My research is informed by three main areas of inquiry and methodologies: cultural musicology, queer musicology, and close reading. This study introduces a new conceptual tool for interpreting music with specific regard to eroticism: kink reading, or kink listening. In the conclusion, I briefly discuss the film Fifty Shades of Grey (2015) as an example of post-feminist, neoliberal sadomasochism occurring at the time of writing.
Mozart’s Don Giovanni focusing on the character Zerlina (1787 dir. 2’ (2002), Rihanna’s song and music video S&M (2011), and a filmed operatic production of W. The examples investigated are the films Secretary (2003) and Duke of Burgundy (2014), Leonard Cohen’s song ‘I’m Your Man’ (1988), Elvis Costello’s song ‘When I Was Cruel No. The study consists of an introductory chapter (1), a theoretical chapter on sadomasochism (2), three chapters discussing six case studies (3–5), as well as discussion and conclusion chapters (6 and 7). In this dissertation I study musical, sonic and multimodal representations of sadomasochistic erotica in films, music videos, stage performances, and popular music. Thus, the essays collected provide critical readings through which the authors provide answers to questions, such as what is the relationship between sound and vision? And what is music's potential for communicating meaning into understanding? What we attempt to put forward in this book is not a solution to the analysis of sound and vision, but rather, a list of possibilities and approaches through which interpretation can be undertaken. Chapters are organised thematically around the headings Avant-garde aesthetics, Re-sounding soundtracks, Televisual intertexts, Interrogating the mainstream, and Personal politics and embodied performance.
In this way, the book addresses a cluster of concerns that pertain to audiovisual production, performance and consumption in a variety of present day contexts. The focus of the essays is exclusively contemporary. A thread that runs through the chapters is the recognition of audiovisual performance as a central theoretical category. And yet, very little has been published that recognises its relevance to a wide range of practices, including music videos, film and television music, video art, and gaming music. For several years audiovisual analysis has been a growth area in musicology and cultural studies.
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