Academic Catalog 2018

Total Page:16

File Type:pdf, Size:1020Kb

Academic Catalog 2018 Academic Catalog 2018 - 19 Undergraduate Curriculum Overview 1 First Year Experience Core Requirements 3 First-Year Experience Electives 4 Liberal Arts Core Requirements 5 Art History 5 Contents Humanistic Studies 5 Animation 6 Architectural Design 7 Art History, Theory and Criticism 8 Ceramics 9 Drawing 10 Fiber 11 Film and Video 12 Game Design 13 General Fine Arts 14 Graphic Design 15 Humanistic Studies 16 Illustration 17 Interactive Arts 18 Interdisciplinary Sculpture 19 Painting 20 Photography 21 Printmaking 22 Product Design 23 Undergraduate Liberal Arts Minors 24 The Minor in Art History 24 The Minor in Humanistic Studies 25 Studio Concentrations 26 Animation Concentration 26 Architectural Design Concentration 27 Book Arts Concentration 28 Ceramics Concentration 29 Curatorial Studies Concentration 30 Experimental Fashion Concentration 31 Film and Video Concentration 32 Filmmaking Concentration 33 Game Arts Concentration 34 Graphic Design Concentration 35 Illustration Concentration 35 Interactive Arts 36 Painting Concentration 36 Photography Concentration 37 Printmaking Concentration 38 Sequential Art Concentration 39 Sound Art Concentration 40 Sustainability & Social Practice Concentration 41 Theater Concentration 43 Course Descriptions 45 First-Year Studio Courses 47 Contents First-Year Experience Electives 48 Animation 51 Architectural Design 46 Art History 61 Ceramics 79 Drawing 83 Exhibition Development Seminar 87 Fine Arts 88 Fiber 88 Film and Video 94 Game Design 100 General Fine Arts 102 Graphic Design 108 Humanistic Studies 116 Creative Writing 116 History 120 Humanistic Studies 123 Intellectual History 126 Literature 139 Media & Culture 151 Natural Sciences 155 Performance 158 Philosophy 159 Religious Studies 166 Social Sciences 167 Illustration 175 Interactive Arts 182 Interdisciplinary Sculpture 188 Painting 201 Photography 210 Printmaking 216 General Electives 222 B.F.A. and Master of Arts in Teaching (B.F.A./M.A.T.) 227 Master of Professional Studies 233 Business of Art & Design (online/low-residency) 233 Information Visualization (online/low-residency) 235 UX Design (online/low-residency) 237 Social Design 238 Graduate Studies 241 Graduate Curriculum Overview 243 Post-Baccalaureate Certificate in Fine Arts 245 Master of Arts 246 Art Education (online/low-residency) 246 Graphic Design 247 Illustration 248 Social Design 249 Teaching 250 Master of Fine Arts 251 Community Arts 251 Curatorial Practice 252 Filmmaking 253 Graphic Design 254 Illustration Practice 255 LeRoy E. Hoffberger School of Painting 256 Mount Royal School of Art 257 Photographic and Electronic Media 258 Rinehart School of Sculpture 259 Studio Art (low-residency) 260 Course Descriptions 263 Academic Policies Overview 301 Academic Review Board 301 Academic Standards for Financial Aid 301 Academic Standing 301 First-Year Students 301 Upper-Level Undergraduates 301 Graduates 302 Appeal of Academic Dismissal 302 Attendance 302 Contents Course Repeats 303 Declaring & Changing Majors 303 Double Majors 303 Grades 304 Incompletes 304 Grade Appeals 305 Independent Study 305 Plagiarism 306 Privacy of Student Records 306 Readmittance 307 Undergraduate 307 Graduate 308 Registration 308 Audits 308 Student Conduct in Class 309 Transfer of Credit 309 Advanced Placement 309 Dual Enrollment 309 International Baccalaureate 309 Undergraduate 309 Graduate 309 Undergraduate Academic Honors 310 Dean’s List 310 Graduation Honors 310 Withdrawal & Leave of Absence 310 Special Opportunities 313 Center for Social Design 314 Community Arts Partnership 314 Open Studies 314 Baltimore Student Exchange Program 314 AICAD Exchange 316 Semester Study Abroad 316 MICA Summer