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Audiovisuality Seminar

Presented by the Center for Sound Studies + Audiovisual Literacy and New Audiovisual Short-Forms (DFF-4089-00149). Everyone is welcome.

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Thursday 7 December 2017,  at 09:00 - 17:00


Aarhus University


”From Music Video Analysis to Practice: A Research-Creation Oriented Perspective on Music Videos”

John Richardson, Professor of Musicology, Turku University

In this presentation I will reflect on how my understanding of music videos and music video analysis has changed as a result of making music videos myself, for my first solo album project, The Fold (Svart Records, 2017). More specifically, I will ask whether two decades of experience as a musicologist and audiovisual analyst can bring anything new to the table artistically when it comes to music video production; or might this be a disadvantage? Conversely, does, or should, the experience of producing videos have any impact on how I analyze them?



“Audiovisual Rupture: Navigating the Spaces Between Sound and Image in Film”

Holly Rogers, Senior Lecturer, Goldsmiths, London


With reference to mental space theory and the field of psychology that deals with cognitive dissonance, an attempt will be made to differentiate between ‘consonant’, ‘irrelevant’ and ‘dissonant’ audiovisual relationships. Using examples from various film traditions—popular narrative, experimental and documentary—I will explore alternative ways of thinking about audiovisual dissonance in the twentieth-century, including concepts such as layering, sonic elongation and aporia.



“Fake, Parodic and Honest Trailers: Remixing the Film Trailer Audiovisually”

Mathias Bonde Korsgaard, Assistant Professor, Aarhus University

In recent years film trailers have undergone a wide range of changes, mostly due the fact that they are now distributed online and therefore available to watch at any point during a film’s promotional cycle. The new possibilities in digital production and distribution have also led to the rise of new formats that parody and challenge the trailer, such as fake trailers and honest trailers. In this presentation I will engage with the audiovisual aesthetics of these trailer remixes and deliberate on their promotional status.