Philip Hayward is Professor of Contemporary Music Studies at Macquarie University, Sydney, and co-editor of Perfect Beat—The Pacific Journal of Research into Contemporary Music and Popular Culture. He has written and edited several other books, including Widening the Horizon: Exoticism in Post-War Popular Music (John Libbey, 1999).

• Introduction: Sci Fidelity - Music, Sound and Genre History by Philip Hayward; 1. Hooked on Aetherophonics: The Day The Earth Stood Still, by Rebecca Leydon; 2. Atomic Overtones and Primitive Undertones: Akira Ifukube's Sound Design for Godzilla, by Shuhei Hosokawa; 3. Forbidden Planet: Effects and Affects in the Electro Avant Garde, by Rebecca Leydon; 4. The Transmolecularisation of [Black] Folk: Space is the Place, Sun Ra and Afrofuturism, by Nabeel Zuberi; 5. Nostalgia, Masculinist Discourse, and Authoritarianism in John Williams' Scores for Star Wars and Close Encounters of the Third Kind, by Neil Lerner; 6. Sound and Music in the Mad Max trilogy, by Rebecca Coyle; 7. 'These are my nightmares': Music and Sound in the films of David Cronenberg, by Paul Theberge; 8. Ambient Soundscapes in Blade Runner, by Michael Hannan and Melissa Carey; 9. 'I'll be back': Recurrent sonic motifs in James Cameron's Terminator films, by Karen Collins; 10. Inter-Planetary Soundclash: Music, Technology and Territorialisation in Mars Attacks!, by Philip Hayward; 11. Mapping The Matrix: Virtual Spatiality and the realm of the perceptual, by Mark Evan

Philip Hayward is Professor of Contemporary Music Studies at Macquarie University, Sydney, and co-editor of Perfect Beat—The Pacific Journal of Research into Contemporary Music and Popular Culture. He has written and edited several other books, including Widening the Horizon: Exoticism in Post-War Popular Music (John Libbey, 1999).

• Introduction: Sci Fidelity - Music, Sound and Genre History by Philip Hayward; 1. Hooked on Aetherophonics: The Day The Earth Stood Still, by Rebecca Leydon; 2. Atomic Overtones and Primitive Undertones: Akira Ifukube's Sound Design for Godzilla, by Shuhei Hosokawa; 3. Forbidden Planet: Effects and Affects in the Electro Avant Garde, by Rebecca Leydon; 4. The Transmolecularisation of [Black] Folk: Space is the Place, Sun Ra and Afrofuturism, by Nabeel Zuberi; 5. Nostalgia, Masculinist Discourse, and Authoritarianism in John Williams' Scores for Star Wars and Close Encounters of the Third Kind, by Neil Lerner; 6. Sound and Music in the Mad Max trilogy, by Rebecca Coyle; 7. 'These are my nightmares': Music and Sound in the films of David Cronenberg, by Paul Theberge; 8. Ambient Soundscapes in Blade Runner, by Michael Hannan and Melissa Carey; 9. 'I'll be back': Recurrent sonic motifs in James Cameron's Terminator films, by Karen Collins; 10. Inter-Planetary Soundclash: Music, Technology and Territorialisation in Mars Attacks!, by Philip Hayward; 11. Mapping The Matrix: Virtual Spatiality and the realm of the perceptual, by Mark Evan

Philip Hayward is Professor of Contemporary Music Studies at Macquarie University, Sydney, and co-editor of Perfect Beat—The Pacific Journal of Research into Contemporary Music and Popular Culture. He has written and edited several other books, including Widening the Horizon: Exoticism in Post-War Popular Music (John Libbey, 1999).

• Introduction: Sci Fidelity - Music, Sound and Genre History by Philip Hayward; 1. Hooked on Aetherophonics: The Day The Earth Stood Still, by Rebecca Leydon; 2. Atomic Overtones and Primitive Undertones: Akira Ifukube's Sound Design for Godzilla, by Shuhei Hosokawa; 3. Forbidden Planet: Effects and Affects in the Electro Avant Garde, by Rebecca Leydon; 4. The Transmolecularisation of [Black] Folk: Space is the Place, Sun Ra and Afrofuturism, by Nabeel Zuberi; 5. Nostalgia, Masculinist Discourse, and Authoritarianism in John Williams' Scores for Star Wars and Close Encounters of the Third Kind, by Neil Lerner; 6. Sound and Music in the Mad Max trilogy, by Rebecca Coyle; 7. 'These are my nightmares': Music and Sound in the films of David Cronenberg, by Paul Theberge; 8. Ambient Soundscapes in Blade Runner, by Michael Hannan and Melissa Carey; 9. 'I'll be back': Recurrent sonic motifs in James Cameron's Terminator films, by Karen Collins; 10. Inter-Planetary Soundclash: Music, Technology and Territorialisation in Mars Attacks!, by Philip Hayward; 11. Mapping The Matrix: Virtual Spatiality and the realm of the perceptual, by Mark Evan