Travel Intensives 317 Internships 317 Undergraduate Academic Programs 6 Undergraduate Curriculum Overview Undergraduate Undergraduate Academic Programs UNDERGRADUATE CURRICULUM OVERVIEW HOW TO USE THE SECTIONS THAT FOLLOW This overview of the MICA undergraduate curriculum is divided into sections that outline first the core requirements shared by all students (first-year experience core requirements and liberal arts core requirements) and then the specific requirements for undergraduate majors, humanistic studies minors and studio concentrations. Because courses offered by any undergraduate department may be used to fulfill a number of different requirements depending upon a student’s degree plan (for that department’s major, for example, or for majors, concentrations, or minors administered by other departments), all course descriptions are grouped together at the end of this chapter. The course list is organized alphabetically by department. REQUIREMENTS FOR THE BACHELOR OF FINE ARTS (B.F.A.) MICA’s curriculum combines intensive studio coursework with rigorous liberal arts beginning in the first-year experience year. Students pursuing the bachelor of fine arts complete a common set of first-year experience requirements, as well as requirements for a major in one of the discipline areas listed below. In addition to the major, students have the option of using elective studio credit to pursue a studio concentration or of increasing the number of liberal arts credits taken to pursue a minor in art history or in humanistic studies. Students also have the opportunity to develop a four-year program that fully integrates a B.F.A. in a studio discipline with a major in Humanistic Studies. See page 16 for more information. REQUIREMENTS FOR THE B.F.A.—ALL MAJORS Total Credits 24 First-year Core Studio Requirements 15 Liberal Arts Core Requirements—Art History 27 Liberal Arts Core Requirements—Humanistic Studies 54 Required Credits in the Major 120/126 Total Credits Required for the B.F.A. See the sections that follow for course requirements for individual programs, including first- year, liberal arts, majors, minors and concentrations. 1 MAJORS WITH HUMANISTIC STUDIES MAJORS INTEGRATED DEGREE PLAN Animation Animation and Humanistic Studies Architectural Design Architectural Design and Humanistic Studies Art History, Theory and Criticism – Ceramics Ceramics and Humanistic Studies Drawing Drawing and Humanistic Studies Fiber Fiber and Humanistic Studies Film and Video Film and Video and Humanistic Studies Game Design — General Fine Arts General Fine Arts and Humanistic Studies Graphic Design Graphic Design and Humanistic Studies Illustration Illustration and Humanistic Studies Interactive Arts Interactive Arts and Humanistic Studies Interdisciplinary Sculpture Interdisciplinary Sculpture and Humanistic Studies Painting Painting and Humanistic Studies Photography Photography and Humanistic Studies Printmaking Printmaking and Humanistic Studies Product Design — ART EDUCATION PROGRAM B.F.A. and Master of Arts in Teaching (B.F.A./M.A.T.) CAPSTONE PROGRAMS Undergraduate Curriculum Overview Undergraduate Business of Art & Design (M.P.S.) Social Design (M.A.) Critical Studies (M.A.) UX Design (M.P.S.) Information Visualization (M.P.S.) LIBERAL ARTS MINORS Art History Creative Writing Critical Theory Culture and Politics Gender Studies Literary Studies STUDIO CONCENTRATIONS Animation Illustration Architectural Design Interactive Arts Book Arts Painting Ceramics Photography Curatorial Studies Printmaking Experimental Fashion Sequential Art Film and Video Sound Art Filmmaking Sustainability & Social Practice Games Arts Theater Graphic Design 2 First Year Experience Core Requirements Core Experience Year First FIRST YEAR