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<!DOCTYPE html> <html > <head> <meta charset="utf-8"> <meta rel="search" type="application/opensearchdescription+xml" href="/open_search.xml" title="Academia.edu"> <meta content="width=device-width, initial-scale=1" name="viewport"> <meta name="google-site-verification" content="bKJMBZA7E43xhDOopFZkssMMkBRjvYERV-NaN4R6mrs"> <meta name="csrf-param" content="authenticity_token" /> <meta name="csrf-token" content="qaYhKynnt9xqyKmQa9QPKq6H0oiGfy90mq-OCc7FHrr8jOL2CBHpcZZ5jIqMP101MmQDk7fo_St816fEPNjHDw" /> <meta name="citation_title" content="When Face Becomes Interface: Music Video and the Portrait of Mediality" /> <meta name="citation_journal_title" content="Reconfiguring the Portrait. Ed. Abraham Geil and Tomáš Jirsa. Edinburgh: Edinburgh University Press, 2023, 83-104." /> <meta name="citation_author" content="Tomáš Jirsa" /> <meta name="twitter:card" content="summary" /> <meta name="twitter:url" content="https://www.academia.edu/111430666/When_Face_Becomes_Interface_Music_Video_and_the_Portrait_of_Mediality" /> <meta name="twitter:title" content="When Face Becomes Interface: Music Video and the Portrait of Mediality" /> <meta name="twitter:description" content="In turning to the medium of the contemporary music video, this chapter attends to the sonic as well as visual dimensions of the portrait interface, reading the affordances of music videos for the ways they “desubjectify” the face in order to amplify" /> <meta name="twitter:image" content="https://0.academia-photos.com/858349/306417/85252837/s200_tom_.jirsa.jpg" /> <meta property="fb:app_id" content="2369844204" /> <meta property="og:type" content="book" /> <meta property="og:url" content="https://www.academia.edu/111430666/When_Face_Becomes_Interface_Music_Video_and_the_Portrait_of_Mediality" /> <meta property="og:title" content="When Face Becomes Interface: Music Video and the Portrait of Mediality" /> <meta property="og:image" content="http://a.academia-assets.com/images/open-graph-icons/fb-book.gif" /> <meta property="og:description" content="In turning to the medium of the contemporary music video, this chapter attends to the sonic as well as visual dimensions of the portrait interface, reading the affordances of music videos for the ways they “desubjectify” the face in order to amplify" /> <meta property="article:author" content="https://upol.academia.edu/TomasJirsa" /> <meta name="description" content="In turning to the medium of the contemporary music video, this chapter attends to the sonic as well as visual dimensions of the portrait interface, reading the affordances of music videos for the ways they “desubjectify” the face in order to amplify" /> <title>(PDF) When Face Becomes Interface: Music Video and the Portrait of Mediality</title> <link rel="canonical" href="https://www.academia.edu/111430666/When_Face_Becomes_Interface_Music_Video_and_the_Portrait_of_Mediality" /> <script async src="https://www.googletagmanager.com/gtag/js?id=G-5VKX33P2DS"></script> <script> window.dataLayer = window.dataLayer || []; function gtag(){dataLayer.push(arguments);} gtag('js', new Date()); gtag('config', 'G-5VKX33P2DS', { cookie_domain: 'academia.edu', send_page_view: false, }); gtag('event', 'page_view', { 'controller': "single_work", 'action': "show", 'controller_action': 'single_work#show', 'logged_in': 'false', 'edge': 'unknown', // Send nil if there is no A/B test bucket, in case some records get logged // with missing data - that way we can distinguish between the two cases. // ab_test_bucket should be of the form <ab_test_name>:<bucket> 'ab_test_bucket': null, }) </script> <script> var $controller_name = 'single_work'; var $action_name = "show"; var $rails_env = 'production'; var $app_rev = '107520bac59918e2ceae62eaadd15bff3d1e7904'; var $domain = 'academia.edu'; var $app_host = "academia.edu"; var $asset_host = "academia-assets.com"; var $start_time = new Date().getTime(); var $recaptcha_key = "6LdxlRMTAAAAADnu_zyLhLg0YF9uACwz78shpjJB"; var $recaptcha_invisible_key = "6Lf3KHUUAAAAACggoMpmGJdQDtiyrjVlvGJ6BbAj"; var $disableClientRecordHit = false; </script> <script> window.require = { config: function() { return function() {} } } </script> <script> window.Aedu = window.Aedu || {}; window.Aedu.hit_data = null; window.Aedu.serverRenderTime = new Date(1740912746000); window.Aedu.timeDifference = new Date().getTime() - 1740912746000; </script> <script type="application/ld+json">{"@context":"https://schema.org","@type":"ScholarlyArticle","abstract":"In turning to the medium of the contemporary music video, this chapter attends to the sonic as well as visual dimensions