John Richardson is Professor of Musicology at the University of Turku, Finland, and author of An Eye for Music: Popular Music and the Audiovisual Surreal (2011) and Singing Archeology: Philip Glass's Akhnaten (1999).Claudia Gorbman is Professor of Film Studies at the University of Washington - Tacoma, author of Unheard Melodies: Narrative Film Music (1987), and the translator of five books including four by Michel Chion.Carol Vernallis teaches in Film and Media studies at Stanford University and is author of Experiencing Music Video: Aesthetics and Cultural Context (2004) and Unruly Media: YouTube, Music Video, and the New Digital Cinema (2013).

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• List of contributors ; About the companion website ; PART I ; 1. Introduction, John Richardson and Claudia Gorbman ; PART II THEORETICAL PRESSURE POINTS ; 2. Classical Music for the Posthuman Condition, Lawrence Kramer ; 3. Beyond Music: mashup, multimedia mentality, and intellectual property, Nicholas Cook ; 4. The Audio-Logo-Visual and the Sound of Languages in Recent Film, Michel Chion ; 5. The End of Diegesis As We Know It?, Anahid Kassabian ; 6. Sounding Out Film. Steven Connor ; PART III NARRATIVE, GENRE, MEANING ; Changing times, Changing practices ; 7. Audio-Visual Space in an Era of Technological Convergence, Robynn J. Stilwell ; 8. Title Sequences for Contemporary Television Serials, Annette Davison ; 9. No Country for Old Music, Carter Burwell ; 10. Cue the Big Theme? The Sound of the Superhero, Janet K. Halfyard ; 11. Video Speech in Latin America, Michael Chanan ; Animated sounds ; 12. Pixar and the Animated Soundtrack, Daniel Goldmark ; 13. Notes on Sound Design in Contemporary Animated Films, Randy Thom ; 14. Zig Zag : Re-animating Len Lye as Improvised Theatrical Performance and Immersive Visual Music, Lisa Perrott ; Musical Moments and Transformations ; 15. The Mutating Musical, Caryl Flinn ; 16. Chinese Rock 'n' Roll Film and Cui Jian on Screen, Ying Xiao ; 17. The Neosurrealist Metamusical: Tsai's The Wayward Cloud, John Richardson ; 18. Parties In Your Head: From the Acoustic to the Psycho-Acoustic, Philip Brophy ; PART IV EXPANDED SOUNDTRACKS ; 19. Sensory Aspects of Contemporary Cinema, Michel Chion ; 20. The Sound of Intensified Continuity, Jeff Smith ; 21. Extending Film Aesthetics: Audio Beyond Visuals, K.J. Donnelly ; 22. The Audiovisual Construction of Transgender Identity in Transamerica, Susanna Valimaki ; 23. Soundscapes of Istanbul in Turkish film Soundtracks, Meri Kyto ; 24. Audiovisual Objects, Multisensory People and the Intensified Ordinary in Hong Kong Action Films, Charles Kronengold ; PART V EMERGING AUDIOVISUAL FORMS ; Music Video and Beyond Gaming ; 25. Music Video's Second Aesthetic, Carol Vernallis ; 26. Aesthetics and Hyperembodiment in Pop Videos: Rihanna's "Umbrella," Stan Hawkins ; 27. The Emancipation Of Music Video: YouTube and The Cultural Politics of Supply and Demand, Paula Hearsum & Ian Inglis ; 28. Music Video Transformed, Mathias Bonde Korsgaard ; video art ; 29. "Betwixt and Between" Worlds: Spatial and Temporal Liminality in Video Art-Music, Holly Rogers ; 30. Sound Events: Innovation in Projection and Installation, Maureen Turim and Michael Walsh ; Gaming ; 31. Contextualizing Game Audio Aesthetics, Rob Bridgett ; 32. Implications of Interactivity: What does it mean for sound to be "interactive"?, Karen Collins ; 33. Multi-channel Gaming and the Aesthetics of Interactive Surround, Mark Kerins ; PART VI AUDIOVISUALITY IN DAILY LIFE ; 34. Sound and Vision: The Audio/Visual Economy of Musical Performance, Philip Auslander ; 35. Foreground Flatland, Joseph Lanza ; 36. Remaking the Urban: The Audio-Visual Aesthetics of iPod Use, Michael Bull ; 37. On Soundscape Methods and Audiovisual Sensibility, Helmi Jarviluoma and Noora Vikman ; 38. Leaving Something to the Imagination: "Seeing" New Places through a Musical Lens, Mariko Hara and Tia DeNora ; Index

John Richardson is Professor of Musicology at the University of Turku, Finland, and author of An Eye for Music: Popular Music and the Audiovisual Surreal (2011) and Singing Archeology: Philip Glass's Akhnaten (1999).Claudia Gorbman is Professor of Film Studies at the University of Washington - Tacoma, author of Unheard Melodies: Narrative Film Music (1987), and the translator of five books including four by Michel Chion.Carol Vernallis teaches in Film and Media studies at Stanford University and is author of Experiencing Music Video: Aesthetics and Cultural Context (2004) and Unruly Media: YouTube, Music Video, and the New Digital Cinema (2013).

