The Oxford handbook of sound and image in digital media /
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| Author / Creator: | Vernallis, Carol. |
|---|---|
| Imprint: | New York : Oxford University Press, [2013] |
| Description: | xii, 817 pages ; 26 cm. |
| Language: | English |
| Series: | Oxford handbooks Oxford handbooks. |
| Subject: | |
| Format: | Print Book |
| URL for this record: | http://pi.lib.uchicago.edu/1001/cat/bib/10868959 |
Table of Contents:
- List of Contributors
- About the Companion Website
- Introduction
- Part I. Cinema in the Realm of the Digital: Foundational Approaches
- 2. Digital Cinema: Convergence or Contradiction?
- 3. Angels of Light
- 4. Lost in Sensation: Reevaluating the Role of Cinematic Sound in the Digital Age
- Part II. Dialogue: Screens and Spaces
- 5. Large Screens, Third Screens, Virtuality, and Innovation
- 6. Public Screens and Urban Life
- Part III. Glitches, Noise, and Interruption: Materiality and Digital Media
- 7. A Noisy Brush with the Infinite: Noise in Enfolding-Unfolding Aesthetics
- 8. Dirty Sound: Haptic Noise in New Extremism
- 9. Going Gaga for Glitch: Digital Failure @nd Feminist Spectacle in Twenty-First Century Music Video
- 10. Discursive Accents in Some Recent Digital Media Works
- 11. Doping the Voice
- Part IV. Uncanny Spaces and Acousmatic Voices
- 12. Monstrous Noise: Silent Hill and the Aesthetic Economies of Fear
- 13. "Charm the Air to Give a Sound": The Uncanny Soundscape of Punchdrunk's Sleep No More
- 14. A Gash in the Portrait: Martin ArnoldÆs Deanimated
- 15. The Acousmatic Voice and Metaleptic Narration in Inland Empire
- Part V. Dialogue: Visualization and Sonification
- 16. Museum Without Walls, Art History Without Names: Methods and Concepts for Media Visualization
- 17. Explorations in Cultureson
- Part VI. Virtual Worlds, Paranoid Structures, and States of War
- 18. Music and the State of Exception in Alfonso CuarónÆs Children of Men
- 19. Understanding the Pleasures of War's Audiovision
- 20. Outside the Law of Action: Music and Sound in the Bourne Trilogy
- 21. Debating the Digital: Film and Reality in Barry LevinsonÆs Wag the Dog
- 22. Between Artifice and Authenticity: Music and Media in Wag the Dog
- Part VII. Blockbusters! Franchises, Remakes, and Intertextual Practices
- 23. "I Am Beowulf! Now, Its Your Turn": Playing With (and As) the Digital Convergence Character
- 24. Lion and Lambs: Industry-Audience Negotiations in the Twilight Saga Franchise
- 25. Sonic Times in Watchmen and Inception
- 26. Inglo(u)rious Basterdization? Tarantino and the War Movie Mashup
- Part VIII. Dialogue: De-Coding Source Code
- 27. Sound Thinking: Looped Time, Duped Track
- 28. Source Code: Eco-Criticism and Subjectivity
- 29. Notes to the Soundtrack of Source Code
- Part IX. Rethinking Audiovisual Embodiment
- 30. Virtual and Visceral Experience in Music-Oriented Video Games
- 31. A Gaga-World Pageant: Channeling Difference and the Performance of Networked Power
- 32. Coming to Mind: Pornography and the Mediation of Intensity
- 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
- 34. The Sonic Summons: Meditations on Nature and Anempathetic Sound in Digital Documentaries
- 35. Workers Leaving the Factory: Witnessing industry in the Digital Age
- Part XI. Modes of Composition: Digital Convergence and Sound Production
- 36. The Absent Image in Electronic Music
- 37. Hugues Dufourt's Cinematic Dynamism: Space, Timbre, and Time in LÆAfrique d'après Tiepolo
- 38. Scoring for Film and Video Games: Collaborative Practices and Digital Post production
- 39. Visualizing the App Album with Björks Biophilia
- Part XII. Digital Aesthetics Across Platform and Genre
- 40. Accelerated Aesthetics: A New Lexicon of Time, Space, and Rhythm
- 41. Acoustic Auteurs and Transnational Cinema
- 42. Instrumental Visions: Electronica, Music Video, and the Environmental Interface
- Index
