دانلود کتاب Transmedia Directors: Artistry, Industry and New Audiovisual Aesthetics

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Title Page\nCopyright Page\nContents\nAcknowledgements\nContributors\nChapter 1: Introduction\n Carol Vernallis: Intensified movements\n Holly Rogers: Modules and oscillations\n Lisa Perrott: Transmedia, authorship and assemblage\nPart 1: Collaborative authorship: Wes Anderson\n Chapter 2: The Wes Anderson brand: New sincerity across media\n Inhabiting storyworlds\n Subsystem, system and supersystem\n New sincerity: Sincerity + irony\n Anderson’s new sincerity\n The supersystem and self-modifying behaviour\n Chapter 3: The world of Wes Anderson and Mark Mothersbaugh: Between childhood and adulthood in The Royal Tenenbaums\n Mark Mothersbaugh and Wes Anderson: A shared transmedia aesthetic\n The sight and sound of childhood in The Royal Tenenbaums\n Coda: A Mark Mothersbaugh or Wes Anderson theme park?\n Chapter 4: Analogue authenticity and the sound of Wes Anderson\n Chapter 5: The instrumentarium of Wes Anderson and Alexandre Desplat\n Instruments connoting innocence\n All that jazz\n Desplat’s reworking of Anderson’s instrumentarium\n Conclusion\nPart 2: Cross-medial assemblage and the making of the director\n Chapter 6: Our lives in pink: Sofia Coppola as transmedia audiovisual stylist\n High concept 2.0: Lighting, production design and cinematography\n The unsaid and the space between: Coppola’s use of temporal and narrative ellipsis\n Pastiche, defamiliarization and absurdism: Sofia Coppola as transmedia humourist\n Conclusion\n Chapter 7: Short-form media as style lab: The education of Michael Bay\n Music videos as training ground\n Sound-driven storytelling\n Developing a style through experimentation\n Streamlined storytelling\n The irrelevance of character and narrative\n Audiovisual salesmanship\n Conclusion: The transmedia feature director\nPart 3: Transmedial relations and industry\n Chapter 8: Whirled pieces: Bong Joon Ho’s Snowpiercer and the components of global transmedia production\n Chapter 9: David Fincher’s righteous workflow: Design and the transmedial director\nPart 4: Music video’s forms, genres and surfaces\n Chapter 10: A conversation with Emil Nava\n Chapter 11: Risers, drops and a fourteen-foot cube: A transmedia analysis of Emil Nava, Calvin Harris and Rihanna’s ‘This Is What You Came For’\n Continuity and change in Nava, Harris and their collaborations\n Close reading: ‘This Is What You Came For’ (Nava, Harris and Rihanna)\n Conclusion\n Chapter 12: On colour magic: Emil Nava’s ‘Feels’ and ‘Nuh Ready Nuh Ready’\n Colour magic\n ‘Feels’ and ‘Nuh Ready Nuh Ready’\n Double take\nPart 5: Music video’s centrifugal forces\n Chapter 13: Dave Meyers’s moments of audiovisual bliss\n Chapter 14: The alchemical union of David Bowie and Floria Sigismondi: ‘Transmedia surrealism’ and ‘loose continuity’\n Transmedia through and beyond narrative\n A transmedia star, a navigator, a medium\n Performing across stage and screen\n Visual art, voice and collaboration\n Hauntology, extending transmedia\n Stirring the Cauldron with Floria\n ‘Little Wonder’ (1997)\n ‘The Stars (Are Out Tonight)’ (2013)\n The Next Day (2013)\n Serial theatre and transmedia surrealism\n Chapter 15: Filmic resonance and dispersed authorship in Sigur Rós’s transmedial Valtari Mystery Film Experiment\n Transmedia architecture\n ‘Varúð’\n Film #2 by Ingibjörk Birgisdóttir\n Film #6 by Ryan McGinley\n Film #14 by Christian Larson\n Film #15 by Björn Flóki\n Conclusion\nPart 6: Audiovisual emanations: David Lynch\n Chapter 16: The audiovisual eerie: Transmediating thresholds in the work of David Lynch\n Twin Peaks and the undoing of transmedial auteurism\n Fandom and transmedial flow beyond the auteur\n The wrongness of the weird and the absence of the eerie\n The audiovisual eerie\n The transmedial eerie\n Chapter 17: When is a door not a door? Transmedia to the nth degree in David Lynch’s multiverse\n Chapter 18: On (vari-)speed across David Lynch’s work\n Chapter 19: Journeying into the land of the formless real with Lynch and Simondon\nPart 7: Multi-vocality, synchronicity and transcendent cinematics: Barry Jenkins\n Chapter 20: ‘Let me show you what that song really is’: Nicholas Britell on the music of Moonlight\n Chapter 21: If Beale Street Could Talk, what’d be playing in the background? First notes on music, film, time and memory\n Chapter 22: The shot and the cut: Joi McMillon’s and Barry Jenkins’s artistry\nPart 8: Community, identity and transmedial aspirations across the web\n Chapter 23: Multimodal and transmedia subjectivity in animated music video: Jess Cope and Steven Wilson’s ‘Routine’ from Hand. Cannot. Erase. (2015)\n Mapping the multimodality of ‘Routine’ within the transmedia storyworld of H.C.E.\n Event 1: Morning light\n Event 2: Kitchen routines\n Event 3: Sensory memory\n Event 4: Domestic routines\n Event 5: Passing time\n Event 6: Midday\n Event 7: Darkening sky\n Event 8: Imagining routines\n Event 9: Solitary evening meal\n Event 10: Destructive sequence\n Event 11: Night scream\n Event 12: Postlude/morning light\n Interpretive conclusions\n Concluding remarks\n Chapter 24: Jay Versace’s Instagram empire: Queer black youth, social media and new audiovisual possibilities\nPart 9: Diagramatic, signaletic and haptic unfoldings across forms and genres: Lars von Trier\n Chapter 25: The demonic quality of darkness in The House That Jack Built: Haptic transmedial affects throughout the work of Lars von Trier\n Serial killing and chasing images\n Who is Jack?\n A diagrammatic approach\n Diagramming the acousmêtre\n Affects and ethical concerns on the acousmêtre and the haptic\n Concluding remarks\n Chapter 26: Diamonds, Wagner, the Gesamtkunstwerk and Lars von Trier’s depression films\n Chapter 27: Lars von Trier, Brecht and the Baroque gesture\nNotes\n Chapter 1\n Chapter 2\n Chapter 3\n Chapter 4\n Chapter 5\n Chapter 6\n Chapter 7\n Chapter 8\n Chapter 9\n Chapter 10\n Chapter 11\n Chapter 12\n Chapter 13\n Chapter 14\n Chapter 15\n Chapter 16\n Chapter 17\n Chapter 18\n Chapter 19\n Chapter 20\n Chapter 21\n Chapter 23\n Chapter 24\n Chapter 25\n Chapter 26\n Chapter 27\nBibliography\n Chapter 1\n Chapter 2\n Chapter 3\n Chapter 4\n Chapter 5\n Chapter 6\n Chapter 7\n Chapter 8\n Chapter 9\n Chapter 11\n Chapter 12\n Chapter 13\n Chapter 14\n Chapter 15\n Chapter 16\n Chapter 17\n Chapter 18\n Chapter 19\n Chapter 20\n Chapter 21\n Chapter 23\n Chapter 24\n Chapter 25\n Chapter 26\n Chapter 27\nIndex