PJ Harvey’s performances are premised on the core contention that she is somehow causing ’trouble’. Just how this trouble can be theorised within the context of the music video and what it means for a development of the ways we might conceptualise ’disruption’ and think about music video lies at the heart of this book. Abigail Gardner mixes feminist theory and critical models from film and video scholarship as a rich means of interrogating Harvey’s work and redefining her disruptive strategies. The book presents a rethinking of the masquerade that allies it to cultural memory, precipitated by Gardner’s claim that Harvey’s performances are conversations with the past, specifically with visualised memories of archetypes of femininity. Harvey’s masquerades emerge from her conversations and renegotiations with both national and transatlantic musical, visual and lyrical heritages. It is the first academic book to present analysis of Harvey’s music videos and opens up fresh avenues into exploring what is at stake in the video work of one of Britain’s premier singer-songwriters. It extends the discussion on music video to consider how to make sense of the rapidly developing digital environment in which it now sits. The interdisciplinary nature of the book should attract readers from a range of subject areas including popular music studies, cultural studies, media and communication studies, and gender studies.
"PJ Harvey and Music Video Performance is an essential book because it is the first full academic workthat is exclusively dedicated to her and her music video. Gardner’s writing is veryclear and well-documented, and her reconfigurations of the theories are indeednecessary to account for Harvey’s performances. In addition, she adds a voice tothe relatively new study of music video as a genre, a domain that is bound to gainimportance with time."
- Ariane Gruet-Pelchat, Université Laval, Canada
"Readers do not have to be Harvey fans in order to be attracted by the interdisciplinarily designed study, that offers an impressive insight into popular music. (…) one of the main strengths of the book – apart from the fact that it is the first academic book to present a detailed critical analysis of Harvey’s confrontational video work – is the extension of established concepts from feminist theory and models from film and video scholarship."
- Dr. Fabienne Amlinger, Interdisziplinäres Zentrum für Geschlechterforschung, Germany
Popular musicology embraces the field of musicological study that engages with popular forms of music, especially music associated with commerce, entertainment and leisure activities. The Ashgate Popular and Folk Music Series aims to present the best research in this field. Authors are concerned with criticism and analysis of the music itself, as well as locating musical practices, values and meanings in cultural context. The focus of the series is on popular music of the twentieth and twenty-first centuries, with a remit to encompass the entirety of the world’s popular music.
Critical and analytical tools employed in the study of popular music are being continually developed and refined in the twenty-first century. Perspectives on the transcultural and intercultural uses of popular music have enriched understanding of social context, reception and subject position. Popular genres as distinct as reggae, township, bhangra, and flamenco are features of a shrinking, transnational world. The series recognizes and addresses the emergence of mixed genres and new global fusions, and utilizes a wide range of theoretical models drawn from anthropology, sociology, psychoanalysis, media studies, semiotics, postcolonial studies, feminism, gender studies and queer studies.