The Oxford Handbook of Sound and Image in Digital Media

Herausgeber: Vernallis, Carol; Richardson, John; Herzog, Amy

• Broschiertes Buch

Produktbeschreibung

Contributers from image and sound studies explore the history and the future of moving-image media across a range of formats including blockbuster films, video games, music videos, social media, experimental film, documentaries, video art, pornography, theater, and electronic music.

Produktdetails

• Oxford Handbooks
• Verlag: Oxford University Press Inc
• Seitenzahl: 834
• Erscheinungstermin: 1. August 2015
• Englisch
• Abmessung: 259mm x 169mm x 2mm
• Gewicht: 1424g
• ISBN-13: 9780190258177
• ISBN-10: 0190258179
• Artikelnr.: 47863456

Autorenporträt

Carol Vernallis researches and teaches at Stanford University and is author of Experiencing Music Video: Aesthetics and Cultural Context (2004) and Unruly Media: YouTube, Music Video, and the New Digital Cinema (2013). Amy Herzog is Coordinator of the Film Studies Program at The CUNY Graduate Center and Associate Professor of Media Studies at Queens College, CUNY. She is the author of Dreams of Difference, Songs of the Same: The Musical Moment in Film (2009). John Richardson is Professor of Musicology at the University of Turku, Finland, and author of An Eye for Music: Popular Music and the Audiovisual Surreal (2011) and Singing Archaeology: Philip Glass's Akhnaten (1999).

Inhaltsangabe

* Introduction:
* 1. Carol Vernallis and Amy Herzog
* Cinema in the Realm of the Digital: Foundational Approaches
* 2. Thomas Elsaesser, Digital Cinema: Convergence or Contradiction?
* 3. Jean-Pierre Geuens, Angels of Light
* 4. William Whittington, Lost in Sensation-Reevaluating the Role of
Cinematic Sound in the Digital Age
* Dialogue: Screens and Spaces
* 5. Sean Cubitt, Large Screens, Third Screens, Virtuality and
Innovation"
* 6. Will Straw, Public Screens and Urban Life"
* Glitches, Noise, and Interruption: Materiality and Digital Media
* 7. Laura U. Marks, A Noisy Brush with the Infinite: Noise in
Enfolding-Unfolding Aesthetics"
* 8. Lisa Coulthard, Dirty Sound: Haptic Noise in New Extremism"
* 9. Caetlin Benson-Allott, "Going Gaga for Glitch: Digital Failure @nd
Feminist Spectacle in Twenty-F1rst Century Music Video"
* 10. Joanna Demers, "Discursive Accents in Some Recent Digital Media
Works"
* 11. Melissa Ragona, "Doping the Voice"
* Uncanny Spaces and Acousmatic Voices
* 12. William Cheng, "Monstrous Noise: Silent Hill and the Aesthetic
Economies of Fear"
* >"
* 14. George Toles, "A Gash in the Portrait: Martin Arnold's
Deanimated"
* 15. Warren Buckland, "The Acousmatic Voice and Metaleptic Narration
in Inland Empire"
* Dialogue: Visualization and Sonification
* 16. Lev Manovich, "Visualization Methods for Media Studies"
* 17. Jake Smith, "Explorations in Cultureson"
* Virtual Worlds, Paranoid Structures, and States of War
* 18. Dale Chapman, "Music and the State of Exception in Alfonso
Cuarón's Children of Men"
* 19. Matthew Sumera, "Understanding the Pleasures of War's
Audiovision"
* 20. James Buhler and Alex Newton, "Outside the Law of Action: Music
and Sound in the Bourne Trilogy"
* 21. Eleftheria Thanouli, "Debating the Digital: Film and Reality in
Barry Levinson's Wag the Dog"
* 22. Theo Cateforis, "Between Artifice and Authenticity: Music and
Media in Wag the Dog"
* Blockbusters! Franchises, Remakes, and Intertextual Practices
* 23. Jessica Aldred, "'I Am Beowulf! Now, It's Your Turn': Playing
With (And As) the Digital Convergence Character"
* 24. Carol Donelan and Ron Rodman, "Lion and Lambs: Industry-Audience
Negotiations in the Twilight Saga Franchise"
* 25. Aylish Wood, "Sonic Times in Watchmen and Inception"
* 26. Miguel Mera, "Inglo(u)rious Basterdization? Tarantino and the War
Movie Mashup"
* Dialogue: De-Coding Source Code
* 27. Garrett Stewart, "Sound Thinking: Looped Time, Duped Track"
* 28. Sean Cubitt, "Source Code: Eco-Criticism and Subjectivity"
* 29. James Buhler, "Notes to Source Code's Soundtrack"
* Rethinking Audiovisual Embodiment
* 30. Kiri Miller, "Virtual and Visceral Experience in Music-Oriented
Videogames"
* 31. David McCarthy and María Zuazu, "A Gaga-World Pageant: Channeling
Difference and the Performance of Networked Power"
* 32. Paul Morris and Susanna Paasonen, "Coming to Mind: Pornography
and the Mediation of Intensity"
* Sounds and Images of the New Digital Documentary
* 33. John Belton, "The World in the Palm of Your Hand: Agnes Varda,
Trinh T. Minh-ha, and the Digital Documentary"
* 34. Selmin Kara, "The Sonic Summons: Meditations on Nature and
Anempathetic Sound in Digital Documentaries"
* 35. Jennifer Peterson, "Workers Leaving the Factory: Witnessing
Industry in the Digital Age"
* Modes of Composition: Digital Convergence and Sound Production
* 36. Eric Lyon, "The Absent Image in Electronic Music"
* 37. Jann Pasler, "Hugues Dufourt's Cinematic Dynamism: Space, Timbre,
and Time in L'Afrique d'après Tiepolo"
* 38. Ron Sadoff, "Scoring for Film and Video Games: Collaborative
Practices and Digital Post-Production"
* 39. Nicola Dibben, "Visualising the App Album with Björk's Biophilia"
* Digital Aesthetics Across Platform and Genre
* 40. Carol Vernallis, "Accelerated Aesthetics: a New Lexicon of Time,
Space and Rhythm"
* 41. Jay Beck, "Acoustic Auteurs and Transnational Cinema"
* 42. Allan Cameron, "Instrumental Visions: Electronica, Music Video,
and the Environmental Interface"
* Index