Music videos have ranged from simple tableaux of a band playing
its instruments to multimillion dollar, high-concept extravaganzas.
Born of a sudden expansion in new broadcast channels, music videos
continue to exert an enormous influence on popular music. They help
to create an artist's identity, to affect a song's mood, to
determine chart success: the music video has changed our idea of
the popular song.
Here at last is a study that treats music video as a distinct
multimedia artistic genre, different from film, television, and
indeed from the songs they illuminate -- and sell. Carol Vernallis
describes how verbal, musical, and visual codes combine in music
video to create defining representations of race, class, gender,
sexuality, and performance. The book explores the complex
interactions of narrative, settings, props, costumes, lyrics, and
much more. Three chapters contain close analyses of important
videos: Madonna's "Cherish," Prince's "Gett Off," and Peter
Gabriel's "Mercy St."
Subjects: Music, Film Studies
Table of Contents
You are viewing the table of contents
You do not have access to this
on JSTOR. Try logging in through your institution for access.