Lori Burns is Professor of Music at the University of Ottawa, Canada. Her book Disruptive Divas: Critical and Analytical Essays on Feminism, Identity, and Popular Music (2002) won the Pauline Alderman Award from the International Alliance for Women in Music (2005). She was a founding co-editor of the Tracking Pop Series of the University of Michigan Press and is now serving as co-editor for the Ashgate Popular and Folk Music Series.Stan Hawkins is Professor of Musicology at the University of Oslo, Norway, and Professor in Popular Music at the University of Agder, Norway. He is author of numerous books, including Settling the Pop Score (2002), The British Pop Dandy (2009), Prince: The Making of a Pop Music Phenomenon (co-author Sarah Niblock, 2011), and Queerness in Pop (2016).

Skillfully curated by Lori Burns and Stan Hawkins, this Handbook engages with a wide range of music video, from punk, indie rock, pop, country, R&B, and hip-hop to more experimental practices. The authors use multimodal analysis and the theories of hypermedia and transmedia to ensure cutting-edge analysis, while innovative readings based on gender, race, and religion help situate music video within its wider cultural, social, and political contexts. From big-budget productions to low-fi work and animation, this Handbook marks an exciting new turn for the study of Music Video.

• List of FiguresList of TablesList of ExamplesNotes on ContributorsAcknowledgementsIntroduction: Undertaking Music Video Analysis (Lori Burns, University of Ottawa, Canada, and Stan Hawkins, University of Oslo, Norway)Part I: Authorship, Production, and Distribution1 Changing Dynamics and Diversity in Music Video Production and Distribution (Mathias Bonde Korsgaard, Aarhus University, Denmark)2 Low Budget Audiovisual Aesthetics in Indie Music Video and Feature Filmmaking: The Works of Steve Hanft and Danny Perez (Jamie Sexton, Northumbria University, UK)3 The Animated Music Videos of Radiohead, Chris Hopewell and Gastón Viñas: Fan-participation, Collaborative Authorship, and Dialogic Worldbuilding (Lisa Perrott, University of Waikato, New Zealand) 4 From Music Video Analysis to Practice: A Research-Creation Perspective on Music Videos (John Richardson, University of Turku, Finland)Part II: Cultural Codes, Representations, and Genres5 Framing Personae in Music Videos (Philip Auslander, Georgia Institute of Technology, USA)6 Hullabaloo: Rocking the Variety Show in the Mid-1960s (Norma Coates, Western University, Canada)7 Détournement and the Moving Image: The Politics of Representation in an Early British Punk Music Video (Karen Fournier, University of Michigan, USA)8 Post-Digital Music Video and Genre: Indie Rock, Nostalgia, Digitization, and Technological Materiality (Robert Strachan, University of Liverpool, UK) 9 Katy Perry’s ‘Wide Awake’: The Lyric Video as Genre (Laura McLaren, University of Toronto, Canada) Part III: Mediations: Multimodality / Intermediality / Transmediality10 Dynamic Multimodality in Extreme Metal Performance Video: Dark Tranquillity’s ‘Uniformity’, Directed by Patric Ullaeus (Lori Burns, University of Ottawa, Canada)11 Tying it All Together: Music Video and Transmedia Practice in Popular Music (Christofer Jost, University of Freiburg, Germany) 12 The Palimpsestic Pop Music Video: Intermediality and Hypermedia (Jem Kelly, Buckinghamshire New University, UK) 13 “How does a story get told from fractured bits?” Laurie Anderson’s Transformative Repetition (John McGrath, University of Surrey, UK)Part IV: Aesthetics: Space / Place / Time / Senses14 How to Analyze Music Videos: Beyoncé’s and Melina Matsouka’s ‘Pretty Hurts’ (Carol Vernallis, Stanford University, USA) 15 Rural-Urban Imagery in Country Music Video: Identity, Space, and Place (Jada Watson, University of Ottawa, Canada)16 “More Solemn than a Fading Star”: David Bowie’s Modernist Aesthetics of Ending (Tiffany Naiman, Stanford University, USA)Part V: Subjectivities and Discourses: Gender, Sexuality, Race, and Religion17 Justin Timberlake’s ‘Man of the Woods’: Lumbersexuality, Nature, and Larking Around (Stan Hawkins and Tore Størvold, University of Oslo, Norway) 18 Gangsta’ Crisis, Catharsis, and Conversion: Coming to God in Hip-Hop Video Narratives (Alyssa Woods, University of Guelph, Canada, and Robert Michael Edwards, University of Ottawa, Canada)19 Nicki Minaj’s ‘Anaconda’: Intersectional Feminist Fat Studies, Sexuality, and Embodiment (Anna-Elena Pääkköla, University of Turku, Finland)20 Going Too Far: Representations of Violence Against Men in Pink’s ‘Please Don’t Leave Me’ (Marc Lafrance, Concordia University, Canada)Abstracts and KeywordsBibliographyIndex

