- The Oxford Handbook of New Audiovisual Aesthetics
- List of Contributors
- About the Companion Website
- Classical Music for the Posthuman Condition
- Beyond Music: Mashup, Multimedia Mentality, and Intellectual Property
- The Audio-Logo-Visual and the Sound of Languages in Recent Film
- The End of Diegesis As We Know It?
- Sounding Out Film
- Audio-Visual Space in an Era of Technological Convergence
- Title Sequences for Contemporary Television Serials
- No Country for Old Music
- Cue the Big Theme? The Sound of the Superhero
- Video Speech in Latin America
- Pixar and the Animated Soundtrack
- Notes on Sound Design in Contemporary Animated Films
- ZigZag: Reanimating Len Lye as Improvised Theatrical Performance and Immersive Visual Music
- The Mutating Musical and the Sound of Music
- Chinese Rock ‘n’ Roll Film and Cui Jian on Screen
- The Neosurrealist Musical and Tsai Ming-Liang’s the Wayward Cloud
- Parties in Your Head: From the Acoustic to the Psycho-Acoustic
- Sensory Aspects of Contemporary Cinema
- The Sound of Intensified Continuity
- Extending Film Aesthetics: Audio Beyond Visuals
- The Audiovisual Construction of Transgender Identity in <i>Transamerica</i>
- Soundscapes of Istanbul in Turkish Film Soundtracks
- Audiovisual Objects, Multisensory People, and the Intensified Ordinary in Hong Kong Action Films
- Music Video’s Second Aesthetic?
- Aesthetics and Hyperembodiment in Pop Videos: Rihanna’s “Umbrella”
- The Emancipation of Music Video: Youtube and the Cultural Politics of Supply and Demand
- Music Video Transformed
- “Betwixt and Between” Worlds: Spatial and Temporal Liminality in Video Art-Music
- Sound Events: Innovation in Projection and Installation
- Contextualizing Game Audio Aesthetics
- Implications of Interactivity: What Does it Mean for Sound to be “Interactive”?
- Multichannel Gaming and the Aesthetics of Interactive Surround
- Sound and Vision: The Audio/Visual Economy of Musical Performance
- Foreground Flatland
- Remaking the Urban: The Audiovisual Aesthetics of Ipod Use
- On Soundscape Methods and Audiovisual Sensibility
- Leaving Something to the Imagination: “Seeing” New Places through a Musical Lens
Abstract and Keywords
This article appears in the Oxford Handbook of New Audiovisual Aesthetics edited by John Richardson, Claudia Gorbman, and Carol Vernallis. This chapter uses textual analysis of the music video “Umbrella,” featuring Rihanna, to demonstrate the intricacies of sound and image synchronization. It argues that music highlights subject positions according to the viewer’s expectations, assessment, and understanding of the displayed subject. Rihanna’s erotic imagery forms a critical point for contemplating the pop artist’s physical responses to music. One central ingredient of most video performances is disclosed by the suggestive positioning of the gendered body, which extends far beyond everyday experience. Such notions are theorized through aspects of hyperembodiment and hypersexuality, wherein the technological constructedness of the body constitutes a prime part of video production. The aesthetics of performance are predicated on the reassemblance of the body audiovisually. Editing, production, and technology shape the images, which are stimulated by musical sound, and ultimately the audiovisual flow in pop videos mediates a range of conventions that say much about our ever-evolving cultural domains.
Stan Hawkins is Professor in the Department of Musicology at the University of Oslo and adjunct professor at the University of Agder, Kristiansand. He is author of Settling the Pop Score (2002), The British Pop Dandy (2009), and co-author of Prince: The Making of a Pop Phenomenon (2011). Hawkins is editor of Critical Musicological Reflections (2012) and Pop Music and Easy Listening (2011), and co-editor of Music Space & Place (2004) and Essays on Sound & Vision (2007). He has led an international project, Popular Music and Gender in a Transcultural Context (2010-2014), funded by the Norwegian Research Council.
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