Aesthetic Amalgams and Political Pursuits

Tomasz Dobrogoszcz is Professor in the Institute of English Studies at the University of Lodz, Poland. He is the editor of Nobody Expects the Spanish Inquisition: Cultural Contexts In Monty Python (2014) and the author of Family and Relationships in Ian McEwan’s Fiction (2018).Agata Handley is Assistant Professor in the Institute of English Studies at the University of Lodz, Poland. She is the author of Constructing Identity: The Poetry of Tony Harrison (2021) and Editor-in-Chief of the interdisciplinary academic journal Text Matters: A Journal of Literature, Theory and Culture. Tomasz Fisiak is Assistant Professor in the Department of Canadian, Intermedial and Postcolonial Studies, Institute of English Studies at the University of Lodz, Poland. He is the author of She-(d)evils?: The Construction of a Female Tyrant as a Cultural Critique (2020) and the co-editor of The Postworld In-Between Utopia and Dystopia: Intersectional, Feminist, and Non-Binary Approaches in 21st-Century Speculative Literature and Culture (2021, with Katarzyna Ostalska). He is Managing Editor of the interdisciplinary academic journal Text Matters: A Journal of Literature, Theory and Culture.

Aesthetic Amalgams and Political Pursuits: Intertextuality in Music Videos offers a wonderfully varied series of studies showing us how music videos borrow, reshuffle, and reinvent elements from the surrounding culture. While other treatments of intertextuality in music video too often reduce it to simple source-spotting, this volume theorizes the notion in rigorous ways which draw on some of the most advanced work in textual theory. From canonical artists like Beyoncé and Taylor Swift through midwestern emo bands and Norwegian eco-feminists, the articles collected here show artists using music video to reanimate art-historical traditions, key moments of cinematic history, and collective rhetorics of political struggle. This book marks a significant advance in the study of music and audiovisual media.

• List of Illustrations Acknowledgments Introduction: Word-Sound-Image—Intertextuality in Music Videos Tomasz Dobrogoszcz, Agata Handley, and Tomasz Fisiak Section 1: Music Video as New Transmedial Practice1. Integrated Pop: Intertextuality, Music Video, and Transmedia Production Modes in Popular Music Christofer Jost 2. Music Video Meets Social Media: Intertextuality, New Aesthetics, and the Development of New Practices Eduardo Viñuela 3. Nostalgic Simulation: Intertextuality and Gaming in Muse’s “Thought Contagion” Video Agata Handley and Tomasz Dobrogoszcz 4. “I’m too classy for this world, forever, I’m that girl”: Media Hybrids between Pop and Art in Beyoncé’s Renaissance Kathrin Dreckmann Section 2: Intertextuality as a Tool of Political Engagement5. Part of Whose World? Intertextuality, Media-lore, and Ethnic Identity in Mermaid Themed Music Videos Philip Hayward and Dorota Filipczak 6. “Our Time Has Come, Your Time Is Up”: The Song Suffragettes’ March for Gender Equality in Country Music Jada Watson 7. Gold Diggers of MTV: Creating New Gender Narratives from the Busby Berkeley “Showgirl” Trope Karen Fournier8. Ecofeminist Voices and Body Politics in Music Videos by Bjo¨rk, Aurora, and MØ Anna-Elena Pääkkölä Section 3: Repetition with a Difference: Re-Cycling Aesthetic Patterns9. Sophie Muller’s Gothic Intertexts Tomasz Fisiak and Malgorzata Grajter 10. Intertextuality in Music Video: The Case of Taylor Swift and Joseph Kahn Carol Vernallis, Joanna Nadolny, and Steven Shaviro 11. “I don’t wanna make it, I just wanna… ”: Cinematic Intertextuality in 2000s Emo Music Videos Michael N. Goddard12. Johnny Zhivago? The Heaven Seventeen? On Stylistic References to Stanley Kubrick’s Films in Music VideosAdam Cybulski and Konrad Klejsa Contributors Index