Music Video after MTV

Since the 1980s, music videos have been everywhere, and today almost all of
the most-viewed clips on YouTube are music videos. However, in academia,
music videos do not currently share this popularity. Music Video after MTV
gives music video its due academic credit by exploring the changing land-
scapes surrounding post-millennial music video. Across seven chapters, the
book addresses core issues relating to the study of music videos, including
the history, analysis, and audiovisual aesthetics of music videos. Moreover,
the book is the first of its kind to truly address the recent changes follow-
ing the digitization of music video, including its changing cycles of produc-
tion, distribution and reception, the influence of music videos on other media,
and the rise of new types of online music video. Approaching music videos
from a composite theoretical framework, Music Video after MTV brings mu-
sic video research up to speed in several areas: it offers the first account of
the research history of music videos, the first truly audiovisual approach to
music video studies, and it presents numerous inspiring case studies ranging
from classics by Michel Gondry and Chris Cunningham to recent experi-
mental and interactive videos that interrogate the very limits of music video.

Mathias Bonde Korsgaard is Assistant Professor at the School of Commu-

nication and Culture, Aarhus University. His work focuses on music video,
audiovisual studies, and audiovisual remixing. He has published articles in
Journal of Aesthetics and Culture and 16:9, and the anthologies Globalizing
Art and The Oxford Handbook of New Audiovisual Aesthetics.
This book is destined to become the go-to book on new music video forms.
Korsgaard skilfully navigates the terrain of the audiovisual in an age of
unprecedented media s­ aturation marked by the proliferation of genres and
the frenetic onward march of techno­logies. The book is clearly organised
and approachably written, offering an essential roadmap to the most re-
cent developments in new music video aesthetics and the participatory and
hybridised media forms it has spawned. This book is likely to be of consid-
erable interest to researchers, students and the general educated reader in-
terested in exploring in depth the whole gamut of music video-related forms
in contemporary society. Korsgaard’s work is, moreover, strongly interdisci-
plinary, combining insights from music research, media studies and cultural
studies.
John Richardson, University of Turku, Finland

Following more than thirty years of insightful definitions and analyses of

the music video, it’s surprising but right to assert that Music Video after
MTV is the founding text on the subject. Insisting on music video’s audio-
visuality and multimediality, Korsgaard’s lively, clear-headed work is full of
discoveries, not least of which is his masterful classification of recent music
videos’ subgenres and forms.
Claudia Gorbman, University of Washington Tacoma, USA
Routledge Research in Music
For a full list of titles in this series, please visit www.routledge.com.

Masculinity in Opera
Gender, History, & New Musicology
Edited by Philip Purvis

Music in Films on the Middle Ages

Authenticity vs. Fantasy
John Haines

Popular Music in a Digital Music Economy

Problems and Practices for a Service Industry
Tim J. Anderson

Music, Performance, and the Realities of Film

Shared Concert Experiences in Screen Fiction
Ben Winters

The Modern Percussion Revolution

Journeys of the Progressive Artist
Edited by Kevin Lewis and Gustavo Aguilar

Preserving Popular Music Heritage

Do-it-Yourself, Do-it-Together
Edited by Sarah Baker

Opera in a Multicultural World

Coloniality, Culture, Performance
Edited by Mary I. Ingraham, Joseph K. So, and Roy Moodley

Current Directions in Ecomusicology

Music, Culture, Nature
Edited by Aaron S. Allen and Kevin Dawe

Burma, Kipling and Western Music

The Riff from Mandalay
Andrew Selth
This page intentionally left blank
Music Video after MTV
Audiovisual Studies, New Media,
and Popular Music

Mathias Bonde Korsgaard

First published 2017
by Routledge
2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN
and by Routledge
711 Third Avenue, New York, NY 10017
Routledge is an imprint of the Taylor & Francis Group, an informa business
© 2017 Mathias Bonde Korsgaard
The right of Mathias Bonde Korsgaard to be identified as author
of this work has been asserted by him in accordance with sections
77 and 78 of the Copyright, Designs and Patents Act 1988.
All rights reserved. No part of this book may be reprinted or
reproduced or utilised in any form or by any electronic, mechanical,
or other means, now known or hereafter invented, including
photocopying and recording, or in any information storage or
retrieval system, without permission in writing from the publishers.
Trademark notice: Product or corporate names may be trademarks
or registered trademarks, and are used only for identification and
explanation without intent to infringe.
British Library Cataloguing-in-Publication Data
A catalogue record for this book is available from the British Library
Library of Congress Cataloging-in-Publication Data
Names: Korsgaard, Mathias Bonde author.
Title: Music video after MTV: audiovisual studies, new media,
and popular music / Mathias Bonde Korsgaard.
Description: Milton Park, Abingdon, Oxon; New York,
NY: Routledge, 2017. | Series: Routledge research in music | Includes
bibliographical references and index. | Includes videography.
Identifiers: LCCN 2016048319 | ISBN 9781138670600
(hardback: alk. paper) | ISBN 9781315617565 (ebook)
Subjects: LCSH: Music videos—History and criticism.
Classification: LCC PN1992.8.M87 K67 2017 | DDC 780.26/7—dc23
LC record available at https://lccn.loc.gov/2016048319

ISBN: 978-1-138-67060-0 (hbk)

ISBN: 978-1-315-61756-5 (ebk)
Typeset in Times New Roman
by codeMantra
Contents

List of illustrations viii

Acknowledgments ix

Introduction 1

1 Defining music video 16

2 Audiovisual remediation 41

3 The musicalization of vision 62

4 A polyphony of images 90

5 Hybrid spaces and impossible time 113

6 Music video aesthetics across media 144

7 Post-music video 173

Conclusion 197

Bibliography 201
Videography 213
Index 221
Illustrations

1.1 Busby Berkeley reference in Cloud Nothings’ “Fall In,”

dir. John Ryan Manning, 2012 20
1.2 Oskar Fischinger reference in Robyn’s “With Every
Heartbeat,” dir. Fredrik Skogkvist, 2007 21
2.1 Remediation in REM’s “Bad Day,” dir. Tim Hope, 2003 45
2.2 Remediation in M.I.A.’s “The Message,” dir. unknown, 2010 45
3.1 Chemical Brothers’ “Star Guitar,” dir. Michel Gondry, 2001 73
3.2 Gil Scott-Heron’s “New York Is Killing Me,” dir. Chris
Cunningham, 2010 79
3.3 Kylie Minogue’s “Come into My World,” dir. Michel
Gondry, 2002 83
4.1 Uffe’s “When the Sun Rose,” dir. Karlis Kreecers and
Daniel N­ ørregaard, 2012 93
4.2 OK Go’s “WTF?”, dir. Tim Nackashi and OK Go, 2009 98
4.3 Beyoncé’s “Countdown,” dir. Adria Petty, 2011 (as seen
on yooouuutuuube.com) 103
4.4 Arcade Fire’s “We Used to Wait,” dir. Chris Milk, 2010 106
5.1 Radiohead’s “House of Cards,” dir. James Frost, 2008 125
5.2 Tame Impala’s “Why Won’t You Make up Your Mind?,”
dir. RJ Bentler, 2011 130
5.3 360-degree camera in Tame Impala’s “Expectation,” dir.
Clemens H ­ abicht, 2010 134
5.4 Fionn Regan’s “Be Good or Be Gone,” dir. Si & Ad, 2007 136
5.5 Deerhoof’s “My Purple Past,” dir. Asha Schechter, 2009 137
6.1 Jarvis Cocker performing “Why Did You Make Me Care?”
from Beck’s Song Reader, 2012 162
7.1 Björk’s “Crystalline” (app), dir. M/M Paris, 2011 184
7.2 Beirut’s “The Penalty,” Take-Away Show, dir. Vincent Moon, 2007 187
7.3 Death Grips’ Retrograde GIF sampler, dir. Jacob Ciocci
and Death Grips, 2012 191
Acknowledgments

This book is based on a PhD Dissertation I submitted at Aarhus University,

Denmark, in 2013. Whilst writing my PhD dissertation, many people helped
me shape my arguments and rethink what I thought I knew, and they there-
fore deserve credit for this book having come into being. The two people to
have most frequently and fruitfully commented on and contributed to my
work are Bodil Marie Stavning Thomsen and Carol Vernallis. Bodil Marie
has not only critiqued the entirety of my work but has always been very
kind to include me in many of her exiting research activities—something
that has been truly inspiring. As one of the few people to have devoted her
research to music videos, Carol has always been an academic inspiration,
and I would like to thank her for engaging in productive discussions during
my time at Stanford University (my thanks also go to Jarek Kapucinski and
the people at CCRMA).
Many of my other colleagues at Aarhus University also provided valu-
able input during my research (or took my mind off things when I needed
distraction)—among others, my former co-supervisor Charlotte Rørdam
Larsen, Jakob Isak Nielsen and Bergdis Þhrastardóttir. Moreover, Steen
Kaargaard Nielsen, Jody Berland and Arild Fetveit also deserve my grati-
tude for having provided significant and highly valuable points of criticism.
I would also like to thank the two anonymous reviewers that read parts of
the book for Routledge—one for affirming the strengths of my project and
the other for allowing me to redress some of its weaknesses. I am also happy
to have worked with the people at Routledge in making this book happen, in
particular Elizabeth Levine, Nicole Eno, Heidi Bishop and Annie Vaughan.
My thanks also go to Sarah Jennings for copy editing the entire manuscript
(kindly funded by AUFF). Last but not least, I would like to thank my
­family, without whom this book would not have been written. So thank you,
Lulle (the kindest woman and my harshest critic), KT and Thøger!
Parts of the book have been published previously in different form. The
analysis of OK Go’s “WTF?” combined with parts of chapter 5 has been
published in a slightly different shape as the article “Creation and E
­ rasure:
Music Video as a Signaletic Form of Practice” in Journal of Aesthetics and
Culture (2015, Co-Action Publishing) (reprinted with permission). The
x Acknowledgments
analysis of Arcade Fire’s “We Used to Wait” and of Björk’s Biophilia com-
bined with parts of chapter 7 has been published as a chapter in The Oxford
Handbook of New Audiovisual Aesthetics (2012, Oxford University Press),
entitled “Music Video Transformed” (reprinted with permission). ­Finally,
the section on the history of music video found in chapter 1 has been re-
worked into a Danish version, published as “‘I Don’t Want My MTV’:
Musikvideoens forhistorie” in the online film journal 16:9 (reprinted with
permission).
Finally, let me just admit that the irony of my using music video stills
throughout this book is not lost on me. I take great care to note how the
meanings of music video rise from the interaction between its elements, bet­
ween sound and image—so, with these stills, I contradict myself by stick-
ing to the visual (moreover, a single still is rarely able to communicate the
polyphony of images that I claim to be a central aspect of the visual side of
music videos). Nonetheless, I have chosen to use stills because, at the very
least, they allow the reader to see what the music videos in question look
like, and they also add to the reading experience (besides, there is as yet no
alternative solution). Needless to say, I urge any reader to seek out and enjoy
the actual music videos.
Introduction

An art that should look like music sounds.