of the portrait interface, reading the affordances of music videos for the ways they “desubjectify” the face in order to amplify the affective work of audiovisual forms and their performative mechanisms. Putting two videos from the current hip-hop and trip-hop scene, Earl Sweatshirt’s Chum (2012) directed by Hiro Murai, and Massive Attack’s The Spoils (2016) directed by John Hillcoat, into dialogue with Jean-Luc Nancy’s concept of the non-representational portrait (2018) read through the lens of media philosophy, this chapter argues for the displacement of the human facial image from its traditional function of expressing interiority to a thematization of form and technicity in a contemporary audiovisual medium.","author":[{"@context":"https://schema.org","@type":"Person","name":"Tomáš Jirsa","url":"https://upol.academia.edu/TomasJirsa","image":"https://0.academia-photos.com/858349/306417/85252837/s200_tom_.jirsa.jpg","sameAs":[]}],"contributor":[],"dateCreated":"2023-12-14","headline":"When Face Becomes Interface: Music Video and the Portrait of Mediality","image":"https://attachments.academia-assets.com/108973682/thumbnails/1.jpg","inLanguage":"en","keywords":["Cultural Studies","Philosophy","Aesthetics","Visual Studies","Portraits","Art History","Media Studies","Music Video","Intermediality","Culture","Portraiture","Media Theory","Hip-Hop/Rap","Cultural Anthropology","Affect (Cultural Theory)","Aesthetics and Theory of Arts","Film and Media Studies","Media Philosophy"],"publication":"Reconfiguring the Portrait. Ed. Abraham Geil and Tomáš Jirsa. 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{"work":{"id":111430666,"created_at":"2023-12-14T11:00:06.295-08:00","from_world_paper_id":null,"updated_at":"2025-02-02T18:17:46.155-08:00","_data":{"abstract":"In turning to the medium of the contemporary music video, this chapter attends to the sonic as well as visual dimensions of the portrait interface, reading the affordances of music videos for the ways they “desubjectify” the face in order to amplify the affective work of audiovisual forms and their performative mechanisms. Putting two videos from the current hip-hop and trip-hop scene, Earl Sweatshirt’s Chum (2012) directed by Hiro Murai, and Massive Attack’s The Spoils (2016) directed by John Hillcoat, into dialogue with Jean-Luc Nancy’s concept of the non-representational portrait (2018) read through the lens of media philosophy, this chapter argues for the displacement of the human facial image from its traditional function of expressing interiority to a thematization of form and technicity in a contemporary audiovisual medium.","ai_title_tag":"Desubjectifying Faces in Music Videos","publication_name":"Reconfiguring the Portrait. Ed. Abraham Geil and Tomáš Jirsa. Edinburgh: Edinburgh University Press, 2023, 83-104."},"document_type":"book","pre_hit_view_count_baseline":null,"quality":"high","language":"en","title":"When Face Becomes Interface: Music Video and the Portrait of Mediality","broadcastable":true,"draft":null,"has_indexable_attachment":true,"indexable":true,"seo_quality":null}}["work"]; window.loswp.workCoauthors = [858349]; window.loswp.locale = "en"; window.loswp.countryCode = "SG"; window.loswp.cwvAbTestBucket = ""; window.loswp.designVariant = "ds_vanilla"; window.loswp.fullPageMobileSutdModalVariant = "full_page_mobile_sutd_modal"; window.loswp.useOptimizedScribd4genScript = false; window.loginModal = {}; window.loginModal.appleClientId = 'edu.academia.applesignon'; window.userInChina = "false";</script><script defer="" src="https://accounts.google.com/gsi/client"></script><div class="ds-loswp-container"><div class="ds-work-card--grid-container"><div class="ds-work-card--container js-loswp-work-card"><div class="ds-work-card--cover"><div class="ds-work-cover--wrapper"><div class="ds-work-cover--container"><button class="ds-work-cover--clickable js-swp-download-button" data-signup-modal="{"location":"swp-splash-paper-cover","attachmentId":108973682,"attachmentType":"pdf"}"><img alt="First page of “When Face Becomes Interface: Music Video and the Portrait of Mediality”" class="ds-work-cover--cover-thumbnail" src="https://0.academia-photos.com/attachment_thumbnails/108973682/mini_magick20231214-1-9u1b66.png?1702580421" /><img alt="PDF Icon" class="ds-work-cover--file-icon" src="//a.academia-assets.com/images/single_work_splash/adobe_icon.svg" /><div class="ds-work-cover--hover-container"><span class="material-symbols-outlined" style="font-size: 20px" translate="no">download</span><p>Download Free PDF</p></div><div class="ds-work-cover--ribbon-container">Download Free PDF</div><div