Carol Vernallis

Acknowledgments xi
A Note on the Cover xiii
Introduction 1
I. Post-Classical Cinema at the Limit
1. Partying in The Great Gatsby: Baz Luhrmann’s Audovisual Sublime 27
2. Shattered Pleasures: Michael Bay’s Transformers: Age of Extinction 48
II. Music Video and the Art-Video Border
3. Beyoncé’s Overwhelming Opus; or, the Past and Future of Music Video 71
4. Avant-Gardists and the Lure of Pop Music 97
5. Beyoncé’s Lemonade: She Dreams in Both Worlds (Carol Vernallis, Lisa Perrot, and Holly Rogers) 122
6. Tracing the Carters through the Galleries: “APES**T/APESHIT” and the Louvre 138
7. Storytelling on the Ledge: Lady Gaga and Jonas Åkerlund’s “Paparazzi” 154
III. Music Video’s Late Late Style
8. How to Analyze Music Videos: Beyoncé and Melina Matsoukas’s “Pretty Hurts” 175
9. Dave Meyer’s Moments of Audiovisual Bliss 196
10. Janelle Monáe’s “You Make Me Feel” and [...] with Kendrick Lamar’s “Tints”: Getting Up in My [Rearview] Mirror 211
IV. Audiovisual Aesthetics Online
11. Who Needs Music Documentaries When There’s TikTok and Carpool Karaoke? 231
12. TikTok and Costume-Drama Mashups on YouTube 247
V. New Modes of Analysis: Industry
13. The Art of Color Grading (Carol Vernallis, Jonathan Leal, Eric Weldt, and Aubrey Woodiwiss) 265
14. Music Video Directors, Production Houses, and the Media Swirl 290
VI. New Modes of Analysis: Neuroscience
15. Music Video’s Multisensory 307
16. Tracing the Asset: Humanistic and Quantitative Approaches to Cybercrime Film Trailers (Snowden and Bourne) 319
VII. New Modes of Analysis: Politics and Vernacular Culture
17. New Technologies, Social Justice, and the Future in Beyoncé’s Audiovisual Albums 335
18. Fox News, COVID-19, Brief Media Aesthetics, and Historical Resonances 356
Afterword 369
Notes 373
Bibliography 403
Index 429