List of Figures -- List of Tables -- List of Examples -- Notes on Contributors -- Acknowledgements -- Introduction: Undertaking Music Video Analysis (Lori Burns, University of Ottawa, Canada, and Stan Hawkins, University of Oslo, Norway) -- Part I: Authorship, Production, and Distribution -- 1 Changing Dynamics and Diversity in Music Video Production and Distribution (Mathias Bonde Korsgaard, Aarhus University, Denmark) -- 2 Low Budget Audiovisual Aesthetics in Indie Music Video and Feature Filmmaking: The Works of Steve Hanft and Danny Perez (Jamie Sexton, Northumbria University, UK) -- 3 The Animated Music Videos of Radiohead, Chris Hopewell and Gastn Vias: Fan-participation, Collaborative Authorship, and Dialogic Worldbuilding (Lisa Perrott, University of Waikato, New Zealand) -- 4 From Music Video Analysis to Practice: A Research-Creation Perspective on Music Videos (John Richardson, University of Turku, Finland) -- Part II: Cultural Codes, Representations, and Genres -- 5 Framing Personae in Music Videos (Philip Auslander, Georgia Institute of Technology, USA) -- 6 Hullabaloo: Rocking the Variety Show in the Mid-1960s (Norma Coates, Western University, Canada) -- 7 Dtournement and the Moving Image: The Politics of Representation in an Early British Punk Music Video (Karen Fournier, University of Michigan, USA) -- 8 Post-Digital Music Video and Genre: Indie Rock, Nostalgia, Digitization, and Technological Materiality (Robert Strachan, University of Liverpool, UK) -- 9 Katy Perry's `Wide Awake': The Lyric Video as Genre (Laura McLaren, University of Toronto, Canada) -- Part III: Mediations: Multimodality / Intermediality / Transmediality -- 10 Dynamic Multimodality in Extreme Metal Performance Video: Dark Tranquillity's `Uniformity', Directed by Patric Ullaeus (Lori Burns, University of Ottawa, Canada) -- 11 Tying it All Together: Music Video and Transmedia Practice in Popular Music (Christofer Jost, University of Freiburg, Germany) -- 12 The Palimpsestic Pop Music Video: Intermediality and Hypermedia (Jem Kelly, Buckinghamshire New University, UK) -- 13 "How does a story get told from fractured bits?" Laurie Anderson's Transformative Repetition (John McGrath, University of Surrey, UK) -- Part IV: Aesthetics: Space / Place / Time / Senses -- 14 How to Analyze Music Videos: Beyonc's and Melina Matsouka's `Pretty Hurts' (Carol Vernallis, Stanford University, USA) -- 15 Rural-Urban Imagery in Country Music Video: Identity, Space, and Place (Jada Watson, University of Ottawa, Canada) -- 16 "More Solemn than a Fading Star": David Bowie's Modernist Aesthetics of Ending (Tiffany Naiman, Stanford University, USA) -- Part V: Subjectivities and Discourses: Gender, Sexuality, Race, and Religion -- 17 Justin Timberlake's `Man of the Woods': Lumbersexuality, Nature, and Larking Around (Stan Hawkins and Tore Storvold, University of Oslo, Norway) -- 18 Gangsta' Crisis, Catharsis, and Conversion: Coming to God in Hip-Hop Video Narratives (Alyssa Woods, University of Guelph, Canada, and Robert Michael Edwards, University of Ottawa, Canada) -- 19 Nicki Minaj's `Anaconda': Intersectional Feminist Fat Studies, Sexuality, and Embodiment (Anna-Elena Pkkla, University of Turku, Finland) -- 20 Going Too Far: Representations of Violence Against Men in Pink's `Please Don't Leave Me' (Marc Lafrance, Concordia University, Canada) -- -- Abstracts and Keywords -- Bibliography -- Index

Music videos promote popular artists in cultural forms that circulate widely across social media networks. With the advent of YouTube in 2005 and the proliferation of handheld technologies and social networking sites, the music video has become available to millions worldwide, and continues to serve as a fertile platform for the debate of issues and themes in popular culture. This volume of essays serves as a foundational handbook for the study and interpretation of the popular music video, with the specific aim of examining the industry contexts, cultural concepts, and aesthetic materials that videos rely upon in order to be both intelligible and meaningful. Easily accessible to viewers in everyday life, music videos offer profound cultural interventions and negotiations while traversing a range of media forms. From a variety of unique perspectives, the contributors to this volume undertake discussions that open up new avenues for exploring the creative changes and developments in music video production. With chapters that address music video authorship, distribution, cultural representations, mediations, aesthetics, and discourses, this study signals a major initiative to provide a deeper understanding of the intersecting and interdisciplinary approaches that are invoked in the analysis of this popular and influential musical form.