—John Whitney

Since you have picked up this book, chances are that you have at some point
watched Psy’s infamous music video for “Gangnam Style.” So let’s get it over
with, seeing as a book called Music Video after MTV must at some point
mention “Gangnam Style.” If anything, this video reminds us of the contin-
ued importance and popularity of the music video across the contemporary
global media landscape, being not only the first music video but the first
video of any kind to have reached a billion views on YouTube (this figure has
now increased to over two billion). It is still something of a mystery to me
why this particular video became the global phenomenon that it did, as it is
in some ways a fairly traditional or perhaps even old-fashioned music video.
It carries many of the signs of a prototypical music video—a catchy song, a
remarkable dance routine, the showcasing of the musical performer, striking
rhythmic relations between music and image, and glitzy colors. “Gangnam
Style” is certainly representative of the post-televisual music video in terms
of the changing contexts of distribution and reception as compared to music
videos on television, but in terms of the music video form, it is not remarkably
different from its televisual predecessors. In fact, it is nothing out of the
ordinary.
Given the popularity of “Gangnam Style,” it is no surprise that it has been
widely and variedly imitated, parodied, and remixed. One such parodic
remix by Mikolaj Gackowski has redesigned “Gangnam Style” as a so-called
“music video without music.”1 In this video, as in other “music videos with-
out music,” the music has been removed and replaced by what is meant to
appear as diegetic sounds—or in other words, the sounds of what we see
on-screen (as well as what we infer is taking place off-screen). Instead of
hearing music, we hear what the music video would have sounded like if
sound had been recorded on location. When something explodes on screen,
we hear an explosion. When Psy dances, we hear the tapping of his shoes on
the ground. But at no point do we hear the accompanying music.
2 Introduction
The result is both hilarious and highly incoherent. This video tells us
as much about what music video is and what it does as does the original
“Gangnam Style”—and perhaps also as much about what music video has
become. First of all, it asks the same simple question many online music vid-
eos ask today: what is a music video? And is a music video without music still
a music video? It reminds us that, as music videos have become a highly
integrated part of remix culture, the music video has become increasingly dif-
ficult to delineate formally, as it continuously changes shape alongside new
formal experiments. Moreover, it tells us a lot about audiovisual relations,
not only in music videos but in audiovisual mediation in general. It is clear
that we experience the relation between music and image quite differently in
this version than we do in the original. Obviously, the sound is markedly dif-
ferent from the original, but although the images are the same in this video
as in the original, we experience them quite differently: we notice new details;
we become aware of the role normally played by the music in tying the oth-
erwise ridiculous, even nonsensical, images together; and we also become
aware of the highly constructed nature of both sound and image and their
interrelation in most kinds of audiovisual mediation—we know full well that
this is not the actual soundtrack for the video, even though it pretends to be.
However, paradoxically, this also reminds us that the music that has been
removed was in fact not the actual soundtrack either. The relation between
sound and image in music videos is one in which the two constantly interact
and give meaning to each other, but it is by no means a direct causal rela-
tion. The music has been visualized by adding images to it. This affects the
way that we experience the music—the images give meaning to the music
and make us listen differently to the music. Conversely, this also means that
the music gives meaning to the images—the images themselves have been
musicalized, shaped in concordance with musical parameters. And perhaps
this is why they come off as ridiculous when we watch them with another
soundtrack—the images were never meant to function in the way that mov-
ing images normally do in most other media forms. Instead, they function
musically. Along these lines, music video can be considered a fundamental
meeting ground for the moving image and the recorded musical sound as
well as the exploration of the possible relations between the two.
This book is as much about “Gangnam Style”—or music video proper—
as it is about the musicless version and the many similar new obscure types
of music video that saw the light of day after music video moved online.
Music Video after MTV engages specifically with post-millennial music
video, but it does so without losing touch with the history of music video
and the history of music video studies thus far.

The second golden age of music video

Since the 1980s, music videos have been visible everywhere, and today almost
all of the most-viewed clips on YouTube are music videos, with “Gangnam
 Introduction 3
Style” as number one. However, in academia, music videos do not exactly
share this popularity—and have not done so since the early 1990s. Quite
paradoxically, the medium of the music video seems to be in a permanent
state of simultaneous crisis and reinvigoration. Having more or less out-
played its televisual relevance, the music video has become one of the most
visible and important forms of online media. Research on music videos has
yet to catch up with the consequences of this transition, in terms of the dis-
tribution, reception, and production of music videos. This book promises
to give music video its due academic credit by delving into the changing
landscapes surrounding post-millennial music video. Across seven chapters,
the book addresses some of the core issues relating to the general study of
music videos, including the history of music videos, the analysis of music
videos, and the audiovisual aesthetics of music videos. In addition to this,
the book is the first of its kind to truly address the recent changes following
the digitization of music video, including its changing cycles of production,
distribution, and reception, the influence of music videos on other media,
and the rise of many new types of online music video.
Approaching music videos from a composite theoretical framework—
combining the best of film and media studies, musicology, and audiovis-
ual studies—the book aims to bring research on music videos up to speed
in a number of areas. Accordingly, Music Video after MTV offers the first
account of the research history of music videos (covering not only the
Anglo-­A merican sources but also research in Scandinavian languages and
German), the first truly audiovisual approach to music video studies, as well
as an inspiring range of in-depth case studies, ranging from post-millennial
classics in the works of Michel Gondry and Chris Cunningham to recent
experimental and interactive music videos that interrogate the very limits
of the music video. The book thereby engages with analytical materials that
have previously remained largely outside the realm of academic study. This
includes some of music video’s new shapes (for example, interactive videos,
music video apps, and 3D music videos), some of the new directors (for ex-
ample, Tim Nackashi, Chris Milk, and Vincent Moon), and several new vid-
eos (from the year 2000 onwards) as well as the work of some of the grand
auteurs (for example, Gondry and Cunningham) and of some of the current
remarkable “music video bands” (for example, OK Go and Arcade Fire).
The book promises to break new ground in the study of music videos by
doing four things. First, it engages with the history of music video as well as
with the history of the study of music video—acknowledging the fact that
the study of music video has only recently become a discipline with a past
(as has also been suggested for the study of film music2). Second, it theorizes
music video and its aesthetics audiovisually (and thereby as the sole province
of neither film studies nor musicology). While this theoretical framework
is not entirely unique to this book, it is remarkable that much of the extant
scholarship fails to take heed of both the musical and visual aspects when
addressing music videos. Third, the book traces the interrelations between
4 Introduction
music video and other media—and the influence music videos have had on
film style and the visual aspects of popular music. The audiovisual aesthetic
of the music video has become so widespread that it can be traced almost
anywhere—from feature films to children’s television, from sports television
to many of the new user-driven YouTube-genres, and well beyond. Finally,
it explores and maps out the fundamental changes in music video after its
digitization, particularly the wealth of formal experiments online and the
proliferation of new shapes (including interactive music videos, music video
apps, music video games, remixes/mashups, user-generated content, and
“live” music videos).
It is not uncommon to claim that the golden age of music video is over
and has been for a while. Moreover, as music videos slowly began to dis-
appear from MTV, academic interest in music video also waned. Though a
widely popular object of study in the 1980s and the early 1990s, the first wave
of scholarship on music video seemed to end around 1993 with The Music
Video Reader.3 More recently, however, the study of music video has gradu-
ally begun to regain momentum and entered its second stage, starting with
Kevin Williams’ Why I [Still] Want My MTV in 2003 and Carol Vernallis’
Experiencing Music Video in 2004.4 Part of the ambition of this book is sim-
ply to reclaim music video as an object of serious research. It is startling
how little attention has been paid to music video given its great presence
across the current media landscape and in our daily lives. Since music video
continues to make an aesthetic impact on a global scale, it is becoming in-
creasingly problematic to neglect it as an area of academic study.
Furthermore, music video itself is currently experiencing a second golden
age due to its post-televisual resurrection online. Today, music videos are
made, circulated, consumed, and enjoyed in new ways. This second golden
age arguably began around the turn of the millennium with the renewed
distribution possibilities offered online and the influence of a talented gen-
eration of music video auteurs.5 As a consequence, an entire body of work
that has not yet been subject to academic scrutiny exists, including many
of the videos addressed here. However, it is important to study music video
not only because there are so many of them that remain unexamined by
academia but also because of the simple fact that we all watch them. Music
videos form part of our everyday lives, our everyday mediated experience of
musical sounds and moving images. A groundbreaking audiovisual medium
that is as rich, potent, and influential as music video simply needs to be
taken seriously. And if nothing else, I hope this book will inspire you to (re)
visit some of the hundreds of music videos referenced throughout.

