Course Schedule:
1. Introduction to Music Video; Terms and Analysis
Narrative
Reading: EMV, 3 - 53.
2. Avant-Garde and Experimental Film
Editing
Reading: EMV, 54 - 98.
3. Concert Films
Video Stars in Music Films/Film Stars in Music Videos
Reading: EMV, 99 - 108.
4. Video Art and Early MTV
Scopitones, Electronovision and Video Technology Experimentation
Settings, Props, and Costumes
Reading: EMV, 109 - 136.
5. MTV I
Lyrics and Music
Reading: EMV, 137 - 155
6. MTV II
Color, Texture, Space, and Time
Reading: EMV, 156 - 174.
7. MTV III: Auteur Directors, Film Soundtrack Videos, New Country, New New Pop;
Linking Music, Image, and Lyrics
Reading: EMV, 175 - 20 8.
8. The Digital Revolution: YouTube and User Generated Content
Long Form Music Videos
Reading: Carol Vernallis, “YouTube Aesthetics,” in Unruly Media: YouTube, Music Video, and the New Digital Cinema, (Oxford University Press, 2013).
Cayari, C. (2011). “The YouTube effect: How YouTube has provided new
ways to consume, create, and share music.” International Journal of Education & the Arts, 12(6).
9. Post - Classical Cinema
Reading: Carol Vernalis, “The Audiovisual Turn and Post - Classical Cinema,” in Unruly Media: YouTube, Music Video, and the New Digital Cinema (Oxford, 20 13), 42 - 68.
10. Live Concert Videos
Video Games
Reading: D - Fuse, VJ: Audio - Visual Art and V.J. Culture (Laurence King, 2007), 3 - 48.
Karen Collins, “Game Audio Today: Technology, Process, and Aesthetic,” in Game Sound: An Introduction to the History, Theory and Practice of Video Game Music and Sound Design, (Cambridge: MIT Press, 2008), pp. 85 - 106.
11. Guitar Hero, Performativity, Animation and Virtual Bands
Reading: Kiri Miller, “How Musical is Guitar Hero?, ” in Playing Along: Digital Games, YouTube, and Virtual Performance (Oxford: Oxford University Press, 2012), 85 - 124.
John Richardson, “The Surrealism of Virtual Band Gorillaz: “Clint Eastwood” and “Feel Good Inc.,” in An Eye for Music: Popular Music and the Audiovisual Surreal, (Oxford: Oxford University Press, 2012), 201 - 239.
12. Television Title Sequences, End Credits and Music Placements
Reading: Ramsay Adams, David Hnatiuk, and David Weiss, Music Supervision: Selecting Music for Movies, TV, Games, and New Media ì. New York: Schirmer, 2005.
Jeremy G, Butler, Television: Critical Methods and Applications , 4th Ed., (NY: Routledge, 2012), 325 - 356.
13. Small Screens, Web. 2.0 and the Future of the Music Video
Reading: Carol Vernallis, “Music Video’s Second Aesthetic?,” in Unruly Media: YouTube, Music Video, and the New Digital Cinema, (Oxford University Press, 2013).
14. Visual Albums, Celebrity and Social Strategies to Stardom
Screening Event: Tierra Whack, Whack World
Beyoncé, Lemonade
Janelle Monae, Dirty Computer
Frank Ocean, Endless
Selected Bibliography:
E. Ann Kaplan, “MTV and the Avant-Garde: The Emergence of a Postmodernist Anti-Aesthetic?,” in Rocking Around the Clock: Music Television, Postmodernism, and Consumer Culture , (New York: Routledge, 1987), 33 - 48
David E. James, The Most Typical Avant-Garde: History and Geography of Minor Cinemas in Los Ang eles, (Berkeley: U.C. Press, 2005), 248 - 281.
Philip Auslander, “Seeing Is Believing: Live Performance and the Discourse of Authenticity in Rock Culture,” Literature and Psychology 44/4 (1998), 1 - 26.
