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Publication Date:
16 Apr 2015
Publisher:
Oxford University Press Inc
For delivery:
Estimated despatch 1 - 2 May 2024
Description
This handbook offers new ways to read the audiovisual. In the media landscapes of today, conglomerates jockey for primacy and the internet increasingly places media in the hands of individuals-producing the range of phenomena from movie blockbuster to YouTube aesthetics. Media forms and genres are proliferating and interpenetrating, from movies, music and other entertainments streaming on computers and iPods to video games and wireless phones. The audiovisual environment of everyday life, too-from street to stadium to classroom-would at times be hardly recognizable to the mid-twentieth-century subject. The Oxford Handbook of New Audiovisual Aesthetics provides powerful ways to understand these changes.
Earlier approaches tended to consider sound and music as secondary to image and narrative. These remained popular even as practices from theater, cinema and television migrated across media. However, the traversal, or "remediation," from one medium to another has also provided practitioners and audiences the chance to rewrite the rules of the audiovisual contract. Whether viewed from the vantage of televised mainstream culture, the Hollywood film industry, the cinematic avant-garde, or the participatory discourses of "cyberspace," audiovisual expression has changed dramatically.
The book provides a definitive cross-section of current ways of thinking about sound and image. Its authors-leading scholars and promising younger ones, audiovisual practitioners and non-academic writers (both mainstream and independent)- open the discussion on audiovisual aesthetics in new directions. Our contributors come from fields including film, visual arts, new media, cultural theory, and sound and music studies, and they draw variously from economic, political, institutional, psychoanalytic, genre-based, auteurist, internationalist, reception-focused, technological, and cultural approaches to questions concerning today's sound and image. All consider the aural dimension, and what Michel Chion calls "audio-vision:" the sensory and semiotic result of sound placed with vision, an encounter greater than their sum.
Contents
List of contributors ; About the companion website ; PART I ; 1. Introduction, John Richardson and Claudia Gorbman ; PART II THEORETICAL PRESSURE POINTS ; 2. Classical Music for the Posthuman Condition, Lawrence Kramer ; 3. Beyond Music: mashup, multimedia mentality, and intellectual property, Nicholas Cook ; 4. The Audio-Logo-Visual and the Sound of Languages in Recent Film, Michel Chion ; 5. The End of Diegesis As We Know It?, Anahid Kassabian ; 6. Sounding Out Film. Steven Connor ; PART III NARRATIVE, GENRE, MEANING ; Changing times, Changing practices ; 7. Audio-Visual Space in an Era of Technological Convergence, Robynn J. Stilwell ; 8. Title Sequences for Contemporary Television Serials, Annette Davison ; 9. No Country for Old Music, Carter Burwell ; 10. Cue the Big Theme? The Sound of the Superhero, Janet K. Halfyard ; 11. Video Speech in Latin America, Michael Chanan ; Animated sounds ; 12. Pixar and the Animated Soundtrack, Daniel Goldmark ; 13. Notes on Sound Design in Contemporary Animated Films, Randy Thom ; 14. Zig Zag : Re-animating Len Lye as Improvised Theatrical Performance and Immersive Visual Music, Lisa Perrott ; Musical Moments and Transformations ; 15. The Mutating Musical, Caryl Flinn ; 16. Chinese Rock 'n' Roll Film and Cui Jian on Screen, Ying Xiao ; 17. The Neosurrealist Metamusical: Tsai's The Wayward Cloud, John Richardson ; 18. Parties In Your Head: From the Acoustic to the Psycho-Acoustic, Philip Brophy ; PART IV EXPANDED SOUNDTRACKS ; 19. Sensory Aspects of Contemporary Cinema, Michel Chion ; 20. The Sound of Intensified Continuity, Jeff Smith ; 21. Extending Film Aesthetics: Audio Beyond Visuals, K.J. Donnelly ; 22. The Audiovisual Construction of Transgender Identity in Transamerica, Susanna Valimaki ; 23. Soundscapes of Istanbul in Turkish film Soundtracks, Meri Kyto ; 24. Audiovisual Objects, Multisensory People and the Intensified Ordinary in Hong Kong Action Films, Charles Kronengold ; PART V EMERGING AUDIOVISUAL FORMS ; Music Video and Beyond Gaming ; 25. Music Video's Second Aesthetic, Carol Vernallis ; 26. Aesthetics and Hyperembodiment in Pop Videos: Rihanna's "Umbrella," Stan Hawkins ; 27. The Emancipation Of Music Video: YouTube and The Cultural Politics of Supply and Demand, Paula Hearsum & Ian Inglis ; 28. Music Video Transformed, Mathias Bonde Korsgaard ; video art ; 29. "Betwixt and Between" Worlds: Spatial and Temporal Liminality in Video Art-Music, Holly Rogers ; 30. Sound Events: Innovation in Projection and Installation, Maureen Turim and Michael Walsh ; Gaming ; 31. Contextualizing Game Audio Aesthetics, Rob Bridgett ; 32. Implications of Interactivity: What does it mean for sound to be "interactive"?, Karen Collins ; 33. Multi-channel Gaming and the Aesthetics of Interactive Surround, Mark Kerins ; PART VI AUDIOVISUALITY IN DAILY LIFE ; 34. Sound and Vision: The Audio/Visual Economy of Musical Performance, Philip Auslander ; 35. Foreground Flatland, Joseph Lanza ; 36. Remaking the Urban: The Audio-Visual Aesthetics of iPod Use, Michael Bull ; 37. On Soundscape Methods and Audiovisual Sensibility, Helmi Jarviluoma and Noora Vikman ; 38. Leaving Something to the Imagination: "Seeing" New Places through a Musical Lens, Mariko Hara and Tia DeNora ; Index
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