Transmedia Directors focuses on artist-practitioners who work across media, platforms, and disciplines, including film, television, music video, commercials, and the internet. Working in the age of media convergence, today's em/impresarios project a distinctive style that points toward a new contemporary aesthetics. The media they engage with enrich their practices - through film and television (with its potential for world-building and sense of the past and future), music video (with its audiovisual aesthetics and rhythm), commercials (with their ability to project a message quickly), the internet (with its refreshed concepts of audience and participation), to larger forms like restaurants and amusement parks (with their materiality alongside today's digital aesthetics). These directors encourage us to reassess concepts of authorship, assemblage, transmedia, audiovisual aesthetics, and world-building.
Providing a vital resource for scholars and practitioners, this collection weaves together insights about artist-practitioners' collaborative processes as well as strategies for composition, representation, subversion, and resistance.
Author(s): Carol Vernallis; Holly Rogers; Lisa Perrott
Series: New Approaches to Sound, Music, and Media
Publisher: Bloomsbury Academic
Year: 2020
Language: English
Pages: xviii+510
Title Page
Copyright Page
Contents
Acknowledgements
Contributors
Chapter 1: Introduction
Carol Vernallis: Intensified movements
Holly Rogers: Modules and oscillations
Lisa Perrott: Transmedia, authorship and assemblage
Part 1: Collaborative authorship: Wes Anderson
Chapter 2: The Wes Anderson brand: New sincerity across media
Inhabiting storyworlds
Subsystem, system and supersystem
New sincerity: Sincerity + irony
Anderson’s new sincerity
The supersystem and self-modifying behaviour
Chapter 3: The world of Wes Anderson and Mark Mothersbaugh: Between childhood and adulthood in The Royal Tenenbaums
Mark Mothersbaugh and Wes Anderson: A shared transmedia aesthetic
The sight and sound of childhood in The Royal Tenenbaums
Coda: A Mark Mothersbaugh or Wes Anderson theme park?
Chapter 4: Analogue authenticity and the sound of Wes Anderson
Chapter 5: The instrumentarium of Wes Anderson and Alexandre Desplat
Instruments connoting innocence
All that jazz
Desplat’s reworking of Anderson’s instrumentarium
Conclusion
Part 2: Cross-medial assemblage and the making of the director
Chapter 6: Our lives in pink: Sofia Coppola as transmedia audiovisual stylist
High concept 2.0: Lighting, production design and cinematography
The unsaid and the space between: Coppola’s use of temporal and narrative ellipsis
Pastiche, defamiliarization and absurdism: Sofia Coppola as transmedia humourist
Conclusion
Chapter 7: Short-form media as style lab: The education of Michael Bay
Music videos as training ground
Sound-driven storytelling
Developing a style through experimentation
Streamlined storytelling
The irrelevance of character and narrative
Audiovisual salesmanship
Conclusion: The transmedia feature director
Part 3: Transmedial relations and industry
Chapter 8: Whirled pieces: Bong Joon Ho’s Snowpiercer and the components of global transmedia production
Chapter 9: David Fincher’s righteous workflow: Design and the transmedial director
Part 4: Music video’s forms, genres and surfaces
Chapter 10: A conversation with Emil Nava
Chapter 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’
Continuity and change in Nava, Harris and their collaborations
Close reading: ‘This Is What You Came For’ (Nava, Harris and Rihanna)
Conclusion
Chapter 12: On colour magic: Emil Nava’s ‘Feels’ and ‘Nuh Ready Nuh Ready’
Colour magic
‘Feels’ and ‘Nuh Ready Nuh Ready’
