For the Affective Aesthetics of Contemporary Music Video

Kód výsledku v IS VaVaI

<a href="https://www.isvavai.cz/riv?ss=detail&h=RIV%2F61989592%3A15210%2F19%3A73598941" target="_blank" >RIV/61989592:15210/19:73598941 - isvavai.cz</a>

Výsledek na webu

<a href="https://obd.upol.cz/id_publ/333178827" target="_blank" >https://obd.upol.cz/id_publ/333178827</a>

DOI - Digital Object Identifier

<a href="http://dx.doi.org/10.3828/msmi.2019.11" target="_blank" >10.3828/msmi.2019.11</a>

Jazyk výsledku

angličtina

Název v původním jazyce

For the Affective Aesthetics of Contemporary Music Video

Popis výsledku v původním jazyce

Drawing on the ongoing dialogue between current music video scholarship and a cultural turn to affect, this article argues for an approach to affective aesthetics that focuses on both the aesthetically and theoretically generative work of affects within the music videos’ audiovisual forms and their performative mechanisms. Through a close analysis of ‘National Anthem’ by Lana Del Rey (dir. A. Mandler, 2012) and Baauer’s ‘Day Ones’ (dir. H. Murai, 2016), it examines anachronistic strategies through which contemporary music video performs political history, encompassing both past events and their mediation. While Mandler’s video generates nostalgia through the combination of archival media materiality, trip-hop tunes, and the narrative loop, mutually reshaping Kennedy’s 1960s and the Obama era, Murai’s piece plays out the ironic reenactment that actualises the remote past through the affective perspective of anger enacted by the existential lyrics, dark beats, and anachronistic imagery of violence, merging the American Revolutionary War with suburban hip-hop reality. Opening up past events to the contemporary affects that shape audiovisual forms and trigger a transhistorical experience, both videos compel us to rethink the force of music video affects as neither emotional, nor representational, but rather performative.

Název v anglickém jazyce

For the Affective Aesthetics of Contemporary Music Video

Popis výsledku anglicky

Drawing on the ongoing dialogue between current music video scholarship and a cultural turn to affect, this article argues for an approach to affective aesthetics that focuses on both the aesthetically and theoretically generative work of affects within the music videos’ audiovisual forms and their performative mechanisms. Through a close analysis of ‘National Anthem’ by Lana Del Rey (dir. A. Mandler, 2012) and Baauer’s ‘Day Ones’ (dir. H. Murai, 2016), it examines anachronistic strategies through which contemporary music video performs political history, encompassing both past events and their mediation. While Mandler’s video generates nostalgia through the combination of archival media materiality, trip-hop tunes, and the narrative loop, mutually reshaping Kennedy’s 1960s and the Obama era, Murai’s piece plays out the ironic reenactment that actualises the remote past through the affective perspective of anger enacted by the existential lyrics, dark beats, and anachronistic imagery of violence, merging the American Revolutionary War with suburban hip-hop reality. Opening up past events to the contemporary affects that shape audiovisual forms and trigger a transhistorical experience, both videos compel us to rethink the force of music video affects as neither emotional, nor representational, but rather performative.

Druh

J_imp - Článek v periodiku v databázi Web of Science

CEP obor

—

OECD FORD obor

60405 - Studies on Film, Radio and Television

Projekt

—

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

Music Sound and the Moving Image

ISSN

1753-0768

e-ISSN

—

Svazek periodika

13

Číslo periodika v rámci svazku

2

Stát vydavatele periodika

GB - Spojené království Velké Británie a Severního Irska

Počet stran výsledku

22

Strana od-do

187-208

Kód UT WoS článku

000514818300005

EID výsledku v databázi Scopus

2-s2.0-85079739286