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.

Full Product Details

Author:   John Richardson (Professor of Musicology, Professor of Musicology, University of Turku, Turku, Finland) ,  Claudia Gorbman (Professor of Film Studies, Professor of Film Studies, University of Washington, Tacoma, Tacoma, WI, USA) ,  Carol Vernallis (Lecturer in Media Studies, Lecturer in Media Studies, Stanford University, Palo Alto, CA, USA)
Publisher:   Oxford University Press Inc
Imprint:   Oxford University Press Inc
Dimensions:   Width: 16.80cm , Height: 4.30cm , Length: 24.10cm
Weight:   1.202kg
ISBN:  

9780190244590

ISBN 10:   0190244593
Pages:   752
Publication Date:   16 April 2015
Audience:   College/higher education ,  Professional and scholarly ,  Postgraduate, Research & Scholarly ,  Professional & Vocational
Format:   Paperback
Publisher's Status:   Active
Availability:   To order  
Stock availability from the supplier is unknown. We will order it for you and ship this item to you once it is received by us.

Table of Contents

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

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Author Information

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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