Enhanced descriptions from Syndetics:

This book responds to and elaborates on significant questions concerning the imagery and music in music videos, and proposes a new way of considering music video. It is written in the spirit of communicology and cultural studies: that is, the ways that the products of human communication reveal specific ""structures"" of communication and consciousness are studied. These structures of communication reveal much about the way a culture is aware of the world. Rather than providing another interpretation of the meaning of music video, the author seeks instead to provide an explication of music video that is more concerned with what can be called their presentational value and ability to bring to expression, through technology, a cultural vision of human perceptual experience. Music video, it is argued, does not merely present itself, but makes present important aspects of communicative experience, embodiment, technology and the world.

Table of contents provided by Syndetics

• Acknowledgments (p. xi)
• Chapter 1. Introduction (p. 1)
• Some Claims Made About MTV (p. 2)
• Some Claims Made About Music Video (p. 3)
• The Question (p. 4)
• Aesthetic Communication (p. 5)
• A Brief Outline of the Book (p. 14)
• Chapter 2. History and Style (p. 19)
• The Context (p. 20)
• The Youth Market (p. 23)
• Rock Iconography (p. 26)
• Marketing a Mood (p. 28)
• Race Matters (p. 29)
• A Pathic Encounter (p. 33)
• Chapter 3. Intersections (p. 39)
• The Television Set and Stereo System (p. 41)
• Radio and Television (p. 42)
• Music and Television (p. 43)
• Promotions and Desire (p. 46)
• Contests and Mood (p. 48)
• Advertisements and Programs (p. 49)
• The Song and the Video (p. 54)
• Origin and Copy (p. 57)
• Music and Visuals (p. 61)
• Musical Styles and Schizophonia (p. 68)
• Videos and Typology (p. 70)
• Sight and Sound (p. 73)
• Logics and Limits (p. 74)
• Chapter 4. The Flow of the Floe (p. 77)
• Television Flow (p. 78)
• MTV's Rhythmic Structuring (p. 82)
• MTV's Musical Temporality (p. 86)
• Chapter 5. Style (p. 91)
• Conceptions of Style (p. 92)
• Conceptions of Music Video Style (p. 93)
• Communication and Style (p. 101)
• Music, Style, and Ritual (p. 107)
• The Nebulous and Ineffible Dimension of Music (p. 122)
• Chapter 6. The Persistence of Vision (p. 125)
• The Visual Bias (p. 126)
• Visual Communication (p. 131)
• Image and Imagination, Sound and Orality (p. 133)
• The Audial Depth of the Visual Scene (p. 136)
• The Audial Scene of Guess Jeans (p. 138)
• Chapter 7. Realism and Hyperreality (p. 141)
• Realism and the Tele-vision of Music (p. 143)
• Hyper-realism and a Musical Tele-vision (p. 150)
• Transformations of the Performer and the Performance (p. 154)
• Chapter 8. Aesthetics, Aisthesis, and Synesthesia (p. 165)
• Aisthesis (p. 169)
• Synesthesia (p. 173)
• Chapter 9. The Reversibility of Expression and Perception (p. 187)
• Communication and Technology (p. 189)
• From Instrumentality to Poeisis to Enframing (p. 191)
• The Reversibility of Expression and Perception (p. 194)
• The Perspective of Perspective (p. 197)
• The Reversal of Perspective (p. 199)
• Chapter 10. From Logos to Echos (p. 207)
• Logos (p. 208)
• Echos (p. 210)
• Mutual Interpretation (p. 213)
• Videoscape (p. 222)
• Appendix (p. 233)
• To the Things Themselves (p. 236)
• The Willing Suspension of Belief (p. 243)
• Transcendental Reduction (p. 248)
• Phenomenological Reduction (p. 249)
• Eidetic Reduction (p. 250)
• The Questions of Reality and Existence (p. 251)
• Transcendental Constitution (p. 253)
• A Task of Writing (p. 254)
• Communication (p. 261)
• References (p. 263)
• Author Index (p. 281)
• Subject Index (p. 287)