Hybridations et effacement du chanteur : l’emploi des codes de la lyric video dans le clip de « Where are we now? »

Clicks: 344
ID: 105641
2018
Free PDF
Article Quality & Performance Metrics
Overall Quality
Not rated
Combines reader engagement with the AI quality analysis. This article has not been analysed, so there is no overall score — reader engagement is measured and shown alongside.
AI Quality Assessment
Not analyzed
Readership in this journal
Star

Ranked #2 of 2 articles by views in miranda: revue pluridisciplinaire du monde anglophone

Most read Least read

Bar heights use a square-root scale.

Mint this article as an NFT
Not yet minted

Create a permanent, verifiable on-chain record of this article on the Scimatic Network. The NFT is held in your Journament account, and you can withdraw it to your own wallet at any time.

5 SUSD one-off · no wallet required
Sign in to mint
Abstract
“Where are we now?” was the question David Bowie asked in a music video directed by American plastician Tony Oursler, and released in 2013. Over the years, Bowie created many avatars, notably thanks to music videos, and in 2016, he would even metaphorically depict his own death in Lazarus. In Where are we now?, he highlighted the questions of disappearance and posterity in particular. On a formal level, the video refers to two genres which can seem very opposite: on the one hand, lyric videos, that are official textual music videos, featuring the lyrics of the illustrated song; on the other hand, video installation and contemporary art. This paper proposes to analyse this music video in the light of equivocality, ambiguities and duplications within a dense network of signs. It will also consider the hybridization, of genres and of Bowie’s body and self-representation as well. The writing of lyrics on screen, which is specific to lyric video as a genre, seems an invitation to interpretation. Specifically, the importance given to the text leads to notice the gradual fading of Bowie himself, as a singer, behind his own song. In the end of the video, he will indeed totally disappear from the screen – a disappearance that echoes afterwards with Bowie’s actual death, a few years later.
Reference Key
cauche2018hybridationsmiranda Use this key to autocite in the manuscript while using SciMatic Manuscript Manager or Thesis Manager
Authors Cauche, Robin;
Journal miranda: revue pluridisciplinaire du monde anglophone
Year 2018
DOI
DOI not found
URL
http://journals.openedition.org/miranda/13241
Keywords
history of scholarship and learning. the humanities social sciences (general) philology. linguistics language and literature sociology (general) communities. classes. races fine arts arts in general english literature french literature - italian literature - spanish literature - portuguese literature american literature german literature history of the arts

Citations

No citations found. To add a citation, contact the admin at info@scimatic.org

Comments

No comments yet. Be the first to comment on this article.