Mr. Robot, Morgan, Ex Machina, and Westworld. Through a variety of critical, theoretical, proprioceptive, and speculative lenses, the collection facilitates interdisciplinary thinking and collaboration and provides readers with ways of responding to these new technologies
Bloomsbury Book Serie
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Research Interests: Taste and Cybermedia
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We’re excited to publish our analyses of “APES**T” (16 June 2018), a music video featuring Beyonce, Jay-Z, Da Vinci’s Mona Lisa , and dancers in the Louvre.[1][1] For us this video’s issues are timely. Thank you to the JPMS editors,... more
We’re excited to publish our analyses of “APES**T” (16 June 2018), a music video featuring Beyonce, Jay-Z, Da Vinci’s Mona Lisa , and dancers in the Louvre.[1][1] For us this video’s issues are timely. Thank you to the JPMS editors, especially Robin James, for so swiftly bringing our work
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The Media Reviews section of this issue of the Journal of the Society for American Music takes the form of a cluster of brief analytical essays devoted to the multimedia concept album Dirty Computer (2018), by the American musician,... more
The Media Reviews section of this issue of the Journal of the Society for American Music takes the form of a cluster of brief analytical essays devoted to the multimedia concept album Dirty Computer (2018), by the American musician, actress, and producer JanelleMonáe (b. 1985). These essays emerge from “Picturing Performance: Reenvisioning the Arts,” a course led by Carol Vernallis at Stanford University in the spring of 2018. Originally conceived for digital publication, the essays have been edited by both Dr. Vernallis and the JSAMmultimedia editors into their present form. Since this experimental form constitutes a significant departure from the Journal’s standard practice, the editors felt that a brief introduction and explanation was warranted. Aside from providing readers with information about new multimedia releases and useful digital resources, we have in recent years had two overarching goals for the Media Reviews section of JSAM: 1) the exploration of the relationship between music and our perpetually evolving media landscape; and 2) the pedagogical utility of musical multimedia. In addition to exploring Dirty Computer’s significant artistic contributions, this cluster of essays directly engages with both of these efforts. Released simultaneously as a music album and a forty-six-minute narrative “emotion picture” (to use Monáe's term) Dirty Computer—alongside other multimedia releases such as Beyoncé’s Lemonade (2016)—raises intriguing questions about the extent to which its audio elements can be extracted from its visual components, and more broadly, about the nature of the “album” itself. Moreover, the essays contained in this section illustrate how the analysis of musical multimedia can provide material for rich classroom discussions and projects, as well as how student work can extend outside the classroom and connect with a larger audience. We hope that JSAM, and the Media Reviews section more broadly speaking, can become a useful space for the exploration of these ideas. To that end, we encourage those who might wish to pursue similarly innovative formats to contact the editors with ideas and suggestions.
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... Given that the musicians in question, Boyz II Men, are known for their complex vocals, what happens with the entrances during ... The final chapter, discussing Peter Gabriel and Matt Mahurin's video Mercy St., exemplifies... more
... Given that the musicians in question, Boyz II Men, are known for their complex vocals, what happens with the entrances during ... The final chapter, discussing Peter Gabriel and Matt Mahurin's video Mercy St., exemplifies Vernallis's thoughtful and at times profound insights into ...
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This collection of essays explores the relations between sound and image in a rapidly shifting landscape of audiovisual media in the digital age. Featuring contributions from scholars who bring with them an impressive array of... more
This collection of essays explores the relations between sound and image in a rapidly shifting landscape of audiovisual media in the digital age. Featuring contributions from scholars who bring with them an impressive array of disciplinary expertise, from film studies and philosophy to musicology, pornography, digital gaming, and media studies, the book charts new territory by analyzing what it calls the “media swirl” and the “audiovisual turn.” It draws on a range of media texts including blockbuster cinema, video art, music videos, video games, amateur video compilations, visualization technologies, documentaries, and immersive theater to address myriad subjects such as the transition of cinematic discourses to digital production and distribution, the relations between screens and public space, and the shifting nature of noise within digital ecosystems. It also examines noise, droning, and silence as recurring themes in New Extremist films of Europe, along with temporal and generi...
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What can Unruly Media’s - a predictive viral video advertising company's - facial recognition studies, large quantitative surveys, neuro-marketing techniques, and computer algorithms tell us about cinema? What can we learn from humanists... more
What can Unruly Media’s - a predictive viral video advertising company's - facial recognition studies, large quantitative surveys, neuro-marketing techniques, and computer algorithms tell us about cinema? What can we learn from humanists skilled in aesthetics and close reading? Are there points of intersection between these sets of approaches? What happens when we combine techniques and perspectives? No one has seriously posed these questions.
