Download CV - Department of Art & Art History - Stanford University

Carol Vernallis
Department of Art and Art History office phone: (650) 326-1705
Film and Media Studies office fax: (650) 725-0140
Stanford University email: cvernall@stanford.edu
Education:
Ph.D., Communication, UC San Diego. Primary advisors: DeeDee Halleck, Dan Hallin and
Helene Keyssar in Communication, Will Ogdon and Jann Pasler in Music, and George Lipsitz in
Ethnic Studies. Dissertation: The Aesthetics of Music Video: The Relation of Music and Image.
M.A., Music, Theoretical Studies, UC San Diego. Primary advisors: Julio Estrada, Will Ogdon
and Joji Yuasa.
B.A., Music, UC Santa Cruz. Composition and electronic music with David Cope and Gordon
Mumma.
Academic positions:
Fall 2012 to present, Lecturer, Film and Media Studies, Stanford University.
2007 to 2012, Associate Professor, Film and Media Studies, Arizona State University.
2003 to 2007, Associate Professor, Media Arts and Studies, Communication, Wayne State
University.
1999 to 2003, Assistant Professor, Electronic Media Division, Communication Studies,
University of Northern Iowa.
1995 to 1999, Assistant Professor, Arts and Humanities Unit, The Richard Stockton College of
New Jersey.
Publications (books):
Unruly Media: YouTube, Music Video and the New Digital Cinema, Oxford University Press,
forthcoming. (Manuscript cleared for publication—projected publication date, Spring 2013.)
Experiencing Music Video: Aesthetics and Cultural Context, Columbia University Press, 2004.
Experiencing Music Video: Aesthetics and Cultural Context, Columbia University Press, 2004,
new edition, forthcoming. (CUP has offered to print a new edition with a new introduction)
The Oxford Handbook of New Audiovisual Aesthetics (Vol. 1), Claudia Gorbman, John
Richardson, and Carol Vernallis, eds. Oxford University Press, forthcoming (in copyediting).
The Oxford Handbook of Sound and Image in Digital Media (Vol. 2), Carol Vernallis, Amy
Herzog, and John Richardson, eds. Oxford University Press, forthcoming (in copyediting).

Publications (refereed chapters and articles):
“The Aesthetics of Music Video: The Relation of Music and Image in Madonna’s ‘Cherish,’”
Popular Music 17:2 (May 1998), pp. 153-187.
“Teaching Music Video: Aesthetics, Politics and Pedagogy,” Journal of Popular Music Studies
(November 2000), pp. 93-101, 293-295.
“The Kindest Cut: Functions and Meanings of Music Video Editing,” Screen 42:5 (Spring 2001),
pp. 21-47.
“‘Analyzing Musical Multimedia,’ by Nicholas Cook,” review-essay for American Music 19:4
(Winter 2001), pp. 480-485.
“The Functions of Lyrics in Music Video,” Journal of Popular Music Studies 14:1 (Spring 2002),
pp. 11-31.
“Militarism, Misanthropy and the Body Politic: Independence Day and ‘America’s New War’,”
Entertext, (Winter 2006-2007), Volume 6 number 2,
http://people.brunel.ac.uk/~acsrrrm/entertext/issue_6_2.htm.
“‘A Music Video Canon?’—the Palm DVD Music Video Directors Series,” a review-essay for
Journal of the Society for American Music, (August 2007), pp. 407-414.
“Strange People, Weird Objects: The Nature of Narrativity, Character, and Editing in Music
Videos,” Medium Cool: Music Videos from Soundies to Cellphones, Roger Beebe and Jason
Middleton, eds., Durham: Duke University Press, (September 2007), pp. 111-152.
“The Aesthetics of Music Video: The Relation of Music and Image in Madonna’s ‘Cherish,’”
Critical Essays in Popular Musicology, Allan Moore, ed., Ashgate Press, (reprint of Ch. 11,
Experiencing Music Video), (August 2007), pp. 443-477.
“‘The Most Terrific Sandbox:’ Music Video Directors, Style, and the Question of the Auteur,”
Quarterly Review of Film and Video, 25.5, (Fall 2008), pp. 404-425.
“Music Video, Songs, Sound: Experience, Technique and Emotion in Eternal Sunshine of the
Spotless Mind,” Screen, 49:3, (Fall 2008), pp. 277-297.
“‘Cyanide and Sin: Visualizing Crime in 50s America’ by Will Straw,” review-essay for Visual
Culture, (Winter 2009), pp. 363-381.
“Music Video and YouTube: New Aesthetics and Generic Transformations Case Study—
Beyoncé’s and Lady Gaga’s ‘Telephone,’” Rewind, Play, Fast Forward: The Past, Present and
Future of the Music Video. Henry Keazor, ed., Transcript Verlag, (October 2010), pp. 235-261.