Music video and remediation

In order to grasp music video’s different transformations, it is necessary
to address the intermedial nature of music video by looking at its con-
stant reworking of impulses from other media forms. In concordance with
 Introduction 5
poststructuralist notions of general movements from text to textuality6
and from genre to genericity,7 an equivalent movement from medium to
mediality8 could be proposed. This idea of mediality implies a flexible and
relational approach to the concept of medium, here based on the notions of
remediation and intermediality. In this context, this means that the medium
of music video should not be conceived of in terms of a singular defining
essence of medium specificity but rather that its specificity should be defined
through its relations to other media.
This is also one of the main ideas of the book Remediation: Understand-
ing New Media by Jay David Bolter and Richard Grusin9 —a book that has
inspired some of my ways of thinking about music video. Bolter and Grusin
propose that all processes of mediation are always also instances of remedi-
ation, meaning that any new medium is defined by the way in which it incor-
porates or reworks the techniques, forms, and aesthetics of existing media.
From this perspective, music video both remediates and is remediated. It
builds on expressions known from other media—mainly popular music,
cinema, and television—at the same time it exerts an influence on these
media. Today, music video is also influential for a wide range of other media
including so-called “new media”—to such an extent that “the music video
has in many ways become the signature form of all media.”10 Music video
is thereby arguably both an important precursor to and an integral part of
contemporary digital audiovisual media culture. In this way, I am nearly
as concerned with the resonances and affiliations between music video and
other media as I am with music video itself.
Viewing music video through the lens of the concept of remediation also
means that I take a stance against some of the existing scholarly work on
music video. I particularly want to promote an approach to music video
that escapes the confines of postmodernist theorization. The early writings
on music video frequently describe it as an emblematically postmodernist
medium due to the videos’ alleged “schizophrenic narration,” their ostensibly
fragmented nature, their purported tendency to work through pastiche or
parody, their way of offering an excess of images in a free play of “floating
signifiers” or “signifiers without signifieds,” their disruption of any easy dis-
tinction between high and low culture, and their way of flattening history
and collapsing past, present and future into one.11 While this view may seem
to capture some truths about music video, it also has its limitations—the
main limitation being that, when music video is considered a postmodern-
ist form par excellence, attention is given almost exclusively to its images
and lyrics and not to its audiovisual relation or the music as such.12 If seen
as an audiovisual medium or simply from a musical perspective, the visual
style of music video is not necessarily one of postmodernist fragmentation.
Rather, this feature of visual disjunction stems from the role played by the
music and from the apparent impossibility of visualizing the (mainly) non-­
representational codes of music through the (traditionally) representational
codes of images.
6 Introduction
This general lack of attention to the music in relation to music video has
often been pointed out, with commentators noting that the first wave of
writings on music video (and postmodernism) tended to only see the images
and lyrics of music video, neglecting to hear the music altogether.13 Conse-
quently, as noted by Nicholas Cook, “music videos almost always end up
being analysed as videos but not as music.”14 However, in the second wave
of work on music video, there is a general tendency to acknowledge the fact
that, in music video, “music comes first.”15 The visuals of a music video are
usually constructed on the basis of a pre-existing musical recording. Without
the song, there would be no video.
While I acknowledge the fact that the music plays a crucial role in music
video, I also insist that music videos should ideally be analyzed in their
specific combination of sound and image, not merely as “music” or “video”
but as both. Indeed, a music video is, in the words of Lisbeth Ihlemann, “a
totality of music, image and text and should be analyzed as such.”16 Music
video operates through a multiplicity of different registers and through a
dual remediation of sound and image. Even though the etymology of the
term “music video” would suggest a visual perspective—literally meaning
“music I see” from the Latin video—we should perhaps also think of music
video as “image audio”: images I hear (from the Latin audio). In this way,
music videos come to represent a specific type of “audio-vision,”17 a certain
interweaving of sounds, images, and words. Obviously, any music video is
a visualization of music, but the interactions between image and music also
often take on the form of what I have termed a “musicalization of vision,”18
a particular instance of audiovisual remediation where the images respond
to musical parameters (see chapter 3).
Along these lines, I also maintain that the audiovisuality of music video
has shaped some of the ways we conceive of audiovisuality and audio­
visual culture today. If digital culture indeed implies a movement from the
representational sign to the affect of the signal,19 it is no surprise that the
non-referential code of music plays a pivotal role. The audiovisual remedi-
ation that takes place between sound and image in music video can thereby
also be seen as a central component of new media culture. As proposed by
Steven Shaviro, it seems reasonable to suggest that we have moved beyond
both the Deleuzian movement-image and the time-image to which it gave
way, so that we are now faced with “a new sort of audiovisual or multimedia
image”20 —an image invested with musical and tactile qualities.21 I argue
that this new media image was in large part ushered in by music video. With
music video, long before new media culture, we are perhaps already beyond
visual culture, and beyond the Deleuzian time-image.

Music video and audiovisual studies

As already indicated, the medium of music video is also historically based
on remediating other media. Throughout the book, I argue that, due to the
 Introduction 7
particularity of its audiovisuality and its fundamental difference from both
cinema and popular music, music video is an independent audiovisual medium
and should be studied as such. In my view, music video is not a cinematic,
televisual, or popular musical subgenre. This recognition of music video’s
independence as a particular audiovisual medium also means that we should
treat it in new ways. If, as I claim, the medium of music video is defined by its
very hybridity, then we also need to fuse impulses from several different dis-
ciplines and theories in order to grasp the full spectrum of what music video
is. Media hybridization and convergence also necessarily entail a theoretical,
methodological, and disciplinary hybridization and convergence.
The composite character of the medium of music video (and of new media
in general) also means that we need to combine the insights from different
disciplines (including at least popular music studies and film/media studies).
In a way, the concept of remediation thereby has implications not only in
terms of mediation but also in terms of theorization and disciplinarity: if
new media reconfigure old media, then new theories and disciplines also
reconfigure extant ones. Film scholarship was largely built on literary studies,
the study of music video has drawn on a wide range of other disciplines,
and new media studies extend film studies. If it is true, as D. N. Rodowick
and others have claimed, that “new media have been imagined from a cine-
matic metaphor,”22 then certainly the theories of new media also rest upon a
cinematic and visual foundation. I hope to show how it is possible to think
less exclusively cinematically or visually about music video and new media.
There is great potential in rethinking both music video and new media audi-
ovisually and multi-perceptually.
In terms of theory, the goal of this book is to broaden the disciplinary
palette. Film studies, popular music studies, and (new) media studies all
have something to offer the study of contemporary music video. Throughout
the book I draw on all of these disciplines, explicitly locating music video
at their intersection, but I also propose viewing music video as the prov-
ince of a new and emerging disciplinary endeavor—what Julie McQuinn has
termed “popular music and multimedia studies”23 but what I suggest calling
audiovisual studies. The discipline of audiovisual studies explicitly focuses
on audiovisual relations instead of the specifically visual or the specifically
aural. As such, some amount of theoretical and disciplinary hybridization is
unavoidable. McQuinn explains it as follows:

Indeed, the focus of this book is the powerful interaction between popular
music and multimedia—film, television, music video and video games.
This focus lies at a crossroads of multiple ‘disciplines,’ many of which are
themselves interdisciplinary. Add in the recent development of the field
of new media studies and the layers of crossover multiply again.24

While we may lose our sense of disciplinary certainty in this cross-­

pollination of disciplines, we also gain “opportunities for thinking across
8 Introduction
disciplines, across media, across hierarchies.”25 Instead of thinking about
the medium of music video as a pure medium (or any other medium for that
matter), it is important to recognize its fundamental polyvalence and its
many different forms, functions, and facets. Indeed, music video extends
across disciplines, media, and hierarchies.
In order to move beyond the limitations of essentialist and purist theory,
what is needed is perhaps what W. J. T. Mitchell has called “a de-disciplinary
exercise.”26 Jacques Attali has made a similar proposal, calling for “theoretical
indiscipline,”27 while Vivian Sobchack similarly admits that her approach is
perhaps “undisciplined.”28 Such thinking is alluring, I think. I find such an
indisciplinary approach perfectly suited for grasping the multiplicity of sen-
sations in music video, for understanding media relations, affiliations and
interactions, and for approximating a way of handling audiovisuality ana-
lytically. It is especially important to move beyond the strictly visual study
of culture and media. This is particularly relevant for this book, since music
video, like most other contemporary media, occupies “a space that overlaps
various scholarly (as well as sensorial and semantic) domains.”29
In a more concrete sense, all of this means that my particular approach
to the medium of music video is founded on a host of varying traditions.
Particularly influential to my thinking have been some of the writings spe-
cifically on music video (most notably the work of Carol Vernallis and Kevin
Williams’ book Why I [Still] Want My MTV), some of the scarce writings
on audiovisuality (mainly Michel Chion’s work, but also others), certain
factions of (new) media studies (both Bolter and Grusin’s book on remedia-
tion and the work of Lev Manovich in particular), Steven Shaviro’s writings
on post-cinematic media, and several theoretical inquiries into questions
of intermediality. Other names and books might also be mentioned, from
Marshall McLuhan to Gilles Deleuze, from Andrew Darley’s book on digital
culture to Gene Youngblood’s book on expanded cinema—and beyond. All
of this talk about being indisciplinary is no mere defensive move designed to
ward off allegations of theoretical inconsistency in advance. Approaching
music video from the vantage point of these uneven theories and writings
allows for a more multifaceted and thereby precise understanding of its me-
diality; one that is not limited to understanding just the visual or the musical
aspects but rather their interrelation.

