Transmedia Directors: Artistry, Industry and New Audiovisual Aesthetics

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