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Oxford Handbook of Sound and Image in Digital Media [Mīkstie vāki]

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Edited by (Professor of Musicology, University of Turku, Finland, Turku, Finland), Edited by (Assistant Professor of Film Studies, Queens College, New York City), Edited by (Associate Professor of Film and Media Studies, Arizona State University, Tempe, AZ)
  • Formāts: Paperback / softback, 834 pages, height x width x depth: 244x170x41 mm, weight: 1315 g, 100 halftones
  • Sērija : Oxford Handbooks
  • Izdošanas datums: 13-Aug-2015
  • Izdevniecība: Oxford University Press Inc
  • ISBN-10: 0190258179
  • ISBN-13: 9780190258177
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Oxford Handbook of Sound and Image in Digital MediaPalielināt
  • Formāts: Paperback / softback, 834 pages, height x width x depth: 244x170x41 mm, weight: 1315 g, 100 halftones
  • Sērija : Oxford Handbooks
  • Izdošanas datums: 13-Aug-2015
  • Izdevniecība: Oxford University Press Inc
  • ISBN-10: 0190258179
  • ISBN-13: 9780190258177
Citas grāmatas par šo tēmu:
Permanent link: https://www.kriso.lv/db/9780190258177.html
Keywords:
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.

The essays in this collection span a range of disciplinary approaches (film studies, musicology, philosophy, cultural studies, the digital humanities) and subjects of study (Iranian documentaries, theTwilight franchise, military combat footage, and Lady Gaga videos). Thematic sections and direct exchanges among authors facilitate further engagement with the debates invoked by the text.

Recenzijas

"This is an assemblage of monumentally impressive scholarly thought on timely issues and will undoubtedly stand up to repeated readings, analysis, and dialogue."--Association for Recorded Sound Collections Journal

List of Contributors xi
About the Companion Website xiii
1 Introduction
1(12)
Carol Vernallis
Amy Herzog
Part I Cinema In The Realm Of The Digital: Foundational Approaches
2 Digital Cinema: Convergence Or Contradiction?
13(32)
Thomas Elsaesser
3 Angels Of Light
45(16)
Jean-Pierre Geuens
4 Lost In Sensation: Reevaluating The Role Of Cinematic Sound In The Digital Age
61(16)
William Whittington
Part II Dialogue: Screens And Spaces
5 Large Screens, Third Screens, Virtuality, And Innovation
77(15)
Sean Cubitt
6 Public Screens And Urban Life
92(9)
Will Straw
Part III Glitches, Noise, And Interruption: Materiality And Digital Media
7 A Noisy Brush With The Infinite: Noise In Enfolding-Unfolding Aesthetics
101(14)
Laura U. Marks
8 Dirty Sound: Haptic Noise In New Extremism
115(12)
Lisa Coulthard
9 Going Gaga For Glitch: Digital Failure @nd Feminist Spectacle In Twenty-First Century Music Video
127(13)
Caetlin Benson-Allott
10 Discursive Accents In Some Recent Digital Media Works
140(14)
Joanna Demers
11 Doping The Voice
154(19)
Melissa Ragona
Part IV Uncanny Spaces And Acousmatic Voices
12 Monstrous Noise: Silent Hill And The Aesthetic Economies Of Fear
173(18)
William Cheng
13 "Charm The Air To Give A Sound": The Uncanny Soundscape Of Punchdrunk's Sleep No More
191(23)
Amy Herzog
14 A Gash In The Portrait: Martin Arnold's Deanimated
214(22)
George Toles
15 The Acousmatic Voice And Metaleptic Narration In Inland Empire
236(17)
Warren Buckland
Part V Dialogue: Visualization And Sonification
16 Museum Without Walls, Art History Without Names: Methods And Concepts For Media Visualization
253(26)
Lev Manovich
17 Explorations In Cultureson
279(10)
Jacob Smith
Part VI Virtual Worlds, Paranoid Structures, And States Of War
18 Music And The State Of Exception In Alfonso Cuaron's Children Of Men
289(21)
Dale Chapman
19 Understanding The Pleasures Of War's Audiovision
310(15)
Matthew Sumera
20 Outside The Law Of Action: Music And Sound In The Bourne Trilogy
325(25)
James Buhler
Alex Newton
21 Debating The Digital: Film And Reality In Barry Levinson's Wag The Dog
350(19)
Eleftheria Thanouli
22 Between Artifice And Authenticity: Music And Media In Wag The Dog
369(12)
Theo Cateforis
Part VII Blockbusters! Franchises, Remakes, And Intertextual Practices
23 "I Am Beowulf! Now, It's Your Turn": Playing With (And As) The Digital Convergence Character
381(16)
Jessica Aldred
24 Lion And Lambs: Industry-Audience Negotiations In The Twilight Saga Franchise
397(20)
Carol Donelan
Ron Rodman
25 Sonic Times In Watchmen And Inception
417(20)
Aylish Wood
26 Inglo(U)rious Basterdization? Tarantino And The War Movie Mashup
437(28)
Miguel Mera
Part VIII Dialogue: De-Coding Source Code
27 Sound Thinking: Looped Time, Duped Track
465(18)
Garrett Stewart
28 Source Code: Eco-Criticism And Subjectivity
483(19)
Sean Cubitt
29 Notes To The Soundtrack Of Source Code
502(15)
James Buhler
Part IX Rethinking Audiovisual Embodiment
30 Virtual And Visceral Experience In Music-Oriented Video Games
517(17)
Kiri Miller
31 A Gaga-World Pageant: Channeling Difference And The Performance Of Networked Power
534(17)
David Mccarthy
Maria Zuazu
32 Coming To Mind: Pornography And The Mediation Of Intensity
551(16)
Paul Morris
Susanna Paasonen
Part X Sounds And Images Of The New Digital Documentary
33 The World In The Palm Of Your Hand: Agnes Varda, Trinh T. Minh-Ha, And The Digital Documentary
567(15)
John Belton
34 The Sonic Summons: Meditations On Nature And Anempathetic Sound In Digital Documentaries
582(16)
Selmin Kara
35 Workers Leaving The Factory: Witnessing Industry In The Digital Age
598(25)
Jennifer Peterson
Part XI Modes Of Composition: Digital Convergence And Sound Production
36 The Absent Image In Electronic Music
623(19)
Eric Lyon
37 Hugues Dufourt's Cinematic Dynamism: Space, Timbre, And Time In Lafrique D'Apres Tiepolo
642(21)
Jann Pasler
38 Scoring For Film And Video Games: Collaborative Practices And Digital Post Production
663(19)
Ronald H. Sadoff
39 Visualizing The App Album With Bjork's Biophilia
682(25)
Nicola Dibben
Part XII Digital Aesthetics Across Platform And Genre
4 Accelerated Aesthetics: A New Lexicon Of Time, Space, And Rhythm
707(25)
Carol Vernallis
41 Acoustic Auteurs And Transnational Cinema
732(20)
Jay Beck
42 Instrumental Visions: Electronica, Music Video, And The Environmental Interface
752(21)
Allan Cameron
Index 773
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).