Faces without interiority: Music video’s reinvention of the portrait

Kód výsledku v IS VaVaI

<a href="https://www.isvavai.cz/riv?ss=detail&h=RIV%2F61989592%3A15210%2F19%3A73598937" target="_blank" >RIV/61989592:15210/19:73598937 - isvavai.cz</a>

Výsledek na webu

<a href="https://www.ceeol.com/search/article-detail?id=813413" target="_blank" >https://www.ceeol.com/search/article-detail?id=813413</a>

DOI - Digital Object Identifier

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Jazyk výsledku

angličtina

Název v původním jazyce

Faces without interiority: Music video’s reinvention of the portrait

Popis výsledku v původním jazyce

No matter how contemporary music videos differ across genres, aesthetic styles, and production background, they usually focus on the performer’s face. Exploring its opacity and agency, this essay argues that contemporary music video production replaces the face as an expression of the subject’s interiority and identity with a media-affective interface whose main function is to amplify the video’s work of audiovisual forms, performative mechanisms, and atmosphere. Through a close reading of the hip-hop video Chum by Earl Sweatshirt (dir. Hiro Murai, 2012), I demonstrate how it generates the face as an audiovisual screen that absorbs, intensifies, and gives rhythm to both the moving images and sounds. Such desubjectification opens a way to rethink portraiture within the music video genre as a media operation undermining the traditional notions of representation, interiority, and identity in favor of unfolding its technological and affective links between sounds, moving images, and lyrics.

Název v anglickém jazyce

Faces without interiority: Music video’s reinvention of the portrait

Popis výsledku anglicky

No matter how contemporary music videos differ across genres, aesthetic styles, and production background, they usually focus on the performer’s face. Exploring its opacity and agency, this essay argues that contemporary music video production replaces the face as an expression of the subject’s interiority and identity with a media-affective interface whose main function is to amplify the video’s work of audiovisual forms, performative mechanisms, and atmosphere. Through a close reading of the hip-hop video Chum by Earl Sweatshirt (dir. Hiro Murai, 2012), I demonstrate how it generates the face as an audiovisual screen that absorbs, intensifies, and gives rhythm to both the moving images and sounds. Such desubjectification opens a way to rethink portraiture within the music video genre as a media operation undermining the traditional notions of representation, interiority, and identity in favor of unfolding its technological and affective links between sounds, moving images, and lyrics.

Druh

J_SC - Článek v periodiku v databázi SCOPUS

CEP obor

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OECD FORD obor

60405 - Studies on Film, Radio and Television

Projekt

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Návaznosti

I - Institucionalni podpora na dlouhodoby koncepcni rozvoj vyzkumne organizace

Rok uplatnění

2019

Kód důvěrnosti údajů

S - Úplné a pravdivé údaje o projektu nepodléhají ochraně podle zvláštních právních předpisů

Název periodika

World Literature Studies

ISSN

1337-9275

e-ISSN

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Svazek periodika

11

Číslo periodika v rámci svazku

4

Stát vydavatele periodika

SK - Slovenská republika

Počet stran výsledku

14

Strana od-do

55-68

Kód UT WoS článku

000507662900005

EID výsledku v databázi Scopus

2-s2.0-85077883011