Lori Burns is Professor of Music at the University of Ottawa, Canada. Her book Disruptive Divas: Critical and Analytical Essays on Feminism, Identity, and Popular Music (2002) won the Pauline Alderman Award from the International Alliance for Women in Music (2005). She was a founding co-editor of the Tracking Pop Series of the University of Michigan Press and is now serving as co-editor for the Ashgate Popular and Folk Music Series.Stan Hawkins is Professor of Musicology at the University of Oslo, Norway, and Professor in Popular Music at the University of Agder, Norway. He is author of numerous books, including Settling the Pop Score (2002), The British Pop Dandy (2009), Prince: The Making of a Pop Music Phenomenon (co-author Sarah Niblock, 2011), and Queerness in Pop (2016).

Skillfully curated by Lori Burns and Stan Hawkins, this Handbook engages with a wide range of music video, from punk, indie rock, pop, country, R&B, and hip-hop to more experimental practices. The authors use multimodal analysis and the theories of hypermedia and transmedia to ensure cutting-edge analysis, while innovative readings based on gender, race, and religion help situate music video within its wider cultural, social, and political contexts. From big-budget productions to low-fi work and animation, this Handbook marks an exciting new turn for the study of Music Video.

• List of FiguresList of TablesList of ExamplesNotes on ContributorsAcknowledgementsIntroduction: Undertaking Music Video Analysis (Lori Burns, University of Ottawa, Canada, and Stan Hawkins, University of Oslo, Norway)Part I: Authorship, Production, and Distribution1 Changing Dynamics and Diversity in Music Video Production and Distribution (Mathias Bonde Korsgaard, Aarhus University, Denmark)2 Low Budget Audiovisual Aesthetics in Indie Music Video and Feature Filmmaking: The Works of Steve Hanft and Danny Perez (Jamie Sexton, Northumbria University, UK)3 The Animated Music Videos of Radiohead, Chris Hopewell and Gastón Viñas: Fan-participation, Collaborative Authorship, and Dialogic Worldbuilding (Lisa Perrott, University of Waikato, New Zealand) 4 From Music Video Analysis to Practice: A Research-Creation Perspective on Music Videos (John Richardson, University of Turku, Finland)Part II: Cultural Codes, Representations, and Genres5 Framing Personae in Music Videos (Philip Auslander, Georgia Institute of Technology, USA)6 Hullabaloo: Rocking the Variety Show in the Mid-1960s (Norma Coates, Western University, Canada)7 Détournement and the Moving Image: The Politics of Representation in an Early British Punk Music Video (Karen Fournier, University of Michigan, USA)8 Post-Digital Music Video and Genre: Indie Rock, Nostalgia, Digitization, and Technological Materiality (Robert Strachan, University of Liverpool, UK) 9 Katy Perry’s ‘Wide Awake’: The Lyric Video as Genre (Laura McLaren, University of Toronto, Canada) Part III: Mediations: Multimodality / Intermediality / Transmediality10 Dynamic Multimodality in Extreme Metal Performance Video: Dark Tranquillity’s ‘Uniformity’, Directed by Patric Ullaeus (Lori Burns, University of Ottawa, Canada)11 Tying it All Together: Music Video and Transmedia Practice in Popular Music (Christofer Jost, University of Freiburg, Germany) 12 The Palimpsestic Pop Music Video: Intermediality and Hypermedia (Jem Kelly, Buckinghamshire New University, UK) 13 “How does a story get told from fractured bits?” Laurie Anderson’s Transformative Repetition (John McGrath, University of Surrey, UK)Part IV: Aesthetics: Space / Place / Time / Senses14 How to Analyze Music Videos: Beyoncé’s and Melina Matsouka’s ‘Pretty Hurts’ (Carol Vernallis, Stanford University, USA) 15 Rural-Urban Imagery in Country Music Video: Identity, Space, and Place (Jada Watson, University of Ottawa, Canada)16 “More Solemn than a Fading Star”: David Bowie’s Modernist Aesthetics of Ending (Tiffany Naiman, Stanford University, USA)Part V: Subjectivities and Discourses: Gender, Sexuality, Race, and Religion17 Justin Timberlake’s ‘Man of the Woods’: Lumbersexuality, Nature, and Larking Around (Stan Hawkins and Tore Størvold, University of Oslo, Norway) 18 Gangsta’ Crisis, Catharsis, and Conversion: Coming to God in Hip-Hop Video Narratives (Alyssa Woods, University of Guelph, Canada, and Robert Michael Edwards, University of Ottawa, Canada)19 Nicki Minaj’s ‘Anaconda’: Intersectional Feminist Fat Studies, Sexuality, and Embodiment (Anna-Elena Pääkköla, University of Turku, Finland)20 Going Too Far: Representations of Violence Against Men in Pink’s ‘Please Don’t Leave Me’ (Marc Lafrance, Concordia University, Canada)Abstracts and KeywordsBibliographyIndex

