The Oxford Handbook of Sound and Image in Digital Media

This essay offers a path across some of the essays in this volume exploring the relationship between image and sound in cinema. Heeding different voices from film criticism (considered as criticism of mainly Western feature cinema) and documentary filmmaking, where the voice is discussed in its narrative and technical function, the author aims at listening to cinema, rather than watching it, in order to hear the mechanism that makes this social and cultural technology work. Though cinema technology allows for a complete separation of the voice from the body that originates it, feature films suture image and voice to create a unitary body for its characters and stories. In documentary film, on the other hand, the audience is led by a voice apparently coming from outside the frame, sutured to no body at all; this voice can taint the representation of the ‘real’ with the uncanny voice of the machine, as in the work of experimental film- and documentary-makers from Lynch to David Cronenberg, Trinh T. Minh-ha and Chris Marker, plunging deeper and deeper into the displacing qualities of the voice of cinema.

Luca Malavasi, Sara Tongiani (eds.), Technophobia and Technophilia in the Media, Art and Visual Culture, 2020

In this paper I raise the question of whether audio–visual media, notably cinema, can be considered as technologies of time and if so, by what means and dynamics they operate on, in and with time1. The first two sections adopt a top–down approach. In section 2 I examine what forms time takes on in modernity, while I dedicate section 3 to the role played by cinema in this context. The second part, in turn, takes a bottom–up approach: in section 4 I take into consideration the processes of constitution of subjective temporal experience as they emerge from contemporary cognitive neuroscience; section 5, in turn, focuses on a couple of theories on the transition from the subjective to social experience of time. Finally, in the last section, I propose a hypothesis about the specific role of cinema in the transition from the subjective to the social dimension of temporality.

2020

For several years audiovisual analysis has been a growth area in musicology and cultural studies. And yet, very little has been published that recognises its relevance to a wide range of practices, including music videos, film and television music, video art, and gaming music. A thread that runs through the chapters is the recognition of audiovisual performance as a central theoretical category. The focus of the essays is exclusively contemporary. In this way, the book addresses a cluster of concerns that pertain to audiovisual production, performance and consumption in a variety of present day contexts. Chapters are organised thematically around the headings Avant-garde aesthetics, Re-sounding soundtracks, Televisual intertexts, Interrogating the mainstream, and Personal politics and embodied performance. What we attempt to put forward in this book is not a solution to the analysis of sound and vision, but rather, a list of possibilities and approaches through which interpretation can be undertaken. Thus, the essays collected provide critical readings through which the authors provide answers to questions, such as what is the relationship between sound and vision? And what is music's potential for communicating meaning into understanding?

Display, Distribute, Disrupt: Contemporary Moving Image Practices, 2024

The essays in the present volume aim to describe and contextualize today's audiovisual media culture. They find their common basis in the changes to which our epigraph refers, al beit perhaps with a misleading choice of words: cinema, Noam Elcott writes, is not necessarily "tied to movie theaters and celluloid." 1 It strikes us that he would have made the matter easier for his readers if he had spoken of "film" rather than "cinema," because it is not easy to distinguish the cinema from the movie theater. In speaking of multiplying the manifestations of moving images, however, Elcott hits on something that all the following essays are about: their common subject is how different audiovisual media dispositifs appear in various, mostly everyday, contemporary cultural contexts, and how recent changes in the relations between production, publication, and reception affect contemporary lens-based image making. The essays address different contemporary innovations; their perspectives on them also differ. 2 They are united, however, by the

Film And Film Culture, Vol. 2, 2003

Music, Sound, and the Moving Image, 2015

This special volume of Music, Sound, and the Moving Image collects seven broadly ranging essays in the interest of putting problems in, and orientations for, specific lines of research in conversation. Beginning with Nicholas Reyland's work on screen scoring as style in Hollywood blockbuster, and ending with Benjamin Robertson's software studies-oriented critique of media composition, the work collected here stresses the contemporary movement as particularly apposite for staking out problematics, driving questions, and tentative answers across these lines of inquiry. On one hand, massive growth has occurred in scholarship across those fields typically represented in MSMI, while new journals and disciplinary approaches continue to appear; both problems and value proliferate in scholarly work where music and sound meet or inform screen cultures. On the other, recent scholarly handbooks surveying these productively noisy conversations on musicality, sound and audition, and audiovisuality provide, if not a common reference framework, a highly configurable guide to navigating historical and contemporary research at those epistemological inflection points where media studies and cultural and technocultural studies move towards or away from one another and where music, sound, and audiovisual studies becomes ever more vital work. In this special volume of Music, Sound, and the Moving Image we present recent work from a broad range of disciplines, or inter-or transdisci-plines, in the interest of putting problems in and orientations for key lines of ongoing research. Contributions to the volume range from critical production studies to intellectual property studies, in addition to music, sound, and moving image studies.I contextualize the volume in this editor's introduction.

In the key scene towards the end of the Greek film "Ricordi Mi", it appears that the main character remembers the central moment from her past love and life story. In this two-minute scene, no sonic data is recorded on the film. In building up to the climax of the narrative, almost unnoticeable short periods of silence mark the transitions between sets of recollections that are yet to be associated. The narrative time is not marked clearly and is highly non-linear, but the soundtrack of "Ricordi Mi" gives a particular sense of diegetic presence in the multiple interior and exterior worlds of the characters. As such, ruptures between scenes are often marked with various modes of "complete" and "almost" silence.

This book is a lively, comprehensive and timely reader on the music video, capitalising on cross-disciplinary research expertise, which represents a substantial academic engagement with the music video, a mediated form and practice that still remains relatively under-explored in a 21st century context. The music video has remained suspended between two distinct poles. On the one hand, the music video as the visual sheen of late capitalism, at the intersection of celebrity studies and postmodernism. On the other hand, the music video as art, looking to a prehistory of avant-garde film-making while perpetually pushing forward the digital frontier with a taste for anarchy, controversy, and the integration of special effects into a form designed to be disseminated across digital platforms. In this way, the music video virally re-engenders debates about high art and low culture. This collection presents a comprehensive account of the music video from a contemporary 21st century perspective. This entails revisiting key moments in the canonical history of the music video, exploring its articulations of sexuality and gender, examining its functioning as a form of artistic expression between music, film and video art, and following the music video’s dissemination into the digital domain, considering how digital media and social media have come to re-invent the forms and functions of the music video, well beyond the limits of “music television”. Author Bios: Gina Arnold is Visiting Professor at the Evergreen State College in Washington. Daniel Cookney is Lecturer in Graphic Design at the University of Salford, UK. Kirsty Fairclough is Director of International and Senior Lecturer in Media and Performance in the School of Arts and Media at the University of Salford, UK. Michael N. Goddard is Senior Lecturer and Course Leader in Film, Television and Moving image at the University of Westminster, UK.

Silvia Casini, Alice Cati and Deborah Toschi (eds.), The Representation and Care of Illness. Visual Culture, Trauma, and Medical Humanities, 2022

Ph.D. Thesis Abstract in Cinéma&Cie, Vol. 22 No. 39 (2022), Milano University Press