Unruly invested $10,000+ for gathering and analyzing data from large quantitative interviews, facial recognition studies, and music software algorithmic data, and they wrote responses to drafts of our close analyses. Buhler, Oore, and Vernallis contributed on the humanists’ side (we also ran facial-recognition studies with Affectiva).
Our project interrogates two recent cybercrime trailers for films: Bourne and Snowden. We chose cybercrime films because they’re a particularly self-aware genre, able to explore privacy and surveillance. The films' characters employ processes of close reading and quantitative analysis, and seem to invite interlocutors.We found Unruly's data enriched our close analyses, and we hope we as humanists contributed to Unruly for progressive ends.
Big data, psychometrics, AI, robotics, and other new technologies suggest both dystopia and utopia. We’re right to worry about repercussions, and many in the humanities may want to curtail rather than participate in these technologies. But if we don’t participate, we cede the ground to governments, militaries, and corporations. As educators, we've found our collaboration posed questions about how to best contribute to an engaged public.
Unruly invested $10,000+ for gathering and analyzing data from large quantitative interviews, facial recognition studies, and music software algorithmic data, and they wrote responses to drafts of our close analyses. Buhler, Oore, and Vernallis contributed on the humanists’ side (we also ran facial-recognition studies with Affectiva).
Our project interrogates two recent cybercrime trailers for films: Bourne and Snowden. We chose cybercrime films because they’re a particularly self-aware genre, able to explore privacy and surveillance. The films' characters employ processes of close reading and quantitative analysis, and seem to invite interlocutors.We found Unruly's data enriched our close analyses, and we hope we as humanists contributed to Unruly for progressive ends.
Big data, psychometrics, AI, robotics, and other new technologies suggest both dystopia and utopia. We’re right to worry about repercussions, and many in the humanities may want to curtail rather than participate in these technologies. But if we don’t participate, we cede the ground to governments, militaries, and corporations. As educators, we've found our collaboration posed questions about how to best contribute to an engaged public.
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This colloquy may be the first multi-perspective, in-depth look at a music video. We can imagine why there’s been such a paucity of music-video scholarship. It’s not only due to, as Ann Kaplan has observed, that music videos straddle a... more
This colloquy may be the first multi-perspective, in-depth look at a music video. We can imagine why there’s been such a paucity of music-video scholarship. It’s not only due to, as Ann Kaplan has observed, that music videos straddle a border between advertising and art, but that the analyst must also feel comfortable with addressing the music, the image (including the moving bodies, cinematography and editing), the lyrics, and the relation among them. (This might include looking at a dance gesture against a harmonic shift and an edit, and asking how these might relate to one another.) A collective approach is probably the best way to understand a clip and the genre, and also adds some benefits. Music videos are open forms, and as each analyst charts his or her path through the video, we can get a sense of a personal perspective (and readers can then more carefully track their own trajectories as well).
Each of us takes on a different facet: Dani Oore writes on the song’s rhythm arrangement, Eric Lyon attends to rhythm and the song’s production features, Gabriel Ellis attends to the song’s multiply-stylized vocal performances, Maeve Sterbenz considers harmony and gesture; Gabrielle Lochard looks closely at race and the background figures; Dale Chapman attends to “APESH**T” in relation to other African American, opulent, art-inspired videos as well as their bonds to neoliberalism; Jason King considers larger contemporary phenomena, including other films, that turn to the museum as a historical repository that might help us solve what feels like humanity under threat; Kyra Gaunt describes how The Carters confront exclusionary regimes of power and other “ape-shit” through a mosaic of art, music, and media; and I offer an overview of music-video aesthetics, and some possible ways of finding a path through the video.
We hope our tack will inspire a confederated approach, where art historians, dance scholars, media experts, and those who work on poetry and rap lyrics, costuming and architecture would write alongside us.
Each of us takes on a different facet: Dani Oore writes on the song’s rhythm arrangement, Eric Lyon attends to rhythm and the song’s production features, Gabriel Ellis attends to the song’s multiply-stylized vocal performances, Maeve Sterbenz considers harmony and gesture; Gabrielle Lochard looks closely at race and the background figures; Dale Chapman attends to “APESH**T” in relation to other African American, opulent, art-inspired videos as well as their bonds to neoliberalism; Jason King considers larger contemporary phenomena, including other films, that turn to the museum as a historical repository that might help us solve what feels like humanity under threat; Kyra Gaunt describes how The Carters confront exclusionary regimes of power and other “ape-shit” through a mosaic of art, music, and media; and I offer an overview of music-video aesthetics, and some possible ways of finding a path through the video.