“Peter Gabriel’s Elegy for Anne Sexton: Image and Music in ‘Mercy St.,’” Games without
Frontiers: Peter Gabriel, from Genesis to Growing Up. Sarah Hill, ed., Ashgate, (December
2010), pp. 71-99.
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“Audiovisual Change: ‘Yes We Can,’ Music Video and Viral Media in the Obama Campaign,”
Cinema Journal, (September 2011), pp. 73-97.
“The Kindest Cut: Functions and Meanings of Music Video Editing,” Popular Music and
Multimedia, Julie McQuinn, ed., Ashgate Press, (reprint of Ch. 2, Experiencing Music Video),
(October 2011).
“Crafting Music Video’s Cultural Meanings: Artifice, Death and Surveillance in Jonas
Akerlund’s and Lady Gaga’s ‘Paparazzi’ and ‘Telephone’”, Lady Gaga and Popular Music:
Performing Gender, Fashion, and Culture, Martin Iddon, ed., Routledge Press, (forthcoming).
“Accelerated Aesthetics: a New Lexicon of Time, Space and Rhythm,” Social Text, under review.
Papers and Lectures:
“Unruly Media: YouTube, Music Video and the New Digital Cinema,” paper read at Society for
Cinema and Media Studies Conference, March 21, 2012, Boston.
“What Was, What Is, ‘My MTV:’ MTV’s first broadcast and Music Video Now,” paper read at
MuViKon 11—international and interdisciplinary workshop, “The implementation of aesthetic
music videos in the context of handheld,” October 7, 2011, Saarbrücken.
“Accelerating Aesthetics: A New Lexicon of Space, Time and Rhythm in Media,” invited guest
speaker, Barwick Colloquium, Harvard University, October 25, 2010; Society for Cinema and
Media Studies Conference, March 11, 2011, New Orleans.
“Audiovisual Change: ‘Yes We Can,’ Music Video and Viral Media in the Obama Campaign,”
invited guest speaker, paper presented at Play, Rewind, Fast Forward, the International Academic
Conference on Music Video, Frankfurt, Germany, October 26, 2008; paper read at Experience
Music Project’s Eighth Annual Pop Music Studies Conference, Seattle, April 16, 2009.
“Intensified Soundtrack and its Image in Global Asian Cinema,” lecture given at Cornell
University as part of the Visual Culture Colloquium, March 31, 2008.
“The New Cut-Up Cinema: Music Speed and Memory,” paper read at the Screen Studies
Conference: Sound and Music in Film, TV and Video, July 5, 2008, Glasgow; the Music and the
Moving Image Conference, NYU, May 30, 2008; Society for Cinema and Media Studies
Conference, March 8, 2008, Philadelphia.
“Cinematography, Song and Gesture in the Musical Sequences of Mani Ratnam’s Dil Se,” paper
read at the Music and the Moving Image Conference, NYU, May 19, 2007; paper read at
Experience Music Project’s Fourth Annual Pop Music Studies Conference, Seattle, April 21,
2007; paper read at the Society for Cinema and Media Studies Conference, Chicago, March 7,
2007.
“Music Video, Song, Sound: Experience, Technique and Emotion in Eternal Sunshine of the
Spotless Mind,” paper read at the Society for Cinema and Media Studies Conference, Vancouver,
March 2, 2006; paper read at the Annual Meeting of the International Association for the Study of
Popular Music U.S. Branch, Middle Tennessee State University, February 21, 2006.
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“Music Video Directors, Songs and the Transformation of Cinema,” paper read at Experience
Music Project’s Fourth Annual Pop Music Studies Conference, Seattle, April 16, 2005; keynote
presented at the Sound and Image symposium, University of Michigan, April 9, 2005; and paper
read at the Annual Meeting of the Society for Cinema and Media Studies Conference, London,
April 2, 2005.
“Music Video and the ‘Musicalization’ of Recent Cinema,” paper read at the Annual Meeting of
the International Association for the Study of Popular Music U.S. Branch, UV, October 15, 2004.
“The Art and Industry of Music Video: A Report from the Field,” paper read at the Society for
Cinema and Media Studies Conference, Atlanta, March 5, 2004.
“Dave Meyers and the Case for the Auteur in Music Video,” paper read at the Annual Meeting of
the International Association for the Study of Popular Music U.S. Branch, UCLA, September 20,
2003.
“The Art of Music Video: Interviews with Directors, Musicians and Industry Personnel,” paper
read at the International Association for the Study of Popular Music conference Practicing
Popular Music, Montreal, July 4, 2003.
