When Face Becomes Interface: Music Video and the Portrait of Mediality

Result code in IS VaVaI
<a href="https://www.isvavai.cz/riv?ss=detail&h=RIV%2F61989592%3A15210%2F23%3A73621880" target="_blank" >RIV/61989592:15210/23:73621880 - isvavai.cz</a>
Result on the web
<a href="http://dx.doi.org/10.1515/9781399525091-009" target="_blank" >http://dx.doi.org/10.1515/9781399525091-009</a>
DOI - Digital Object Identifier
<a href="http://dx.doi.org/10.1515/9781399525091-009" target="_blank" >10.1515/9781399525091-009</a>

Result language
angličtina
Original language name
When Face Becomes Interface: Music Video and the Portrait of Mediality
Original language description
In turning to the medium of the contemporary music video, this chapter attends to the sonic as well as visual dimensions of the portrait interface, reading the affordances of music videos for the ways they “desubjectify” the face in order to amplify the affective work of audiovisual forms and their performative mechanisms. Putting two videos from the current hip-hop and trip-hop scene, Earl Sweatshirt’s Chum (2012) directed by Hiro Murai and Massive Attack’s The Spoils (2016) directed by John Hillcoat, into dialogue with Jean-Luc Nancy’s concept of the non-representational portrait (2018) read through the lens of media philosophy, this chapter argues for the displacement of the human facial image from its traditional function of expressing interiority to a thematisation of form and technicity in a contemporary audiovisual medium.
Czech name
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Czech description
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Project
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Continuities
I - Institucionalni podpora na dlouhodoby koncepcni rozvoj vyzkumne organizace

Publication year
2023
Confidentiality
S - Úplné a pravdivé údaje o projektu nepodléhají ochraně podle zvláštních právních předpisů

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