| Contents |
2. Introduction, Liz Greene and Danijela Kulezic-Wilson -- Part I BOUNDARIES AND THEIR DISINTEGRATION -- 2. From Noise: Blurring the Boundaries of the Soundtrack, Liz Greene -- 3. Interview 1: Sound Recording, Sound Design and Collaboration: An interview with Ann Kroeber, Liz Greene -- 4. Organizing Sound: Labour Organizations and Power Struggles that Helped Define Music and Sound in Hollywood, Gianluca Sergi -- 5. Mixing as a Hyperorchestration Tool, Sergi Casanelles -- 6. Emotional Sound Effects and Metal Machine Music: Soundworlds in Silent Hill Games and Films, K.J. Donnelly -- Part II PRESENCE, IMMERSION, SPACE -- 7. Towards 3-D Sound: Spatial Presence and the Space Vacuum, Miguel Mera -- 8. Inner and Outer Worlds in the Film Gravity: A Multidisciplinary Approach, Gilbert Gabriel and David Sonnenschein -- 9. Intertwining Sound and Music in Film, Martine Huvenne -- 10. Interview 2: Reality and Representation: An Interview with Dario Marianelli, Miguel Mera -- Part III LISTENING: AFFECT AND BODY -- 11. Sound Effects / Sound Affects: ‘Meaningful’ Noise in the Cinema, James Wierzbicki -- 12. Listening to Violence: Point-of-Audition Sound, Aural Interpellation, and the Rupture of Hearing, Tony Grajeda -- Acoustic Disgust: Sound, Affect, and Cinematic Violence, Lisa Coulthard -- Part IV TIME AND MEMORY -- 14. Mad Sound and the Crystal-Image: The Soundtrack of Rivette’s L’Amour Fou, Byron Almén and James Buhler -- 15. The Sonic Realm in The Quatermass Experiment: Medium and Genre and Sound, Robynn Stilwell -- Sound, Music and Memory in Jia Zhangke’s ‘Hometown Trilogy’, Robynn Stilwell -- 16. Sound, Music and Memory in Jia Zhangke’s ‘Hometown Trilogy’, Philippa Lovatt -- 17. Vinyl Noise and Narrative in CD-era Indiewood, Ian Garwood -- 18. Interview 3: Mixing Punk Rock, Classical, and New Sounds in Film Music: An Interview with Brian Reitzell, Meghan Joyce Tozer -- Part V BREAKING CONVENTIONS -- 19. From Analogue to Digital: Synthesizers and Discourses of Film Sound in the 1980s, Katherine Spring -- 20. Unlearning Film School: The ‘lo-fi’ Soundtracks of Joe Swanberg, Nessa Johnston -- 21. The Janus Project: Cristobal Tapia de Veer’s Utopia, Anempathetic Empathy and the Radicalization of Convention, Annette Davison and Nicholas Reyland -- 22. Interview 4: Building Bridges - Sound Design as Collaboration, as Style and as Music in The Bridge: An Interview with Carl Edström, Annette Davison and Martin Parker -- Part VI THE SOUND OF MACHINES AND NON-HUMANS -- 23. The Sound of an Android’s Soul: Music, MIDI and Muzak in Time Of Eve, Philip Brophy -- The Sounds in the Machine: Hirokazu Tanaka’s Cybernetic Soundscape for Metroid, William Gibbons -- 25. Redundancy and Information in Explanatory Voice-Ins and Voice-Offs, Cormac Deane -- 26. Interview 5: Under the Skin of Film Sound: An Interview with Johnnie Burn, John Hough -- Part VII THE MUSICALITY OF SOUNDTRACK -- 27. Electroacoustic Composition and the British Documentary Tradition, Andy Birtwistle -- 28. Renegotiating the Overture: The Use of Sound and Music in the Opening Sequences of A Single Man (2009) and Shame (2011), Adam Melvin -- 29. Interview 6: Orchestration, Collaboration, and the Integrated Soundtrack: An Interview with Matt Dunkley, Ian Sapiro -- 30. Musically Conceived Sound Design, Musicalization of Speech and the Breakdown of Film Soundtrack Hierarchy, Danijela Kulezic-Wilson -- . |
