Carol Vernallis teaches film and media studies at Stanford University, and is author of Experiencing Music Video and Unruly Media: YouTube, Music Video, and the New Digital Cinema, and co-editor of The Oxford Handbook of New Audiovisual Aesthetics.Amy Herzog is Coordinator of the Film Studies Program at The CUNY Graduate Center, and Associate Professor of Media Studies at Queens College, CUNY. She is the author of Dreams of Difference, Sounds of the Same: The Musical Moment in Film.John Richardson is Professor of Musicology at the University of Turku, Finland. He is the author of An Eye for Music: Popular Music and the Audiovisual Surreal and Singing Archaeology: Philip Glass's Akhnaten. Richardson has published widely on audiovisual media, popular music and cultural musicology. He is co-editor of The Oxford Handbook of New Audiovisual Aesthetics.

"This is an assemblage of monumentally impressive scholarly thought on timely issues and will undoubtedly stand up to repeated readings, analysis, and dialogue."--Association for Recorded Sound Collections Journal

• Contents ; Introduction: ; 1. Carol Vernallis and Amy Herzog ; Cinema in the Realm of the Digital: Foundational Approaches ; 2. Thomas Elsaesser, Digital Cinema: Convergence or Contradiction? ; 3. Jean-Pierre Geuens, Angels of Light ; 4. William Whittington, Lost in Sensation-Reevaluating the Role of Cinematic Sound in the Digital Age ; Dialogue: Screens and Spaces ; 5. Sean Cubitt, Large Screens, Third Screens, Virtuality and Innovation" ; 6. Will Straw, Public Screens and Urban Life" ; Glitches, Noise, and Interruption: Materiality and Digital Media ; 7. Laura U. Marks, A Noisy Brush with the Infinite: Noise in Enfolding-Unfolding Aesthetics" ; 8. Lisa Coulthard, Dirty Sound: Haptic Noise in New Extremism" ; 9. Caetlin Benson-Allott, "Going Gaga for Glitch: Digital Failure @nd Feminist Spectacle in Twenty-F1rst Century Music Video" ; 10. Joanna Demers, "Discursive Accents in Some Recent Digital Media Works" ; 11. Melissa Ragona, "Doping the Voice" ; Uncanny Spaces and Acousmatic Voices ; 12. William Cheng, "Monstrous Noise: Silent Hill and the Aesthetic Economies of Fear" ; 13. Amy Herzog, "'Charm the Air to Give a Sound': The Uncanny Soundscape of Punchdrunk's Sleep No More>" ; 14. George Toles, "A Gash in the Portrait: Martin Arnold's Deanimated" ; 15. Warren Buckland, "The Acousmatic Voice and Metaleptic Narration in Inland Empire" ; Dialogue: Visualization and Sonification ; 16. Lev Manovich, "Visualization Methods for Media Studies" ; 17. Jake Smith, "Explorations in Cultureson" ; Virtual Worlds, Paranoid Structures, and States of War ; 18. Dale Chapman, "Music and the State of Exception in Alfonso Cuaron's Children of Men" ; 19. Matthew Sumera, "Understanding the Pleasures of War's Audiovision" ; 20. James Buhler and Alex Newton, "Outside the Law of Action: Music and Sound in the Bourne Trilogy" ; 21. Eleftheria Thanouli, "Debating the Digital: Film and Reality in Barry Levinson's Wag the Dog" ; 22. Theo Cateforis, "Between Artifice and Authenticity: Music and Media in Wag the Dog" ; Blockbusters! Franchises, Remakes, and Intertextual Practices ; 23. Jessica Aldred, "'I Am Beowulf! Now, It's Your Turn': Playing With (And As) the Digital Convergence Character" ; 24. Carol Donelan and Ron Rodman, "Lion and Lambs: Industry-Audience Negotiations in the Twilight Saga Franchise" ; 25. Aylish Wood, "Sonic Times in Watchmen and Inception" ; 26. Miguel Mera, "Inglo(u)rious Basterdization? Tarantino and the War Movie Mashup" ; Dialogue: De-Coding Source Code ; 27. Garrett Stewart, "Sound Thinking: Looped Time, Duped Track" ; 28. Sean Cubitt, "Source Code: Eco-Criticism and Subjectivity" ; 29. James Buhler, "Notes to Source Code's Soundtrack" ; Rethinking Audiovisual Embodiment ; 30. Kiri Miller, "Virtual and Visceral Experience in Music-Oriented Videogames" ; 31. David McCarthy and Maria Zuazu, "A Gaga-World Pageant: Channeling Difference and the Performance of Networked Power" ; 32. Paul Morris and Susanna Paasonen, "Coming to Mind: Pornography and the Mediation of Intensity" ; Sounds and Images of the New Digital Documentary ; 33. John Belton, "The World in the Palm of Your Hand: Agnes Varda, Trinh T. Minh-ha, and the Digital Documentary" ; 34. Selmin Kara, "The Sonic Summons: Meditations on Nature and Anempathetic Sound in Digital Documentaries" ; 35. Jennifer Peterson, "Workers Leaving the Factory: Witnessing Industry in the Digital Age" ; Modes of Composition: Digital Convergence and Sound Production ; 36. Eric Lyon, "The Absent Image in Electronic Music" ; 37. Jann Pasler, "Hugues Dufourt's Cinematic Dynamism: Space, Timbre, and Time in L'Afrique d'apres Tiepolo" ; 38. Ron Sadoff, "Scoring for Film and Video Games: Collaborative Practices and Digital Post-Production" ; 39. Nicola Dibben, "Visualising the App Album with Bjork's Biophilia" ; Digital Aesthetics Across Platform and Genre ; 40. Carol Vernallis, "Accelerated Aesthetics: a New Lexicon of Time, Space and Rhythm" ; 41. Jay Beck, "Acoustic Auteurs and Transnational Cinema" ; 42. Allan Cameron, "Instrumental Visions: Electronica, Music Video, and the Environmental Interface" ; Index

