Transmedia Directors

Carol Vernallis teaches in the music department at Stanford University, USA. She is the author of Experiencing Music Video (2004) and Unruly Media (2013) and is co-editor of The Oxford Handbook of New Audiovisual Aesthetics (2013) and The Oxford Handbook of Sound and Image in Digital Media (2013).Holly Rogers is Reader in Music at Goldsmiths, University of London, and author of Sounding the Gallery: Video and the Rise of Art-Music (2013) and editor of Music and Sound in Documentary Film (2014) and The Music and Sound of Experimental Film (2017).Lisa Perrott is Senior Lecturer and Programme Convener of Screen and Media Studies at the University of Waikato, New Zealand, and is co-editor, with Ana Cristina Mendes, of Navigating with the Blackstar: The Mediality of David Bowie (special issue of Celebrity Studies, 2019) and David Bowie and Transmedia Stardom (2019).

Vernallis (Stanford), Perrott (Univ. of Waikato, New Zealand), and Rogers (Univ. of London, UK) have produced a unique collection on the emergence of transmedia artists/directors, who combine traditional legacy tech with acclivitous digital, world, and assemblage narratives … Together these essays serve as an introductory, thought-provoking compendium of processes/approaches to post-film intermedia production. Summing Up: Recommended. All readers.

• AcknowledgementsNotes on Contributors1. Introduction: Intensified MovementsCarol Vernallis (Stanford University, USA), Holly Rogers (Goldsmiths, University of London, UK), and Lisa Perrott (University of Waikato, New Zealand)PART ONE: Collaborative Authorship: Wes Anderson2. The Wes Anderson Brand: New Sincerity Across Media Warren Buckland (Oxford Brooks University, UK) 3. The World of Wes Anderson and Mark Mothersbaugh: Between Childhood and Adulthood in The Royal Tenenbaums Theo Cateforis (Syracuse University, USA) 4. Analogue Authenticity and the Sound of Wes Anderson Ben Winters (Open University, UK)5. The Instrumentarium of Wes Anderson and Alexandre DesplatEwan Clark (Victoria University of Wellington, Australia)PART TWO: Cross-Medial Assemblage and the Making of the Director6. Our Lives in Pink: Sofia Coppola as Transmedia Audiovisual StylistJeff Smith (University of Wisconsin-Madison, USA)7. Short-form Media as Style Lab: The Education of Michael Bay Mark Kerins (Southern Methodist University, USA)PART THREE: Transmedial Relations and Industry8. Whirled Pieces: Bong Joon Ho’s Snowpiercer and the Components of Global Transmedia ProductionJ.D. Connor (School of Cinematic Arts, USA)9. David Fincher’s Righteous Workflow: Design and the Transmedial DirectorGraig Uhlin (Oklahoma State University, USA)PART FOUR: Music Video’s Forms, Genres and Surfaces10. A Conversation with Emil NavaCarol Vernallis (Stanford University, USA)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"Brad Osborn (University of Kansas, USA)12. On Colour Magic: Emil Nava’s 'Feels' and 'Nuh Ready Nuh Ready'Jonathan Leal (Stanford University, USA)PART FIVE: Music Video’s Centrifugal Forces13. Dave Meyers’s Moment of Audiovisual BlissCarol Vernallis (Stanford University, USA)14. The Alchemical Union of David Bowie and Floria Sigismondi: 'Transmedia Surrealism' and 'Loose Continuity'Lisa Perrott (University of Waikato, New Zealand)15. Filmic Resonance and Dispersed Authorship in Sigur Rós’ Transmedial Valtari Mystery Film ExperimentGareth Schott and Karen Barbour (University of Waikato, New Zealand)PART SIX: Audiovisual Emanations: David Lynch16. The Audiovisual Eerie: Transmediating Thresholds in the Work of David LynchHolly Rogers (Goldsmiths, University of London, UK)17. When Is a Door Not a Door?: Transmedia to the nth Degree in David Lynch’s MultiverseGreg Hainge (University of Queensland, Australia) 18. On (vari-)Speed Across David Lynch’s WorkJohn McGrath (University of Surrey, UK)19. Journeying into the Land of the Formless Real with Lynch and SimondonElena Del Río (University of Alberta, Canada)PART SEVEN: Multi-vocality, Synchronicity and Transcendent Cinematics: Barry Jenkins20. 'Let Me Show You What That Song Really Is': Nicholas Britell on the Music of MoonlightDale Chapman (Bates College, USA)21. If Beale Street Could Talk, What’d Be Playing in the Background?: First Notes on Music, Film, Time and MemoryKwami Coleman (New York University, USA)22 The Shot and the Cut: Joi McMillon’s and Barry Jenkins’s Artistry Carol Vernallis (Stanford University, USA)PART EIGHT: Community, Identity and Transmedial Aspirations across the Web23. Multimodal and Transmedia Subjectivity in Animated Music Video: Jess Cope and Steven Wilson’s 'Routine' from Hand. Cannot. Erase. (2015)Lori Burns (School of Music, Canada) 24. Jay Versace’s Instagram Empire: Queer Black Youth, Social Media and New Audiovisual PossibilitiesGabrielle Veronique (University of California, Berkeley, USA)PART NINE: Diagramatic, Signaletic and Haptic Unfoldings across Forms and Genres: Lars Von Trier25. The Demonic Quality of Darkness in The House That Jack Built: Haptic Transmedial Affects Throughout the Work of Lars von TrierBodil Marie Stavning Thomsen (School of Communication and Culture, Denmark)26. Diamonds, Wagner, the Gesamtkunstwerk and Lars von Trier’s Depression FilmsLinda Badley (Middle Tennessee State University, USA)27 Lars von Trier, Brecht and the Baroque GestureDonald Greig (University of Nottingham, UK)Notes Bibliography Index