Post-millennial music video

A crucial part of this book consists of close readings of specific music
videos—12 readings in total grouped in pairs of three across four chapters
(chapters 3, 4, 5, and 7). This approach not only reveals the specific relations
between music video and other media but also lays bare some of the ways
post-millennial music videos look, sound, and feel. In order to come to
grips with any medium, it is necessary to closely examine its actual man-
ifestations. My analyses thereby intend to map out the different aspects of
 Introduction 9
the mediality of music video—concentrating specifically on technologies,
aesthetics, content, form, and different kinds of “context” (as well as the
ways in which these different layers interrelate). I promote a specific kind of
audiovisual analysis that always aims to keep the multimodal interrelations
between sound and image in mind. I do this in order to move beyond the
common practice of analyzing music videos as moving images.
Still, the visual is unmistakably present in my analyses. As much as I
consistently maintain that we need to pay attention to audiovisual relations
and take the role of the music seriously, I probably devote more time to the
visual than to the aural aspect in my analyses. There are several possible
reasons for this shortcoming, this analytical hypocrisy: my insistence on
audiovisual analysis is also a personal call to resistance as a scholar trained
in film studies and the study of images, not in popular music studies. It is an
attempt to challenge my own analytical habits. Another explanation is that
the image is often the site of experimentation and innovation in music video.
The music is already there—the musical innovation happens in the music,
not in the video. However, though challenging at times, my methodological
approach is specifically designed to overcome the fact that most of us are not
equally trained in visual and musical analysis. I cannot escape the fact that
I am mainly visually trained, but I can at least make an effort to unsettle my
customary method.
When it comes to delineating the empirical field of this book—or in other
words, when it comes to choosing videos for analysis—a certain problem
arises that concerns the medium’s formal heterogeneity: it is very difficult
to isolate a single music video aesthetic since a defining trait of the medium
is its very stylistic plurality. However, the examples chosen here all have at
least one thing in common: they show that music video has, in certain cases,
resulted in innovative audiovisual expressions that push the boundaries of
audiovisual culture and affect the ways we conceive of audiovisual media-
tion in general.
Moreover, for the concrete case studies, I have chosen to limit my scope
to music videos produced after the year 2000. I have done so since my focus
is mainly on digital music video and the new shapes that music video has
taken on recently—and the experimentation with digital technology within
music video has certainly gained pace since the beginning of the millennium.
In terms of the distribution of music videos, this period has also seen the
translocation of music videos from television to the Internet, most notably
with the establishment of YouTube in 2005.
In addition to this, I have also chosen to focus on certain tendencies and
traits that I have observed after watching literally thousands of music
videos. Watching this many videos revealed the heterogeneous nature of the
medium, but it also provided me with an insight into some significant fea-
tures that are shared across a significant range of videos; for instance, what
I have termed “the musicalization of vision,” the tendency to operate with
several images and frames within frames at once, the aspiration towards
10 Introduction
spatiotemporal hybridity and mutability, and the general vein of experimen-
tation with digital imaging techniques (that is, some of the traits I explore
in chapters 3 to 5). As such, I focus mostly on analyzing those videos that
explicitly engage in these processes, often in novel ways.
Finally, it seems that the videos I concentrate on mostly, though not ex-
clusively, operate within certain musical genres that deviate somewhat from
mainstream pop (that is, mainly different strands of alternative rock and
electronic music). It is perhaps not a surprise that the tendency to push the
audiovisual language to its extremes appears in videos for musicians that
operate within these genres, since these genres tend to offer room for a mu-
sical experimentation that corresponds to the audiovisual experimentation
in the accompanying music video—or at least they seem to do so to a much
higher degree than mainstream pop. When I do engage with mainstream
pop videos, the pop musicians have often teamed up with an acclaimed music
video director.
In this sense, then, I focus mainly on a particular global “artistic” strand
of music video. The videos I engage with often lean towards the artistic
and countercultural. I am mainly concerned with new music videos, digital
music videos, online music videos, and innovative music videos. As I pro-
vide numerous brief examples from the entire history of music video and 12
concrete in-depth analyses, there is bound to be some amount of difference
among the videos in question. As already pointed out, the radical heteroge-
neity of the medium is an insurmountable problem—and so, heterogeneity
is also a factor in my concrete examples that, in some cases, are widely dif-
ferent from each other. Of course there are always some choices and omis-
sions that have to be made, some more deliberate than others, some more
coincidental than others, some more bound up with my personal taste than
others. Nonetheless, I still believe that my examples and analyses add up to
provide a very precise insight into what music video has become today—if
only due to the very newness of the videos in question.

Book structure
The book is divided into seven chapters, all of which deal with different as-
pects of music video. In short, chapter 1 is about the cultural and academic
history of music video and the existing methods and approaches to music
video. Chapter 2 focuses on theoretical matters of mediality, digitality, and
audiovisuality. Chapter 3 is about audiovisual relations and the interactions
between music and images in music video. Chapter 4 deals with visual multi-
plicity in music video. Chapter 5 is concerned with spatiotemporal hybridity
in music video and the aspiration towards a reorganization of perceptual
hierarchies in music video. Chapter 6 concerns the influence of music video
on other media, mainly cinema, popular music, and new media. Chapter 7,
the final chapter, explores the digital transformation that music video itself
has recently lived through.
 Introduction 11
Explained more elaborately, the book begins with a general introduction
to music video and the existing academic work on music video in the first
chapter, “Defining music video.” In this chapter, I envision music video as
a historical meeting ground for the moving image and the recorded musical
sound. The chapter also engages with some of the extant academic ap-
proaches to music video in defining what a music video even is—historically,
formally, and generically. Thus, the chapter is divided into three subsections:
the first of these deals with the (pre)history of music videos, the second aims
to provide a formal definition of music video, while the third turns to the
question of genres in music video. The chapter thereby lays some of the
groundwork for understanding the medium of the music video.
The second chapter, “Audiovisual remediation,” focuses primarily on
theoretical questions and concerns, particularly media theoretical issues.
In the chapter, I put forward the basic claim that music video is an independ-
ent medium in its own right and not just a cinematic or popular musical
subgenre—we therefore need to recognize the specific mediality of the
music video in order to comprehend the role it plays in contemporary cul-
ture. Moreover, I propose that music videos generally follow the logics of
remediation on a number of levels—both in the sense that they frequently
imitate and redesign existing media types and also in the sense that they
rework popular music in a visual form. The chapter contains four subsec-
tions: the first zooms in on the question of remediation. The second links the
concept of remediation to broader discussions concerning intermediality.
This leads to the third subsection on the question of digitality as a force
that has changed our understandings of mediality and medium specificity,
and our ways of distinguishing among different media forms. Finally, the
fourth subsection addresses the notion of audiovisuality as a central com-
ponent of music video. Here, I suggest locating music video studies as part
of the larger emerging field of audiovisual studies—a discipline that stands
in marked contrast to “visual studies” and also, to a lesser extent, to “sound
studies.” In a sense, the goal of both sound studies and audiovisual studies is
to challenge the proposed cultural hegemony of vision in providing a greater
focus on the role played by sound and hearing and their interrelations with
image and seeing.
This brief discussion of audiovisuality leads onto the main concern of
chapter 3, “The musicalization of vision.” In this chapter, I argue that music
video functions not only as a visualization of music (a popular song set to
images) but also as a musicalization of vision. This means that the images of
a music video are often structured musically, and this is something that sets
music video imagery apart from many other types of imagery. Understood
as a mutual remediation between sound and image, a kind of synesthetic
function, “the musicalization of vision” is perhaps the main defining facet
of music video aesthetics. The chapter provides a tentative list of some of
the possible musical parameters according to which music video imagery
is typi­cally structured. Apart from this, the chapter also offers in-depth
12 Introduction
analyses of three different music videos that perform the task of musicalizing
vision in different ways: the joyous soundscapes of Chemical Brothers’ “Star
Guitar,” the haunting audiovisual synergies of Gil Scott-Heron’s “New York
Is Killing Me,” and the looping structures of Kylie Minogue’s “Come into
My World.”
In the fourth chapter, “A polyphony of images,” the musicalization of
vision is linked to the tendency towards image multiplication and modu-
lation in music video. In becoming musical, the image in music videos very
often becomes multiple in one way or another in order to engage with the
polyphonic nature of music. The music video image is thus closer to the
plurality of sound than to the singularity of the cinematic image, which is
typically a singular discrete unit. The link proposed between music video,
“expanded cinema,”30 and recent digital cinema in chapter 1 is also further
explored here, as I delve into the transformation of montage and imaging
practices shared by these different aesthetic practices. The chapter finally
presents three more in-depth analyses of music videos that are visually
polyphonic: the pulsating images of OK Go’s “WTF?,” the explosion of
image and color in Beyoncé’s “Countdown,” and the multi-windowed inter-
activity of Arcade Fire’s “We Used to Wait.”
In chapter 5, “Hybrid spaces and impossible time,” I explore the rep-
resentation of space and time in music video, in particular the tendency
to disrupt their standard ordering. I argue that music video space is often
hybrid and that music video time is impossible—and that both are discon-
tinuous and fragmented, with the co-existence of multiple spaces, speeds,
and times. Following these observations, the chapter pursues the idea that
music video has been important in re-ordering or re-abstracting cinematic
perception—and that music video has also played a key role in a general
movement from representational meaning to non-representational affect in
contemporary audiovisual culture. Thus, this chapter also engages with a
range of media philosophical and theoretical issues, exploring music video
as a central component of movements from visual to acoustic space (follow-
ing McLuhan), from arborified striated space to rhizomatic smooth space
(following Deleuze and Guattari), from the optic to the haptic, and from the
immediacy of cinematic perception to the hypermediacy of post-cinematic
perception (following Shaviro). Like the two previous chapters, this chapter
concludes with three analyses: the coded datascape of Radiohead’s “House
of Cards,” the endlessly bending space of Tame Impala’s “Why Won’t You
Make up Your Mind?,” and the database structures of Fionn Regan’s “Be
Good or Be Gone” and Deerhoof’s “My Purple Past.”
Chapter 6, “Music video aesthetics across media,” deals with the influence
of music video in contemporary audiovisual culture. It maps out the ways
in which music video has been remediated in other forms (although, admit-
tedly, such remediational influences are hard to trace or prove). Tracing the
two key tropes of a visualization of music and a musicalization of vision, the
chapter explores the remediation of these two aspects in popular music and
 Introduction 13
cinema, respectively. The function of musicalization is traced in cinematic
forms, where music video has exerted an enormous stylistic influence, both
in the form of what is often labeled “MTV aesthetics,” an extreme intensifi-
cation and partial transgression of traditional filmic continuity, and in the
increasing use of popular music in cinematic forms, often in the shape of
so-called “musical moments.”31 The function of visualization, on the other
hand, mainly has to do with the influence that music video has had on pop-
ular music. This involves the increased reliance upon, or even demand for,
visual elements in relation to music—evident in, for instance, the visual
hypermediatization of the “live” concert. Finally, this chapter seeks out
some of the possible affiliations between music video and contemporary
digital audiovisual culture, suggesting that music video has prefigured some
important developments in new media.
Conversely, the seventh and final chapter, “Post-music video,” looks at the
way that music video itself is being remediated online—or how it is refigured
in contemporary digital audiovisual culture. Music video has completed
its relocation from the television screen to the computer screen (and other
screens as well)—and, in this process, much has changed. In the chapter,
I enlist five new categories of music videos with a wide range of subgen-
res and types that work across these categories: interactive/participatory,
user-generated content, remakes/remixes, hi/lo definition, and alternate
lengths. Again, this final chapter is brought to a close with three music video
analyses—or rather, an investigation of three audiovisual works that are
difficult to classify: perhaps they are music videos, perhaps not (and so, per-
haps music video is already in the process of mutating into something else
entirely). The “music videos” in question are Björk’s multimedia venture
Biophilia, the series of DIY videos Take-Away Shows created by director
Vincent Moon, and Death Grips’ aggressively noisy Retrograde.