Carol Vernallis teaches film and media studies at Stanford University, and is author of Experiencing Music Video and Unruly Media: YouTube, Music Video, and the New Digital Cinema, and co-editor of The Oxford Handbook of New Audiovisual Aesthetics.Amy Herzog is Coordinator of the Film Studies Program at The CUNY Graduate Center, and Associate Professor of Media Studies at Queens College, CUNY. She is the author of Dreams of Difference, Sounds of the Same: The Musical Moment in Film.John Richardson is Professor of Musicology at the University of Turku, Finland. He is the author of An Eye for Music: Popular Music and the Audiovisual Surreal and Singing Archaeology: Philip Glass's Akhnaten. Richardson has published widely on audiovisual media, popular music and cultural musicology. He is co-editor of The Oxford Handbook of New Audiovisual Aesthetics.

"This is an assemblage of monumentally impressive scholarly thought on timely issues and will undoubtedly stand up to repeated readings, analysis, and dialogue."--Association for Recorded Sound Collections Journal

• Contents ; Introduction: ; 1. Carol Vernallis and Amy Herzog ; Cinema in the Realm of the Digital: Foundational Approaches ; 2. Thomas Elsaesser, Digital Cinema: Convergence or Contradiction? ; 3. Jean-Pierre Geuens, Angels of Light ; 4. William Whittington, Lost in Sensation-Reevaluating the Role of Cinematic Sound in the Digital Age ; Dialogue: Screens and Spaces ; 5. Sean Cubitt, Large Screens, Third Screens, Virtuality and Innovation" ; 6. Will Straw, Public Screens and Urban Life" ; Glitches, Noise, and Interruption: Materiality and Digital Media ; 7. Laura U. Marks, A Noisy Brush with the Infinite: Noise in Enfolding-Unfolding Aesthetics" ; 8. Lisa Coulthard, Dirty Sound: Haptic Noise in New Extremism" ; 9. Caetlin Benson-Allott, "Going Gaga for Glitch: Digital Failure @nd Feminist Spectacle in Twenty-F1rst Century Music Video" ; 10. Joanna Demers, "Discursive Accents in Some Recent Digital Media Works" ; 11. Melissa Ragona, "Doping the Voice" ; Uncanny Spaces and Acousmatic Voices ; 12. William Cheng, "Monstrous Noise: Silent Hill and the Aesthetic Economies of Fear" ; 13. Amy Herzog, "'Charm the Air to Give a Sound': The Uncanny Soundscape of Punchdrunk's Sleep No More>" ; 14. George Toles, "A Gash in the Portrait: Martin Arnold's Deanimated" ; 15. Warren Buckland, "The Acousmatic Voice and Metaleptic Narration in Inland Empire" ; Dialogue: Visualization and Sonification ; 16. Lev Manovich, "Visualization Methods for Media Studies" ; 17. Jake Smith, "Explorations in Cultureson" ; Virtual Worlds, Paranoid Structures, and States of War ; 18. Dale Chapman, "Music and the State of Exception in Alfonso Cuaron's Children of Men" ; 19. Matthew Sumera, "Understanding the Pleasures of War's Audiovision" ; 20. James Buhler and Alex Newton, "Outside the Law of Action: Music and Sound in the Bourne Trilogy" ; 21. Eleftheria Thanouli, "Debating the Digital: Film and Reality in Barry Levinson's Wag the Dog" ; 22. Theo Cateforis, "Between Artifice and Authenticity: Music and Media in Wag the Dog" ; Blockbusters! Franchises, Remakes, and