Florian Freitag has been a professor of American Studies at the University of Duisburg-Essen (Germany) since 2019. He received his PhD in American Studies from the University of Konstanz (Germany) in 2011 and worked as an assistant professor of American Studies at Johannes Gutenberg University Mainz (Germany) from 2011 to 2019. Freitag’s publications on theme parks include articles in The Journal of Popular Culture and Continuum; book chapters in A Reader in Themed and Immersive Spaces (ed. Scott Lukas; 2016), and Popular New Orleans: The Crescent City in Periodicals, Theme Parks, and Opera, 1875-2015 (Freitag 2021), as well as the edited collections Time and Temporality in Theme Parks (2017) and Key Concepts in Theme Park Studies (2023).Laura Katharina Mücke is a research assistant in the area “Everyday Media and Digital Cultures” at the Department for Film, Theater, Media and Cultural Studies at the University of Mainz. Her PhD project, based in Mainz, Vienna, and Groningen, focuses on the discursivity of seemingly omnipotent concepts of media experience. From 2019 to 2022, she was an assistant for “Theory of Film” at the University of Vienna. She is co-editor of the journal Montage AV and co-founder of the junior research group “ID*A (Initiative Doktorand*innen-Austausch).” Recent publications are the journal issue on “Messy Images” (together with Chris Tedjasukmana and Olga Moskatova, 2022) and the translation from French of “Kommunikationsräume: Einführung in die Semiopragmatik” by Roger Odin (with Guido Kirsten, Magali Trautmann, and Philipp Blum, 2019) as well as the article “Towards a Term of Political Immersion as Co-Immersion” (together with Tom Poljanšek) in: Jacopo Bodini, Alessandro De Cesaris: Immersivity: Philosophical Perspectives on Technologically Mediated Experience (2002).Peter Niedermüller has been an interim professor at Johannes Gutenberg University Mainz (Germany) and at the University of Music and Performing Arts in Mannheim (Germany). He was also a visiting fellow at the German Historical Institute in Rome (Italy). Currently Niedermüller is a senior lecturer for musicology at JGU Mainz, in 2019 he was also appointed as a professor there. His research interests include the history of concert life and musical interpretation as well as film music. Since 2002, he has been a consultant editor of Ad Parnassum: A Journal of Eigteenth- and Nineteenth-Century Instrumental Music. Since 2016, he has also co-edited Kieler Beiträge zur Filmmusikforschung. Among his latest publications are Klangkunst und musikalische Interpretation (2018) and two chapters in Geschichte der musikalischen Interpretation im 19. und 20. Jahrhundert (2020).

• List of FiguresList of ContributorsAcknowledgmentsIntroduction: On the Aesthetics, Politics, and Intersections of Silence, Sound, and ImmersionFlorian Freitag, Laura Katharina Mücke, Peter NiedermüllerPart I: Producing SilenceDominic Zerhoch1. Beyond Words: Auditive and Discursive Non-Normativity in Films of Urszula AntoniakTullio Richter-Hansen2. Musical Immersion and Its Place of SilenceFabian Kurze3. Digital MovieloopsAnita Hafner4. The Paradox of Musical SilenceIoana Geanta5. Silence as a Performative Means in Marina Abramović’s The Artist Is Present (New York, MoMA, 2010)Karolina Zgraja6. The Residence Within: Silence, Immersion, and Contemplative Play in VideogamesDamien SchlarbPart II: On the Cusp between Sound and SilenceHelena Rapp, Elisabeth Sommerlad7. The Shock of Silence: An Apporach to Philosophical Immersion in MediaSebastian R. Richter8. Moments of Silence in Life is Strange: Flow, Immersion, and Involvement as as Result of Lack of GameplayMichael Mosel9. In the Eye of the Hurricane: How Silent Moments in The Big Short (2015) and Money Monster (2016) Configure Empathetic and Immersive Processes of Film ReceptionDieter Merlin10. Broken Times of Silence: Choreographing Time in Once Upon a Time in the WestSaori Kanemaki11. The Birth of the Talkies out of the Spirit of Silence: Alan Crossland’s The Jazz Singer (1927)Heinz HieblerPart III: Reception, Context, SpaceHelena Rapp, Elisabeth Sommerlad12. The Silenced Reception Spaces of Theater and Cinema, Or: About the Politics of Silence as Immersive ExperienceLaura Katharina Mücke, Patric Blaser13. The Delightful Paradox: Towards an Aesthetics of Silence in Early Sound FilmsDaniel Wiegand14. Empty Times: Melodic Hardcore Punk and the Problem of ImmersionClemens Spahr15. The Depth of the Sea, the Depth of Listening, and the Figure of Isolde as AvatarGabriela Lendle16. The Sounds of Magic: Silence, Sounds, and Immersion in Theme ParksFlorian Freitag