class="ds-work-cover--ribbon-triangle"></div></button></div></div></div><div class="ds-work-card--work-information"><h1 class="ds-work-card--work-title">When Face Becomes Interface: Music Video and the Portrait of Mediality</h1><div class="ds-work-card--work-authors ds-work-card--detail"><a class="ds-work-card--author js-wsj-grid-card-author ds2-5-body-md ds2-5-body-link" data-author-id="858349" href="https://upol.academia.edu/TomasJirsa"><img alt="Profile image of Tomáš Jirsa" class="ds-work-card--author-avatar" src="https://0.academia-photos.com/858349/306417/85252837/s65_tom_.jirsa.jpg" />Tomáš Jirsa</a></div><div class="ds-work-card--detail"><p class="ds-work-card--detail ds2-5-body-sm">Reconfiguring the Portrait. Ed. Abraham Geil and Tomáš Jirsa. Edinburgh: Edinburgh University Press, 2023, 83-104.</p><div class="ds-work-card--work-metadata"><div class="ds-work-card--work-metadata__stat"><span class="material-symbols-outlined" style="font-size: 20px" translate="no">visibility</span><p class="ds2-5-body-sm" id="work-metadata-view-count">…</p></div><div class="ds-work-card--work-metadata__stat"><span class="material-symbols-outlined" style="font-size: 20px" translate="no">description</span><p class="ds2-5-body-sm">22 pages</p></div><div class="ds-work-card--work-metadata__stat"><span class="material-symbols-outlined" style="font-size: 20px" translate="no">link</span><p class="ds2-5-body-sm">1 file</p></div></div><script>(async () => { const workId = 111430666; const worksViewsPath = "/v0/works/views?subdomain_param=api&work_ids%5B%5D=111430666"; const getWorkViews = async (workId) => { const response = await fetch(worksViewsPath); if (!response.ok) { throw new Error('Failed to load work views'); } const data = await response.json(); return data.views[workId]; }; // Get the view count for the work - we send this immediately rather than waiting for // the DOM to load, so it can be available as soon as possible (but without holding up // the backend or other resource requests, because it's a bit expensive and not critical). const viewCount = await getWorkViews(workId); const updateViewCount = (viewCount) => { try { const viewCountNumber = parseInt(viewCount, 10); if (viewCountNumber === 0) { // Remove the whole views element if there are zero views. document.getElementById('work-metadata-view-count')?.parentNode?.remove(); return; } const commaizedViewCount = viewCountNumber.toLocaleString(); const viewCountBody = document.getElementById('work-metadata-view-count'); if (!viewCountBody) { throw new Error('Failed to find work views element'); } viewCountBody.textContent = `${commaizedViewCount} views`; } catch (error) { // Remove the whole views element if there was some issue parsing. document.getElementById('work-metadata-view-count')?.parentNode?.remove(); throw new Error(`Failed to parse view count: ${viewCount}`, error); } }; // If the DOM is still loading, wait for it to be ready before updating the view count. if (document.readyState === "loading") { document.addEventListener('DOMContentLoaded', () => { updateViewCount(viewCount); }); // Otherwise, just update it immediately. } else { updateViewCount(viewCount); } })();</script></div><p class="ds-work-card--work-abstract ds-work-card--detail ds2-5-body-md">In turning to the medium of the contemporary music video, this chapter attends to the sonic as well as visual dimensions of the portrait interface, reading the affordances of music videos for the ways they “desubjectify” the face in order to amplify the affective work of audiovisual forms and their performative mechanisms. Putting two videos from the current hip-hop and trip-hop scene, Earl Sweatshirt’s Chum (2012) directed by Hiro Murai, and Massive Attack’s The Spoils (2016) directed by John Hillcoat, into dialogue with Jean-Luc Nancy’s concept of the non-representational portrait (2018) read through the lens of media philosophy, this chapter argues for the displacement of the human facial image from its traditional function of expressing interiority to a thematization of form and technicity in a contemporary audiovisual medium.