Notes
1 For an ecocritical reading of this video, see John Richardson, “Closer Reading
and Framing in Ecocritical Music Research,” in MusicMoves, eds. Birgit Abels
and Andreas Waczkat (Hildesheim, Zürich and New York: Georg Olms Verlag,
2016), 164–70.
2 See James Buhler, David Neumeyer and Caryl Flinn, eds., Music and Cinema
(Hanover: Wesleyan University Press, 2000), 8.
3 Simon Frith, Andrew Goodwin and Lawrence Grossberg, eds., Sound and Vision:
The Music Video Reader (London and New York: Routledge, 1993).
4 Other recent and significant additions include Roger Beebe and Richard
­M iddleton, eds., Medium Cool: Music Videos from Soundies to Cellphones
(Durham: Duke University Press, 2007); Henry Keazor and Thorsten ­Wübbena,
eds., Rewind, Play, Fast Forward: The Past, Present and Future of the ­Music
Video (Bielefeld: Transcript Verlag, 2010); Diane Railton and Paul Watson,
Music Video and the Politics of Representation (Edinburgh: Edinburgh
­University Press, 2011); and Joachim Strand, The Cinesthetic Montage of ­Music
Video: Hearing the Image and Seeing the Sound (Saarbrücken: VDM Verlag
Dr. Müller 2008).
14 Introduction
5 Saul Austerlitz, Money for Nothing: A History of the Music Video from the Beatles
to the White Stripes (London & New York: Continuum, 2007), 163; and Gunnar
Strøm, “The Two Golden Ages of Animated Music Video”, Animation Studies 2
(2007): 65.
6 For instance Roland Barthes, The Pleasure of the Text (New York: Hill and
Wang, 1975); Roland Barthes, “From Work to Text,” in Image-Music-Text, trans.
Stephen Heath (London: Fontana Press, 1977); Gerard Genette, Palimpsests:
Literature in the Second Degree, trans. Channa Newman and Claude Doubinsky
(Lincoln: University of Nebraska Press, 1997); Gerard Genette, Paratexts:
Thresholds of Interpretation, trans. Jane E. Lewin (Cambridge, New York:
Cambridge University Press, 1997); and Julia Kristeva, Desire in Language: a Se-
miotic Approach to Literature and Art, trans. Thomas Gora (New York: Columbia
University Press, 1980).
7 Jean-Marie Schaeffer, “Literary Genres and Textual Genericity,” in The Future
of Literary Theory, ed. Ralph Cohen (London: Routledge, 1989).
8 Jacques Rancière, “What Medium Can Mean,” trans. Steven Corcoran, Parrhesia
11 (2011).
9 Jay David Bolter and Richard Grusin, Remediation: Understanding New Media
(Cambridge, MA and London: The MIT Press, 2000).
10 Barbara London, “Looking at Music,” in Rewind, Play, Fast Forward. The Past,
Present and Future of the Music Video, eds. Henry Keazor and Thorsten Wübbena
(Bielefeld: Transcript Verlag, 2010), 6–7.
11 See for instance Catarina Bosæus and Lisbeth Ihlemann, “Om musikvideo,” Da
Capo 1, Århus (1993); John Fiske, “MTV: Post-Structural Post-Modern,” Journal
of Communication Inquiry 10:74 (1986); John Fiske, Television Culture ­(London &
New York: Routledge, 1989); 254–55; Frith, Goodwin and Grossberg, Sound
and Vision, 4; Jens F. Jensen, “Skrothandleren & den kollektive drømmepøl,”
in Analyser af TV, ed. Ralf Pittelkow (Copenhagen: Medusa, 1985); E. Ann
Kaplan, Rocking around the Clock: Music Television, Postmodernism, and Con-
sumer Culture (New York: Methuen, 1987); and Lars Movin and Morten Øberg,
Rockreklamer: om musikvideo (Copenhagen: Amanda, 1990).
12 See also Andrew Goodwin, Dancing in the Distraction Factory: Music Television
and Popular Culture (Minneapolis: University of Minnesota Press, 1992), 3–7.
13 Mark Hanson, Reinventing Music Video: Next-Generation Directors, their
­I nspiration and Work (Amsterdam, Boston, Heidelberg, London, New York,
Oxford, Paris, San Diego, San Francisco, Singapore, Sydney & Tokyo: Focal
Press, 2006), 7; and Austerlitz, Money for Nothing, 1.
14 Nicholas Cook, Analysing Musical Multimedia (Oxford: Oxford University
Press, 2000), 150.
15 Carol Vernallis, “Strange People, Weird Objects: The Nature of Narrativity,
Character, and Editing in Music Videos,” in Medium Cool: Music Videos from
Soundies to Cellphones, eds. Roger Beebe and Richard Middleton (Durham:
Duke University Press, 2007), 112. To my knowledge, Simon Frith was the first
to adopt this approach back in 1988. He writes that since the music determines
the image “videos (not surprisingly!) work more like songs than films” (Simon
Frith, Music for Pleasure: Essays in the Sociology of Pop (Cambridge: Polity
Press, 1988), 216).
16 Lisbeth Ihlemann, “Mellem billede og musik – musikvideoforskning i 80’erne,”
Da Capo 1, Århus (1993): 39 (my translation).
17 Michel Chion, Audio-Vision: Sound on Screen, trans. Claudia Gorbman (New
York: Columbia University Press, 1994).
18 This term and the phenomenon that it covers has not gone unnoticed in the liter-
ature on music video: among others, I am indebted to Alf Björnberg, who speaks
 Introduction 15
of a “‘musicalization’ of the visuals” (Alf Björnberg, “Structural Relationships
of Music and Images in Music Video,” Reading Pop: Approaches to Textual Anal-
ysis in Popular Music, ed. Richard Middleton (Oxford: Oxford University Press,
2000), 372), Joachim Strand, who speaks of an “aural-visuality” (Strand, The
Cinesthetic Montage), and especially Kevin Williams, who speaks of a “musical
visuality” (Williams, Why I [Still] Want, 13). I have chosen the term “musicali-
zation of vision” over Williams’ “musical visuality,” since my term points more
in the direction of the transformational potential of music video, in the direction
of the transposability of aspects of sound into the image.
19 Bodil Marie Stavning Thomsen, Ulla Angkjær Jørgensen and John Sundholm,
eds., From Sign to Signal, special issue of Journal of Aesthetics and Culture 4,
2012.
20 Steven Shaviro, Post-Cinematic Affect (Winchester & Washington: Zer0 Books /
O-Books 2010), 87.
21 As pointed out by Michel Chion, Gilles Deleuze also pays relatively or even
suspiciously little attention to the sound of cinema in his books on cinema
(Michel Chion, Film, a Sound Art, trans. Claudia Gorbman (New York:
­C olumbia ­University Press, 2009), 108; Gilles Deleuze, Cinema 1. The Movement-­
Image, trans. Hugh Tomlinson and Barbara Habberjam (London & New York:
­Continuum, 2009); and Gilles Deleuze, Cinema 2. The Time-Image, trans. Hugh
­Tomlinson and Robert Galeta (London: Continuum, 2008)).
22 D. N. Rodowick, The Virtual Life of Film (Cambridge, MA & London: Harvard
University Press. 2007), viii.
23 Julie McQuinn, ed., Popular Music and Multimedia (Burlington: Ashgate, 2011).
24 Ibid., xii.
25 Ibid., xiii.
26 W. J. T. Mitchell, Picture Theory: Essays on Verbal and Visual Representation
(Chicago: University of Chicago Press, 1994), 7.
27 Jacques Attali, Noise. The Political Economy of Music, trans. Brian Massumi
(Minneapolis: University of Minnesota Press, 1985), 5.
28 Vivian Sobchack, Carnal Thoughts: Embodiment and Moving Image Culture
(Berkeley and Los Angeles: University of California Press, 2004), 1.
29 Kay Dickinson, “Music Video and Synaesthetic Possibility,” in Medium Cool:
Music Videos from Soundies to Cellphones, eds. Roger Beebe and Richard