Intertextual Practices ; 23. Jessica Aldred, "'I Am Beowulf! Now, It's Your Turn': Playing With (And As) the Digital Convergence Character" ; 24. Carol Donelan and Ron Rodman, "Lion and Lambs: Industry-Audience Negotiations in the Twilight Saga Franchise" ; 25. Aylish Wood, "Sonic Times in Watchmen and Inception" ; 26. Miguel Mera, "Inglo(u)rious Basterdization? Tarantino and the War Movie Mashup" ; Dialogue: De-Coding Source Code ; 27. Garrett Stewart, "Sound Thinking: Looped Time, Duped Track" ; 28. Sean Cubitt, "Source Code: Eco-Criticism and Subjectivity" ; 29. James Buhler, "Notes to Source Code's Soundtrack" ; Rethinking Audiovisual Embodiment ; 30. Kiri Miller, "Virtual and Visceral Experience in Music-Oriented Videogames" ; 31. David McCarthy and Maria Zuazu, "A Gaga-World Pageant: Channeling Difference and the Performance of Networked Power" ; 32. Paul Morris and Susanna Paasonen, "Coming to Mind: Pornography and the Mediation of Intensity" ; Sounds and Images of the New Digital Documentary ; 33. John Belton, "The World in the Palm of Your Hand: Agnes Varda, Trinh T. Minh-ha, and the Digital Documentary" ; 34. Selmin Kara, "The Sonic Summons: Meditations on Nature and Anempathetic Sound in Digital Documentaries" ; 35. Jennifer Peterson, "Workers Leaving the Factory: Witnessing Industry in the Digital Age" ; Modes of Composition: Digital Convergence and Sound Production ; 36. Eric Lyon, "The Absent Image in Electronic Music" ; 37. Jann Pasler, "Hugues Dufourt's Cinematic Dynamism: Space, Timbre, and Time in L'Afrique d'apres Tiepolo" ; 38. Ron Sadoff, "Scoring for Film and Video Games: Collaborative Practices and Digital Post-Production" ; 39. Nicola Dibben, "Visualising the App Album with Bjork's Biophilia" ; Digital Aesthetics Across Platform and Genre ; 40. Carol Vernallis, "Accelerated Aesthetics: a New Lexicon of Time, Space and Rhythm" ; 41. Jay Beck, "Acoustic Auteurs and Transnational Cinema" ; 42. Allan Cameron, "Instrumental Visions: Electronica, Music Video, and the Environmental Interface" ; Index

Carol Vernallis teaches film and media studies at Stanford University, and is author of Experiencing Music Video and Unruly Media: YouTube, Music Video, and the New Digital Cinema, and co-editor of The Oxford Handbook of New Audiovisual Aesthetics.Amy Herzog is Coordinator of the Film Studies Program at The CUNY Graduate Center, and Associate Professor of Media Studies at Queens College, CUNY. She is the author of Dreams of Difference, Sounds of the Same: The Musical Moment in Film.John Richardson is Professor of Musicology at the University of Turku, Finland. He is the author of An Eye for Music: Popular Music and the Audiovisual Surreal and Singing Archaeology: Philip Glass's Akhnaten. Richardson has published widely on audiovisual media, popular music and cultural musicology. He is co-editor of The Oxford Handbook of New Audiovisual Aesthetics.

"This is an assemblage of monumentally impressive scholarly thought on timely issues and will undoubtedly stand up to repeated readings, analysis, and dialogue."--Association for Recorded Sound Collections Journal

