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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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