Uploaded July 2019 | Updated September 2026, 5 hours ago
crosstowntraffic2018.wordpress.com
This presentation took place as part of the conference Crosstown Traffic: Popular Music Theory and Practice, which was hosted by The University of Huddersfield from September 3 - 5 2018. This event combined the IASPM UK&Ireland Biennial Conference, the 13th Art of Record Production Conference (ARP), an ISMMS conference, and the additional participation of Dancecult.
A recurrent theme within popular music studies has been discussion of how the field can integrate different disciplines and professions, for example exploring both music and its context; involving both practitioners and researchers; and encouraging interdisciplinary and collaborative work. Many different issues make such approaches challenging, and various different popular music focused subject organisations have developed somewhat independently of one another. This conference brought four such groups together, to exchange knowledge, collaborate, and encourage crosstalk.
/// SUPPORT
Popular Music Studies Research Group (PMSRG), University of Huddersfield research.hud.ac.uk/pmsrg/#
Centre for Music, Culture and Identity (CMCI), University of Huddersfield
research.hud.ac.uk/institutes-centres/cmci
The International Association for the Study of Popular Music UK and Ireland Branch (IASPM UK & Ireland)
iaspm.org.uk
Association for the Study of the Art of Record Production (ASARP)
artofrecordproduction.com
Dancecult Research Network (DRN) studies into electronic dance music culture
dancecult-research.net
International Society for Metal Music Studies (ISMMS)
metalstudies.org
/// ORGANIZERS
IASPM UK&I: Rupert Till
ARP: Katia Isakoff, Shara Rambarran
ISMMS: Karl Spracklen
Dancecult: Graham St. John
University of Huddersfield: Jan Herbst, Austin Moore, Lisa Colton, Toby Martin, Catherine Haworth, Mark Mynett
/// CREDITS
This online project was edited, collated, and made available online by Chris McConnell, Jack Zissell, and Colin Frank.
/// PRESENTATION DETAILS
Multimodal Subjectivity in Heavy Metal Performance: Patric Ullaeus’ Video Treatments of Arch Enemy, Dark Tranquillity, and Evergrey
Lori A. Burns – University of Ottawa
Email: laburns@uottawa.ca
/// ABSTRACT
Swedish videographer Patric Ullaeus’ heavy metal music videos render a powerful portrayal of performance style and aesthetics, offering an intimate view of the band members while also exploring the scope of the performance space. He yields an evocative representation of metal performance, enhancing the artwork by providing a sense of immediate access, thus drawing the spectator into the dynamic workings of performance that comprise the genre conventions of song structure, expressive strategies, and discursive elements. As his finely detailed and comprehensive vision situates the viewer “inside” the work, he encourages a superlative awareness of the embodied subjectivities of the performers. This paper examines three Ullaeus videos that illuminate contrasting settings and performance subject positions: Dark Tranquillity’s “Uniformity” (2013); Arch Enemy’s “The Eagle Flies Alone” (2017); and Evergrey’s “In Orbit” (2016). In order to bring multimodal expressions of subjectivity into view, I explore how the performance video presents bodies and materials within space and time, how discursive values drive the artistic representation, and how the parameters of structure and expression shape the performance. My threedimensional analytic model studies the corporeal, temporal, and spatial dimensions, in relation to the discursive, structural, and expressive elements, across the three artistic domains of word, sound, and image. The analytic model responds to scholarly writings on subjectivity (e.g. Auslander 2009; Berger 2009; Clarke 2005; Dibben 2006) and multimodality (e.g., Burns 2017; Cook 1998; Jewitt 2010; Machin 2010) from a range of perspectives. I integrate these interpretive approaches in order to analyze subjectivities at the multimodal intersection of words, music, and images.
crosstowntraffic2018.wordpress.com
This presentation took place as part of the conference Crosstown Traffic: Popular Music Theory and Practice, which was hosted by The University of Huddersfield from September 3 - 5 2018. This event combined the IASPM UK&Ireland Biennial Conference, the 13th Art of Record Production Conference (ARP), an ISMMS conference, and the additional participation of Dancecult.
A recurrent theme within popular music studies has been discussion of how the field can integrate different disciplines and professions, for example exploring both music and its context; involving both practitioners and researchers; and encouraging interdisciplinary and collaborative work. Many different issues make such approaches challenging, and various different popular music focused subject organisations have developed somewhat independently of one another. This conference brought four such groups together, to exchange knowledge, collaborate, and encourage crosstalk.
/// SUPPORT
Popular Music Studies Research Group (PMSRG), University of Huddersfield research.hud.ac.uk/pmsrg/#
Centre for Music, Culture and Identity (CMCI), University of Huddersfield
research.hud.ac.uk/institutes-centres/cmci
The International Association for the Study of Popular Music UK and Ireland Branch (IASPM UK & Ireland)
iaspm.org.uk
Association for the Study of the Art of Record Production (ASARP)
artofrecordproduction.com
Dancecult Research Network (DRN) studies into electronic dance music culture
dancecult-research.net
International Society for Metal Music Studies (ISMMS)
metalstudies.org
/// ORGANIZERS
IASPM UK&I: Rupert Till
ARP: Katia Isakoff, Shara Rambarran
ISMMS: Karl Spracklen
Dancecult: Graham St. John
University of Huddersfield: Jan Herbst, Austin Moore, Lisa Colton, Toby Martin, Catherine Haworth, Mark Mynett
/// CREDITS
This online project was edited, collated, and made available online by Chris McConnell, Jack Zissell, and Colin Frank.
/// PRESENTATION DETAILS
Multimodal Subjectivity in Heavy Metal Performance: Patric Ullaeus’ Video Treatments of Arch Enemy, Dark Tranquillity, and Evergrey
Lori A. Burns – University of Ottawa
Email: laburns@uottawa.ca
/// ABSTRACT
Swedish videographer Patric Ullaeus’ heavy metal music videos render a powerful portrayal of performance style and aesthetics, offering an intimate view of the band members while also exploring the scope of the performance space. He yields an evocative representation of metal performance, enhancing the artwork by providing a sense of immediate access, thus drawing the spectator into the dynamic workings of performance that comprise the genre conventions of song structure, expressive strategies, and discursive elements. As his finely detailed and comprehensive vision situates the viewer “inside” the work, he encourages a superlative awareness of the embodied subjectivities of the performers. This paper examines three Ullaeus videos that illuminate contrasting settings and performance subject positions: Dark Tranquillity’s “Uniformity” (2013); Arch Enemy’s “The Eagle Flies Alone” (2017); and Evergrey’s “In Orbit” (2016). In order to bring multimodal expressions of subjectivity into view, I explore how the performance video presents bodies and materials within space and time, how discursive values drive the artistic representation, and how the parameters of structure and expression shape the performance. My threedimensional analytic model studies the corporeal, temporal, and spatial dimensions, in relation to the discursive, structural, and expressive elements, across the three artistic domains of word, sound, and image. The analytic model responds to scholarly writings on subjectivity (e.g. Auslander 2009; Berger 2009; Clarke 2005; Dibben 2006) and multimodality (e.g., Burns 2017; Cook 1998; Jewitt 2010; Machin 2010) from a range of perspectives. I integrate these interpretive approaches in order to analyze subjectivities at the multimodal intersection of words, music, and images.