Jack Banks, “The Early Years of Music Video,” in Monopoly Television: MTV’s Quest to Control the Music , (New York: Harper, 1996), 23 - 47.
Andrew Goodwin, “From Anarchy to Chromakey: Developments in Music Television,” in Dancing in the Distraction Factory: Music Television and Popular Culture (Minneapolis: Univ. of Minnesota Press, 1992), 24 - 48.
Will Straw, “Popular Music and Postmodernism in the 1980s,” in Sound And Vision: The Music Video Reader , ed. Simon Frith, Andrew Goodwin, and Lawrence Grossberg (London: Routled ge, 1993), 3 - 24.
Saul Austerlitz, Money For Nothing: A History of the Music Video from the Beatles to the White Stripes (NY: Continuum, 2007), 135 - 162.
Cynthia Fuchs, “’I’m from Rags to Riches’: The Death of Jay - Z,” in Medium Cool: Music Videos from Soundies to Cellphones, ed. Roger Beebe and Jeson Middleton (Durham: Duke Univ. Press, 2007), 290 - 302.
Roger Beebe, “Paradoxes of Pastiche: Spike Jonze, Hype Wiliams, and the Race of the Postmodern Auteur,” in Medium Cool: Music Videos from Soundies to Cellphones , 303 - 328.
Carol Vernallis, “YouTube Aesthetics,” in Unruly Media: YouTube, Music Video, and the New Digital Cinema, (Oxford University Press, 2013).
Cayari, C. (2011). “The YouTube effect: How YouTube has provided new
ways to consume, create, and share music.” International Journal of Education & the Arts, 12(6).
Carol Vernalis, “The Audiovisual Turn and Post - Classical Cinema,” in Unruly Media: YouTube, Music Video, and the New Digital Cinema (Oxford, 20 13), 42 - 68.
D - Fuse, VJ: Audio - Visual Art and V.J. Culture (Laurence King, 2007), 3 - 48.
Karen Collins, “Game Audio Today: Technology, Process, and Aesthetic,” in Game Sound: An Introduction to the History, Theory and Practice of Video Game Music and Sound Design, (Cambridge: MIT Press, 2008), pp. 85 - 106.
Kiri Miller, “How Musical is Guitar Hero?, ” in Playing Along: Digital Games, YouTube, and Virtual Performance (Oxford: Oxford University Press, 2012), 85 - 124.
John Richardson, “The Surrealism of Vi rtual Band Gorillaz: “Clint Eastwood” and “Feel Good Inc.,” in An Eye for Music: Popular Music and the Audiovisual Surreal, (Oxford: Oxford University Press, 2012), 201 - 239.
Ramsay Adams, David Hnatiuk, and David Weiss, Music Supervision: Selecting Music for Movies, TV, Games, and New Media . New York: Schirmer, 2005.
Carol Vernallis, “Music Video’s Second Aesthetic?,” in Unruly Media: YouTube, Music Video, and the New Digital Cinema , (Oxford University Press, 2013).
Jeremy G, Butler, Television: Critical Methods and Applications , 4th Ed., (NY: Routledge, 2012), 325 - 356.
Selected Video/Filmography
(in order of presentation):
Miley Cyrus, “We Can’t Stop” (2013), dir. Diane Martel
Kendrick Lamar, “Swimming Pools” (2012), dir. Jerome D.