EXPERIENCE CORE REQUIREMENTS MICA’s First Year Experience has been crafted to provide a rigorous, integrated curriculum that reflects the diversity of our people and our learning pathways. Students are challenged by courses that share a philosophy of learning through making-thinking- exploring-reflecting and honor the needs of individuals to define their relationship to the world as artists and designers. The program assists students as they consider their major options, providing a breadth of experiences while promoting in-depth thinking and skill development. Mission: The MICA First Year Experience provides a rigorous, supportive environment emphasizing sequential, intellectually informed, hands-on instruction of practical and conceptual skills for students to become active lifelong learners, makers and creative risk takers in the fields of art and design. By the conclusion of the First Year Experience, Students will demonstrate the ability to: • Apply a range of technical and conceptual skills to art and design media in order to construct meaning. • Develop and solve problems through investigation, experimentation and ethical research. • Interpret meaning through analysis of the observed world. • Integrate best practices for professionalism. • Consider cross cultural and intercultural learning in the classroom as a local, national and global learning space. FIRST-YEAR EXPERIENCE Freshmen typically complete 15–16.5 credits each semester. Taking more than 16.5 credits requires the approval of first-year experience cochairs or the first-year experience academic advisor. Course Title Credits All student take these required courses Drawing: Tradition & Innovation FF 161 3 Drawing: Contemporary Practices FF 162 3 Forum I (freshman advising happens in this class) FF 111 3 Forum II FF 112 3 Art Matters AH 100 3 Critical Inquiry HMST 101 3 Students choose one course in Color/Design Found and Focused FF 120A 3 Surface and Screen FF 120B 3 Students choose one course in Form/Space Body/World/Machine FF 130B 3 Prototype/Situate/Fabricate FF 130A 3 Students choose one course in Systems/Time Haptics and Optics FF 140A
Recommended publications
  • CHRIS CUNNINGHAM and the ART VIDEO Summary
    CHRIS CUNNINGHAM AND THE ART VIDEO Summary : 1. The Art Video 2. Chris Cunningham 3. The Clip Video Universe 4. Publicity and short movies 5. Music Producer Warning. Welcome to the strange world of Chris Cunningham. It’s time to make a choice. You can leave now and you’ll never have to see what we are about to show you. Or, you can stay, stuck on your chair and live with us a new risky experience. Open up your eyes and ears, we are starting. The Art Video was born in 1960 with Fluxus. Fluxus isn’t also an artistic movement, it’s a state of mind. We can give to this movement this definition : “art must be life”. Fluxus encouraged a "do-it-yourself" aesthetic, and valued simplicity over complexity, a kind of anti- art. It’s a combination of different arts. Fluxus artists have been active in Neo-Dada noise music and visual art as well as literature, urban planning, architecture, design and video. Then, Art Video take different forms like event, performance art, happening, or an installation which change space. In fact, provocated shows set a disorder. The most important art-video artists are : -Nam Jun Paik -Bill Viola (Name Jun Paik) With new technologies, appeared a new technic witch can change reality: 3D projection on buildings (video extract Projection on buildings) Projection on buildings change our perception in creating illusion. Chris Cunningham is an english music video film director and a video artist. At first, he learned painting and sculpture and then, he gets specialized in creation of silicone’s models and special effects.
