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Informationen zum Autor Carol Vernallis researches and teaches 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).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, Songs of the Same: The Musical Moment in Film (2009).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 Archaeology: Philip Glass's Akhnaten (1999). Klappentext The Oxford Handbook of Sound and Image in Digital Media surveys the contemporary landscape of audiovisual media. Contributors to the volume look not only to changes brought by digital innovations, but to the complex social and technological past that informs, and is transformed by, new media. This collection is conceived as a series of dialogues and inquiries by leading scholars from both image- and sound-based disciplines. Chapters explore the history and the future of moving-image media across a range of formats including blockbuster films, video games, music videos, social media, digital visualization technologies, experimental film, documentaries, video art, pornography, immersive theater, and electronic music. Sound, music, and noise emerge within these studies as integral forces within shifting networks of representation. Zusammenfassung 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. Inhaltsverzeichnis 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" >" 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 Cuarón'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...
