PDF Ebook Money for Nothing: A History of the Music Video from the Beatles to the White StripesBy Saul Austerlitz
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Money for Nothing: A History of the Music Video from the Beatles to the White StripesBy Saul Austerlitz
PDF Ebook Money for Nothing: A History of the Music Video from the Beatles to the White StripesBy Saul Austerlitz
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Picture yourself in a darkened movie theater, or soothed by the pleasing glow of a television screen. You are watching as a history of the moving image unfolds onscreen, but this history will not take note of D.W. Griffith or Jean Renoir, nor will King Kong or Jaws make an appearance. As the images flicker past - of four ebullient Britishmen turning cartwheels in an open field, a man tap-dancing on an urban sidewalk, a wedding party in a rainstorm, a tragedy in a school classroom - they wax more familiar, the theme growing more coherent, more stable. They keep coming, though, quickly, relentlessly, constantly changing form, changing style, shapeshifting. The parade of images appears to possess a logic of its own, a guiding hand to steer its ship. Finally, as the last picture fills the screen - it happens to be of a shooting on a Brooklyn street - a light bulb goes off: these are all images from music videos, the short films that once ruled the airwaves, and still possess a significant hold on the generations raised by MTV. "I wonder what those were all about," you say... The music video is a medium that appears to have run its course, or at least hit a substantial rut in its evolution. MTV and VH1 have morphed into lifestyle channels, the musical component of their programming reduced to a mere blip on their schedule. BET, CMT, and other music channels still maintain their dedication to showing music videos regularly, but their narrower audiences render them distinctly niche channels. And yet the video's shining moment as part disposable crap, part momentary, fleeting genius (the exact cinematic/televisual equivalent of the pop song, of course) renders it a subject worthy of some serious attention. Saul Austerlitz's fascinating book tells the history of the music video, delving into its origins, function, stars, motifs, genres, conventions, and masterpieces. Austerlitz sees the music video as a fascinating oddity, capable of packing great wit, emotion, and insight into its brief span. A compelling marker of cultural history, the video emerged onto television screens nationwide and shone gloriously for a brief moment before disappearing into the remembrance of television past. Informed, opinionated, and always entertaining, Money for Nothing goes a long way toward retrieving the memory of this fleeting, evanescent art-form.
- Sales Rank: #2595469 in Books
- Brand: Brand: Continuum
- Published on: 2006-12-22
- Original language: English
- Number of items: 1
- Dimensions: .99" h x 6.32" w x 9.10" l, 1.15 pounds
- Binding: Hardcover
- 268 pages
- Used Book in Good Condition
From Publishers Weekly
In this look back on the music video genre, film and music critic Austerlitz does an admirable job explaining how early pioneers like the Beatles and Bob Dylan paved the way for the Madonnas and Michael Jacksons of the 1980s, the decade in which the music video thrived. Unfortunately, Austerlitz muddles his historical narrative by arranging it more by theme than by chronology. Focusing on specific directors like Michel Gondry and Paul Hunter, topics such as comedy and minimalism, and the groundbreaking concepts and techniques of videos such as Peter Gabriel's "Sledgehammer" and the Sinead O'Connor's "Nothing Compares 2 U," Austerlitz proves an erudite authority, clearly articulating what makes videos such as the Replacements' "Bastards of Young" and Guns N' Roses' "November Rain" so important to the canon. But this specificity comes at the expense of a broader, more sociological take: hot-button subjects such as homosexuality are addressed, but Austerlitz rarely connects these to the prevailing cultural climate. Similarly, Austerlitz's assessment can be succinct and spot-on, as in his consideration of Nirvana's legacy, but these moments are too few and far between. Still, film and music aficionados will find themselves smiling at discussion of their favorites and chuckling over Austerlitz's skewering of less successful specimens; like his subject, Austerlitz's efforts can be described as "part disposable crap, part ... genius."
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.
Review
'Money captures music video at an important turning point. As the Internet becomes our primary outlet for video viewing, we need writers like Saul Austerlitz - music fanatics who've watched more episodes of 120 Minutes than clinically recommended - to remind us of the medium's bygone halcyon era.' (Andrew Leahy, New Music, 2006)
, Playboy.com, December 21, 2006. (Eric Wilinski)
'His [Saul Austerlitz] love-hate relationship with his subject...results in a study that's as informative...as it is entertaining. Four stars'~ Mojo, March 2007
'Music videos finally get their proper due as a legitimate art form for rigorous analysis...Austerlitz is nothing if not thorough. He opens the book with an introduction that does a nice job of explaining just what this mutant media object connotes to the masses.'Marc Weingarten, Paste, Issue 28 (Marc Weingarten)
"Praise is due Austerlitz for his diligence, open-mindedness and patience; watching as many videos as he has would have fried most others' brains.
