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Zusatztext Located at the crossroads linking cultural geography, acoustic ecology, trauma studies and media history, Haunted Soundtracks explores cinematic representations of landscape from across the globe and across time. The book’s 13 chapters feature incisive analyses attentive both to the formal and hermeneutic dimensions of audiovisual storytelling. More importantly, its contributors renew our perceptions of this imagery – its sights and sounds – through their fresh takes on questions of authorship, genre and national cinema. Following in the footsteps of pioneers, like R. Murray Schafer, Haunted Soundtracks offers both a snapshot of the state of the field and a strong indication of what the future of sound studies in academia could be. Informationen zum Autor Kevin J. Donnelly is lecturer in Film and Media Studies at Staffordshire University, UK. He has published a number of articles about music in films and television. Aimee Mollaghan is subject lead for Film at Queen’s University, Belfast, UK. Prior to this she was a Senior Lecturer at Edge Hill University, UK. She is the author of The Visual Music Film (Palgrave, 2015). Her current research is centred on psychogeography, landscape and soundscape in contemporary cinema and artist’s film. Klappentext The turn of the millennium has heralded an outgrowth of culture that demonstrates an awareness of the ephemeral nature of history and the complexity underpinning the relationship between location and the past. This has been especially apparent in the shifting relationship between landscape, memory and sound in film, television and other media. The result is growing interest in soundtracks, as part of audiovisual culture, as well as an interest in the spectral aspects of culture more generally. This collection of essays focuses on audiovisual forms that foreground landscape, sound and memory. The scope of inquiry emphasises the ghostly qualities of a certain body of soundtracks, extending beyond merely the idea of 'scary films' or 'haunted houses.' Rather, the notion of sonic haunting is tied to ideas of trauma, anxiety or nostalgia associated with spatial and temporal dislocation in contemporary society. Touchstones for the approach are the concepts of psychogeography and hauntology, pervasive and established critical strategies that are interrogated and refined in relation to the reification of the spectral within the soundtracks under consideration here. Vorwort An examination of the relationship between audiovisual soundtracks and the "sonic haunting" of trauma, anxiety, and nostalgia. Zusammenfassung The turn of the millennium has heralded an outgrowth of culture that demonstrates an awareness of the ephemeral nature of history and the complexity underpinning the relationship between location and the past. This has been especially apparent in the shifting relationship between landscape, memory and sound in film, television and other media. The result is growing interest in soundtracks, as part of audiovisual culture, as well as an interest in the spectral aspects of culture more generally. This collection of essays focuses on audiovisual forms that foreground landscape, sound and memory. The scope of inquiry emphasises the ghostly qualities of a certain body of soundtracks, extending beyond merely the idea of 'scary films' or 'haunted houses.' Rather, the notion of sonic haunting is tied to ideas of trauma, anxiety or nostalgia associated with spatial and temporal dislocation in contemporary society. Touchstones for the approach are the concepts of psychogeography and hauntology, pervasive and established critical strategies that are interrogated and refined in relation to the reification of the spectral within the soundtracks under consideration here. Inhaltsverzeichnis 1. Introduction K.J. Donnelly (University of Southampton, UK) and Aimée Mollaghan (Queen’...
