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Informationen zum Autor Carol Vernallis teaches film and media studies at Stanford University, and is author of Experiencing Music Video and Unruly Media: YouTube, Music Video, and the New Digital Cinema, and co-editor of The Oxford Handbook of New Audiovisual Aesthetics.Amy Herzog is Coordinator of the Film Studies Program at The CUNY Graduate Center, and Associate Professor of Media Studies at Queens College, CUNY. She is the author of Dreams of Difference, Sounds of the Same: The Musical Moment in Film.John Richardson is Professor of Musicology at the University of Turku, Finland. He is the author of An Eye for Music: Popular Music and the Audiovisual Surreal and Singing Archaeology: Philip Glass's Akhnaten. Richardson has published widely on audiovisual media, popular music and cultural musicology. He is co-editor of The Oxford Handbook of New Audiovisual Aesthetics. Klappentext This collection surveys the contemporary landscape of audiovisual media. Contributors 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, video art, pornography, theater, and electronic music. Zusammenfassung This collection surveys the contemporary landscape of audiovisual media. Contributors 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, video art, pornography, theater, and electronic music. Inhaltsverzeichnis 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...