We hope our tack will inspire a confederated approach, where art historians, dance scholars, media experts, and those who work on poetry and rap lyrics, costuming and architecture would write alongside us.
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This article's broad aim is to demonstrate how to analyze a music video. I'll consider several videos by Beyoncé as well as a number from music video's history. I'll show how Beyoncé stands as the genre's fulcrum, both formal innovator... more
This article's broad aim is to demonstrate how to analyze a music video. I'll consider several videos by Beyoncé as well as a number from music video's history. I'll show how Beyoncé stands as the genre's fulcrum, both formal innovator and historical guardian. I’ll propose a working definition for the genre, and discuss music video's technological and socio-economic influences. I’ll highlight some of the genre’s specificities, as well as show how audiovisual relations have changed, and the ways analysis might attend to technology, platform, and musical style.
Why should we care about music video? Four reasons, I think. The first is its cultural centrality today. It’s one of our most popular forms of moving media. PSY’s “Gangnam Style” has 2 billion hits and Justin Bieber’s “Baby” has 1 billion, numbers approaching a mathematical sublime. It’s also the most viewed content on YouTube, with studies showing that music videos are the most common way for audiences to consume popular music, more than through cds, radio, iTunes, or blogs.[1] Second, its aesthetics have seeped into nearly everything moving and visual, from Transformers and Hunger Games to Bollywood, and television shows like Game of Thrones. Third, it’s a genre with its own conventions, ways of carrying a narrative, eliciting emotions, deploying performers, settings and props, and conveying space and time. I’ve written that YouTube can be thought of as a whoopee cushion, and post-classical cinema as a form that puzzles and pummels the viewer.[2] Music video’s specialty lies in conveying a brief state of bliss. It’s dependent on ephemeralities of color, movement, and sound. Like popular music, music video possesses motifs, rhythms, grain, and fine details that carry weight. It resides somewhere between advertising and art. Fourth, it’s a genre to think with. Music video, as delimited by MTV’s initial launch, is but 35 years old, but it has shape-shifted in response to dramatic technological, aesthetic, institutional, and audience pressures.
No one has sought to trace the history of music video’s influence on audiovisual style and aesthetics—especially as it has changed over those 35 years, and as it has contended with cinema, commercials, and popular music.[3] So that we might share a common ground, I’ll propose a working definition for the genre, discuss its past, present, and future, and attend to some of the technological, social, and economic influences impinging on it. I’d like to show how one might analyze a music video with the genre’s history in mind. Turning finally to Beyoncé, I’ll suggest that we can gain a sense of the genre’s history by analyzing recent videos that engage that history. Beyoncé is not only the genre’s fulcrum at this particular moment; she’s also a formal innovator and historical guardian. Her self-titled “visual album” Beyoncé and her audiovisual film Lemonade draw on music video’s past, and suggest new possibilities for the genre’s future.
Why should we care about music video? Four reasons, I think. The first is its cultural centrality today. It’s one of our most popular forms of moving media. PSY’s “Gangnam Style” has 2 billion hits and Justin Bieber’s “Baby” has 1 billion, numbers approaching a mathematical sublime. It’s also the most viewed content on YouTube, with studies showing that music videos are the most common way for audiences to consume popular music, more than through cds, radio, iTunes, or blogs.[1] Second, its aesthetics have seeped into nearly everything moving and visual, from Transformers and Hunger Games to Bollywood, and television shows like Game of Thrones. Third, it’s a genre with its own conventions, ways of carrying a narrative, eliciting emotions, deploying performers, settings and props, and conveying space and time. I’ve written that YouTube can be thought of as a whoopee cushion, and post-classical cinema as a form that puzzles and pummels the viewer.[2] Music video’s specialty lies in conveying a brief state of bliss. It’s dependent on ephemeralities of color, movement, and sound. Like popular music, music video possesses motifs, rhythms, grain, and fine details that carry weight. It resides somewhere between advertising and art. Fourth, it’s a genre to think with. Music video, as delimited by MTV’s initial launch, is but 35 years old, but it has shape-shifted in response to dramatic technological, aesthetic, institutional, and audience pressures.