Florian Freitag has been a professor of American Studies at the University of Duisburg-Essen (Germany) since 2019. He received his PhD in American Studies from the University of Konstanz (Germany) in 2011 and worked as an assistant professor of American Studies at Johannes Gutenberg University Mainz (Germany) from 2011 to 2019. Freitag’s publications on theme parks include articles in The Journal of Popular Culture and Continuum; book chapters in A Reader in Themed and Immersive Spaces (ed. Scott Lukas; 2016), and Popular New Orleans: The Crescent City in Periodicals, Theme Parks, and Opera, 1875-2015 (Freitag 2021), as well as the edited collections Time and Temporality in Theme Parks (2017) and Key Concepts in Theme Park Studies (2023).Laura Katharina Mücke is a research assistant in the area “Everyday Media and Digital Cultures” at the Department for Film, Theater, Media and Cultural Studies at the University of Mainz. Her PhD project, based in Mainz, Vienna, and Groningen, focuses on the discursivity of seemingly omnipotent concepts of media experience. From 2019 to 2022, she was an assistant for “Theory of Film” at the University of Vienna. She is co-editor of the journal Montage AV and co-founder of the junior research group “ID*A (Initiative Doktorand*innen-Austausch).” Recent publications are the journal issue on “Messy Images” (together with Chris Tedjasukmana and Olga Moskatova, 2022) and the translation from French of “Kommunikationsräume: Einführung in die Semiopragmatik” by Roger Odin (with Guido Kirsten, Magali Trautmann, and Philipp Blum, 2019) as well as the article “Towards a Term of Political Immersion as Co-Immersion” (together with Tom Poljanšek) in: Jacopo Bodini, Alessandro De Cesaris: Immersivity: Philosophical Perspectives on Technologically Mediated Experience (2002).Peter Niedermüller has been an interim professor at Johannes Gutenberg University Mainz (Germany) and at the University of Music and Performing Arts in Mannheim (Germany). He was also a visiting fellow at the German Historical Institute in Rome (Italy). Currently Niedermüller is a senior lecturer for musicology at JGU Mainz, in 2019 he was also appointed as a professor there. His research interests include the history of concert life and musical interpretation as well as film music. Since 2002, he has been a consultant editor of Ad Parnassum: A Journal of Eigteenth- and Nineteenth-Century Instrumental Music. Since 2016, he has also co-edited Kieler Beiträge zur Filmmusikforschung. Among his latest publications are Klangkunst und musikalische Interpretation (2018) and two chapters in Geschichte der musikalischen Interpretation im 19. und 20. Jahrhundert (2020).

• List of FiguresList of ContributorsAcknowledgmentsIntroduction: On the Aesthetics, Politics, and Intersections of Silence, Sound, and ImmersionFlorian Freitag, Laura Katharina Mücke, Peter NiedermüllerPart I: Producing SilenceDominic Zerhoch1. Beyond Words: Auditive and Discursive Non-Normativity in Films of Urszula AntoniakTullio Richter-Hansen2. Musical Immersion and Its Place of SilenceFabian Kurze3. Digital MovieloopsAnita Hafner4. The Paradox of Musical SilenceIoana Geanta5. Silence as a Performative Means in Marina Abramović’s The Artist Is Present (New York, MoMA, 2010)Karolina Zgraja6. The Residence Within: Silence, Immersion, and Contemplative Play in VideogamesDamien SchlarbPart II: On the Cusp between Sound and SilenceHelena Rapp, Elisabeth Sommerlad7. The Shock of Silence: An Apporach to Philosophical Immersion in MediaSebastian R. Richter8. Moments of Silence in Life is Strange: Flow, Immersion, and Involvement as as Result of Lack of GameplayMichael Mosel9. In the Eye of the Hurricane: How Silent Moments in The Big Short (2015) and Money Monster (2016) Configure Empathetic and Immersive Processes of Film ReceptionDieter Merlin10. Broken Times of Silence: Choreographing Time in Once Upon a Time in the WestSaori Kanemaki11. The Birth of the Talkies out of the Spirit of Silence: Alan Crossland’s The Jazz Singer (1927)Heinz HieblerPart III: Reception, Context, SpaceHelena Rapp, Elisabeth Sommerlad12. The Silenced Reception Spaces of Theater and Cinema, Or: About the Politics of Silence as Immersive ExperienceLaura Katharina Mücke, Patric Blaser13. The Delightful Paradox: Towards an Aesthetics of Silence in Early Sound FilmsDaniel Wiegand14. Empty Times: Melodic Hardcore Punk and the Problem of ImmersionClemens Spahr15. The Depth of the Sea, the Depth of Listening, and the Figure of Isolde as AvatarGabriela Lendle16. The Sounds of Magic: Silence, Sounds, and Immersion in Theme ParksFlorian Freitag