Select Guide Rating

• List of contributors ; About the companion website ; PART I ; 1. Introduction, John Richardson and Claudia Gorbman ; PART II THEORETICAL PRESSURE POINTS ; 2. Classical Music for the Posthuman Condition, Lawrence Kramer ; 3. Beyond Music: mashup, multimedia mentality, and intellectual property, Nicholas Cook ; 4. The Audio-Logo-Visual and the Sound of Languages in Recent Film, Michel Chion ; 5. The End of Diegesis As We Know It?, Anahid Kassabian ; 6. Sounding Out Film. Steven Connor ; PART III NARRATIVE, GENRE, MEANING ; Changing times, Changing practices ; 7. Audio-Visual Space in an Era of Technological Convergence, Robynn J. Stilwell ; 8. Title Sequences for Contemporary Television Serials, Annette Davison ; 9. No Country for Old Music, Carter Burwell ; 10. Cue the Big Theme? The Sound of the Superhero, Janet K. Halfyard ; 11. Video Speech in Latin America, Michael Chanan ; Animated sounds ; 12. Pixar and the Animated Soundtrack, Daniel Goldmark ; 13. Notes on Sound Design in Contemporary Animated Films, Randy Thom ; 14. Zig Zag : Re-animating Len Lye as Improvised Theatrical Performance and Immersive Visual Music, Lisa Perrott ; Musical Moments and Transformations ; 15. The Mutating Musical, Caryl Flinn ; 16. Chinese Rock 'n' Roll Film and Cui Jian on Screen, Ying Xiao ; 17. The Neosurrealist Metamusical: Tsai's The Wayward Cloud, John Richardson ; 18. Parties In Your Head: From the Acoustic to the Psycho-Acoustic, Philip Brophy ; PART IV EXPANDED SOUNDTRACKS ; 19. Sensory Aspects of Contemporary Cinema, Michel Chion ; 20. The Sound of Intensified Continuity, Jeff Smith ; 21. Extending Film Aesthetics: Audio Beyond Visuals, K.J. Donnelly ; 22. The Audiovisual Construction of Transgender Identity in Transamerica, Susanna Valimaki ; 23. Soundscapes of Istanbul in Turkish film Soundtracks, Meri Kyto ; 24. Audiovisual Objects, Multisensory People and the Intensified Ordinary in Hong Kong Action Films, Charles Kronengold ; PART V EMERGING AUDIOVISUAL FORMS ; Music Video and Beyond Gaming ; 25. Music Video's Second Aesthetic, Carol Vernallis ; 26. Aesthetics and Hyperembodiment in Pop Videos: Rihanna's "Umbrella," Stan Hawkins ; 27. The Emancipation Of Music Video: YouTube and The Cultural Politics of Supply and Demand, Paula Hearsum & Ian Inglis ; 28. Music Video Transformed, Mathias Bonde Korsgaard ; video art ; 29. "Betwixt and Between" Worlds: Spatial and Temporal Liminality in Video Art-Music, Holly Rogers ; 30. Sound Events: Innovation in Projection and Installation, Maureen Turim and Michael Walsh ; Gaming ; 31. Contextualizing Game Audio Aesthetics, Rob Bridgett ; 32. Implications of Interactivity: What does it mean for sound to be "interactive"?, Karen Collins ; 33. Multi-channel Gaming and the Aesthetics of Interactive Surround, Mark Kerins ; PART VI AUDIOVISUALITY IN DAILY LIFE ; 34. Sound and Vision: The Audio/Visual Economy of Musical Performance, Philip Auslander ; 35. Foreground Flatland, Joseph Lanza ; 36. Remaking the Urban: The Audio-Visual Aesthetics of iPod Use, Michael Bull ; 37. On Soundscape Methods and Audiovisual Sensibility, Helmi Jarviluoma and Noora Vikman ; 38. Leaving Something to the Imagination: "Seeing" New Places through a Musical Lens, Mariko Hara and Tia DeNora ; Index

John Richardson is Professor of Musicology at the University of Turku, Finland, and author of An Eye for Music: Popular Music and the Audiovisual Surreal (2011) and Singing Archeology: Philip Glass's Akhnaten (1999).Claudia Gorbman is Professor of Film Studies at the University of Washington - Tacoma, author of Unheard Melodies: Narrative Film Music (1987), and the translator of five books including four by Michel Chion.Carol Vernallis teaches in Film and Media studies at Stanford University and is author of Experiencing Music Video: Aesthetics and Cultural Context (2004) and Unruly Media: YouTube, Music Video, and the New Digital Cinema (2013).

