Therefore, it is vital to look at intermediality in this artwork “against the backdrop of medial networks” (Rippl 1).
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. Thirdly, through intermedial references Beyoncé locates Lemonade within the cultural history of the United States and American music history in particular. Secondly, intermedial references result in a transcultural signature of the artwork.
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. 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.