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"Music videos project the personas and visions of musical artists; they stand at the cutting edge of developments in popular culture; and they fuse and revise multiple frames of reference, from dance to high fashion to cult movies and television shows to internet memes. Above all, music videos are laboratories for experimenting with new forms of audiovisual expression. The Rhythm Image analyzes, in depth, recent music videos for artists ranging from pop superstar The Weeknd to independent women artists FKA twigs and Dawn Richard. The music videos discussed twist the traditional themes of sex and romance, money and fame, and the lived experiences of race and gender in strange and unexpected ways. In so doing, music videos are shown to reflect our entanglement with a digital world of social media, data gathering, and 24/7 demands upon our attention." --

Music videos --- film --- muziek --- film en muziek --- filmgeschiedenis --- filmtheorie --- 791.41 --- 791.43 --- Videos, Music --- Television music --- Television programs --- Video recordings --- History and criticism --- History and criticism.

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Motion picture music --- Film, Musique de --- film --- filmmuziek --- filmtheorie --- Delerue Georges --- Truffaut François --- Rozsa Miklos --- Resnais Alain --- Favre Bernard --- muziek --- film en muziek --- 791.41 --- twintigste eeuw --- Motion picture music.

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Motion picture music --- Motion pictures and music --- Musical films --- History --- History and criticism --- film --- 82:791.43 --- film en muziek --- filmmuziek --- filmgeschiedenis --- filmtheorie --- 791.43 --- 82:791.43 Literatuur en film --- Literatuur en film --- History.

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American cinema has long been fascinated by jazz and jazz musicians. Yet most jazz films aren't really about jazz. Rather, as Krin Gabbard shows, they create images of racial and sexual identity, many of which have become inseparable from popular notions of the music itself. In Jammin' at the Margins, Gabbard scrutinizes these films, exploring the fundamental obsessions that American culture has brought to jazz in the cinema. Gabbard's close look at jazz film biographies, from The Jazz Singer to Bird, reveals Hollywood's reluctance to acknowledge black subjectivity. Black and even white jazz artists have become vehicles for familiar Hollywood conceptions of race, gender, and sexuality. Even Scorsese's New York, New York and Spike Lee's Mo' Better Blues have failed to disentangle themselves from entrenched stereotypes and conventions. Gabbard also examines Hollywood's confrontation with jazz as an elite art form, and the role of the jazz trumpet as a crucial signifier of masculinity. Finally, he considers the acting careers of Louis Armstrong, Nat King Cole, and Hoagy Carmichael, Duke Ellington's extraordinary work in films from 1929 until the late 1960s, and the forgotten career of Kay Kyser, star of nine Hollywood films and leader of a popular swing band.

Cinéma et musicalité --- Cinéma et musique --- Film en muziek --- Motion pictures and music --- Musicalité filmique --- Musique et cinéma --- film --- muziek --- filmmuziek --- jazz --- filmgeschiedenis --- Verenigde Staten --- twintigste eeuw --- 791.43 --- Jazz --- History and criticism --- Musical films --- Moving-pictures and music --- Music and motion pictures --- Music

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This cahier documents how the experimental inquiry of the interaction between audiovisual form and musical polyphony gave the research project MULTIPLE voice/vision its specific form. The articles try to shed light on some of the subtopics of this inquiry: how the multilayered texture of polyphony is mapped to multiple audiovisual elements in a spatial structure. The role that anamorphosis played in this process is analyzed: anamorphosis as a visual technique, but also what constitutes anamorphosis into a âmystery in two actsâ, how it is a corruption of the rules of linear perspective and how this re-injects mobility into our perception process. This phenomenological approach of anamorphosis goes together with an investigation of the friction between sound and vision in the spatialized audiovisual form, and how that friction is related to a friction between sensory modes of the human perceptual system. Documenting an inquiry into the interaction between audiovisual form and musical polyphony this cahier finally also describes how the interaction differs in the two phases of the project, and how it is often more a kind of an intermedial relationship than a form of remediation in the strict sense.

Academic collection --- 592 --- 373.67 --- kunst --- onderzoek in de kunsten --- OPAK --- Onderzoeksplatform voor onderzoek in de architectuur en de kunsten --- LUCA --- muziek --- polyfonie --- film en muziek --- anamorfose --- 700.6 --- Publicaties onderzoeksinstellingen --- Onderzoek (kunst) --- Onderzoek (muziek) --- beeldende kunst, filosofie, esthetiek en kritiek der beeldende kunst --- intermedia [concept] --- Art --- multimedia works --- anamorphoses --- 373.67.03(493) --- Onderwijs ; kunst- en architectuuronderwijs ; geschiedenis ; jaarboeken ; projecten ; België