For each issue, an exciting scholar, artist and/or musician poses a question to the Sonic Scope community. We then invite student researchers to respond in whatever way they like.
Lauren Cramer Call and Response - Issue Four -
"Mathias Bonde Korsgaard writes, “music video is not an orphan but rather a child of many parents;” Carol Vernallis suggests the objective of music video scholarship is to take sound and image to “couples therapy;” and I have argued that music videos’“heightened audiovisuality, an effect of sound and image mingling in ways that exceed narrative cinema [,] borders on the pornographic.”[1] It seems the conversation about audiovisual media has become quite personal. Respond to or create an audiovisual object that explores the interpersonal side of intermediality. How might interpersonal intermediality, as a methodology or practice, allow us to rethink and/or remake sound-image relations? How might this method/practice help us explore our own relationships with these objects?"
1 Mathias Bonde Korsgaard, Music Video after MTV: Audiovisual Studies, New Media, and Popular Music (New York: Routledge, 2017), 24; Carol Vernallis, “Music Video’s Second Aesthetic?,” in The Oxford Handbook of New Audiovisual Aesthetics, ed. John Richardson, Cluadia Gorbman and Carol Vernallis (Oxford: Oxford University Press, 2013), 440; Lauren McLeod Cramer, “Untitled,” in “Anderson .Paak, Kendrick Lamar, and Colin Tilley “Get up in Our Rearview Mirror”: Collectively Analyzing the “Tints” Music Video,” ed. Carol Vernallis et al, special section, Quarterly Review of Film & Television 39, no. 3 (January 2021): 608.
For each issue, an exciting scholar, artist and/or musician poses a question to the Sonic Scope
community.
We then invite student researchers to respond in whatever way they like.
Read this issue's question by Lauren Cramer at the link above.