No one has sought to trace the history of music video’s influence on audiovisual style and aesthetics—especially as it has changed over those 35 years, and as it has contended with cinema, commercials, and popular music.[3] So that we might share a common ground, I’ll propose a working definition for the genre, discuss its past, present, and future, and attend to some of the technological, social, and economic influences impinging on it. I’d like to show how one might analyze a music video with the genre’s history in mind. Turning finally to Beyoncé, I’ll suggest that we can gain a sense of the genre’s history by analyzing recent videos that engage that history. Beyoncé is not only the genre’s fulcrum at this particular moment; she’s also a formal innovator and historical guardian. Her self-titled “visual album” Beyoncé and her audiovisual film Lemonade draw on music video’s past, and suggest new possibilities for the genre’s future.
Research Interests: Musicology, Media Studies, New Media, Popular Music Studies, Film Studies, and 22 moreTelevision Studies, Popular Music, Soundtrack Studies, Film Music And Sound, Popular Culture, Music Video, Digital Culture, Sound studies, Social Media, Television And Social Change, Critical Media Studies, Black Popular Culture, American Popular Culture, Popular musicology, Film and Media Studies, Youtube, Mass media, Audiovisual, Digital Media and Learning, Film Sound and Music, Film Sound Theory, and Beyonce
Why hasn’t this presidential campaign given us much in the way of music? Where are the short videos with lively soundtracks—things we’d want to share on Facebook or Twitter? Where’s the “Yes We Can” of 2016? Where are the Rick Rolls and... more
Why hasn’t this presidential campaign given us much in the way of music? Where are the short videos with lively soundtracks—things we’d want to share on Facebook or Twitter? Where’s the “Yes We Can” of 2016? Where are the Rick Rolls and Obama’s sung speech of “Never Letting Us Down,” or the musical ad with Romney’s “47% no income tax?” Through all the dim moments of this cycle we could use something uplifting or inspirational, a 2016 election song or video that not only moves us but encourages us to share something with others and participate more actively.
Research Interests: American Politics, Media Studies, New Media, Journalism, Popular Music Studies, and 28 moreFilm Studies, Television Studies, Popular Music, Soundtrack Studies, Film Music And Sound, Popular Culture, Digital Media, Political Campaigns, Digital Culture, Sound studies, Digital Media & Learning, Social Media, Television And Social Change, Critical Media Studies, Black Popular Culture, Online Journalism, American Popular Culture, Public Communication Campaigns, Popular musicology, Election Campaigning, Film and Media Studies, Youtube, Mass media, Audiovisual, Film Sound and Music, Journalism and Media Studies, Film Sound Theory, and Beyonce
Beyoncé’s Lemonade is a 56-minute film composed of twelve music videos with interludes comprised of spoken-word poetry, concrete sound, and visual tableaux. Lemonade focuses on difficulties with marriage and monogamy; the popular press... more
Beyoncé’s Lemonade is a 56-minute film composed of twelve music videos with interludes comprised of spoken-word poetry, concrete sound, and visual tableaux. Lemonade focuses on difficulties with marriage and monogamy; the popular press has described it as a commentary on Beyoncé’s marriage to Jay-Z. But it is equally about African American history. It’s a call to action.
I’ll focus on three key aspects. First, Lemonade draws viewers in. While Beyoncé appears in every music video and many of the interludes, the film never devolves into autobiography. Instead it incorporates its viewers as well as the performers depicted in the frame and heard on the soundtrack. Second, Lemonade encourages the listener-viewer to make sense of a complex whole. Its elaborate structure demands we discover sonic and visual connections across sections. Finally, by drawing on music-video and avant-garde aesthetics, Lemonade showcases multiple story lines and strands simultaneously.
Two overlapping genres—music video and experimental film—provide Lemonade with a means to hold the past, present, and future together. Besides the narrative of Beyoncé’s marriage (expressing anger, fear, grief, reconciliation and reintegration), Lemonade develops historical strands about Africa, the Middle Passage, slavery, reconstruction, lynching, neo-liberalism and the disinvestment of black neighborhoods at the beginning of the 1970s, Hurricane Katrina, and the police murders of African-Americans. Lemonade embodies opposites: love and hate, engagement and alienation, forgiveness and revenge.
I’ll focus on three key aspects. First, Lemonade draws viewers in. While Beyoncé appears in every music video and many of the interludes, the film never devolves into autobiography. Instead it incorporates its viewers as well as the performers depicted in the frame and heard on the soundtrack. Second, Lemonade encourages the listener-viewer to make sense of a complex whole. Its elaborate structure demands we discover sonic and visual connections across sections. Finally, by drawing on music-video and avant-garde aesthetics, Lemonade showcases multiple story lines and strands simultaneously.