Aerosmith, “Crazy” (1993), dir. Marty Callner
Best Coast, “The Only Place” (2012), dir. Ace Norton
Nas, “Daughters” (2012), dir. Chris Robinson
Dixie Chicks, “Goodbye Earl” (2000), dir. Evan Bernard
A Hard Day’s Night (1964, dir. Richard Lester)
Adele, “Rolling in the Deep” (2010), dir. Sam Brown
Lady Gaga, “Bad Romance” (2009), dir. Francis Lawrence
Beyoncé, “Countdown” (2011), dir. Adria Petty
Jay - Z & Kanye West, “Ni** as In Paris” (2012), dir. Kanye West
William K. Dickson/Edison Manufacturing Co., “Dickson Experimental Sound Film” (1894)
Oscar Fischinger, “An Optical Poem” (1938)
James Whitney, “Yantra” (1957)
James Whitney, “Lapis” (1966)
Len Lye, “Swinging in Lambeth Park”
Rene Clair, “Entr’Acte” (1924)
Stan Brakhage, “DogStarMan” (1964 - 5)
Kenneth Anger, “Scorpio Rising” (1964)
Harry Smith, “Abstractions” (1964)
Stan vanDerBeek, “Science Friction” (1966)
Maya Deren, Meshes of the Afternoon (1943)
Justin Timberlake, “Suit & Tie” ft. JAY Z (2013), dir. David Fincher
M.I.A. "Bad Girls" (2013), dir. Romain Gavras
St. Vincent, “Cheerleader” (2011), dir. Hiro Murai
Beach House, "Wishes" – Dr. by Eric Warheim
Miley Cyrus, “Wrecking Ball” (2013) , dir. Terry Richardson
Beach Boys, ‘Good Vibrations” (1966)
The Monkees, “I’m a Believer” (1966)
Don’t Look Back, D.A. Pennebaker (1965)
What’s Happening!: The Beatles in the U.S.A., dir. The Maysles Brothers (1965)
The T.A.M.I. Show, dir. Steve Binder (1964)
The Song Remains The Same, dir. Peter Clifton and Joe Massot (1976)
Rattle and Hum, dir. Phil Joanou (1988)
Gimme Shelter, dir. Albert and David Maysles (1970)
Sympathy for the Devil, dir. Jean - Luc Godard (1969)
Woodstock, dir. Michael Wadleigh et al (1970)
Monterey Pop, dir. D.A. Pennbaker (1968)
The Last Waltz, dir. Martin Scorsese (1978)
Stop Making Sense, dir. Jonathan Demme (1984)
Truth Or Dare (aka In Bed With Madonna), dir. Alex Keshishian (1991)
Prince, Sign O’ The Times (1987)
Beyoncé, Life is But a Dream (2013)
Tommy, dir. Ken Russell (1975)
The Wall, dir. Alan Parker (1982)
Purple Rain, dir. Albert Magnoli (1984)
Rilo Kiley, "Let Me Back In" (2013),
Cat Power, “Manhattan” (2013), dir. Greg Hunt
James Blake, “Overgrown” (2 013), dir. Nabil Elderkin
Drake, “Started From The Bottom” (2013), dir. Director X
Lana Del Rey, “Summertime Sadness” (2012), Dir. Spencer Susser and Kyle Newman
Tim McGraw, “Truck Yeah” (2012), dir. Chris Hickey
The Internet, “Dontcha” (201 3)
Nam June Paik, Global Groove (1970)
Nam June Paik, Good Morning Mr. Orwell (1984)
Foxygen, “San Francisco” (2013), dir. Cameron Dutra
Chamillionaire, “Ridin'” ft. Krayzie Bone
"Weird Al" Yankovic, “White & Nerdy”
The Shining, dir. Stanley Kubrick, Opening credits
Ariel Pink's Haunte d Graffiti, “Only In My Dreams” (2012), dir. Travis Peterson
Danny Brown, "Grown Up" (2012), dir. Greg Brunkalla
Father John Misty, “Hollywood Forever Cemetery Sings” (2013), dir. Noel Paul
RUN-DMC, “Walk This Way” (1993), dir. Jon Small
Michael Jackson, “Thriller” (1983) dir. John Landis
Duran Duran, “Hungry Like The Wolf” (1982), dir. Russell Mulcahy