    [Show full text]
  • Artificial Intelligence, Ovvero Suonare Il Corpo Della Macchina O Farsi Suonare? La Costruzione Dell’Identità Audiovisiva Della Warp Records
    Philomusica on-line 13/2 (2014) Artificial Intelligence, ovvero suonare il corpo della macchina o farsi suonare? La costruzione dell’identità audiovisiva della Warp Records Alessandro Bratus Dipartimento di Musicologia e Beni Culturali Università di Pavia [email protected] § A partire dai tardi anni Ottanta la § Starting from the late 1980s Warp Records di Sheffield (e in seguito Sheffield (then London) based Warp Londra) ha avuto un ruolo propulsivo Records pushed forward the extent nel mutamento della musica elettronica and scope of electronic dance music popular come genere di musica che well beyond its exclusive focus on fun non si limita all’accompagna-mento del and physical enjoinment. One of the ballo e delle occasioni sociali a esso key factors in the success of the label correlate. Uno dei fattori chiave nel was the creative use of the artistic successo dell’etichetta è stato l’uso possibilities provided by technology, creativo delle possibilità artistiche which fostered the birth of a di- offerte dalla tecnologia, favorendo la stinctive audiovisual identity. In this formazione di un’identità ben ca- respect a crucial role was played by ratterizzata, in primo luogo dal punto the increasing blurred boundaries di vista audiovisivo. Sotto questo profilo between video and audio data, su- un ruolo fondamentale ha giocato la bjected to shared processes of digital possibilità di transcodifica tra dati transformation, transcoding, elabora- audio e video nell’era digitale, poten- tion and manipulation. zialmente soggetti agli stessi processi di Although Warp Records repeatedly trasformazione, elaborazione e mani- resisted the attempts to frame its polazione. artistic project within predictable Nonostante la Warp Records abbia lines, its production –especially mu- ripetutamente resistito a ogni tentativo sic videos and compilations– suggests di inquadrare il proprio progetto arti- the retrospective construction of a stico entro coordinate prevedibili, i suoi consistent imagery.
    [Show full text]
  • Music in His Own Image: the Aphex Twin Face
    Nebula 1.1, June 2004 Music in His Own Image: The Aphex Twin Face. By Peter David Mathews Beyond the dark, intense vision of his music, a further disturbing dimension of Aphex Twin’s project is illuminated by his video clips. In particular, his two most famous videos, “Come to Daddy” and “Windowlicker,” are the fruit of collaborations with director Chris Cunningham; awards for “Come to Daddy” first brought both these artists into the mainstream eye in 1997. The outstanding feature of these clips is undoubtedly the face of Richard D. James. James, the man behind the Aphex Twin pseudonym, stares mockingly at the viewer, inevitably flashing his trademark leer. The unsettling characteristic of this smile is how the lips are stretched to the point of exaggeration. The initial impression of a broad, cheerful smile is quickly replaced by a feeling of incipient unease. Figure 1: Cover of Aphex Twin’s Richard D. James Album James’s grin becomes an inverted grimace, the tension of which is clearly visible in the creases around his eyes, nose and forehead. The look imbues these images with an intensity embellished by the fact that James’s expression never changes. Mathews: Music in His Own Image. 65 Nebula 1.1, June 2004 The initial impact of this look is augmented and intensified in several ways. The most obvious is through a process of multiplication. In each Aphex Twin clip, the secondary actors take on the face of their Creator. “Come to Daddy,” for instance, opens with an old woman walking her dog in a grimy, industrial setting.
    [Show full text]
  • Exploring Compositional Relationships Between Acousmatic Music and Electronica
    Exploring compositional relationships between acousmatic music and electronica Ben Ramsay Submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy De Montfort University Leicester 2 Table of Contents Abstract ................................................................................................................................. 4 Acknowledgements ............................................................................................................... 5 DVD contents ........................................................................................................................ 6 CHAPTER 1 ......................................................................................................................... 8 1.0 Introduction ................................................................................................................ 8 1.0.1 Research imperatives .......................................................................................... 11 1.0.2 High art vs. popular art ........................................................................................ 14 1.0.3 The emergence of electronica ............................................................................. 16 1.1 Literature Review ......................................................................................................... 18 1.1.1 Materials .............................................................................................................. 18 1.1.2 Spaces .................................................................................................................
