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