[Previous message][Next message][Back to index]
[Commlist] CfP: Music | Video | Spaces Conference
Sun Mar 15 18:53:21 GMT 2020
CFP for MUSIC | VIDEO | SPACES
Conference, November 6-7, 2020 at the University of Zurich (Department
Anthropology and Cultural Studies)
The production and representation of space in film and (pop-)music has
received increasing scholarly attention as of late. However, a
surprising blank space appears at the most obvious intersection of these
two fields of study: the music video. This conference jumps off from the
observation that since their inception, music videos have been highly
prolific media of spatial imagination and production.
From lovestruck skating middle-class teenagers in Californian suburbs
in Air’s “All I Need” to cartographies of North-American small town
childhoods in Men I Trust’s sentimental Super 8
driven video for “Tailwhip;” from attempts to escape similar spaces and
accompanying mentalities in Tocotronic’s “Hey Du” to nostalgically
rendered images of countercultural nature in Kurt Vile’s “One Trick
Ponies;” from the folkloristic imaginations of a Morris dancing British
village in Stealing Sheep’s “Apparation” to the ironic, touristic gaze
on highly mediatized Icelandic wilderness in Mourn’s “Fun at the
Geysers;” from the hypervertical urbanism of Forest Swords’ “Crow” to
the Google Street View-inspired white middle class gaze on an
African-American neighbourhood in Vince Staple’s “Fun;” from hipsterish
mid-century architecture connoisseurship in Delmoro’s “Dove Siamo
Finito” to the explorations of contemporary city-scapes through the
Mancunian public transport system in Equiknoxx’s “Manchester,” music
videos conceive, depict and perform a variety of imaginary,
communicative, social and natural spaces.
Though the spatialities of music video production and aesthetics have
not been subject to systematic academic scrutiny yet, some solitary case
studies pave the way. These give a first
impression of the wide scope of spatial entanglements within music
videos, covering diverse themes including geographical engagements with
the semiotics of high-rise architecture exploring London’s skyline in
contemporary British music videos or housing estates in German gangster
rap videos. Forays into the spatial intersections of political economy
and cultural history have produced important insights into
representations of the disruption experienced in post-industrial
Chemnitz in Eastern Germany but also the depiction of yachts and islands
in 1980s British pop music. Many case studies have zoned in on the role
of music video landscapes and their importance for national imaginaries
in Iceland. Other reflections on nature and landscape have zeroed in on
questions of genre and space, for instance with regard to country music.
However, some seminal pioneering work, e.g. Diedrich Diederichsen’s and
Kodwo Eshun’s TV essay on the representation of outer space in music
videos (Fantastic Voyages 1999), has almost faded into oblivion.
A systematic engagement with music video spaces bringing together
scholarship on music videos with research on the nexus between music and
urbanity, nature and landscape is still
lacking. The conference aims at contributing to address this gap.
Possible paper topics and questions could include, but are not limited to:
• How can connections between local music scenes and their music video
described? What relation is there between specific varieties of urban
textures, the mythspaces of renowned music cities and music video
• In what ways is the visual staging of space in the pop music video
connecting with but
also changing the lyrical and musical conjuring of space?
• Genres like hip-hop, grime, country, ambient but also
singer-songwriters etc. have always
been very sensitive to picking up local atmospheres, soundscapes,
ambiances. In what
ways have genres developed distinct music video spaces and how have they
over the decades?
• How are architectural epochs and discourses of landscape and nature
negotiated, especially regarding the imagination and construction of
nationally and locally
distinct pop music cultures?
• How does the increasingly emphasised conflict between
urban/metropolitan and rural,
deindustrialized or otherwise marginalized spaces find its expression in
How can music videos be made productive in these times of surging populism,
polarization, sharpening levels of inequalities and their spatialized
• What is the relationship between pop music as protest music and the
spatiality of music
videos? How do phenomena like gentrification, racism, classism, urban
movements or the neoliberal governance of space figure in music videos?
• In which ways are the aligned spatialities and visualities of recently
regimes, such as Google Street View or the vertical perspectives of
Google Earth or the
proliferation of drone footage, enacted and problematised in music
videos? How are these
enactments related to other highly spatial and mobile aesthetics such as
those of video
games and contemporary cinema’s computer generated images?
• How are music video spaces related to historical and recent
representations of urban
space? Do they function as marketing tools within the increasing
competition among cities
and their accelerating “self-culturalization”? What is their role in
touristification and accompanying ways of seeing and producing images?
• How do built spaces and subjective inner spaces or practices and
emplacement and embodiment intersect in music video spaces? Is the
classical figure of
the flaneur still relevant for contemporary explorations of spatial
• How do music videos address — and maybe even challenge — the classical
tropes of the
sublime and concomitant representations of nature, e.g. forests,
mountains, the sea?
• Which speculative and heterotopic (utopic, dystopic) spaces — outer
space, say, or
imaginations of the natural condition — are mapped out? How did these
change, especially with regard to the perception that we move towards a
state of multiple
crises (Anthropocene, climate change, species extinction)?
Please submit presentation proposals (300-500 words) by 29 March 2020
via email to
Maximilian Jablonowski at (jablonowski /at/ isek.uzh.ch) and Johannes Springer
Please don’t hesitate to contact us for questions and expressions of
The conference conveners seek to raise funding for travel expenses.
Conference conveners: Maximilian Jablonowski (Zurich) & Johannes
This mailing list is a free service offered by Nico Carpentier. Please use it responsibly and wisely.
To subscribe or unsubscribe, please visit http://commlist.org/
Before sending a posting request, please always read the guidelines at http://commlist.org/
To contact the mailing list manager:
Email: (nico.carpentier /at/ vub.ac.be)
[Previous message][Next message][Back to index]