Sound, Vision, and Embodied Performativity in Beyoncé Knowles’ Visual Album Lemonade (2016)
In 2016, Beyoncé published Lemonade, a work of art that exists in various manifestations: as a music album that includes twelve songs, as live performances (including her world tour and her appearance at the Superbowl halftime show), and as a “visual album,” an art film that consists of the music vi...
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European Association for American Studies
2017-12-01
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| Series: | European Journal of American Studies |
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| Online Access: | https://journals.openedition.org/ejas/12415 |
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| author | Johanna Hartmann |
| author_facet | Johanna Hartmann |
| author_sort | Johanna Hartmann |
| collection | DOAJ |
| description | In 2016, Beyoncé published Lemonade, a work of art that exists in various manifestations: as a music album that includes twelve songs, as live performances (including her world tour and her appearance at the Superbowl halftime show), and as a “visual album,” an art film that consists of the music video clips for each individual song and visually and auditorily complex “chapters” which feature the poetry by Warsan Shire. This article focuses on the visual album as intermedial artwork that can be described as a soundscape in which the intermedial constellations fulfill a number of functions: Firstly, intermedial references are a means of cohesion that are responsible for the unified character of the visual album. Secondly, intermedial references result in a transcultural signature of the artwork. Thirdly, through intermedial references Beyoncé locates Lemonade within the cultural history of the United States and American music history in particular. Finally, intermediality acquires cultural-critical functions which in particular pertain to race relations and structural forms of discrimination against people of color in contemporary America. |
| format | Article |
| id | doaj-art-9b614a7e63db447284d139db572be418 |
| institution | Kabale University |
| issn | 1991-9336 |
| language | English |
| publishDate | 2017-12-01 |
| publisher | European Association for American Studies |
| record_format | Article |
| series | European Journal of American Studies |
| spelling | doaj-art-9b614a7e63db447284d139db572be4182025-01-06T09:09:21ZengEuropean Association for American StudiesEuropean Journal of American Studies1991-93362017-12-0112410.4000/ejas.12415Sound, Vision, and Embodied Performativity in Beyoncé Knowles’ Visual Album Lemonade (2016)Johanna HartmannIn 2016, Beyoncé published Lemonade, a work of art that exists in various manifestations: as a music album that includes twelve songs, as live performances (including her world tour and her appearance at the Superbowl halftime show), and as a “visual album,” an art film that consists of the music video clips for each individual song and visually and auditorily complex “chapters” which feature the poetry by Warsan Shire. This article focuses on the visual album as intermedial artwork that can be described as a soundscape in which the intermedial constellations fulfill a number of functions: Firstly, intermedial references are a means of cohesion that are responsible for the unified character of the visual album. Secondly, intermedial references result in a transcultural signature of the artwork. Thirdly, through intermedial references Beyoncé locates Lemonade within the cultural history of the United States and American music history in particular. Finally, intermediality acquires cultural-critical functions which in particular pertain to race relations and structural forms of discrimination against people of color in contemporary America.https://journals.openedition.org/ejas/12415soundintermedialityvisionperformativityBeyoncé Knowles-CarterWerner Wolf |
| spellingShingle | Johanna Hartmann Sound, Vision, and Embodied Performativity in Beyoncé Knowles’ Visual Album Lemonade (2016) European Journal of American Studies sound intermediality vision performativity Beyoncé Knowles-Carter Werner Wolf |
| title | Sound, Vision, and Embodied Performativity in Beyoncé Knowles’ Visual Album Lemonade (2016) |
| title_full | Sound, Vision, and Embodied Performativity in Beyoncé Knowles’ Visual Album Lemonade (2016) |
| title_fullStr | Sound, Vision, and Embodied Performativity in Beyoncé Knowles’ Visual Album Lemonade (2016) |
| title_full_unstemmed | Sound, Vision, and Embodied Performativity in Beyoncé Knowles’ Visual Album Lemonade (2016) |
| title_short | Sound, Vision, and Embodied Performativity in Beyoncé Knowles’ Visual Album Lemonade (2016) |
| title_sort | sound vision and embodied performativity in beyonce knowles visual album lemonade 2016 |
| topic | sound intermediality vision performativity Beyoncé Knowles-Carter Werner Wolf |
| url | https://journals.openedition.org/ejas/12415 |
| work_keys_str_mv | AT johannahartmann soundvisionandembodiedperformativityinbeyonceknowlesvisualalbumlemonade2016 |