• Contents ; Introduction: ; 1. Carol Vernallis and Amy Herzog ; Cinema in the Realm of the Digital: Foundational Approaches ; 2. Thomas Elsaesser, Digital Cinema: Convergence or Contradiction? ; 3. Jean-Pierre Geuens, Angels of Light ; 4. William Whittington, Lost in Sensation-Reevaluating the Role of Cinematic Sound in the Digital Age ; Dialogue: Screens and Spaces ; 5. Sean Cubitt, Large Screens, Third Screens, Virtuality and Innovation" ; 6. Will Straw, Public Screens and Urban Life" ; Glitches, Noise, and Interruption: Materiality and Digital Media ; 7. Laura U. Marks, A Noisy Brush with the Infinite: Noise in Enfolding-Unfolding Aesthetics" ; 8. Lisa Coulthard, Dirty Sound: Haptic Noise in New Extremism" ; 9. Caetlin Benson-Allott, "Going Gaga for Glitch: Digital Failure @nd Feminist Spectacle in Twenty-F1rst Century Music Video" ; 10. Joanna Demers, "Discursive Accents in Some Recent Digital Media Works" ; 11. Melissa Ragona, "Doping the Voice" ; Uncanny Spaces and Acousmatic Voices ; 12. William Cheng, "Monstrous Noise: Silent Hill and the Aesthetic Economies of Fear" ; 13. Amy Herzog, "'Charm the Air to Give a Sound': The Uncanny Soundscape of Punchdrunk's Sleep No More>" ; 14. George Toles, "A Gash in the Portrait: Martin Arnold's Deanimated" ; 15. Warren Buckland, "The Acousmatic Voice and Metaleptic Narration in Inland Empire" ; Dialogue: Visualization and Sonification ; 16. Lev Manovich, "Visualization Methods for Media Studies" ; 17. Jake Smith, "Explorations in Cultureson" ; Virtual Worlds, Paranoid Structures, and States of War ; 18. Dale Chapman, "Music and the State of Exception in Alfonso Cuaron's Children of Men" ; 19. Matthew Sumera, "Understanding the Pleasures of War's Audiovision" ; 20. James Buhler and Alex Newton, "Outside the Law of Action: Music and Sound in the Bourne Trilogy" ; 21. Eleftheria Thanouli, "Debating the Digital: Film and Reality in Barry Levinson's Wag the Dog" ; 22. Theo Cateforis, "Between Artifice and Authenticity: Music and Media in Wag the Dog" ; Blockbusters! Franchises, Remakes, and Intertextual Practices ; 23. Jessica Aldred, "'I Am Beowulf! Now, It's Your Turn': Playing With (And As) the Digital Convergence Character" ; 24. Carol Donelan and Ron Rodman, "Lion and Lambs: Industry-Audience Negotiations in the Twilight Saga Franchise" ; 25. Aylish Wood, "Sonic Times in Watchmen and Inception" ; 26. Miguel Mera, "Inglo(u)rious Basterdization? Tarantino and the War Movie Mashup" ; Dialogue: De-Coding Source Code ; 27. Garrett Stewart, "Sound Thinking: Looped Time, Duped Track" ; 28. Sean Cubitt, "Source Code: Eco-Criticism and Subjectivity" ; 29. James Buhler, "Notes to Source Code's Soundtrack" ; Rethinking Audiovisual Embodiment ; 30. Kiri Miller, "Virtual and Visceral Experience in Music-Oriented Videogames" ; 31. David McCarthy and Maria Zuazu, "A Gaga-World Pageant: Channeling Difference and the Performance of Networked Power" ; 32. Paul Morris and Susanna Paasonen, "Coming to Mind: Pornography and the Mediation of Intensity" ; Sounds and Images of the New Digital Documentary ; 33. John Belton, "The World in the Palm of Your Hand: Agnes Varda, Trinh T. Minh-ha, and the Digital Documentary" ; 34. Selmin Kara, "The Sonic Summons: Meditations on Nature and Anempathetic Sound in Digital Documentaries" ; 35. Jennifer Peterson, "Workers Leaving the Factory: Witnessing Industry in the Digital Age" ; Modes of Composition: Digital Convergence and Sound Production ; 36. Eric Lyon, "The Absent Image in Electronic Music" ; 37. Jann Pasler, "Hugues Dufourt's Cinematic Dynamism: Space, Timbre, and Time in L'Afrique d'apres Tiepolo" ; 38. Ron Sadoff, "Scoring for Film and Video Games: Collaborative Practices and Digital Post-Production" ; 39. Nicola Dibben, "Visualising the App Album with Bjork's Biophilia" ; Digital Aesthetics Across Platform and Genre ; 40. Carol Vernallis, "Accelerated Aesthetics: a New Lexicon of Time, Space and Rhythm" ; 41. Jay Beck, "Acoustic Auteurs and Transnational Cinema" ; 42. Allan Cameron, "Instrumental Visions: Electronica, Music Video, and the Environmental Interface" ; Index