The Buggles, “Video Killed the Radio Star” (1978), dir. Russell Mulcahy
Michael Jackson, “Billie Jean” (1982), dir. Steve Barron
Herbie Hancock, “Rockit” (1983), dir. Godley and Creme
Frank Ocean, “Pyramids” (2012), dir. Nabil Elderkin
M.I.A., “Galang” (2003), dir. Ruben Fleischer
Minus the Bear, “My Time” (2010), dir. Mike Mohan
Cold Mailm an, “My Recurring Dream” (2013), dir. André Chocron
Toro y Moi, “Say That” (2013), dir. HARRYS
Madonna, “Like a Prayer” (1989), dir. Mary Lambert
Madonna, “Vogue” (1990), dir. David Fincher
Madonna, “Cherish” (1989), dir. Herb Ritts
Nirvana, “Smells Like Teen Spirit” (1991), dir. Samuel Bayer
Weezer, “Buddy Holly” (1994), dir. Spike Jonze
Portishead, “Glory Box”, dir. Geoff Barrow
Portishead, “All Mine” dir. Marc Bessant (1997)
Nirvana, “In Bloom” (1991), dir. Kevin Kerslake
Pearl Jam, “Jeremy” (1992), dir. Mark Pellington
Red Hot Chili Peppers, “Under the Bridge” (1992), dir. Gus Van Sant
Nine Inch Nails, “Closer” (1994), dir. Mark Romanek
Beck, “Loser” (1993), dir. Steve Hanft
Public Enemy, “911 is a Joke” (1990)
M.C. Hammer, “U Can’t Touch This” (1990), dir. Rupert Wainwright
Dr. Dre, “Nothin But a G-Thang” (1992), dir. Dr. Dre
The Notorious B.I.G. “Juicy” (1994)
Justin Timberlake, “Suit and Tie” Feat. Jay - Z (2013), dir. David Fincher
Madonna, “Cherish” (1989), dir. Herb Ritts
Dirty Projectors, “Hi Custodian”
Aphex Twin, “Come To Daddy” (1997), dir. Chris Cunningham
Aphex Twin, “Windowlicker” (1999), dir. Chris Cunningham
Beastie Boys, “Sabotage” (1994), dir. Spike Jonze
No Doubt, “Spiderwebs” (1995), dir. Marcus Nispel
Garbage, “Stupid Girl” (1995), dir. Samuel Bayer
Johnny Cash, “Hurt” (1994), Dir. Mark Romanek
Missy Elliot, “The Rain [Supa Dupa Fly]” dir. Hype Williams
Pink, Mya and Missy Elliot, “Lady Marmalade,” (2001), dir. Paul Hunter
Bryan Adams, “[Everything I do] I do it for you”
Whitney Houston, “I Will Always Love You”
Celine Dion, “My Heart Will Go On”
Garth Brooks, “The Dance”
Britney Spears, “Toxic”
Eminem, “The Real Slim Shady”
Christina Aguilera, “Hurt”
Beyoncé, “Single Ladies”
“Gizmo Flushes” (2006)
Tay Zonday, “Chocolate Rain” (2007)
Liam Kyle Sullivan, “Shoes” (2007)
Judson Laipply, “Evolution of Dance” (2006)
Weezer, “Pork and Beans” (2009)
Aqua, “Barbie Girl” (1997)
Gorillaz, “Clint Eastwood”
Gorilaz, “Feel Good, Inc.”
“Me at the Zoo” (2005)
“Badgers” (2009)
“The Sneezing Baby Panda” (2006)
Me @ The Zoo, dir. Chris Moukarbel and Valerie Veatch (2 012)
Video Out: The Religion is the Signal, dir. Meredith Finkelstein and Paul Vlachos (2005)
Moulin Rouge, dir. Baz Luhrmann (2001)
Eternal Sunshine of the Spotless Mind, dir. Michael Gondry (2004)
Kanye West, “Runaway”
Kendrick Lamar, “HUMBLE”
Kendrick Lamar, “DNA”
The Carters, “APE**IT”
Childish Gambino, “This Is America”
Drake, “God’s Plan”
Drake, “Nice For What”
Drake, “In My Feelings”
SZA, “Supermodel”
Rihanna, “Work”
Rihanna, “Bitch Better Have My Money”
Kanye West, “Monster”
Kanye West, “Famous”
Tierra Whack, Whack World
Beyoncé, Lemonade
Janelle Monae, Dirty Computer
Frank Ocean, Endless