The Oxford Handbook of New Audiovisual Aesthetics

Overview


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 ...
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The Oxford Handbook of New Audiovisual Aesthetics

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Overview


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.

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Product Details

  • ISBN-13: 9780199733866
  • Publisher: Oxford University Press
  • Publication date: 9/12/2013
  • Series: Oxford Handbooks Series
  • Pages: 752
  • Product dimensions: 6.80 (w) x 9.80 (h) x 1.60 (d)

Meet the Author

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 Archeology: Philip Glass's Akhnaten (1999).

Claudia Gorbman is Professor of Film Studies at the University of Washington - Tacoma, author of Unheard Melodies: Narrative Film Music (1987), and the translator of five books including four by Michel Chion.

Carol Vernallis teaches in Film and Media studies 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).

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Table of 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 and The Sound of Music
16. Ying Xiao, Chinese Rock 'n' Roll Film and Cui Jian on Screen
17. John Richardson, The Neosurrealist Musical: 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 Välimäki, The Audiovisual Construction of Transgender Identity in Transamerica
23. Meri Kytö, 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 Performance and 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 Järviluoma 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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