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    The Oxford Handbook of Sound and Image in Digital Media (Oxford Handbooks) (Hardback) Edited by Carol Vernallis, Edited by Amy Herzog, Edited by John Richardson

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    DescriptionThe 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, the Twilight franchise, military combat footage, and Lady Gaga videos). Thematic sections and direct exchanges between authors facilitate further engagement with the debates invoked by the text.


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    Title
    The Oxford Handbook of Sound and Image in Digital Media
    Authors and contributors
    Edited by Carol Vernallis, Edited by Amy Herzog, Edited by John Richardson
    Physical properties
    Format: Hardback
    Number of pages: 832
    Width: 174 mm
    Height: 250 mm
    Thickness: 52 mm
    Weight: 1,480 g
    Language
    English
    ISBN
    ISBN 13: 9780199757640
    ISBN 10: 019975764X
    Classifications

    Nielsen BookScan Product Class 3: T1.7
    BIC E4L: MUS
    B&T Book Type: NF
    Libri: I-MU
    Ingram Subject Code: MU
    BIC subject category V2: APF, JFCA, JFD
    B&T General Subject: 540
    BIC subject category V2: AV
    BISAC V2.8: SOC005000, PER000000
    Warengruppen-Systematik des deutschen Buchhandels: 15900
    DC22: 302.231
    BISAC V2.8: MUS000000
    B&T Merchandise Category: UP
    DC22: 302.23/1
    LC subject heading: , , , , ,
    DC23: 302.231
    LC classification: P96.S66 V47 2013
    Ingram Theme: INDS/COMSTD
    Thema V1.0: JBCT, JBCC1, ATF, AV
    Edition statement
    New ed.
    Illustrations note
    100 h/t
    Publisher
    Oxford University Press Inc
    Imprint name
    Oxford University Press Inc
    Publication date
    11 March 2014
    Publication City/Country
    New York
    Author Information
    Carol Vernallis teaches film and media studies at Stanford University, and is author of Experiencing Music Video and Unruly Media: YouTube, Music Video, and the New Digital Cinema, and co-editor of The Oxford Handbook of New Audiovisual Aesthetics. 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, Sounds of the Same: The Musical Moment in Film. John Richardson is Professor of Musicology at the University of Turku, Finland. He is the author of An Eye for Music: Popular Music and the Audiovisual Surreal and Singing Archaeology: Philip Glass's Akhnaten. Richardson has published widely on audiovisual media, popular music and cultural musicology. He is co-editor of The Oxford Handbook of New Audiovisual Aesthetics.
    Table of contents
    Contents ; 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" ; 13. Amy Herzog, "'Charm the Air to Give a Sound': The Uncanny Soundscape of Punchdrunk's Sleep No More>" ; 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 Cuaron'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's Your Turn': Playing With (And As) the Digital Convergence Character" ; 24. Carol Donelan and Ron Rodman, "Lion and Lambs: Industry-Audience Negotiations in the Twilight Saga Franchise" ; 25. Aylish Wood, "Sonic Times in Watchmen and Inception" ; 26. Miguel Mera, "Inglo(u)rious Basterdization? Tarantino and the War Movie Mashup" ; Dialogue: De-Coding Source Code ; 27. Garrett Stewart, "Sound Thinking: Looped Time, Duped Track" ; 28. Sean Cubitt, "Source Code: Eco-Criticism and Subjectivity" ; 29. James Buhler, "Notes to Source Code's Soundtrack" ; Rethinking Audiovisual Embodiment ; 30. Kiri Miller, "Virtual and Visceral Experience in Music-Oriented Videogames" ; 31. David McCarthy and Maria Zuazu, "A Gaga-World Pageant: Channeling Difference and the Performance of Networked Power" ; 32. Paul Morris and Susanna Paasonen, "Coming to Mind: Pornography and the Mediation of Intensity" ; Sounds and Images of the New Digital Documentary ; 33. John Belton, "The World in the Palm of Your Hand: Agnes Varda, Trinh T. Minh-ha, and the Digital Documentary" ; 34. Selmin Kara, "The Sonic Summons: Meditations on Nature and Anempathetic Sound in Digital Documentaries" ; 35. Jennifer Peterson, "Workers Leaving the Factory: Witnessing Industry in the Digital Age" ; Modes of Composition: Digital Convergence and Sound Production ; 36. Eric Lyon, "The Absent Image in Electronic Music" ; 37. Jann Pasler, "Hugues Dufourt's Cinematic Dynamism: Space, Timbre, and Time in L'Afrique d'apres Tiepolo" ; 38. Ron Sadoff, "Scoring for Film and Video Games: Collaborative Practices and Digital Post-Production" ; 39. Nicola Dibben, "Visualising the App Album with Bjork's Biophilia" ; Digital Aesthetics Across Platform and Genre ; 40. Carol Vernallis, "Accelerated Aesthetics: a New Lexicon of Time, Space and Rhythm" ; 41. Jay Beck, "Acoustic Auteurs and Transnational Cinema" ; 42. Allan Cameron, "Instrumental Visions: Electronica, Music Video, and the Environmental Interface" ; Index