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

Kód výsledku v 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>

Výsledek na webu

<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>

Jazyk výsledku

angličtina

Název v původním jazyce

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

Popis výsledku v původním jazyce

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.

Název v anglickém jazyce

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

Popis výsledku anglicky

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.

Druh

C - Kapitola v odborné knize

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

2023

Kód důvěrnosti údajů

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

Název knihy nebo sborníku

Reconfiguring the Portrait

ISBN

978-1-399-52507-7

Počet stran výsledku

22

Strana od-do

83-104

Počet stran knihy

312

Název nakladatele

Edinburgh University Press

Místo vydání

Edinburgh

Kód UT WoS kapitoly

—