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Publication Date:
3 Oct 2013
Publisher:
Oxford University Press Inc
For delivery:
Estimated despatch 7 - 12 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 ; I) Introduction ; 1. John Richardson and Claudia Gorbman ; II) Theoretical Pressure Points ; 2. Lawrence Kramer, Classical Music for the Posthuman Condition ; 3. Nicholas Cook, Beyond Music: mashup, multimedia mentality, and intellectual property ; 4. Michel Chion, The Audio-Logo-Visual and the Sound of Languages in Recent Film ; 5. Anahid Kassabian, The End of Diegesis As We Know It? ; 6. Steven Connor, Sounding Out Film ; III) Narrative, Genre, Meaning ; - Changing Times, Changing Practices ; 7. Robynn J. Stilwell, Audio-Visual Space in an Era of Technological Convergence ; 8. Annette Davison, Title Sequences for Contemporary Television Serials ; 9. Carter Burwell, No Country for Old Music ; 10. Janet K. Halfyard, Cue the Big Theme? The Sound of the Superhero ; 11. Michael Chanan, Video Speech in Latin America ; - Animated Sounds ; 12. Daniel Goldmark, Pixar and the Animated Soundtrack ; 13. Randy Thom, Notes on Sound Design in Contemporary Animated Films ; 14. Lisa Perrott, Zig Zag: Re-animating Len Lye as Improvised Theatrical Performance and Immersive Visual Music ; - Musical Moments and Transformations ; 15. Caryl Flinn, The Mutating Musical ; 16. Ying Xiao, Chinese Rock 'n' Roll Film and Cui Jian on Screen ; 17. John Richardson, The Neosurrealist Metamusical: Tsai's The Wayward Cloud ; 18. Philip Brophy, Parties In Your Head: From the Acoustic to the Psycho-Acoustic ; IV) Expanded Soundtracks ; 19. Michel Chion, Sensory Aspects of Contemporary Cinema ; 20. Jeff Smith, The Sound of Intensified Continuity ; 21. K.J. Donnelly, Paratexts of the Audio-Visual: Paratexts of the Audio-Visual: Soundtrack Extensions Beyond the Film ; 22. Susanna Valimaki, The Audiovisual Construction of Transgender Identity in Transamerica ; 23. Meri Kyto, Soundscapes of Istanbul in Turkish film Soundtracks ; 24. Charles Kronengold, Audiovisual Objects, Multisensory People and the Intensified Ordinary in Hong Kong Action Films ; V) Emerging Audiovisual Forms ; - Music Video and Beyond ; 25. Carol Vernallis, Music Video's Second Aesthetic ; 26. Stan Hawkins, Aesthetics and Hyperembodiment in Pop Videos: Rihanna's "Umbrella" ; 27. Paula Hearsum & Ian Inglis, The Emancipation Of Music Video: YouTube And The Cultural Politics Of Supply And Demand ; 28. Mathias Bonde Korsgaard, Music Video Transformed ; - Video Art ; 29. Holly Rogers, "Betwixt and Between" Worlds: Spatial and Temporal Liminality in Video Art-Music ; 30. Maureen Turim and Michael Walsh, Sound Events: Innovation in Projection and Installation ; - Gaming ; 31. Rob Bridgett, Contextualizing Game Audio Aesthetics ; 32. Karen Collins, Implications of Interactivity: What does it mean for sound to be "interactive"? ; 33. Mark Kerins, Multi-channel Gaming and the Aesthetics of Interactive Surround ; VI) Audiovisuality in Daily Life ; 34. Philip Auslander, Sound and Vision: The Audio/Visual Economy of Musical Performance ; 35. Joseph Lanza, Foreground Flatland ; 36. Michael Bull, Remaking the Urban: The Audio-Visual Aesthetics of iPod Use ; 37. Helmi Jarviluoma and Noora Vikman, On Soundscape Methods and Audiovisual Sensibility ; 38. Mariko Hara and Tia DeNora, Leaving Something to the Imagination: "Seeing" New Places through a Musical Lens ; Index
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