</p><div class="ds-work-card--button-container"><div class="primary-buttons "><button class="ds2-5-button js-swp-download-button" data-signup-modal="{"location":"continue-reading-button--work-card","attachmentId":108973682,"attachmentType":"pdf","workUrl":"https://www.academia.edu/111430666/When_Face_Becomes_Interface_Music_Video_and_the_Portrait_of_Mediality"}"><span class="material-symbols-outlined" style="font-size: 20px" translate="no">description</span>See full PDF</button><button class="ds2-5-button ds2-5-button--secondary js-swp-download-button" data-signup-modal="{"location":"download-pdf-button--work-card","attachmentId":108973682,"attachmentType":"pdf","workUrl":"https://www.academia.edu/111430666/When_Face_Becomes_Interface_Music_Video_and_the_Portrait_of_Mediality"}"><span class="material-symbols-outlined" style="font-size: 20px" translate="no">download</span>Download PDF</button></div></div><div class="ds-signup-banner-trigger-container"><div class="ds-signup-banner-trigger ds-signup-banner-trigger-control"></div></div><div class="ds-signup-banner ds-signup-banner-control"><div id="ds-signup-banner-close-button"><button class="ds2-5-button ds2-5-button--secondary ds2-5-button--inverse"><span class="material-symbols-outlined" style="font-size: 20px" translate="no">close</span></button></div><div class="ds-signup-banner-ctas" data-impression-entity-id="111430666" data-impression-entity-type="2" data-impression-source="signup-banner"><img src="//a.academia-assets.com/images/academia-logo-capital-white.svg" /><h4 class="ds2-5-heading-serif-sm">Sign up for access to the world's latest research</h4><button class="ds2-5-button ds2-5-button--inverse ds2-5-button--full-width js-swp-download-button" data-signup-modal="{"location":"signup-banner"}">Sign up for free<span class="material-symbols-outlined" style="font-size: 20px" translate="no">arrow_forward</span></button></div><div class="ds-signup-banner-divider"></div><div class="ds-signup-banner-reasons"><div class="ds-signup-banner-reasons-item"><span class="material-symbols-outlined" style="font-size: 24px" translate="no">check</span><span>Get notified about relevant papers</span></div><div class="ds-signup-banner-reasons-item"><span class="material-symbols-outlined" style="font-size: 24px" translate="no">check</span><span>Save papers to use in your research</span></div><div class="ds-signup-banner-reasons-item"><span class="material-symbols-outlined" style="font-size: 24px" translate="no">check</span><span>Join the discussion with peers</span></div><div class="ds-signup-banner-reasons-item"><span class="material-symbols-outlined" style="font-size: 24px" translate="no">check</span><span>Track your impact</span></div></div></div><script>(() => { // Set up signup banner show/hide behavior: // 1. 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The key question addressed in this dissertation is how music videos belonging in different genres present similarities in their forms and representations. Given the fact that little research has been conducted on the music video as an art form, this dissertation is an opportunity to expand our knowledge on this field, and, especially, on an era where there seems to be a lack of clear focus when it comes to one or few ‘formulas’ that largely dictate the way videos are conceived and produced. According to academic literature, music videos are essentially a creation of the music industry in the 1950s in order to capitalize on an act’s ‘general package’, however, this shifted in the decades that followed, with the 1980s being considered as the ‘golden age’ of the music video, and the 1990s being the ‘experimental’ age, where the convergence between music video, cinema and art video became apparent. As there is little research on the way music videos were produced in the 2010s decade, the aim is to combine all of the existing bibliography of some very popular music videos, while meticulously examining their forms and representations through a thematic analysis derived through phenomenology. 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These distinct, yet interrelated, cultural practices have shared a mutual artistic history and evolved symbiotically, creating a rich tradition of audio-visual synthetic responses to socio- political movements and issues, adapting over time to the new technological and aesthetic modes of the era. Until recently, this relationship has received relatively little attention in Art Historical academia, with discourses by prominent theorists such as Holly Rogers and Carol Vernallis opening up the debate around the place of Music Videos within institutional settings. This thesis offers a selective, analytical study of the evolution of Video and Music Video - Art: from analog, to broadcast and now, in the contemporary period, digital and museological contexts. As a recent field of academic study, this thesis aims to offer conclusions as to the current, and future, relationship and artistic status of Music Videos in the contemporary cultural world, spanning artistic and musical spheres. This dissertation is by no means exhaustive, instead aiming to offer avenues for future study whilst highlighting the multifaceted nature of this contemporary art form. Focussing on close visual and contextual analyses I will demonstrate how, as a medium born out of counter-cultural artistic and socio-political processes, the Music Video - as - artwork is a cultural phenomenon that whilst seemingly contemporary, has a rich, irreverent and complex socio-artistic history.