Double take
Part 5: Music video’s centrifugal forces
Chapter 13: Dave Meyers’s moments of audiovisual bliss
Chapter 14: The alchemical union of David Bowie and Floria Sigismondi: ‘Transmedia surrealism’ and ‘loose continuity’
Transmedia through and beyond narrative
A transmedia star, a navigator, a medium
Performing across stage and screen
Visual art, voice and collaboration
Hauntology, extending transmedia
Stirring the Cauldron with Floria
‘Little Wonder’ (1997)
‘The Stars (Are Out Tonight)’ (2013)
The Next Day (2013)
Serial theatre and transmedia surrealism
Chapter 15: Filmic resonance and dispersed authorship in Sigur Rós’s transmedial Valtari Mystery Film Experiment
Transmedia architecture
‘Varúð’
Film #2 by Ingibjörk Birgisdóttir
Film #6 by Ryan McGinley
Film #14 by Christian Larson
Film #15 by Björn Flóki
Conclusion
Part 6: Audiovisual emanations: David Lynch
Chapter 16: The audiovisual eerie: Transmediating thresholds in the work of David Lynch
Twin Peaks and the undoing of transmedial auteurism
Fandom and transmedial flow beyond the auteur
The wrongness of the weird and the absence of the eerie
The audiovisual eerie
The transmedial eerie
Chapter 17: When is a door not a door? Transmedia to the nth degree in David Lynch’s multiverse
Chapter 18: On (vari-)speed across David Lynch’s work
Chapter 19: Journeying into the land of the formless real with Lynch and Simondon
Part 7: Multi-vocality, synchronicity and transcendent cinematics: Barry Jenkins
Chapter 20: ‘Let me show you what that song really is’: Nicholas Britell on the music of Moonlight
Chapter 21: If Beale Street Could Talk, what’d be playing in the background? First notes on music, film, time and memory
Chapter 22: The shot and the cut: Joi McMillon’s and Barry Jenkins’s artistry
Part 8: Community, identity and transmedial aspirations across the web
Chapter 23: Multimodal and transmedia subjectivity in animated music video: Jess Cope and Steven Wilson’s ‘Routine’ from Hand. Cannot. Erase. (2015)
Mapping the multimodality of ‘Routine’ within the transmedia storyworld of H.C.E.
Event 1: Morning light
Event 2: Kitchen routines
Event 3: Sensory memory
Event 4: Domestic routines
Event 5: Passing time
Event 6: Midday
Event 7: Darkening sky
Event 8: Imagining routines
Event 9: Solitary evening meal
Event 10: Destructive sequence
Event 11: Night scream
Event 12: Postlude/morning light
Interpretive conclusions
Concluding remarks
Chapter 24: Jay Versace’s Instagram empire: Queer black youth, social media and new audiovisual possibilities
Part 9: Diagramatic, signaletic and haptic unfoldings across forms and genres: Lars von Trier
Chapter 25: The demonic quality of darkness in The House That Jack Built: Haptic transmedial affects throughout the work of Lars von Trier
Serial killing and chasing images
Who is Jack?
A diagrammatic approach
Diagramming the acousmêtre
Affects and ethical concerns on the acousmêtre and the haptic
Concluding remarks
Chapter 26: Diamonds, Wagner, the Gesamtkunstwerk and Lars von Trier’s depression films
Chapter 27: Lars von Trier, Brecht and the Baroque gesture
Notes
Chapter 1
Chapter 2
Chapter 3
Chapter 4
Chapter 5
Chapter 6
Chapter 7
Chapter 8
Chapter 9
Chapter 10
Chapter 11
Chapter 12
Chapter 13
Chapter 14
Chapter 15
Chapter 16
Chapter 17
Chapter 18
Chapter 19
Chapter 20
Chapter 21
Chapter 23
Chapter 24
Chapter 25
Chapter 26
Chapter 27
Bibliography
Chapter 1
Chapter 2
Chapter 3
Chapter 4
Chapter 5
Chapter 6
Chapter 7
Chapter 8
Chapter 9
Chapter 11
Chapter 12
Chapter 13
Chapter 14
Chapter 15
Chapter 16
Chapter 17
Chapter 18
Chapter 19
Chapter 20
Chapter 21
Chapter 23
Chapter 24
Chapter 25
Chapter 26
Chapter 27
Index
