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Produktbild: Transmedia Directors Artistry, Industry and New Audiovisual Aesthetics

Transmedia Directors Artistry, Industry and New Audiovisual Aesthetics

Aus der Reihe New Approaches to Sound, Music, and Media

196,99 €

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Beschreibung

Produktdetails

Einband

Gebundene Ausgabe

Erscheinungsdatum

26.12.2019

Herausgeber

Carol Vernallis + weitere

Verlag

Bloomsbury Academic

Seitenzahl

528

Maße (L/B/H)

23,5/15,7/3,3 cm

Gewicht

907 g

Sprache

Englisch

ISBN

978-1-5013-3927-1

Beschreibung

Produktdetails

Einband

Gebundene Ausgabe

Erscheinungsdatum

26.12.2019

Herausgeber

Verlag

Bloomsbury Academic

Seitenzahl

528

Maße (L/B/H)

23,5/15,7/3,3 cm

Gewicht

907 g

Sprache

Englisch

ISBN

978-1-5013-3927-1

Herstelleradresse

Libri GmbH
Europaallee 1
36244 Bad Hersfeld
DE

Email: gpsr@libri.de

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  • Produktbild: Transmedia Directors Artistry, Industry and New Audiovisual Aesthetics

  • Acknowledgements
    Notes on Contributors
    1. Introduction: Intensified Movements
    Carol Vernallis (Stanford University, USA), Holly Rogers (Goldsmiths, University of London, UK), and Lisa Perrott (University of Waikato, New Zealand)
    PART ONE: Collaborative Authorship: Wes Anderson
    2. The Wes Anderson Brand: New Sincerity Across Media
    Warren Buckland (Oxford Brooks University, UK)
    3. The World of Wes Anderson and Mark Mothersbaugh: Between Childhood and Adulthood in The Royal Tenenbaums
    Theo Cateforis (Syracuse University, USA)
    4. Analogue Authenticity and the Sound of Wes Anderson
    Ben Winters (Open University, UK)
    5. The Instrumentarium of Wes Anderson and Alexandre Desplat
    Ewan Clark (Victoria University of Wellington, Australia)
    PART TWO: Cross-Medial Assemblage and the Making of the Director
    6. Our Lives in Pink: Sofia Coppola as Transmedia Audiovisual Stylist
    Jeff Smith (University of Wisconsin-Madison, USA)
    7. Short-form Media as Style Lab: The Education of Michael Bay
    Mark Kerins (Southern Methodist University, USA)
    PART THREE: Transmedial Relations and Industry
    8. Whirled Pieces: Bong Joon Ho's Snowpiercer and the Components of Global Transmedia Production
    J.D. Connor (School of Cinematic Arts, USA)
    9. David Fincher's Righteous Workflow: Design and the Transmedial Director
    Graig Uhlin (Oklahoma State University, USA)
    PART FOUR: Music Video's Forms, Genres and Surfaces
    10. A Conversation with Emil Nava
    Carol Vernallis (Stanford University, USA)
    11. Risers, Drops and a Fourteen-foot Cube: A Transmedia Analysis of Emil Nava, Calvin Harris and Rihanna's "This Is What You Came For"
    Brad Osborn (University of Kansas, USA)
    12. On Colour Magic: Emil Nava's 'Feels' and 'Nuh Ready Nuh Ready'
    Jonathan Leal (Stanford University, USA)
    PART FIVE: Music Video's Centrifugal Forces
    13. Dave Meyers's Moment of Audiovisual Bliss
    Carol Vernallis (Stanford University, USA)
    14. The Alchemical Union of David Bowie and Floria Sigismondi: 'Transmedia Surrealism' and 'Loose Continuity'
    Lisa Perrott (University of Waikato, New Zealand)
    15. Filmic Resonance and Dispersed Authorship in Sigur Rós' Transmedial Valtari Mystery Film Experiment
    Gareth Schott and Karen Barbour (University of Waikato, New Zealand)
    PART SIX: Audiovisual Emanations: David Lynch
    16. The Audiovisual Eerie: Transmediating Thresholds in the Work of David Lynch
    Holly Rogers (Goldsmiths, University of London, UK)
    17. When Is a Door Not a Door?: Transmedia to the nth Degree in David Lynch's Multiverse
    Greg Hainge (University of Queensland, Australia)
    18. On (vari-)Speed Across David Lynch's Work
    John McGrath (University of Surrey, UK)
    19. Journeying into the Land of the Formless Real with Lynch and Simondon
    Elena Del Río (University of Alberta, Canada)
    PART SEVEN: Multi-vocality, Synchronicity and Transcendent Cinematics: Barry Jenkins
    20. 'Let Me Show You What That Song Really Is': Nicholas Britell on the Music of Moonlight
    Dale Chapman (Bates College, USA)
    21. If Beale Street Could Talk, What'd Be Playing in the Background?: First Notes on Music, Film, Time and Memory
    Kwami Coleman (New York University, USA)
    22 The Shot and the Cut: Joi McMillon's and Barry Jenkins's Artistry
    Carol Vernallis (Stanford University, USA)
    PART EIGHT: Community, Identity and Transmedial Aspirations across the Web
    23. Multimodal and Transmedia Subjectivity in Animated Music Video: Jess Cope and Steven Wilson's 'Routine' from Hand. Cannot. Erase. (2015)
    Lori Burns (School of Music, Canada)
    24. Jay Versace's Instagram Empire: Queer Black Youth, Social Media and New Audiovisual Possibilities
    Gabrielle Veronique (University of California, Berkeley, USA)
    PART NINE: Diagramatic, Signaletic and Haptic Unfoldings across Forms and Genres: Lars Von Trier
    25. The Demonic Quality of Darkness in The House That Jack Built: Haptic Transmedial Affects Throughout the Work of Lars von Trier
    Bodil Marie Stavning Thomsen (School of Communication and Culture, Denmark)
    26. Diamonds, Wagner, the Gesamtkunstwerk and Lars von Trier's Depression Films
    Linda Badley (Middle Tennessee State University, USA)
    27 Lars von Trier, Brecht and the Baroque Gesture
    Donald Greig (University of Nottingham, UK)

    Notes
    Bibliography
    Index