</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"Visualising Music: Exchange and Influence between Video Art and Popular Music Videos","attachmentId":75331877,"attachmentType":"pdf","work_url":"https://www.academia.edu/62634593/Visualising_Music_Exchange_and_Influence_between_Video_Art_and_Popular_Music_Videos","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/62634593/Visualising_Music_Exchange_and_Influence_between_Video_Art_and_Popular_Music_Videos"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="6" data-entity-id="33548970" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/33548970/Introduction_Music_Video_Histories_Aesthetics_Media">Introduction: Music/Video: Histories, Aesthetics, Media</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="600805" href="https://goldsmiths.academia.edu/MichaelGoddard">Michael Goddard</a><span>, </span><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="22842371" href="https://usfca.academia.edu/GinaArnold">Gina Arnold</a><span>, </span><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="563247" href="https://salford.academia.edu/kirstyfaircloughisaacs">Kirsty Fairclough</a></div><p class="ds-related-work--abstract ds2-5-body-sm">This book is a lively, comprehensive and timely reader on the music video, capitalising on cross-disciplinary research expertise, which represents a substantial academic engagement with the music video, a mediated form and practice that still remains relatively under-explored in a 21st century context. The music video has remained suspended between two distinct poles. On the one hand, the music video as the visual sheen of late capitalism, at the intersection of celebrity studies and postmodernism. On the other hand, the music video as art, looking to a prehistory of avant-garde film-making while perpetually pushing forward the digital frontier with a taste for anarchy, controversy, and the integration of special effects into a form designed to be disseminated across digital platforms. In this way, the music video virally re-engenders debates about high art and low culture. This collection presents a comprehensive account of the music video from a contemporary 21st century perspective. This entails revisiting key moments in the canonical history of the music video, exploring its articulations of sexuality and gender, examining its functioning as a form of artistic expression between music, film and video art, and following the music video’s dissemination into the digital domain, considering how digital media and social media have come to re-invent the forms and functions of the music video, well beyond the limits of “music television”. Author Bios: Gina Arnold is Visiting Professor at the Evergreen State College in Washington. Daniel Cookney is Lecturer in Graphic Design at the University of Salford, UK. Kirsty Fairclough is Director of International and Senior Lecturer in Media and Performance in the School of Arts and Media at the University of Salford, UK. Michael N. Goddard is Senior Lecturer and Course Leader in Film, Television and Moving image at the University of Westminster, UK.</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"Introduction: Music/Video: Histories, Aesthetics, Media","attachmentId":53577899,"attachmentType":"docx","work_url":"https://www.academia.edu/33548970/Introduction_Music_Video_Histories_Aesthetics_Media","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/33548970/Introduction_Music_Video_Histories_Aesthetics_Media"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="7" data-entity-id="84185508" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/84185508/REVIEW_Music_Video_Histories_Aesthetics_Media">REVIEW | Music/Video: Histories, Aesthetics, Media</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="48085212" href="https://irebs.academia.edu/LauraNiebling">Laura Niebling</a></div><p class="ds-related-work--metadata ds2-5-body-xs">IASPM@Journal, 2018</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"REVIEW | Music/Video: Histories, Aesthetics, Media","attachmentId":89296711,"attachmentType":"pdf","work_url":"https://www.academia.edu/84185508/REVIEW_Music_Video_Histories_Aesthetics_Media","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/84185508/REVIEW_Music_Video_Histories_Aesthetics_Media"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="8" data-entity-id="42208014" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/42208014/For_the_Affective_Aesthetics_of_Contemporary_Music_Video">For the Affective Aesthetics of Contemporary Music Video</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="858349" href="https://upol.academia.edu/TomasJirsa">Tomáš Jirsa</a></div><p class="ds-related-work--metadata ds2-5-body-xs">Music, Sound, and the Moving Image, vol. 13, no. 2 (2019): 187-208. Special issue "The Music Video in Transformation," ed. Tomáš Jirsa and Mathias Bonde Korsgaard.