The Media Swirl: Politics, Audiovisuality, and Aesthetics

Dedication
Contents
Acknowledgments
A Note on the Cover
Introduction
I Post-Classical Cinema at the Limit
	1 Partying in The Great Gatsby: Baz Luhrmann’s Audiovisual Sublime
	2 Shattered Pleasures: Michael Bay’s Transformers: Age of Extinction
II Music Video and the Art-Video Border
	3 Beyoncé’s Overwhelming Opus; or, the Past and Future of Music Video
	4 Avant-Gardists and the Lure of Pop Music
	5 Beyoncé’s Lemonade: She Dreams in Both Worlds • Carol Vernallis, Lisa Perrott, and Holly Rogers
	6 Tracing the Carters through the Galleries: “APES**T/APESHIT” and the Louvre
	7 Storytelling on the Ledge: Lady Gaga and Jonas Åkerlund’s “Paparazzi”
III Music Video’s Late Late Style
	8 How to Analyze Music Videos: Beyoncé and Melina Matsoukas’s “Pretty Hurts”
	9 Dave Meyers’s Moments of Audiovisual Bliss
	10 Janelle Monáe’s “You Make Me Feel” and Anderson. Paak with Kendrick Lamar’s “Tints”: Getting Upin My [Rearview] Mirror
IV Audiovisual Aesthetics Online
	11 Who Needs Music Documentaries When There’s TikTok and Carpool Karaoke?
	12 TikTok and Costume-Drama Mashups on YouTube
V New Modes of Analysis: Industry
	13 The Art of Color Grading • Carol Vernallis, Jonathan Leal, Eric Weidt, and Aubrey Woodiwiss
	14 Music Video Directors, Production Houses, and the Media Swirl
VI New Modes of Analysis: Neuroscience
	15 Music Video’s Multisensory
	16 Tracing the Asset: Humanistic and Quantitative Approaches to Cybercrime Film Trailers (Snowden and Bourne)
VII New Modes of Analysis: Politics and Vernacular Culture
	17 New Technologies, Social Justice, and the Future in Beyoncé’s Audiovisual Albums
	18 Fox News, COVID-19, Brief Media Aesthetics, and Historical Resonances
Afterword: Arguments for Engaging with Audiovisually Intensified Media Now, Including Corporate-and Government-Authored Materials
Notes
Bibliography
Index