OXFORD UNIVERSITY PRESS

The Oxford Handbook of New Audiovisual Aesthetics

ISBN : 9780190244590

Price(incl.tax): 
¥7,700
Author: 
John Richardson; Claudia Gorbman; Carol Vernallis
Pages
752 Pages
Format
Paperback
Size
177 x 244 mm
Pub date
Apr 2015
Series
Oxford Handbooks in Music
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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.

Index: 

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 Valimaki
23. Soundscapes of Istanbul in Turkish film Soundtracks, Meri Kyto
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 Jarviluoma and Noora Vikman
38. Leaving Something to the Imagination: "Seeing" New Places through a Musical Lens, Mariko Hara and Tia DeNora
Index

About 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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