    [Show full text]
  • Experiencing the Films of Chris Cunningham
    I Want Your Soul: Experiencing The Films Of Chris Cunningham William Hughes – 26/06/2017 Student Number: 11312882 Media Studies: Film Studies MA Supervisor: Tarja Laine Second Reader: Emiel Martens 1 Contents Introduction ....................................................................................................................................... 2 Bibliography ....................................................................................................................................... 6 The Visceral ........................................................................................................................................ 7 Bibliography ..................................................................................................................................... 24 The Uncanny and The Sublime ........................................................................................................ 25 Bibliography ..................................................................................................................................... 44 Black Humour and the Absurd ......................................................................................................... 45 Bibliography ..................................................................................................................................... 59 Conclusion ........................................................................................................................................ 60 Bibliography ....................................................................................................................................
    [Show full text]
  • Chris Cunningham
    CHRIS CUNNINGHAM Chris Cunningham es un video-artista fundamentalmente conocido por su trabajo en el área del video musical. Chris Cunningham nació en Reading (Inglaterra) en 1970. Desde muy niño se aficionó al dibujo, luego a hacer esculturas, las cuales fotografiaba. Su carrera artística la inició en la revista de cómics 2000AD bajo el pseudónimo de Chris Halls. Posteriormente trabaja en los efectos especiales de películas como Alien 3, Alien: Resurrección y el Juez Dredd. Trabajaría también en las maquetas de films como Hardware y Nightbreed. Estuvo involucrado en el proyecto del film Inteligencia artificial cuando Stanley Kubrick se ocupaba del mismo. Debutó en el terreno del video musical en 1995, de la mano de Warp Records, con la realización del video promocional de "Second Bad Vibel" (Autechre), y continuó su trabajo con artistas como Squarepusher, Björk, Madonna, Portishead y, sobre todo, Aphex Twin, entre otros. Su segundo video para este músico ("Windowclicker", 1999) fue censurado por MTV en Estados Unidos. En 2000, por su video para "All Is Full Of Love" (Björk), fue premiado por MTV, em los Music Week CAD Awards, en los MVPA Awards y en los Design And Art Direction Awards. En este último certamen obtuvo, entre otras medallas, una de oro por su dirección en la categoría "Pop Promos". Ha realizado comerciales de televisión para marcas internacionales como Nissan o Sony. Entre sus otros trabajos destacan la video-instalación Flex (presentada en ocasión de la exposición "Apocalypse" de la Royal Academy of Arts en 2000) y los cortometrajes Monkey Drummer y Rubber Johnny, todos ellos con música de Aphex Twin.
    [Show full text]
  • Music Video Auteurs: the Directors Label Dvds
    i Music Video Auteurs: The Directors Label DVDs and the Music Videos of Chris Cunningham, Michel Gondry and Spike Jonze. by Tristan Fidler Bachelor of Arts (With First Class Honours), UWA ’04. This thesis is presented for the degree of Doctor of Philosophy of the University of Western Australia. English, Communication and Cultural Studies. 2008 ii MUSIC VIDEO AUTEURS ABSTRACT Music video is an intriguing genre of television due to the fact that music drives the images and ideas found in numerous and varied examples of the form. Pre-recorded pieces of pop music are visually written upon in a palimpsest manner, resulting in an immediate and entertaining synchronisation of sound and vision. Ever since the popularity of MTV in the early 1980s, music video has been a persistent fixture in academic discussion, most notably in the work of writers like E. Ann Kaplan, Simon Frith and Andrew Goodwin. What has been of major interest to such cultural scholars is the fact that music video was designed as a promotional tool in their inception, supporting album sales and increasing the stardom of the featured recording artists. Authorship in music video studies has been traditionally kept to the representation of music stars, how they incorporate post-modern references and touch upon wider cultural themes (the Marilyn Monroe pastiche for the Madonna video, Material Girl (1985) for instance). What has not been greatly discussed is the contribution of music video directors, and the reason for that is the target audience for music videos are teenagers, who respond more to the presence of the singer or the band than the unknown figure of the director, a view that is also adhered to by music television channels like MTV.