Lori Burns is Professor of Music at the University of Ottawa, Canada. Her book Disruptive Divas: Critical and Analytical Essays on Feminism, Identity, and Popular Music (2002) won the Pauline Alderman Award from the International Alliance for Women in Music (2005). She was a founding co-editor of the Tracking Pop Series of the University of Michigan Press and is now serving as co-editor for the Ashgate Popular and Folk Music Series.Stan Hawkins is Professor of Musicology at the University of Oslo, Norway, and Professor in Popular Music at the University of Agder, Norway. He is author of numerous books, including Settling the Pop Score (2002), The British Pop Dandy (2009), Prince: The Making of a Pop Music Phenomenon (co-author Sarah Niblock, 2011), and Queerness in Pop (2016).

Skillfully curated by Lori Burns and Stan Hawkins, this Handbook engages with a wide range of music video, from punk, indie rock, pop, country, R&B, and hip-hop to more experimental practices. The authors use multimodal analysis and the theories of hypermedia and transmedia to ensure cutting-edge analysis, while innovative readings based on gender, race, and religion help situate music video within its wider cultural, social, and political contexts. From big-budget productions to low-fi work and animation, this Handbook marks an exciting new turn for the study of Music Video.

• List of FiguresList of TablesList of ExamplesNotes on ContributorsAcknowledgementsIntroduction: Undertaking Music Video Analysis (Lori Burns, University of Ottawa, Canada, and Stan Hawkins, University of Oslo, Norway)Part I: Authorship, Production, and Distribution1 Changing Dynamics and Diversity in Music Video Production and Distribution (Mathias Bonde Korsgaard, Aarhus University, Denmark)2 Low Budget Audiovisual Aesthetics in Indie Music Video and Feature Filmmaking: The Works of Steve Hanft and Danny Perez (Jamie Sexton, Northumbria University, UK)3 The Animated Music Videos of Radiohead, Chris Hopewell and Gastón Viñas: Fan-participation, Collaborative Authorship, and Dialogic Worldbuilding (Lisa Perrott, University of Waikato, New Zealand) 4 From Music Video Analysis to Practice: A Research-Creation Perspective on Music Videos (John Richardson, University of Turku, Finland)Part II: Cultural Codes, Representations, and Genres5 Framing Personae in Music Videos (Philip Auslander, Georgia Institute of Technology, USA)6 Hullabaloo: Rocking the Variety Show in the Mid-1960s (Norma Coates, Western University, Canada)7 Détournement and the Moving Image: The Politics of Representation in an Early British Punk Music Video (Karen Fournier, University of Michigan, USA)8 Post-Digital Music Video and Genre: Indie Rock, Nostalgia, Digitization, and Technological Materiality (Robert Strachan, University of Liverpool, UK) 9 Katy Perry’s ‘Wide Awake’: The Lyric Video as Genre (Laura McLaren, University of Toronto, Canada) Part III: Mediations: Multimodality / Intermediality / Transmediality10 Dynamic Multimodality in Extreme Metal Performance Video: Dark Tranquillity’s ‘Uniformity’, Directed by Patric Ullaeus (Lori Burns, University of Ottawa, Canada)11 Tying it All Together: Music Video and Transmedia Practice in Popular Music (Christofer Jost, University of Freiburg, Germany) 12 The Palimpsestic Pop Music Video: Intermediality and Hypermedia (Jem Kelly, Buckinghamshire New University, UK) 13 “How does a story get told from fractured bits?” Laurie Anderson’s Transformative Repetition (John McGrath, University of Surrey, UK)Part IV: Aesthetics: Space / Place / Time / Senses14 How to Analyze Music Videos: Beyoncé’s and Melina Matsouka’s ‘Pretty Hurts’ (Carol Vernallis, Stanford University, USA) 15 Rural-Urban Imagery in Country Music Video: Identity, Space, and Place (Jada Watson, University of Ottawa, Canada)16 “More Solemn than a Fading Star”: David Bowie’s Modernist Aesthetics of Ending (Tiffany Naiman, Stanford University, USA)Part V: Subjectivities and Discourses: Gender, Sexuality, Race, and Religion17 Justin Timberlake’s ‘Man of the Woods’: Lumbersexuality, Nature, and Larking Around (Stan Hawkins and Tore Størvold, University of Oslo, Norway) 18 Gangsta’ Crisis, Catharsis, and Conversion: Coming to God in Hip-Hop Video Narratives (Alyssa Woods, University of Guelph, Canada, and Robert Michael Edwards, University of Ottawa, Canada)19 Nicki Minaj’s ‘Anaconda’: Intersectional Feminist Fat Studies, Sexuality, and Embodiment (Anna-Elena Pääkköla, University of Turku, Finland)20 Going Too Far: Representations of Violence Against Men in Pink’s ‘Please Don’t Leave Me’ (Marc Lafrance, Concordia University, Canada)Abstracts and KeywordsBibliographyIndex