. Linda Williams,“Film Bodies: Gender, Genre, and Excess,”Film Quarterly, volume
, no.(summer,)-.
. Carol Vernallis“‘The Most Terrific Sandbox’: Music Video Directors, Style, and the
Question of the Auteur.”Quarterly Review of Film and Video, volume, issue(Oc-
tober).
. The VJ grew to be an important part of the club scene of thes. VJ-ing has pre-
dominantly remained a performative art in the sense that it has mostly remained
bound to live performances. Recorded performances have tended to circulate as
“show-reels”for the various performers, rather than as works in their own right.
. http://www.director-file.com/gondry/stones.html (August,).
. See Michele Pierson, David E. James and Paul Arthur (eds.)Optic Antics: The Cinema
of Ken Jacobs. London and New York: Oxford University Press,).
. Benjamin.
. Ibid.,-.
. Lev Manovich,“Image Future,”Animation.(London: Sage,)-.
. Charles S. Peirce,“Logic as Semiotic: The Theory of Signs,”The Philosophy of Peirce:
Selected Writings, ed. Justus Buchler (New York: Routledge,).
. Ibid.,.
. János Maróthy quoted in Richard Middleton,“Popular Music Analysis and Musi-
cology: Bridging the Gap,”Reading Pop: Approaches to Textual Analysis in Popular
Music(London: Oxford University Press,).
. Janós Maróthy,“Rite and Rhythm: From Behavior Patterns to Musical Structures.”
Studia Musicologica Academiae Scientiarum Hungaricae,T., Fasc(-):.
[http://www.jstor.org/stable/(last](http://www.jstor.org/stable/(last) accessed June,).
. Ibid.
. Nicholas Cook,Analysing Musical Multimedia. (Oxford: Oxford University Press,
).
. Vernallis,“‘The Most Terrific Sandbox’: Music Video Directors, Style, and the
Question of the Auteur,”Quarterly Review of Film and Video,()-.
. Warp Interview With Chris Cunningham. http://www.director-file.com/cunning-
ham/rubber.html (last accessed April,)
. Ibid.
. In recent music production, a visual interface is increasingly used to expand crea-
tion beyond what our intuition can yield when working merely inside the aural
realm. Thus, the artist plays around with sounds by means of visual representa-
tions. Afterwards the results can be subjected to an aural check. This method of
production can expand the purview of aural creation, because, when playing music,
a basic principle is that we canrecognizemore interesting things than we are able to
createby means of playing.
. Michel Chion,Audio-Vision: Sound on Screen(New York: Columbia University Press,
),.
. Vernallis.
. Ibid.,.
. Se http://www.director-file.com/cunningham/rubber.html (last accessed November
,)
. A case in point is John Cage’sworkOrgan²/ASLSPnow being performed in the St.
Burchardi church in Halberstadt, Germany. The performance started at midnight on
184 Arild Fetveit