Middleton (Durham: Duke University Press, 2007), 13.
30 Gene Youngblood, Expanded Cinema (New York: P. Dutton & Co., Inc., 1970).
31 Amy Herzog, Dreams of Difference, Songs of the Same: The Musical Moment in
Film (Minneapolis & London: University of Minnesota Press, 2007).
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Abby : “Evelyn,” 2011, dir. unknown (http://evelyn-interactive.searchingforabby.com/).
Accept : “Midnight Mover,” 1985, dir. Zbigniew Rybczynski .
Acid Girls : “Lightworks,” 2010, dir. Steven Llous .
Aesop Rock : “Zero Dark Thirty,” 2012, dir. Isaac Ravishankara .
A-ha : “Take on Me,” 1985, dir. Steve Barron .
Aimee Mann : “Wise up,” 1999, dir. P. T. Anderson .
Alpha Beta Fox : “Something / Nothing,” 2014, dir. James Reid .
Ambulance Ltd. : “Stay Where You Are,” 2005, dir. Moh Azima .
Amii Stewart : “Knock on Wood,” 1979, dir. Unknown.
The Amplifetes : “Where Is the Light,” 2012, dir Lorentz & Quiroz (http://whereisthelight.com/).
Androp : “Bell,” 2012, dir. Masashi Kawamura , Qanta Shimizu & AID-DCC
(http://androp.jp/bell/).
Andy Grammer : “Keep Your Head up,” 2011, dir. Interlude
(http://andygrammer.com/news/entry/interactive_video_for_keep_your_head_up).
Aphex Twin : “Come to Daddy,” 1997, dir. Chris Cunningham .
Aphex Twin : “Windowlicker,” 1999, dir. Chris Cunningham .
Aphex Twin : “Flex,” 2000, dir. Chris Cunningham .
Aphex Twin : “Monkey Drummer,” 2001, dir. Chris Cunningham .
Aphex Twin : “Rubber Johnny,” 2005, dir. Chris Cunningham .
Arcade Fire : “Black Mirror,” 2007a, dir. Olivier Groulx and Tracy Maurice
(http://rorrimkcalb.com).
Arcade Fire : “My Body Is a Cage,” 2007b, dir. J. Tyler Helms (imagery from Sergio Leone’s
Once Upon a Time in the West).
Arcade Fire : “Neon Bible (Take-Away Show),” 2007c, dir. Vincent Moon .
Arcade Fire : “Neon Bible,” 2007d, dir. Olivier Groulx and Vincent Morisset
(http://beonlineb.com).
Arcade Fire : “We Used to Wait,” 2010, dir. Chris Milk (http:/thewildernessdowntown.com).
Arcade Fire : “Sprawl II,” 2011, dir. Vincent Morisset & friends (http://sprawl2.com).
Arctic Monkeys : “Teddy Picker,” 2007, dir. Roman Coppola .
Aqua : “Dr. Jones,” 1997, dir. Peder Pedersen .
Atomic Tom : “Take Me Out,” 2010, dir. Benjamin Espiritu .
Au Revoir Simone : “Knight of Wands,” 2010, dir. Eli Stonberg (http://theknightofwands.com).
Autechre : “Second Bad Vilbel,” 1996, dir. Chris Cunningham .
Autechre : “Gantz Graf,” 2002, dir. Alex Rutterford .
The Bangles : “Going Down to Liverpool,” 1984, dir. Tamar Hoffs .
Beastie Boys : “Sabotage,” 1994, dir. Spike Jonze .
Beatles : “Strawberry Fields Forever,” 1967, dir. Peter Goldman .
Beck : “Deadweight,” 1997, dir. Michel Gondry .
Beck : “Gameboy Homeboy,” 2005, dir. E*Rock and Paper Rad .
Beck : “Lost Cause,” 2009, dir. Garth Jennings .
Beirut : “Postcards from Italy,” 2007a, dir. Alma Harel .
Beirut : “The Penalty,” (Take-Away Show version), 2007b, dir. Vincent Moon .
Ben Folds Five : “Battle of Who Could Care Less,” 2008, dir. Norwood Cheek .
Ben Harper & Relentless 7 : “Lay There and Hate Me,” 2010, dir. James Frost .
Beyoncé : “Single Ladies,” 2008, dir. Jake Nava .
Beyoncé : “Video Phone,” 2009, dir. Hype Williams .
Beyoncé : “Countdown,” 2011, dir. Adria Petty .
Beyoncé : “Grown Woman,” 2013, dir. Jake Nava .
Beyoncé: Lemonade, 2016, various directors.
Billy Joel : “Tell Her about It,” 1983, dir. Jay Dubin .
Björk : “It’s Oh So Quiet,” 1995, dir. Spike Jonze .
Björk : “Hunter,” 1998, dir. Paul White .
Björk : “All Is Full of Love,” 1999, dir. Chris Cunningham .
Björk : “Triumph of a Heart,” 2005, dir. Spike Jonze .
Björk : “Wanderlust,” 2008, dir. Encyclopedia Pictura .
Björk : Biophilia, 2011, dir. various directors .
Black Eyed Peas : BEP360, 2011, dir. Will.i.am.
The Black Keys : “Howlin’ for You,” 2011, dir. Chris Marrs Piliero .
Black Moth Super Rainbow : “Dark Bubbles,” 2009, dir. Radical Friend
(http://graveface.com/bmsr_darkbubbles).
Blank Dogs : “Setting Fire to Your House,” 2009, dir. Jacqueline Castel .
Blink 182 : “All the Small Things,” 1999, dir. Marcos Siega .
Bloc Party : “Ares (Villains Remix),” 2009, dir. unknown.
Blue Roses : “Doubtful Comforts,” 2009, dir. A Nice Idea Every Day.
Boards of Canada : “Dayvan Cowboy,” 2006, dir. Melissa Olson .
B.O.B. : “Nothing on You,” 2010, dir. Ethan Lader .
Bobby Womack : “The Bravest Man in the Universe,” 2012, dir. B-Reel
(http://bravestman.com/desktop/).
Bob Dylan : “Like a Rolling Stone,” 2013, dir. Vania Heymann (http://video.
http://bobdylan.com/).
Bon Jovi : “Born to Be My Baby,” 1988, dir. Wayne Isham .
Bonnie Tyler : “Total Eclipse of the Heart” (literal version), 2009, dir. David A. Scott .
The Breeders : “Walk It Off,” 2008, dir. unknown.
Bright Eyes : “First Day of My Life,” 2005, dir. John Cameron Mitchell .
Britney Spears : “Hold It against Me,” (teasers), 2011, dir. Jonas Åkerlund .
Britney Spears : “Piece of Me,” 2007, dir. Wayne Isham .
Britney Spears/Gwen Stefani : “Tick Toxic” (mash up), 2004, dir. D.J. Surge-N .
Broken Bells : “October,” 2010, dir. Richard Lehmann and Matthew Hollister
(http://brokenbells.com/october).
Bruce Springsteen : “Dancing in the Dark,” 1984, dir. Brian De Palma .
Buck 65 : “Superstars Don’t Love,” 2011, dir. Travis Hopkins .
The Bynars : “How Does It Feel to Be in Love?” 2011, dir. Shaun Clarke
(http://thebynars.com/hdif-video.html).
Cake : “Short Skirt/Long Jacket,” 2009, dir. Luis C. Gutierrez .
Caribou : “Odessa,” 2010, dir. Video Marsh .
Carl Sagan feat. Steve Hawking : “A Glorious Dawn [Symphony of Science],” 2009, dir. John D.
Boswell (a.k.a. melodysheep).
Carpark North : “Human,” 2005, dir. Martin De Thurah .
Carpark North : “Save Me from Myself,” 2009, dir. Lau Højen (filmed by “fans and friends”).
Carpark North : “Burn It,” 2010, dir. Michael Christensen (http://carparknorth.dk/burnit).
Chairlift : “Evident Utensil,” 2009, dir. Ray Tintori .
Chairlift : “Met Before,” 2012, dir. Jordan Fish (http://chairlifted.com/metbefore/).
Chemical Brothers : “Let Forever Be,” 1999, dir. Michel Gondry .
Chemical Brothers : “Star Guitar,” 2001, dir. Michel Gondry .
Chris Barthgate : “Big Ghost,” 2011, dir. Barbara Twist .
Cloud Nothings : “Fall in,” 2012, dir. John Ryan Manning .
C-Mon & Kypski : “More Is Less,” 2010, dir. Roel Wouters and Jonathan Puckey
(http://oneframeoffame.com/).
Coldplay : “The Scientist,” 2002, dir. Jamie Thraves .
Coldplay : “Fix You,” 2005, dir. Sophie Muller .
Cold War Kids : “I’ve Seen Enough,” 2009, dir. Sam Jones and Dustin Califf
(http://coldwarkids.com/iveseenenough/).
Craig David : “The Rise and Fall,” 2003, dir. Max & Dania .
Craig Wedren : “Are We,” 2011a, dir. Tim Nackashi (http://craigwedren.com/arewe/).
Craig Wedren : “Crush You,” 2011b, dir. Tim Nackashi
(http://craigwedren.com/crush/index.html).
The Cribs : “Glitters Like Gold,” 2012, dir. Andy Knowles and Steven Agnew
(http://thecribs.com/glitterslikegold/).
Cut Copy : “Lights and Music,” 2008, dir. Ewan MacLeod Krozm .
Daedelus : “LA Nocturn,” 2009, dir. Eli Stonberg .
Daft Punk : “Around the World,” 1997, dir. Michel Gondry .