    [Show full text]
  • Mark Fisher in Memoriam, Part 3: Dystopian Modernism (On Under the Skin)
    Modernism Unbound Mark Fisher in Memoriam, Part 3: Dystopian Modernism (on Under the Skin) Jon Lindblom Under the Skin (2013) is a remarkable film,1 with some of the most extraordinary imagery and music that I have encountered in the cinema for a long time. The (very loose) story centres on an alien posing as a woman (brilliantly played by Scarlett Johansson), who travels along the Scottish countryside with her mysterious partner and preys on men by seducing them and lur- ing them into her otherworldly nest. The film was directed by Jonathan Glazer, who made Birth in 2004 and Sexy Beast in 2000, and also is known for the music videos that he directed in the 90s (including Massive Attack’s ‘Karmacoma’ (1995), UNKLE’s ‘Rabbit in Your Headlights’ (1998), and Radiohead’s ‘Karma Police’ (1997) and ‘Street Spirit (Fade Out)’ (1996)) as part of the golden generation of music-video directors that also included Michel Gondry, Spike Jonze and Chris Cunningham, among others. Indeed, all these directors became known as auteurs through their music videos – which allowed them to develop very distinct visual styles thanks to the creative spaces for experimentation that directing music videos may offer. For even though music videos often have been theorised under the aegis of postmodern aesthetics, the much more ambiguous relationship between image and music compared to in narrative film and television may also open up unique opportunities for modernist, formal experimentation. Indeed, when at their best, music videos in fact have a lot in common with the major experi- mental films – where narrative progression is put aside in favour of formal audio-visual exper- imentation.
    [Show full text]
  • Windowlicker”
    King’s Research Portal Document Version Peer reviewed version Link to publication record in King's Research Portal Citation for published version (APA): Adams, R. (2014). Who Says White Men Can’t Dance? Deconstructing Racial Stereotypes in “Windowlicker”. In L. Micheal, & S. Schulz (Eds.), Unsettling Whiteness (pp. 263-273). [11] Inter-Disciplinary Press. Citing this paper Please note that where the full-text provided on King's Research Portal is the Author Accepted Manuscript or Post-Print version this may differ from the final Published version. If citing, it is advised that you check and use the publisher's definitive version for pagination, volume/issue, and date of publication details. And where the final published version is provided on the Research Portal, if citing you are again advised to check the publisher's website for any subsequent corrections. General rights Copyright and moral rights for the publications made accessible in the Research Portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognize and abide by the legal requirements associated with these rights. •Users may download and print one copy of any publication from the Research Portal for the purpose of private study or research. •You may not further distribute the material or use it for any profit-making activity or commercial gain •You may freely distribute the URL identifying the publication in the Research Portal Take down policy If you believe that this document breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim.
    [Show full text]
  • Claiming Chris Cunningham for British Art Cinema James Leggott Journal of British Cinema and Television 13.2
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Northumbria Research Link Come to Daddy? Claiming Chris Cunningham for British Art Cinema James Leggott Journal of British Cinema and Television 13.2 (2016): 243–261 Abstract: Twenty years after he came to prominence via a series of provocative, ground-breaking music videos, Chris Cunningham remains a troubling, elusive figure within British visual culture. His output – which includes short films, advertisements, art gallery commissions, installations, music production and a touring multi-screen live performance – is relatively slim, and his seemingly slow work rate (and tendency to leave projects uncompleted or unreleased) has been a frustration for fans and commentators, particularly those who hoped he would channel his interests and talents into a full-length ‘feature’ film project. There has been a diverse critical response to his musical sensitivity, his associations with UK electronica culture – and the Warp label in particular – his working relationship with Aphex Twin, his importance within the history of the pop video and his deployment of transgressive, suggestive imagery involving mutated, traumatised or robotic bodies. However, this article makes a claim for placing Cunningham within discourses of British art cinema. It proposes that the many contradictions that define and animate Cunningham’s work – narrative versus abstraction, political engagement versus surrealism, sincerity versus provocation, commerce versus experimentation, art versus craft, a ‘British’ sensibility versus a transnational one – are also those that typify a particular terrain of British film culture that falls awkwardly between populism and experimentalism. Keywords: British art cinema; Chris Cunningham; cinematic bodies; film and music; music video.
