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.
CONTENTS
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
13. Amy Herzog, 'Charm the Air to Give a Sound': The Uncanny Soundscape of Punchdrunk's Sleep No More>
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 Cuaron'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 Maria 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'apres Tiepolo
38. Ron Sadoff, Scoring for Film and Video Games: Collaborative Practices and Digital Post-Production
39. Nicola Dibben, Visualising the App Album with Bjork'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