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?
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.