“Can We Speak of Music Video Auteurs?,” paper read at the Society for Cinema and Media
Studies conference, Minneapolis, Minnesota, March 6, 2003; and at the International Association
for the Study of Popular Music National Conference in conjunction with the Rock ‘n’ Roll Hall of
Fame, Cleveland, October 12, 2002.
“The Function of Lyrics in Music Video,” paper read at the 56th Annual University Film and
Video Association Conference, Ithaca College, August 10, 2002.
“Processes, Series, Catalogues and Tableaux: How and Why Music Videos Eschew Classical
Narratives,” paper read at the conference Music/Image in Film and Multimedia: Cliché or
Emerging Language?, NYU, June 8, 2001.
“One Sings, the Other Doesn’t: Musicality and the Human Figure in Music Video,” paper read at
International Association for the Study of Popular Music U.S. and Canadian Branches Annual
Meeting, Toronto, November 4, 2000.
“The Kindest Cut: Functions and Meanings of Music Video Editing,” paper read at International
Association for the Study of Popular Music U.S. Branch Annual Meeting, Murfreesboro,
Tennessee, October 2, 1999.
“Ethnicity, Genre and Place: The Function of the Settings in Music Video,” paper read at the
American Studies Association Annual Meeting, Washington, D.C., October 31, 1997.
“Desire, Opulence and Musical Authority: The Relation of Music and Image in Prince’s ‘Gett
Off,’” paper read at the Far West Popular Culture and American Culture Annual Meeting, Las
Vegas, February 4, 1994; and at Gender, Sexuality and Performance Conference, UC Berkeley,
October 6, 1993.
“The Aesthetics of Music Video: The Relation of Music and Image in Madonna’s ‘Cherish,’”
paper read at the 47th Annual Conference of the University Film and Video Association, Temple
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University, August 7, 1993; at “Re-Theorizing Music: Feminist Theory and Music II”
Conference, Eastman School of Music, June 17, 1993; and at the Annual Meeting of the College
Music Society Northwest Chapter, Eugene, Oregon, April 18, 1993.
“Introspection and Urbanity: The Music of Joni Mitchell,” paper read at the conference “Frame
and Excess: Popular Music of the Seventies,” UC San Diego, March 13, 1993.
Festivals and Screenings:
Arts of Forgetting screened at Aarhus Festival of Independent Arts, Denmark, April 2006;
Berkeley Independent Film and Video Festival, given Grand Festival Award, October 2005;
Putnam County International Film and Video Festival—New York State Council of the Arts
(Decentralization Program), October 2005; and at the WSU Telematics Dance Concert, Winter
2005.
Get Out of My House screened at the 6e Mondial de la video, Bruxelles, Fall 1996.
Sheep in Fog screened at the Poetry Film and Video Festival, San Francisco, Fall 1993, and at the
Pacific Rim Festival, UC San Diego, Spring 1990.
Frida screened at the Smoky Mountain Film and Video Festival, North Carolina, Winter 1993; a
finalist at “Through her Eyes” series for The Independents, The Learning Channel, Spring 1991.
A Room is a Walled Garden, installation and video for the InterArts Festival, UC San Diego,
Winter 1992.
Making Movies, Group Show, Visual Arts Department, UC San Diego, Winter 1991.
Warm Rooms screened at the International Women’s Art Week, UC San Diego, Spring 1991.
Grants And Sponsored Projects
Wayne State University Humanities Center, Innovative Projects and Humanities and Arts Award,
Winter 2005.
Wayne State University Dean’s Grant, Neumann Award, Fall 2004.
Wayne State University Educational Development Grant, Summer 2004.
University of Northern Iowa Summer Fellowship, Summer 2003.
University of Northern Iowa Summer Fellowship, Summer 2002.
University of Northern Iowa Summer Fellowship, Summer 2000.
Visiting Scholar, New York University Faculty Resource Network, Summer 1998.
Visiting Scholar, New York University Faculty Resource Network, Summer 1997.
Visiting Scholar, New York University Faculty Resource Network, Summer 1996.
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Research and Professional Development Grant, The Richard Stockton College of New Jersey,
Summer 1996.
Research and Professional Development Grant, The Richard Stockton College of New Jersey,
Summer 1995.
Journal and Manuscript Reviewer:
American Music
Echo
Music, Sound and the Moving Image
Journal of Popular Music Studies
Oxford University Press
Wesleyan University Press
National Committees:
Program Director, Midwest Musical Multimedia Festival, University of Northern Iowa, March 4,
2002.
Program Committee Member and Moderator for Experience Music Project’s First Popular Music
Conference, Seattle, April 12, 2002.
Editorial Board Member, Journal of Popular Music Studies, beginning Fall 2001; Music, Sound,
and the Moving Image, beginning Spring 2006; Communication Monographs, beginning Fall
2006.
Associations:
Society for Cinema and Media Studies
International Association for the Study of Popular Music
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