Vernallis C., Herzog A., Richardson J. The Oxford Handbook of Sound and Image in Digital Media

Oxford University Press, 2013. — 833 p.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, the Twilight 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.Part I Cinema in the Realm of the Digital: Foundational Approaches
Digital Cinema: Convergence or Contradiction?
Angels of Light
Lost in Sensation: Reevaluating the Role of Cinematic Sound in the Digital Age
Part II Dialogue: Screens and Spaces
Large Screens, Third Screens, Virtuality, and Innovation
Public Screens and Urban Life
Part III Glitches, Noise, and Interruption: Materiality and Digital Media
A Noisy Brush with the Infinite: Noise in Enfolding-Unfolding Aesthetics
Dirty Sound: Haptic Noise in New Extremism
Going Gaga for Glitch: Digital Failure and Feminist Spectacle in Twenty-First Century Music Video
Discursive Accents in Some Recent Digital Media Works
Doping the Voice
Part IV Uncanny Spaces and Acousmatic Voices
Monstrous Noise: Silent Hill and the Aesthetic Economies of Fear
“Charm the Air to Give a Sound”: The Uncanny Soundscape of Punchdrunk’s Sleep No More
A Gash in the Portrait: Martin Arnold’s Deanimated
The Acousmatic Voice and Metaleptic Narration in Inland Empire
Part V Dialogue: Visualization and Sonification
Museum without Walls, Art History without Names: Methods and Concepts for Media Visualization
Explorations in Cultureson
Part VI Virtual Worlds, Paranoid Structures, and States of War
Music and the State of Exception in Alfonso Cuarуn’s Children of Men
Understanding the Pleasures of War’s Audiovision
Outside the Law of Action: Music and Sound in the Bourne Trilogy
Debating the Digital: Film and Reality in Barry Levinson’s Wag the Dog
Between Artifice and Authenticity: Music and Media in Wag the Dog
Part VII Blockbusters! Franchises, Remakes, and Intertextual Practices
“I Am Beowulf! Now, It’s Your Turn”: Playing With (and As) the Digital Convergence Character
Lion and Lambs: Industry–Audience Negotiations in the Twilight Saga Franchise
Sonic Times in Watchmen and Inception
Inglo(u)rious Basterdization? Tarantino and the War Movie Mashup
Part VIII Dialogue: De-Coding Source Code
Sound Thinking: Looped Time, Duped Track
Source Code : Eco-Criticism and Subjectivity
Notes to the Soundtrack of Source Code
Part IX Rethinking Audiovisual Embodiment
Virtual and Visceral Experience in Music-Oriented Video Games
A Gaga-World Pageant: Channeling Difference and the Performance of Networked Power
Coming to Mind: Pornography and the Mediation of Intensity
Part X Sounds and Images of the New Digital Documentary
The World in the Palm of Your Hand: Agnes Varda, Trinh T. Minh-ha, and the Digital Documentary
The Sonic Summons: Meditations on Nature and Anempathetic Sound in Digital Documentaries
Workers Leaving the Factory: Witnessing Industry in the Digital Age
Part XI Modes of Composition: Digital Convergence and Sound Production
The Absent Image in Electronic Music
Hugues Dufourt’s Cinematic Dynamism: Space, Timbre, and Time in L’Afrique d’aprиs Tiepolo
Scoring for Film and Video Games: Collaborative Practices and Digital Post production
Visualizing the App Album with Bjцrk’s Biophilia
Part XII Digital Aesthetics across Platform and Genre
Accelerated Aesthetics: A New Lexicon of Time, Space, and Rhythm
Acoustic Auteurs and Transnational Cinema
Instrumental Visions: Electronica, Music Video, and the Environmental Interface