Dan Black : “Symphonies,” 2009, dir. Chic & Artistic .
Dangermouse : “The Grey Video,” 2004, dir. Ramon & Pedro ( Laurent Fauchere & Antonie
Tinguely ).
Datarock : “True Stories,” 2009, dir. Mats & Fyxe .
Death Cab for Cutie : “You Are a Tourist,” 2011, dir. Tim Nackashi .
Death Grips : “I’ve Seen Footage,” 2012a, dir. Death Grips .
Death Grips : “I’ve Seen Footage,” (interactive) 2012b, dir. We Are from LA
(http://gifmemoreparty.com).
Death Grips : Retrograde, 2012, dir. Jacob Ciocci & Death Grips
(http:/thirdworlds.net/retrograde/).
Death Grips : “On GP,” 2015, dir. Death Grips .
Deerhoof : “Don’t Get Born,” 2009a, dir. David Horvitz .
Deerhoof : “My Purple Past,” 2009b, dir. Asha Schechter .
Deerhoof : “ Breakup Song (Full Album Stream),” 2012, dir. Greg Saunier and Becky James .
Deerhunter : “Primitive 3D” (Pitchfork 3D version), 2011, dir. R.J. Bentler .
Delorean : “Stay Close,” 2010, dir. Weird Days .
DEVO : “What We Do,” 2011, dir. Gerald Casale , Kii Arens and Jason Trucco .
The Earlybirds : “Runaway,” 2009, dir. Adam Jones .
Earth, Wind and Fire : “Let’s Groove,” 1981, dir. Ron Hays .
Eclectic Method : “Lock up Your Videos,” 2008, dir. Eclectic Method .
Elbow : “One Day Like This,” 2008, dir. Rigan Ledwidge .
Ellie Goulding : “Lights,” 2011, dir. Helloenjoy .
Elsie : “How to Handle a Sex Pest,” 2012a, dir. unknown.
Elsie : “London Town,” 2012b, dir. unknown.
Eminem : “Without Me,” 2002, dir. Joseph Kahn .
Erykah Badu : “Jump up in the Air,” 2010, dir. Erykah Badu .
Fake Blood : “I Think I Like It,” 2010, dir. Jo Apps .
Fatboy Slim : “Right Here, Right Now,” 1999, dir. Hammer & Tongs .
Fatboy Slim : “Weapon of Choice,” 2001, dir. Spike Jonze .
Feistodon : “A Commotion,” 2012, dir. Vice Cooler (http://listentofeist.com/feistodon/).
Fionn Regan : “Be Good or Be Gone,” 2007, dir. Si & Ad .
Foo Fighters : “Big Me,” 1996, dir. Jesse Peretz .
France Gall : “Plus Haut“/”Plus Oh,” 1996, dir. Jean-Luc Godard .
Franz Ferdinand : “Take Me out” (Video Mod), 2004, dir. unknown.
The Galacticos : “Aunt Mary,” 2011, dir. Christophe Vercammen
(http://thegalacticos.be/clip.html).
Gianni Nannini : “Fotoromanza,” 1984, dir. Michelangelo Antonioni .
Gil Scott-Heron : “New York Is Killing Me,” 2010a, dir. Chris Cunningham .
Gil Scott-Heron : “New York Is Killing Me (Jamie XX Remix),” 2010b, dir. Iain Forsyth and Jane
Pollard .
Girl’s Day : “Hug Me Once,” 2011, dir. unknown.
Godley & Crème : “Cry,” 1985, dir. Kevin Godley and Lol Crème .
Gorillaz: Escape from Plastic Beach, 2010, dir. Matmi .
Grace Jones : “Corporate Cannibal,” 2008, dir. Nick Hooker .
Grouper : “Hold the Way,” 2009, dir. Weston Currie .
Health : “Die Slow,” 2009, dir. John Famiglietti .
Hell Is for Heroes : “You Drove Me to It,” 2003, dir. Weapon 7.
The Herd : “2020,” 2008, dir. Mike Daly .
Hoobastank : “My Turn,” 2009, dir. Paul Brown (http://myturn.hoobastank.com).
The Horrors : “Mirror’s Image,” 2009, dir. Weirdcore .
Howard Jones : “Life in One Day,” 1985, dir. Terence Donovan .
Human Highway : “The Sound,” 2008, dir. Olivier Groulx
(http://moodymotorcycle.com/interactive/).
The Human League : “Never Let Me Go,” 2011, dir. Ewan Jones Morris and Casey Raymond .
Hurts : “Don’t Let Go,” 2010, dir. Phil Clandillon and Steve Milbourne .
Iggy Pop : “King of the Dogs,” 2009, dir. Patrick Boivin
(http://youtube.com/watch?v=nsXkjkC5OxI).
Interpol : “Slow Hands,” 2004, dir. Daniel Lévi .
Jack Johnson : “Sitting, Waiting, Wishing,” 2005, dir. Emmett Maloy .
The Jacksons : “Blame It on the Boogie,” 1978, dir. Peter Conn .
Jack White : “That Black Bat Licorice,” 2015, dir. James Blagden
(http://jackwhiteiii.com/media/thatblackbatlicorice/).
Jean-François Coen : “La Tour de Pise,” 1993, dir. Michel Gondry .
Jeff Buckley : “Just Like a Woman,” 2016, dir. Greg Gunn and Interlude .
Johnny Cash : “Ain’t No Grave,” 2010, dir. Chris Milk (http://thejohnnycashproject.com).
Joycehotel : “Falling/Laughing,” 2007, dir. unknown.
Justice : “DVNO,” 2008a, dir. So Me , Yorgo Tloupas and Machine Molle .
Justice : “Stress,” 2008b, dir. Romain Gavras .
Justin Bieber : “Baby,” 2010, dir. Ray Kay .
Justin Timberlake : “Let Me Talk to You/My Love,” 2006, dir. Paul Hunter .
Justin Timberlake : “Lovestoned,” 2007, dir. Robert Hales .
Kalle Mattson : “Avalanche,” 2015, dir. Philip Sportel .
Kanye West : “Gold Digger,” 2005, dir. Hype Williams .
Kanye West : “Welcome to Heartbreak,” 2009, dir. Nabil Elderkin .
Kanye West : “Runaway,” 2010, dir. Kanye West .
Katy Perry : “I’m Wide Awake,” 2012, dir. Tony T. Datis .
Kenton Slash Demon : “Ore,” 2012, dir. Dark Matters .
The Key of Awesome! : “Glitter Puke” (parody of Ke$ha’s “We R Who We R”), 2010, dir. Tom
Small .
Kid Cudi : “Make Her Say,” 2009, dir. Nez Khammal .
Kings of Leon : “Shreds—Their Worst Performance Ever,” 2010, dir. Tom Mitchell .
The Kinks : “Dead End Street,” 1966, dir. unknown.
K.I.Z. : “Neuruppin,” 2008, dir. Kubikfoto 3 (http://kiz-neuruppin.de/).
Kool & the Gang : “Get Down on It,” 1981, dir. D. DeVallance .
Kylie Minogue : “Did It Again,” 1997, dir. Pedro Romhanyi .
Kylie Minogue : “Come into My World,” 2002, dir. Michel Gondry .
La Beltek : “No Hables,” 2010, dir. Leo Carreño .
Labuat : “Soy tu aire,” 2009, dir. HerraizSoto & Co., badabing! and Josie Mallis
(http://herraizsoto.com/works/2009/labuat/soytuaire/).
Lady Gaga : “Telephone,” 2010, dir. Jonas Åkerlund .
Laid Back : “Bakerman,” 1990, dir. Lars von Trier .
Light Light : “Kilo,” 2013, dir. Moniker (http://donottouch.org/).
Lily Allen : “The Fear” (part of the Xbox 360 campaign for the game Lips), 2010, dir. Caswell
Coggins .
The Limousines : “Very Busy People,” 2011, dir. Frank Door .
Lissie : “Cuckoo,” 2011, dir. Phil Clandillon and Steve Milbourne (http://lissie.com/weather/).
Liturgy : “Returner,” 2011, dir. Zev Deans .
Lost Valentinos : “Nightmoves,” 2009, dir. Arjun Siva .
Madonna : “Express Yourself,” 1989, dir. David Fincher .
Massive Attack : “Splitting the Atom,” 2010, dir. Edouard Salier .
Matchbox 20 : “She’s So Mean,” 2012, dir. TIC360.
MGMT : “Electric Feel” (interactive version), 2007, dir. Ray Tintori .
M.I.A. : “The Message,” 2010, dir. unknown.
Michael Jackson : “Thriller,” 1983, dir. John Landis .
Michael Jackson : “Bad,” 1987, dir. Martin Scorsese .
Michael Jackson : “Black or White,” 1991, dir. John Landis .
Miranda Lambert : “The Fastest Girl in Town,” 2012, dir. Copeland Isaacson .
MNDR : “C.L.U.B.,” 2012, dir. fourclops (http://mndr.omusicawards.com/).
Mobley : “Ego Is,” 2011, dir. Anthony Watkins II .
Moby : “Shot in the Back of the Head,” 2009, dir. David Lynch .
Mouse on Mars : “Frosch,” 1994, dir. Mouse on Mars.
Mouse on Mars : “Kanu,” 1995, dir. Joshus Hund .
MuteMath : “Typical,” 2007, dir. Israel Anthem .
Namie Amuro : “The Golden Touch,” 2015, dir. Masashi Kawamura and Kenji Yamashita .
Neneh Cherry : “Feel It,” 1997, dir. Michel Gondry .
The New Pornographers : “Moves,” 2011, dir. Paul Scharpling .
Nightingale String Quartet : “In Memory of the Dead,” 2011, dir. Mads Nygaard Hemmingsen .
