Music videos are available on more channels, in more locations and formats than ever before. While MTV - the network that introduced music video to most viewers - is moving away from music video programming, other media developments signal the longevity and dynamism of the form. Among these are the proliferation of niche-based cable and satellite channels, the globalization of music video production and programming, and the availability of videos not just on television but also via mobile phones, DVDs, enhanced CDs, PDAs, and the Internet.In the context of this transformed media landscape, "Medium Cool" showcases a new generation of scholarship on music video. Scholars of film, media, and music revisit and revise existing research as they provide historically and theoretically expansive new perspectives on music video as a cultural form. The essays take on a range of topics, including questions of authenticity, the production and dissemination of music videos outside the United States, the tension in music videos between high-art influences and mass cultural appeal, and the prehistory of the form.Among the thirteen essays are a consideration of how the rapper Jay-Z uses music video as the primary site for performing, solidifying, and discarding his various personas; an examination of the recent emergence of indigenous music video production in Papua New Guinea; and an analysis of the cultural issues being negotiated within Finland's developing music video industry. Contributors explore precursors to contemporary music videos, including 1950s music television programs such as American Bandstand, Elvis' internationally broadcast 1973 Aloha from Hawaii concert, and different types of short musical films that could be viewed in 'musical jukeboxes' of the 1940s and 1960s. Whether theorizing music video in connection to postmodernism or rethinking the relation between sound and the visual image, the essays in "Medium Cool" reveal music video as rich terrain for further scholarly investigation.