    [Show full text]
  • WINDOWLICKER. Der Ästhetische Paradigmenwechsel Im Musikvideo Durch Electronic Dance Music
    WINDOWLICKER. Der ästhetische Paradigmenwechsel im Musikvideo durch Electronic Dance Music Dissertation zur Erlangung des akademischen Grades doctor philosophiae (Dr. phil.) Eingereicht an der Kultur-, Sozial- und Bildungswissenschaftlichen Fakultät der Humboldt- Universität zu Berlin (im Fachbereich Musik- und Medienwissenschaft) von M.A. Sabine Röthig Präsident der Humboldt-Universität zu Berlin Prof. Dr. Jan-Hendrik Olbertz Dekanin der Philosophischen Fakultät III Prof. Dr. Julia von Blumenthal 1. Gutachter: Prof. Dr. Peter Wicke, Humboldt-Universität zu Berlin 2. Gutachter: Prof. Dr. Holger Schulze, University of Copenhagen Tag der mündlichen Prüfung: 30.11.2015 Abstract Deutsch In der Arbeit wird das Zusammentreffen der aus dem Club kommenden Electronic Dance Music (EDM) mit dem massenmedial konsolidierten Musikvideo untersucht. Diskutiert wird die These eines ästhetischen Paradigmenwechsels, der sich dadurch im Musikvideo vollzieht. Dieser beruht vor allem auf der musikalischen Figur des instrumentalen, modularen Tracks, die sich signifikant von der des Songs unterscheidet. Der originäre Zweck des Musikvideos, den Auftritt des Interpreten auf dem Monitor zu visualisieren, steht also mit dem Track zur Disposition oder wird gar obsolet; das erfordert neue Strategien der Bebilderung. Teil I und II der Arbeit verorten Musikvideo und EDM im wissenschaftlichen Diskurs und versammeln die jeweiligen ästhetischen Attribute. In Teil III wird anhand der Club Visuals die Beziehung von Tracks und Bildern erörtert, um darüber die veränderte Klang-Bild-Konstellation
    [Show full text]
  • British Music Videos and Film Culture
    Scope: An Online Journal of Film and Television Studies Issue 26 February 2014 The Fine Art of Commercial Freedom: British Music Videos and Film Culture Emily Caston, University of the Arts, London In the “golden era” or “boom” period of music video production in the 1990s, the UK was widely regarded throughout the world as the center for creative excellence (Caston, 2012). This was seen to be driven by the highly creative ambitions of British music video commissioners and their artists, and centered on an ideological conception of the director as an auteur. In the first part of this article, I will attempt to describe some of the key features of the music-video production industry. In the second I will look at its relationship with other sectors in British film and television production – in particular, short film, and artists’ film and video, where issues of artistic control and authorship are also ideologically foregrounded. I will justify the potentially oxymoronic concept of “the fine art of commercial freedom” in relation to recent contributions in the work of Kevin Donnelly (2007) and Sue Harper and Justin Smith (2011) on the intersection between the British “avant garde” and British film and television commerce. As Diane Railton and Paul Watson point out, academics are finally starting to recognize that music videos are a “persistent cultural form” that has outlived one of their initial commercial functions as a promotional tool (2011: 7). Exhibitions at the Museum of Moving Image (MOMI) in New York and the Foundation for Art and Creative Technology (FACT) in Liverpool have drawn the attention of Sight and Sound, suggesting that this cultural form is now on the verge of canonization (Davies, 2013).
    [Show full text]