Two overlapping genres—music video and experimental film—provide Lemonade with a means to hold the past, present, and future together. Besides the narrative of Beyoncé’s marriage (expressing anger, fear, grief, reconciliation and reintegration), Lemonade develops historical strands about Africa, the Middle Passage, slavery, reconstruction, lynching, neo-liberalism and the disinvestment of black neighborhoods at the beginning of the 1970s, Hurricane Katrina, and the police murders of African-Americans. Lemonade embodies opposites: love and hate, engagement and alienation, forgiveness and revenge.
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Beyoncé calls Lemonade a “visual album.” But while there’s been buzz about Beyoncé smashing up cars, and a lot of talk about the autobiographical themes of the lyrics, this 60-minute film’s music, words, and sound design haven’t been... more
Beyoncé calls Lemonade a “visual album.” But while there’s been buzz about Beyoncé smashing up cars, and a lot of talk about the autobiographical themes of the lyrics, this 60-minute film’s music, words, and sound design haven’t been talked about in relation to its images. Lemonade’s unusual form—a long-play music video—gives it the capacity to draw connections between the personal pain of infidelity and America’s terrible history of racism. Twelve video clips are linked by brief passages comprised of spoken-word poetry, visual tableaux and sound collage. These interludes lean toward avant-garde aesthetics. One thing avant-garde aesthetics and music video share is the ideal of holding several vantage points in suspension. Critics like bell hooks and Adam Szetela have called the film "fantasy feminism" and “boutique activism of the left.” Careful attention to sound, image and lyrics helps us see them lemonade is anything but.
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... (The process of becoming more youthful includes Clem's encouraging 'Slidy Slidy', a tangerine ... The diner where Clem and Joel first meet is accompanied by crickets chirping (though... more
... (The process of becoming more youthful includes Clem's encouraging 'Slidy Slidy', a tangerine ... The diner where Clem and Joel first meet is accompanied by crickets chirping (though crickets would not whir in a diner at midday) and the coffee machine sounds like a wild bird. ...
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... New York: PPP Publications/Andrew Roth Gallery, 2006.192 pp. 194 col. illus. ... Crime may organize much of 20th-century visual culture, serving as 'a point of intersection in the traffic between avant-garde and commercial... more
... New York: PPP Publications/Andrew Roth Gallery, 2006.192 pp. 194 col. illus. ... Crime may organize much of 20th-century visual culture, serving as 'a point of intersection in the traffic between avant-garde and commercial imagery, between popular and fine art traditions' (p. 16). ...
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A music video, commercial, musical, CD-ROM, or internet QuickTime movie can inspire a confusing mixture of rapture and bewilderment. So dazzling but so ephemeral - how to make sense of it? A groundbreaking work, Nicholas Cook's Analysing... more
A music video, commercial, musical, CD-ROM, or internet QuickTime movie can inspire a confusing mixture of rapture and bewilderment. So dazzling but so ephemeral - how to make sense of it? A groundbreaking work, Nicholas Cook's Analysing Musical Multimedia is the first to provide both descriptions and models of how media like music, lyrics, and image can function together. The book should interest scholars and students of American music because multimedia seem increasingly central to contemporary culture; in addition, Cook provides close readings of two quintessentially American
works - the Disney and Stokowski realization of The Rite of Spring from Fantasia, and Madonna's music video "Material Girl."
works - the Disney and Stokowski realization of The Rite of Spring from Fantasia, and Madonna's music video "Material Girl."
Research Interests: Popular Music, Film Music And Sound, Music Video, History of Popular Music, Analysis of Film Music, and 18 moreOpera and classical music in film, Film musicals, Popular musicology, Film Music Aesthetics, Music Theory and Music Analysis, Audiovisual, Popular Music and Culture, Stylistic analysis of films, music videos, television series, and videos, Film Music Perception and Cognition, Avant-garde music in film, Film Sound and Music, Music Scoring for Film, Popular Music and Film, Video Music, Music Scoring for Video Games, Popular Music in Film, Horror Film Music, and Musical Scoring
In the film Peeping Tom a pinup photographer attaches a mirror and a switch blade to the front of his camera. He entraps the girls and rushes upon them, driving the knife into their throats while attempting to record their fears. Do the... more
In the film Peeping Tom a pinup photographer attaches a mirror and a switch blade to the front of his camera. He entraps the girls and rushes upon them, driving the knife into their throats while attempting to record their fears. Do the readers of true crime magazines want to imagine themselves as powerful (or powerless), to visualize one’s own or another’s death, or to confront one’s moral codes and their limits? Or is it simply a way to experience camp – a chance to step outside the grind and be a flaneur in the sensationalistic world of urban poverty, sexual license and night time vice? Or are true crime’s charms largely aesthetic? Will Straw’s Cyanide and Sin: Visualizing Crime in 50s America is the best place to consider these questions. It contains 196 pics and is preceded by a
12,000 word introductory essay.