Nine Inch Nails : “Closer,” 2006, dir. T. Jonesy & Killa (imagery from Star Trek).
Nine Inch Nails : “Survivalism,” 2007, dir. Alex Lieu , Rob Sheridan and Trent Reznor .
Nirvana : “In Bloom,” 1992, dir. Kevin Kerslake .
OK Go : “A Million Ways,” 2005, dir. Trish Sie and O.K. Go .
OK Go : “Here It Goes Again,” 2006, dir. Trish Sie and O.K. Go .
OK Go : “WTF?,” 2009, dir. Tim Nackashi and O.K. Go .
OK Go : “End Love,” 2010a, dir. O.K. Go , Eric Gunther and Jeff Lieberman .
OK Go : “This Too Shall Pass,” 2010b, dir. James Frost , O.K. Go and Syyn Labs .
OK Go : “White Knuckles,” 2010c, dir. Trish Sie .
OK Go : “All Is Not Lost,” 2011, dir. Trish Sie (http://allisnotlo.st).
OK Go : “I Won’t Let You Down,” 2014a, dir. Kazuaki Seki and Damian Kulash .
OK Go : “The Writing’s on the Wall,” 2014b, dir. Aaron Duffy , Damian Kulash and Bob
Partington .
OK Go : “Upside Down and Inside Out,” 2016, dir. Damian Kulash and Trish Sie .
Outkast : “Hey Ya!,” 2003, dir. Bryan Barber .
Passion Pit : Gossamer, 2012, dir. Scott Snibbe .
Pendulum : “Salt in the Wounds,” 2010, dir. Dan Rutely (http://pendulum.com/360).
Pepepiano : “Flesh Rails,” 2011, dir. Asha Tamirisa .
Peter Gabriel : “Sledgehammer,” 1986, dir. Stephen R. Johnson .
Pet Shop Boys : “Integral,” 2007, dir. Wade Shotter .
Pharcyde : “Drop,” 1996, dir. Spike Jonze .
Pixeltan : “Yamarena-I,” 2009, dir. Scion A/V .
Placebo : “The Never-Ending Why,” 2009a, dir. Champagne Valentine and Big Eye Deers
(http://theneverendingwhy.placeboworld.co.uk).
Placebo : “For What It’s Worth,” 2009b, dir. Howard Greenhalgh .
Plushgun : “A Crush to Pass the Time,” 2009, dir. unknown.
Pogo : “Alice (Disney Remix),” 2007, dir. Nick Bertke .
Polar Youth : “The Future of Music,” 2016, dir. Greg Barth (http://www.gregbarth.tv/The-Future-
of-Music-360).
The Polyphonic Spree : Bullseye, 2011, dir. Moonbot Studios .
Ponytail : “Celebrate the Body Electric,” 2009, dir. Sophia Peer .
Portishead : “Only You,” 1998, dir. Chris Cunningham .
The Presets : “Are You the One?” 2005, dir. Kris Moyes .
The Presets : “My People,” 2007, dir. Kris Moyes .
The Presets : “Youth in Trouble,” 2012, dir. Yoshi Sodeoka .
Presidents of the United States of America : “Dune Buggy,” 1996, dir. Roman Coppola .
Prince : “Sign O the Times,” 1987, dir. Bill Konersman .
The Prodigy : “Smack My Bitch up,” 1997, dir. Jonas Åkerlund .
Professor Green : “Coming to Get Me,” 2010, dir. Chris Cairns .
Psy : “Gangnam Style,” 2012, dir. Park Jae-Sang .
Pulp : “This Is Hardcore,” 1998, dir. Doug Nichol .
Putsch ’79 : “Asian Girls,” 2006, dir. Tomi Knuutila .
Queen : “Bohemian Rhapsody,” 1975, dir. Bruce Gowers .
Radiohead : “Street Spirit,” 1996, dir. Jonathan Glazer .
Radiohead: various blips , 2000, dir. The Vapour Brothers (see vapourbrothers.com).
Radiohead : “Pulk/Pull Revolving Doors“/”Like Spinning Plates,” 2002, dir. Johnny Hardstaff .
Radiohead : “Nude,” 2007, dir. Hammer & Tongs .
Radiohead : “House of Cards,” 2008, dir. James Frost .
Radiohead: various vignettes , 2016, various directors.
Rammstein : “Pussy,” 2009, dir. Jonas Åkerlund .
Ratatat : “Drugs,” 2010, dir. Carl Burgess .
Red Hot Chili Peppers : “Aeroplane,” 1996, dir. Gavin Bowden .
Red Hot Chili Peppers : “Californication,” 2000, dir. Jonathan Dayton and Valerie Faris .
Red Hot Chili Peppers : “Look Around,” 2012, dir. Robert Hales
(http://redhotchilipeppers.com/news/301-look-around-interactive-video).
R.E.M. : “Bad Day,” 2003, dir. Tim Hope .
The Replacements : “Bastards of Young,” 1986, dir. The Replacements.
Robyn : “With Every Heartbeat,” 2007, dir. Fredrik Skogkvist .
Robyn : “Killing Me” (interactive), 2010a, dir. Mary Fagot (http://robyn.com/killingme/).
Robyn : “We Dance to the Beat” (interactive), 2010b, dir. Mary Fagot
(http://robyn.com/wedancetothebeat/).
Rolling Stones : “Like a Rolling Stone,” 1995, dir. Michel Gondry .
Rome : “Three Dreams of Black,” 2011, dir. Chris Milk (http://ro.me).
Scott Walker : “ Bish Bosch (Album Trailer),” 2012, dir. Iain & Jane .
Shihad : “Sleepeater,” 2010, dir. Sam Peacocke (http://sleepeater.co.nz/).
Shin-B : “Get Up and Go,” 2011, dir. DuNo Tran .
Shit Robot : “Take ’em Up,” 2010, dir. Eoghan Kidney .
Sia : “Breathe Me,” 2004, dir. Daniel Askill .
Six Organs of Admittance : “Goodnight,” 2008, dir. Cam Archer .
Smashing Pumpkins : “Tonight, Tonight,” 1996, dir. Jonathan Dayton and Valerie Faris .
Snoop Dogg : “Drop It Like It’s Hot,” 2005, dir. Paul Hunter .
Sour : “Mirror,” 2010, dir. Masashi Kawamura , Qanta Shimizu , Sagoosha and Hiroki Ono
(http://sour-mirror.jp).
Spleen United : “Hibernation,” 2012, dir. Spleen United with Nokia (http://opensongproject.com).
Squarepusher : “Come on My Selector,” 1998, dir. Chris Cunningham .
Star Slinger : “Mornin’,” 2011, dir. Alan Jensen .
Stereo MC’s : “Connected,” 1992, dir. Matthew Amos .
Steye & the Ottowanians : “Wonderful,” 2009, dir. In A Cabin With
(http://inacabinwith.com/wonderful/).
Stomacher : “Untitled / Dark Divider,” 2010, dir. Sean Stiegemeier .
The Streets : “The Longest Video Ever,” 2006, dir. Mike Skinner .
Take That : “Shine,” 2007, dir. Justin Dickel .
Tame Impala : “Expectation,” 2010a, dir. Clemens Habicht .
Tame Impala : “Lucidity,” 2010b, dir. Robert Hales .
Tame Impala : “Why Won’t You Make up Your Mind?” (Pitchfork 3D version), 2011, dir. R. J.
Bentler .
Tanlines : “Brothers,” 2012, dir. Weird Days .
Tanlines : “Not the Same,” 2013, dir. The Creators Project (http://notthesa.me).
Team Me : “Chemicals and Weathervanes”/Get Home, 2010, dir. jorgnsn
(http://kongregate.com/games/jorgnsn/get-home/).
Tiga : “Shoes,” 2009, dir. Alexand Liane .
TV on the Radio : “Staring at the Sun,” 2004, dir. Elliot Jokelson .
U2 : “Sunday Bloody Sunday,” 1983, dir. Gavin Taylor .
Uffe : “When the Sun Rose,” 2012, dir. Karlis Krecers and Daniel Nørregaard
(http://whenthesunroseofficialvideo.tumblr.com/).
Weezer : “Buddy Holly,” 1994, dir. Spike Jonze .
Weezer : “Pork and Beans,” 2008, dir. Matthew Cullen .
We The Kings : “Say You Like Me,” 2011, dir. Interlude
(http://www.wethekingsmusic.com/interactive/).
White Stripes : “Fell in Love with a Girl,” 2002, dir. Michel Gondry .
White Stripes : “Seven Nation Army,” 2003a, dir. Alex & Martin .
White Stripes : “The Hardest Button to Button,” 2003b, dir. Michel Gondry .
The Who : “Happy Jack,” 1966, dir. Michael Lindsay-Hogg .
WhoMadeWho : “I Lost My Voice,” 2009, dir. Martin Fengel .
WhoMadeWho : “Keep Me in My Plane,” 2010, dir. Good Boy! Creative .
WhoMadeWho : “Every Minute Alone,” 2011, dir. Good Boy! Creative .
Wild Beasts : “Brave Bulging Buoyant Clairvoyants,” 2008, dir. OneInThree .
Will.i.am : “Hope. Act. Change,” 2008, dir. Syrup (http://hopeactchange.com/mosaic).
WIN WIN : “Interleave,” 2011, dir. Colin Devin Moore .
Yeah Yeah Yeahs : “Heads Will Roll,” 2010, dir. Richard Ayoade .
Young Empires : “White Doves,” 2012, dir. Miles Jay (http://whitedoves.me/).
Yung Jake : “Embedded,” 2012, dir. Eli Stonberg (http://e.m-bed.de/d/).
The Zoup : “One Shot,” 2012, dir. Chris Gainsborough (http://thezouponeshot.com/).