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xi | |
About the Companion Website |
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xiii | |
Introduction |
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1 | (12) |
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PART I CINEMA IN THE REALM OF THE DIGITAL: FOUNDATIONAL APPROACHES |
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2 Digital Cinema: Convergence or Contradiction? |
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13 | (32) |
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45 | (16) |
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4 Lost in Sensation: Reevaluating the Role of Cinematic Sound in the Digital Age |
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61 | (16) |
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PART II DIALOGUE: SCREENS AND SPACES |
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5 Large Screens, Third Screens, Virtuality, and Innovation |
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77 | (15) |
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6 Public Screens and Urban Life |
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92 | (9) |
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PART III GLITCHES, NOISE, AND INTERRUPTION: MATERIALITY AND DIGITAL MEDIA |
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7 A Noisy Brush with the Infinite: Noise in Enfolding-Unfolding Aesthetics |
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101 | (14) |
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8 Dirty Sound: Haptic Noise in New Extremism |
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115 | (12) |
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9 Going Gaga for Glitch: Digital Failure and Feminist Spectacle in Twenty-First Century Music Video |
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127 | (13) |
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10 Discursive Accents in Some Recent Digital Media Works |
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140 | (14) |
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154 | (19) |
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PART IV UNCANNY SPACES AND ACOUSMATIC VOICES |
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12 Monstrous Noise: Silent Hill and the Aesthetic Economies of Fear |
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173 | (18) |
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13 "Charm the Air to Give a Sound": The Uncanny Soundscape of Punchdrunk's Sleep No More |
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191 | (23) |
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14 A Gash in the Portrait: Martin Arnold's Deanimated |
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214 | (22) |
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15 The Acousmatic Voice and Metaleptic Narration in Inland Empire |
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236 | (17) |
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PART V DIALOGUE: VISUALIZATION AND SONIFICATION |
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16 Museum Without Walls, Art History Without Names: Methods and Concepts for Media Visualization |
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253 | (26) |
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17 Explorations in Cultureson |
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279 | (10) |
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PART VI VIRTUAL WORLDS, PARANOID STRUCTURES, AND STATES OF WAR |
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18 Music and the State of Exception in Alfonso Cuaron's Children of Men |
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289 | (21) |
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19 Understanding the Pleasures of War's Audiovision |
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310 | (15) |
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20 Outside the Law of Action: Music and Sound in the Bourne Trilogy |
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325 | (25) |
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21 Debating the Digital: Film and Reality in Barry Levinson's Wag the Dog |
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350 | (19) |
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22 Between Artifice and Authenticity: Music and Media in Wag the Dog |
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369 | (12) |
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PART VII BLOCKBUSTERS! FRANCHISES, REMAKES, AND INTERTEXTUAL PRACTICES |
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23 "I Am Beowulf! Now, It's Your Turn": Playing With (and As) the Digital Convergence Character |
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381 | (16) |
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24 Lion and Lambs: Industry--Audience Negotiations in the Twilight Saga Franchise |
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397 | (20) |
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25 Sonic Times in Watchmen and Inception |
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417 | (20) |
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26 Inglo(u)rious Basterdization? Tarantino and the War Movie Mashup |
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437 | (28) |
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PART VIII DIALOGUE: DE-CODING SOURCE CODE |
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27 Sound Thinking: Looped Time, Duped Track |
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465 | (18) |
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28 Source Code: Eco-Criticism and Subjectivity |
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483 | (19) |
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29 Notes to the Soundtrack of Source Code |
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502 | (15) |
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PART IX RETHINKING AUDIOVISUAL EMBODIMENT |
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30 Virtual and Visceral Experience in Music-Oriented Video Games |
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517 | (17) |
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31 A Gaga-World Pageant: Channeling Difference and the Performance of Networked Power |
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534 | (17) |
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32 Coming to Mind: Pornography and the Mediation of Intensity |
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551 | (16) |
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PART X SOUNDS AND IMAGES OF THE NEW DIGITAL DOCUMENTARY |
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33 The World in the Palm of Your Hand: Agnes Varda, Trinh T. Minh-ha, and the Digital Documentary |
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567 | (15) |
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34 The Sonic Summons: Meditations on Nature and Anempathetic Sound in Digital Documentaries |
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582 | (16) |
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35 Workers Leaving the Factory: Witnessing Industry in the Digital Age |
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598 | (25) |
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PART XI MODES OF COMPOSITION: DIGITAL CONVERGENCE AND SOUND PRODUCTION |
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36 The Absent Image in Electronic Music |
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623 | (19) |
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37 Hugues Dufourt's Cinematic Dynamism: Space, Timbre, and Time in L'Afrique d'apres Tiepolo |
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642 | (21) |
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38 Scoring for Film and Video Games: Collaborative Practices and Digital Post production |
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663 | (19) |
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39 Visualizing the App Album with Bjork's Biophilia |
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682 | (25) |
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PART XII DIGITAL AESTHETICS ACROSS PLATFORM AND GENRE |
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40 Accelerated Aesthetics: A New Lexicon of Time, Space, and Rhythm |
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707 | (25) |
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41 Acoustic Auteurs and Transnational Cinema |
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732 | (20) |
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42 Instrumental Visions: Electronica, Music Video, and the Environmental Interface |
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752 | (21) |
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Index |
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773 | |