Kapitel in diesem Buch

1. Frontmatter i
2. Contents vii
3. Acknowledgments xi
4. A Note on the Cover xiii
5. Introduction 1
6. I Post-Classical Cinema at the Limit
7. 1 Partying in The Great Gatsby: Baz Luhrmann’s Audiovisual Sublime 27
8. 2 Shattered Pleasures: Michael Bay’s Transformers: Age of Extinction 48
9. II Music Video and the Art-Video Border
10. 3 Beyoncé’s Overwhelming Opus; or, the Past and Future of Music Video 71
11. 4 Avant-Gardists and the Lure of Pop Music 97
12. 5 Beyoncé’s Lemonade: She Dreams in Both Worlds 122
13. 6 Tracing the Carters through the Galleries: “APES**T/ APESHIT” and the Louvre 138
14. 7 Storytelling on the Ledge: Lady Gaga and Jonas Åkerlund’s “Paparazzi” 154
15. III Music Video’s Late Late Style
16. 8 How to Analyze Music Videos: Beyoncé and Melina Matsoukas’s “Pretty Hurts” 175
17. 9 Dave Meyers’s Moments of Audiovisual Bliss 196
18. 10 Janelle Monáe’s “You Make Me Feel” and Anderson .Paak with Kendrick Lamar’s “Tints”: Getting Up in My [Rearview] Mirror 211
19. IV Audiovisual Aesthetics Online
20. 11 Who Needs Music Documentaries When There’s TikTok and Carpool Karaoke? 231
21. 12 TikTok and Costume-Drama Mashups on YouTube 247
22. V New Modes of Analysis: Industry
23. 13 The Art of Color Grading 265
24. 14 Music Video Directors, Production Houses, and the Media Swirl 290
25. VI New Modes of Analysis: Neuroscience
26. 15 Music Video’s Multisensory 307
27. 16 Tracing the Asset: Humanistic and Quantitative Approaches to Cybercrime Film Trailers (Snowden and Bourne) 319
28. VII New Modes of Analysis: Politics and Vernacular Culture
29. 17 New Technologies, Social Justice, and the Future in Beyoncé’s Audiovisual Albums 335
30. 18 Fox News, COVID-19, Brief Media Aesthetics, and Historical Resonances 356
31. Afterword: Arguments for Engaging with Audiovisually Intensified Media Now, Including Corporate-and Government-Authored Materials 369
32. Notes 373
33. Bibliography 403
34. Index 429