12,000 word introductory essay.
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... Indeed, sometimes the edit seems to function as a part of the image and sometimes as a gap This essay is divided into five sections* (1) an introduction to the grammar of shots and edits, and a discussion of how their functions differ... more
... Indeed, sometimes the edit seems to function as a part of the image and sometimes as a gap This essay is divided into five sections* (1) an introduction to the grammar of shots and edits, and a discussion of how their functions differ between film and music video, (2) an analysis ...
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David Fincher, personal interview, October 1998. Lawrence's and Meyers's videos can be seen on the web. A list of some of their work appears in the appendix. Readers can go to www. launch. com, type in the title of the song, and... more
David Fincher, personal interview, October 1998. Lawrence's and Meyers's videos can be seen on the web. A list of some of their work appears in the appendix. Readers can go to www. launch. com, type in the title of the song, and then stream or download the video. ...
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Transmedia Directors focuses on artist-practitioners who work across media, platforms and disciplines, including film, television, music video, commercials and the internet. Working in the age of media convergence, today's em/impresarios... more
Transmedia Directors focuses on artist-practitioners who work across media, platforms and disciplines, including film, television, music video, commercials and the internet. Working in the age of media convergence, today's em/impresarios project a distinctive style that points toward a new contemporary aesthetics. The media they engage with enrich their practices – through film and television (with its potential for world-building and sense of the past and future), music video (with its audiovisual aesthetics and rhythm), commercials (with their ability to project a message quickly) and the internet (with its refreshed concepts of audience and participation), to larger forms like restaurants and amusement parks (with their materiality alongside today's digital aesthetics). These directors encourage us to reassess concepts of authorship, assemblage, transmedia, audiovisual aesthetics and world-building.
Providing a vital resource for scholars and practitioners, this collection weaves together insights about artist-practitioners' collaborative processes as well as strategies for composition, representation, subversion and resistance.
Providing a vital resource for scholars and practitioners, this collection weaves together insights about artist-practitioners' collaborative processes as well as strategies for composition, representation, subversion and resistance.
Research Interests: Media Studies, New Media, Film Studies, Film Sound, Film Music And Sound, and 15 moreMusic Video, Film Analysis, Multimedia, Transmedial Storytelling, Analysis of Film Music, Auteur Theory, Film music and film music theory, David Lynch, Music and the Moving Image, Transmedia Storytelling, Film and Media Studies, Transmedia, Transmedial Narratology, Audiovisual, and Transmediality
Transmedia Directors focuses on artist-practitioners who work across media, platforms and disciplines, including film, television, music video, commercials and the internet. Working in the age of media convergence, today's em/impresarios... more
Transmedia Directors focuses on artist-practitioners who work across media, platforms and disciplines, including film, television, music video, commercials and the internet. Working in the age of media convergence, today's em/impresarios project a distinctive style that points toward a new contemporary aesthetics. The media they engage with enrich their practices – through film and television (with its potential for world-building and sense of the past and future), music video (with its audiovisual aesthetics and rhythm), commercials (with their ability to project a message quickly) and the internet (with its refreshed concepts of audience and participation), to larger forms like restaurants and amusement parks (with their materiality alongside today's digital aesthetics). These directors encourage us to reassess concepts of authorship, assemblage, transmedia, audiovisual aesthetics and world-building.
Providing a vital resource for scholars and practitioners, this collection weaves together insights about artist-practitioners' collaborative processes as well as strategies for composition, representation, subversion and resistance.
Providing a vital resource for scholars and practitioners, this collection weaves together insights about artist-practitioners' collaborative processes as well as strategies for composition, representation, subversion and resistance.
