Holly Rogers is a senior lecturer in Music at Goldsmiths, University of London. Before this, she was the founding director of the Research Centre for Audio-Visual Media at the University of Liverpool, Fulbright Scholar at the DocFilm Institute in San Francisco and Research Fellow at the Humanities Institute of Ireland. Her primary interest lies in the relationship between sound and image in experimental film, video art and music video. Holly is the author Visualising Music: Audio-Visual Relationships in Avant-Garde Film and Video Art (2010) and Sounding the Gallery: Video and the Rise of Art-Music (2013). She has also edited two books on audiovisual media: Music and Sound in Documentary Film (2014) and Transmedia Directors: Sound, Image and the Digital Swirl (with Carol Vernallis and Lisa Perrott, forthcoming). She is a founding editor for the book series New Approaches to Sound, Music and Media.Jeremy Barham is Reader in Music at the University of Surrey. His academic interests lie in the areas of Mahler, 19th- and 20th-century Austro-German music and culture, screen music, and jazz. He has undertaken periods of archival research in Vienna, Philadelphia, Paris, Berlin, and Wiesbaden, and convened three international conferences, on Mahler (2011), early film music (2014) and the music and legacy of Miles Davis and John Coltrane (2016).

A truly multidisciplinary volume where scholars in film studies, musicology, media studies, and sound studies not only appear side by side, but they also speak to each other as they unpack innovative techniques used to create novel and fascinating experiences of music, sound, and the moving image.

• Preface: Jeremy BarhamIntroduction: Holly RogersChapter 1: Absolute Sounding Images: Abstract Film and Radio Drama of the 1920s as Complementary Forms of a Media Specific Art, Dieter DanielsChapter 2: A Primitivism of the Senses: The Role of Music in Len Lye's Experimental Animation,Malcolm CookChapter 3: An Educational Avant-Garde: Sound and Music in Julien Bryan's OIAA Films on Latin America, 1942-1949, James TobiasChapter 4: bup bup bup: Aural Innovation in the Films of Norman McLaren, Terence DobsonChapter 5: Sights and Sounds of the Moving Mind: The Visionary Soundtracks of Stan Brakhage, Eric SmigelChapter 6: Discontinuities and Resynchronisations: The Use of Sound in Polish Experimental Cinema from the 1930s to the 1980s, Daniel MuzyczukChapter 7: Grid Intensities: Hearing Structures in Chantal Akerman's Films of the 1970s, Paul HegartyChapter 8: Meaning and Musicality: Sound-Image Relations in the Films of John Smith, Andy BirtwistleChapter 9: Audiovisual Dissonance in Found-Footage Film, Holly Rogers Chapter 10: Rebalancing the Picture/Sound Relationship: The Audiovisual Compositions of Lis Rhodes, Aimee MollaghanChapter 11: Sounding Decay in the Digital Age: Audio-Visions of Decasia (2002) and Lyrical Nitrate (1991), Nessa JohnstonChapter 12: The Sound of Queer Experimental Film, Juan A. SuárezChapter 13: Avant-Gardists and the Lure of Pop Music, Carol VernallisChapter 14: The Music of Gustav Mahler in Experimental Film Contexts: Questions of Visual Music and Intermedial Theory, Jeremy Barham

Holly Rogers is a senior lecturer in Music at Goldsmiths, University of London. Before this, she was the founding director of the Research Centre for Audio-Visual Media at the University of Liverpool, Fulbright Scholar at the DocFilm Institute in San Francisco and Research Fellow at the Humanities Institute of Ireland. Her primary interest lies in the relationship between sound and image in experimental film, video art and music video. Holly is the author Visualising Music: Audio-Visual Relationships in Avant-Garde Film and Video Art (2010) and Sounding the Gallery: Video and the Rise of Art-Music (2013). She has also edited two books on audiovisual media: Music and Sound in Documentary Film (2014) and Transmedia Directors: Sound, Image and the Digital Swirl (with Carol Vernallis and Lisa Perrott, forthcoming). She is a founding editor for the book series New Approaches to Sound, Music and Media.Jeremy Barham is Reader in Music at the University of Surrey. His academic interests lie in the areas of Mahler, 19th- and 20th-century Austro-German music and culture, screen music, and jazz. He has undertaken periods of archival research in Vienna, Philadelphia, Paris, Berlin, and Wiesbaden, and convened three international conferences, on Mahler (2011), early film music (2014) and the music and legacy of Miles Davis and John Coltrane (2016).

A truly multidisciplinary volume where scholars in film studies, musicology, media studies, and sound studies not only appear side by side, but they also speak to each other as they unpack innovative techniques used to create novel and fascinating experiences of music, sound, and the moving image.

• Preface: Jeremy BarhamIntroduction: Holly RogersChapter 1: Absolute Sounding Images: Abstract Film and Radio Drama of the 1920s as Complementary Forms of a Media Specific Art, Dieter DanielsChapter 2: A Primitivism of the Senses: The Role of Music in Len Lye's Experimental Animation,Malcolm CookChapter 3: An Educational Avant-Garde: Sound and Music in Julien Bryan's OIAA Films on Latin America, 1942-1949, James TobiasChapter 4: bup bup bup: Aural Innovation in the Films of Norman McLaren, Terence DobsonChapter 5: Sights and Sounds of the Moving Mind: The Visionary Soundtracks of Stan Brakhage, Eric SmigelChapter 6: Discontinuities and Resynchronisations: The Use of Sound in Polish Experimental Cinema from the 1930s to the 1980s, Daniel MuzyczukChapter 7: Grid Intensities: Hearing Structures in Chantal Akerman's Films of the 1970s, Paul HegartyChapter 8: Meaning and Musicality: Sound-Image Relations in the Films of John Smith, Andy BirtwistleChapter 9: Audiovisual Dissonance in Found-Footage Film, Holly Rogers Chapter 10: Rebalancing the Picture/Sound Relationship: The Audiovisual Compositions of Lis Rhodes, Aimee MollaghanChapter 11: Sounding Decay in the Digital Age: Audio-Visions of Decasia (2002) and Lyrical Nitrate (1991), Nessa JohnstonChapter 12: The Sound of Queer Experimental Film, Juan A. SuárezChapter 13: Avant-Gardists and the Lure of Pop Music, Carol VernallisChapter 14: The Music of Gustav Mahler in Experimental Film Contexts: Questions of Visual Music and Intermedial Theory, Jeremy Barham