A New York critic who specializes in film and music, Austerlitz writes for publications mainstream, specialist and what started out alternative, like Spin. 'Money for Nothing,' his first book, is a niche product. Its primary appeal will be to other critics; if its marketed effectively, it should also appeal to music, video and film fans, and those eager to break into those businesses...Austerlitz is a gifted critic; he's particularly OK in my book because he, too, can't stand Creed front man Scott Stapp or Limp Bizkit's Fred Durst. Austerlitz likes the genre once known as alternative rock, shuns heavy metal and 'nu metal,' disses many hip-hop videos (for reasons similar to his dislike of heavy metal videos), considers Eminem subversive and powerfully political, and proffers kind words not only about music videos auteurs like Spike Jonze and Michael Gondry (his faves) but also about various musical groups. When band and video come together well, his interpretation can be dense, warm and illuminating..." (SFGate.com)
"It's about time someone wrote a comprehensive tome to the music video. From the very early days of music shorts to You Tube, Brooklyn-based music critic Saul Austerlitz has a lot to talk about...this in-depth analysis of hundreds of videos is done in an interesting way that will teach you tons about bands, MTV and the 80's. If you only read a few pages, check out the author's list of his top 100 videos."
(Chart)-Mention. Publishers Weekly/ January 15, 2007
(Publishers Weekly)
"...Austerlitz does anice job of documenting how the cleverest video directors have boosted theircredibility by paying homage to cinematic landmark; he knows how to connectSinead O'Connor to Maria Falconetti's silent-era Joan of Arc. And "Money forNothing" shows just how much Hollywood has, in turn, been influenced by MTV."-James Sullivan, The Boston Globe, June18, 2007 (The Boston Globe)
'Money captures music video at an important turning point. As the Internet becomes our primary outlet for video viewing, we need writers like Saul Austerlitz - music fanatics who've watched more episodes of 120 Minutes than clinically recommended - to remind us of the medium's bygone halcyon era.' (Sanford Lakoff)
(Sanford Lakoff)
'Music videos finally get their proper due as a legitimate art form for rigorous analysis...Austerlitz is nothing if not thorough. He opens the book with an introduction that does a nice job of explaining just what this mutant media object connotes to the masses.'Marc Weingarten, Paste, Issue 28 (Sanford Lakoff)
"Praise is due Austerlitz for his diligence, open-mindedness and patience; watching as many videos as he has would have fried most others’ brains.
A New York critic who specializes in film and music, Austerlitz writes for publications mainstream, specialist and what started out alternative, like Spin. 'Money for Nothing,’ his first book, is a niche product. Its primary appeal will be to other critics; if its marketed effectively, it should also appeal to music, video and film fans, and those eager to break into those businesses…Austerlitz is a gifted critic; he’s particularly OK in my book because he, too, can’t stand Creed front man Scott Stapp or Limp Bizkit’s Fred Durst. Austerlitz likes the genre once known as alternative rock, shuns heavy metal and 'nu metal,’ disses many hip-hop videos (for reasons similar to his dislike of heavy metal videos), considers Eminem subversive and powerfully political, and proffers kind words not only about music videos auteurs like Spike Jonze and Michael Gondry (his faves) but also about various musical groups. When band and video come together well, his interpretation can be dense, warm and illuminating…" (Sanford Lakoff)
"It’s about time someone wrote a comprehensive tome to the music video. From the very early days of music shorts to You Tube, Brooklyn-based music critic Saul Austerlitz has a lot to talk about…this in-depth analysis of hundreds of videos is done in an interesting way that will teach you tons about bands, MTV and the 80’s. If you only read a few pages, check out the author’s list of his top 100 videos."
(Sanford Lakoff)-Mention. Publishers Weekly/ January 15, 2007
(Sanford Lakoff)
“…Austerlitz does anice job of documenting how the cleverest video directors have boosted theircredibility by paying homage to cinematic landmark; he knows how to connectSinead O’Connor to Maria Falconetti’s silent-era Joan of Arc. And “Money forNothing” shows just how much Hollywood has, in turn, been influenced by MTV.”-James Sullivan, The Boston Globe, June18, 2007 (Sanford Lakoff)
About the Author
Saul Austerlitz is a writer and cultural critic living in New York City. His work has been published in the Boston Globe (where he is a regular contributor), Slate, the San Francisco Chronicle, the Village Voice, and other publications.
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