Research Interests: Media Studies, Media and Cultural Studies, Film Studies, Soundtrack Studies, Film Music And Sound, and 15 morePopular Culture, Music Video, Transmedial Storytelling, American Cinema, Film Production, Cinema, David Lynch, Wes Anderson, Film and Media Studies, Youtube, Audiovisual Art, Cinema Studies, David Fincher, Media Industry Studies, and Film Directing
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This piece is framed as an address to the Electors. The title is "Losing the Election Audiovisually: Word out to the Electoral College." The argument is that the presidential election was lost in audiovisual media before the actual vote... more
This piece is framed as an address to the Electors. The title is "Losing the Election Audiovisually: Word out to the Electoral College." The argument is that the presidential election was lost in audiovisual media before the actual vote happened. I look at a few videos that appeared before the election to show both the trends that pointed to Trump's win (the Chainsmokers' "Waterbed") and more progressive trends (Beyoncé's Lemonade); I use a recent video I just got through Facebook (link below) as a way of asking how audiovisual media can work politically and what we might do now. The Electoral College meets Monday, of course, and while we'll doubtless lose the vote, it might mean something if we sway a few more electors. I'm hoping that those who don't think they need to know about pop culture might change their minds.
To Putin, Trump is perfect | Donald trump Kisses to Putin in Joe New Funny Video - https://www.youtube.com/watch?v=jprKoCGLjiA
To Putin, Trump is perfect | Donald trump Kisses to Putin in Joe New Funny Video - https://www.youtube.com/watch?v=jprKoCGLjiA
Research Interests: American Politics, Media Studies, New Media, Journalism, Popular Music Studies, and 30 moreFilm Studies, Television Studies, Popular Music, Soundtrack Studies, Film Music And Sound, Popular Culture, Digital Media, Political Campaigns, Politics, Digital Culture, Sound studies, Television And Social Change, Critical Media Studies, Black Popular Culture, Online Journalism, American Popular Culture, Public Communication Campaigns, Popular musicology, Election Campaigning, Film and Media Studies, Youtube, Mass media, Audiovisual, Digital Media and Learning, Digital Cultures, Film Sound and Music, Journalism and Media Studies, Film Sound Theory, Electoral and Political Campaings, and Beyonce
Dear Friends and Colleagues: I hope you've had a chance to see and perhaps share my "Audiovisuality and Campaign 2016" piece that appeared in Flow Journal, and my "250 Words in 2.5 Days" campaign. Clinton's and Trump's campaign materials... more
Dear Friends and Colleagues:
I hope you've had a chance to see and perhaps share my "Audiovisuality and Campaign 2016" piece that appeared in Flow Journal, and my "250 Words in 2.5 Days" campaign. Clinton's and Trump's campaign materials (rallies, political ads, and commercials) from the last two weeks have been complicated and forceful. I've created study questions for students to review tonight or for you to share in the classroom. I think they're interesting! Here are the questions and the links (below, I can't send an attachment through the listserv).
http://www.flowjournal.org/
https://goo.gl/E5nb1p
Only opens in Chrome. Goodness.
http://stanford.io/2fksd5C
https://people.stanford. edu/cvernall/
The call for "250 Words in 2.5 Days" is due today, but Trax on the Trail is not limited in terms of space. I've spoken with several respected online and academic journals about publishing more of the mini-essays. If you can get abstracts to me by 11/14 I'll see what I can do about getting them posted.
Best wishes,
Carol
I hope you've had a chance to see and perhaps share my "Audiovisuality and Campaign 2016" piece that appeared in Flow Journal, and my "250 Words in 2.5 Days" campaign. Clinton's and Trump's campaign materials (rallies, political ads, and commercials) from the last two weeks have been complicated and forceful. I've created study questions for students to review tonight or for you to share in the classroom. I think they're interesting! Here are the questions and the links (below, I can't send an attachment through the listserv).
http://www.flowjournal.org/
https://goo.gl/E5nb1p
Only opens in Chrome. Goodness.
http://stanford.io/2fksd5C
https://people.stanford. edu/cvernall/
The call for "250 Words in 2.5 Days" is due today, but Trax on the Trail is not limited in terms of space. I've spoken with several respected online and academic journals about publishing more of the mini-essays. If you can get abstracts to me by 11/14 I'll see what I can do about getting them posted.
Best wishes,
Carol
Research Interests: American Politics, Media Studies, New Media, Journalism, Popular Music Studies, and 28 moreFilm Studies, Television Studies, Popular Music, Soundtrack Studies, Film Music And Sound, Popular Culture, Digital Media, Political Campaigns, Digital Culture, Sound studies, Social Media, Television And Social Change, Critical Media Studies, Black Popular Culture, Online Journalism, American Popular Culture, Public Communication Campaigns, Popular musicology, Election Campaigning, Film and Media Studies, Youtube, Mass media, Digital Media and Learning, Film Sound and Music, Journalism and Media Studies, Comunicación Audiovisual, Film Sound Theory, and Beyonce
Dear Friends and Colleagues, I hope you've had a chance to see and perhaps share my Audiovisuality and the Campaign 2016 piece that appeared in Flow Journal and my 250 Words in 2.5 Days campaign. Clinton's and Trump's campaign materials... more
Dear Friends and Colleagues,
I hope you've had a chance to see and perhaps share my Audiovisuality and the Campaign 2016 piece that appeared in Flow Journal and my 250 Words in 2.5 Days campaign. Clinton's and Trump's campaign materials from the last two weeks have been complicated, intense and forceful. I've created study questions for students to review tonight or for you to share in the classroom. I think they're interesting! I'll try to do a nicer mock up later today. For right now, here are the questions and links.