Select Guide Rating

• List of contributors ; About the companion website ; PART I ; 1. Introduction, John Richardson and Claudia Gorbman ; PART II THEORETICAL PRESSURE POINTS ; 2. Classical Music for the Posthuman Condition, Lawrence Kramer ; 3. Beyond Music: mashup, multimedia mentality, and intellectual property, Nicholas Cook ; 4. The Audio-Logo-Visual and the Sound of Languages in Recent Film, Michel Chion ; 5. The End of Diegesis As We Know It?, Anahid Kassabian ; 6. Sounding Out Film. Steven Connor ; PART III NARRATIVE, GENRE, MEANING ; Changing times, Changing practices ; 7. Audio-Visual Space in an Era of Technological Convergence, Robynn J. Stilwell ; 8. Title Sequences for Contemporary Television Serials, Annette Davison ; 9. No Country for Old Music, Carter Burwell ; 10. Cue the Big Theme? The Sound of the Superhero, Janet K. Halfyard ; 11. Video Speech in Latin America, Michael Chanan ; Animated sounds ; 12. Pixar and the Animated Soundtrack, Daniel Goldmark ; 13. Notes on Sound Design in Contemporary Animated Films, Randy Thom ; 14. Zig Zag : Re-animating Len Lye as Improvised Theatrical Performance and Immersive Visual Music, Lisa Perrott ; Musical Moments and Transformations ; 15. The Mutating Musical, Caryl Flinn ; 16. Chinese Rock 'n' Roll Film and Cui Jian on Screen, Ying Xiao ; 17. The Neosurrealist Metamusical: Tsai's The Wayward Cloud, John Richardson ; 18. Parties In Your Head: From the Acoustic to the Psycho-Acoustic, Philip Brophy ; PART IV EXPANDED SOUNDTRACKS ; 19. Sensory Aspects of Contemporary Cinema, Michel Chion ; 20. The Sound of Intensified Continuity, Jeff Smith ; 21. Extending Film Aesthetics: Audio Beyond Visuals, K.J. Donnelly ; 22. The Audiovisual Construction of Transgender Identity in Transamerica, Susanna Valimaki ; 23. Soundscapes of Istanbul in Turkish film Soundtracks, Meri Kyto ; 24. Audiovisual Objects, Multisensory People and the Intensified Ordinary in Hong Kong Action Films, Charles Kronengold ; PART V EMERGING AUDIOVISUAL FORMS ; Music Video and Beyond Gaming ; 25. Music Video's Second Aesthetic, Carol Vernallis ; 26. Aesthetics and Hyperembodiment in Pop Videos: Rihanna's "Umbrella," Stan Hawkins ; 27. The Emancipation Of Music Video: YouTube and The Cultural Politics of Supply and Demand, Paula Hearsum & Ian Inglis ; 28. Music Video Transformed, Mathias Bonde Korsgaard ; video art ; 29. "Betwixt and Between" Worlds: Spatial and Temporal Liminality in Video Art-Music, Holly Rogers ; 30. Sound Events: Innovation in Projection and Installation, Maureen Turim and Michael Walsh ; Gaming ; 31. Contextualizing Game Audio Aesthetics, Rob Bridgett ; 32. Implications of Interactivity: What does it mean for sound to be "interactive"?, Karen Collins ; 33. Multi-channel Gaming and the Aesthetics of Interactive Surround, Mark Kerins ; PART VI AUDIOVISUALITY IN DAILY LIFE ; 34. Sound and Vision: The Audio/Visual Economy of Musical Performance, Philip Auslander ; 35. Foreground Flatland, Joseph Lanza ; 36. Remaking the Urban: The Audio-Visual Aesthetics of iPod Use, Michael Bull ; 37. On Soundscape Methods and Audiovisual Sensibility, Helmi Jarviluoma and Noora Vikman ; 38. Leaving Something to the Imagination: "Seeing" New Places through a Musical Lens, Mariko Hara and Tia DeNora ; Index