Bloomsbury Popular Music
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Music/Video

Music/Video: Histories, Aesthetics, Media

by Gina Arnold

Gina Arnold is Visiting Professor at the Evergreen State College in Washington, USA. Author affiliation details are correct at time of print publication.

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, Daniel Cookney

Gina Arnold is Visiting Professor at the Evergreen State College in Washington, USA. Author affiliation details are correct at time of print publication.

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, Kirsty Fairclough

Kirsty Fairclough is Director of International and Senior Lecturer in Media and Performance in the School of Arts and Media at the University of Salford, UK. Author affiliation details are correct at time of print publication.

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and Michael Goddard

Michael N. Goddard is Senior Lecturer and Course Leader in Film, Television and Moving image at the University of Westminster, UK. Author affiliation details are correct at time of print publication.

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(eds)
Bloomsbury Academic, 2017
  • DOI:
    10.5040/9781501313943
  • ISBN:
    978-1-5013-1390-5 (hardback)

    978-1-5013-1391-2 (paperback)

    978-1-5013-1393-6 (epub)

    978-1-5013-1392-9 (epdf)

    978-1-5013-1394-3 (online)
  • Edition:
    First edition
  • Place of Publication:
    New York
  • Published Online:
    2018
Music/Video
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This book is a lively, comprehensive and timely reader on the music video, capitalising on cross-disciplinary research expertise, which represents a substantial academic engagement with the music video, a mediated form and practice that still remains relatively under-explored in a 21st century context. The music video has remained suspended between two distinct poles. On the one hand, the music video as the visual sheen of late capitalism, at the intersection of celebrity studies and postmodernism. On the other hand, the music video as art, looking to a prehistory of avant-garde film-making while perpetually pushing forward the digital frontier with a taste for anarchy, controversy, and the integration of special effects into a form designed to be disseminated across digital platforms. In this way, the music video virally re-engenders debates about high art and low culture. This collection presents a comprehensive account of the music video from a contemporary 21st century perspective. This entails revisiting key moments in the canonical history of the music video, exploring its articulations of sexuality and gender, examining its functioning as a form of artistic expression between music, film and video art, and following the music video’s dissemination into the digital domain, considering how digital media and social media have come to re-invent the forms and functions of the music video, well beyond the limits of “music television”.