http://www.flowjournal.org/
goo.gl/E5nb1p
http://stanford.io/2fksd5C
The call for my 250 Words in 2.5 Days is due today, but Trax on the Trail is not limited in terms of space. I've spoken with several respected online and academic journals about publishing more of the mini-essays. If you can get abstracts to me by 11/14 I'll see what I can do about getting them posted.
Best wishes,
Carol
I hope you've had a chance to see and perhaps share my Audiovisuality and the Campaign 2016 piece that appeared in Flow Journal and my 250 Words in 2.5 Days campaign. Clinton's and Trump's campaign materials from the last two weeks have been complicated, intense and forceful. I've created study questions for students to review tonight or for you to share in the classroom. I think they're interesting! I'll try to do a nicer mock up later today. For right now, here are the questions and links.
http://www.flowjournal.org/
goo.gl/E5nb1p
http://stanford.io/2fksd5C
The call for my 250 Words in 2.5 Days is due today, but Trax on the Trail is not limited in terms of space. I've spoken with several respected online and academic journals about publishing more of the mini-essays. If you can get abstracts to me by 11/14 I'll see what I can do about getting them posted.
Best wishes,
Carol
Research Interests: American Politics, Media Studies, New Media, Journalism, Popular Music Studies, and 28 moreFilm Studies, Television Studies, Popular Music, Soundtrack Studies, Film Music And Sound, Popular Culture, Digital Media, Political Campaigns, Digital Culture, Sound studies, Digital Media & Learning, Social Media, Television And Social Change, Critical Media Studies, Black Popular Culture, Online Journalism, American Popular Culture, Public Communication Campaigns, Popular musicology, Election Campaigning, Film and Media Studies, Youtube, Mass media, Audiovisual, Film Sound and Music, Journalism and Media Studies, Film Sound Theory, and Beyonce
Beyoncé calls Lemonade a “visual album.” But while there’s been buzz about Beyoncé smashing up cars, and a lot of talk about the autobiographical themes of the lyrics, this 60-minute film’s music, words, and sound design haven’t been... more
Beyoncé calls Lemonade a “visual album.” But while there’s been buzz about Beyoncé smashing up cars, and a lot of talk about the autobiographical themes of the lyrics, this 60-minute film’s music, words, and sound design haven’t been talked about in relation to its images. Lemonade’s unusual form—a long-play music video—gives it the capacity to draw connections between the personal pain of infidelity and America’s terrible history of racism. Twelve video clips are linked by brief passages comprised of spoken-word poetry, visual tableaux and sound collage. These interludes lean toward avant-garde aesthetics. One thing avant-garde aesthetics and music video share is the ideal of holding several vantage points in suspension. Critics like bell hooks and Adam Szetela have called the film "fantasy feminism" and “boutique activism of the left.” Careful attention to sound, image and lyrics helps us see them lemonade is anything but.
Research Interests:
Beyoncé calls Lemonade a “visual album.” But while there’s been buzz about Beyoncé smashing up cars, and a lot of talk about the autobiographical themes of the lyrics, this 60-minute film’s music, words, and sound design haven’t been... more
Beyoncé calls Lemonade a “visual album.” But while there’s been buzz about Beyoncé smashing up cars, and a lot of talk about the autobiographical themes of the lyrics, this 60-minute film’s music, words, and sound design haven’t been talked about in relation to its images. Lemonade’s unusual form—a long-play music video—gives it the capacity to draw connections between the personal pain of infidelity and America’s terrible history of racism. Twelve video clips are linked by brief passages comprised of spoken-word poetry, visual tableaux and sound collage. These interludes lean toward avant-garde aesthetics. One thing avant-garde aesthetics and music video share is the ideal of holding several vantage points in suspension. Critics like bell hooks and Adam Szetela have called the film "fantasy feminism" and “boutique activism of the left.” Careful attention to sound, image and lyrics helps us see them lemonade is anything but.