</p><p class="ds-related-work--abstract ds2-5-body-sm">Drawing on the ongoing dialogue between current music video scholarship and a cultural turn to affect, this article argues for an approach to affective aesthetics that focuses on both the aesthetically and theoretically generative work of affects within the music videos’ audiovisual forms and their performative mechanisms. Through a close analysis of ‘National Anthem’ by Lana Del Rey (dir. A. Mandler, 2012) and Baauer’s ‘Day Ones’ (dir. H. Murai, 2016), it examines anachronistic strategies through which contemporary music video performs political history, encompassing both past events and their mediation. While Mandler’s video generates nostalgia through the combination of archival media materiality, trip-hop tunes, and the narrative loop, mutually reshaping Kennedy’s 1960s and the Obama era, Murai’s piece plays out the ironic reenactment that actualizes the remote past through the affective perspective of anger enacted by the existential lyrics, dark beats, and anachronistic imagery of violence, merging the American Revolutionary War with suburban hip-hop reality. Opening up past events to the contemporary affects that shape audiovisual forms and trigger a transhistorical experience, both videos compel us to rethink the force of music video affects as neither emotional, nor representational, but rather performative.</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"For the Affective Aesthetics of Contemporary Music Video","attachmentId":65209114,"attachmentType":"pdf","work_url":"https://www.academia.edu/42208014/For_the_Affective_Aesthetics_of_Contemporary_Music_Video","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/42208014/For_the_Affective_Aesthetics_of_Contemporary_Music_Video"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="9" data-entity-id="33200654" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/33200654/Radioheads_Antivideos_Works_of_Art_in_the_Age_of_Electronic_Reproduction">Radiohead's Antivideos: Works of Art in the Age of Electronic Reproduction</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="64766167" href="https://independent.academia.edu/TateJody">Joseph M Tate</a></div><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"Radiohead's Antivideos: Works of Art in the Age of Electronic Reproduction","attachmentId":53280859,"attachmentType":"pdf","work_url":"https://www.academia.edu/33200654/Radioheads_Antivideos_Works_of_Art_in_the_Age_of_Electronic_Reproduction","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/33200654/Radioheads_Antivideos_Works_of_Art_in_the_Age_of_Electronic_Reproduction"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div></div></div><div class="ds-sticky-ctas--wrapper js-loswp-sticky-ctas hidden"><div class="ds-sticky-ctas--grid-container"><div class="ds-sticky-ctas--container"><button class="ds2-5-button js-swp-download-button" data-signup-modal="{"location":"continue-reading-button--sticky-ctas","attachmentId":108973682,"attachmentType":"pdf","workUrl":null}">See full PDF</button><button class="ds2-5-button ds2-5-button--secondary js-swp-download-button" data-signup-modal="{"location":"download-pdf-button--sticky-ctas","attachmentId":108973682,"attachmentType":"pdf","workUrl":null}"><span class="material-symbols-outlined" style="font-size: 20px" translate="no">download</span>Download PDF</button></div></div></div><div class="ds-below-fold--grid-container"><div class="ds-work--container js-loswp-embedded-document"><div class="attachment_preview" data-attachment="Attachment_108973682" style="display: none"><div class="js-scribd-document-container"><div class="scribd--document-loading js-scribd-document-loader" style="display: block;"><img alt="Loading..." src="//a.academia-assets.com/images/loaders/paper-load.gif" /><p>Loading Preview</p></div></div><div style="text-align: center;"><div class="scribd--no-preview-alert js-preview-unavailable"><p>Sorry, preview is currently unavailable. 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