Florian Freitag has been a professor of American Studies at the University of Duisburg-Essen (Germany) since 2019. He received his PhD in American Studies from the University of Konstanz (Germany) in 2011 and worked as an assistant professor of American Studies at Johannes Gutenberg University Mainz (Germany) from 2011 to 2019. Freitag’s publications on theme parks include articles in The Journal of Popular Culture and Continuum; book chapters in A Reader in Themed and Immersive Spaces (ed. Scott Lukas; 2016), and Popular New Orleans: The Crescent City in Periodicals, Theme Parks, and Opera, 1875-2015 (Freitag 2021), as well as the edited collections Time and Temporality in Theme Parks (2017) and Key Concepts in Theme Park Studies (2023).Laura Katharina Mücke is a research assistant in the area “Everyday Media and Digital Cultures” at the Department for Film, Theater, Media and Cultural Studies at the University of Mainz. Her PhD project, based in Mainz, Vienna, and Groningen, focuses on the discursivity of seemingly omnipotent concepts of media experience. From 2019 to 2022, she was an assistant for “Theory of Film” at the University of Vienna. She is co-editor of the journal Montage AV and co-founder of the junior research group “ID*A (Initiative Doktorand*innen-Austausch).” Recent publications are the journal issue on “Messy Images” (together with Chris Tedjasukmana and Olga Moskatova, 2022) and the translation from French of “Kommunikationsräume: Einführung in die Semiopragmatik” by Roger Odin (with Guido Kirsten, Magali Trautmann, and Philipp Blum, 2019) as well as the article “Towards a Term of Political Immersion as Co-Immersion” (together with Tom Poljanšek) in: Jacopo Bodini, Alessandro De Cesaris: Immersivity: Philosophical Perspectives on Technologically Mediated Experience (2002).Peter Niedermüller has been an interim professor at Johannes Gutenberg University Mainz (Germany) and at the University of Music and Performing Arts in Mannheim (Germany). He was also a visiting fellow at the German Historical Institute in Rome (Italy). Currently Niedermüller is a senior lecturer for musicology at JGU Mainz, in 2019 he was also appointed as a professor there. His research interests include the history of concert life and musical interpretation as well as film music. Since 2002, he has been a consultant editor of Ad Parnassum: A Journal of Eigteenth- and Nineteenth-Century Instrumental Music. Since 2016, he has also co-edited Kieler Beiträge zur Filmmusikforschung. Among his latest publications are Klangkunst und musikalische Interpretation (2018) and two chapters in Geschichte der musikalischen Interpretation im 19. und 20. Jahrhundert (2020).

• List of FiguresList of ContributorsAcknowledgmentsIntroduction: On the Aesthetics, Politics, and Intersections of Silence, Sound, and ImmersionFlorian Freitag, Laura Katharina Mücke, Peter NiedermüllerPart I: Producing SilenceDominic Zerhoch1. Beyond Words: Auditive and Discursive Non-Normativity in Films of Urszula AntoniakTullio Richter-Hansen2. Musical Immersion and Its Place of SilenceFabian Kurze3. Digital MovieloopsAnita Hafner4. The Paradox of Musical SilenceIoana Geanta5. Silence as a Performative Means in Marina Abramović’s The Artist Is Present (New York, MoMA, 2010)Karolina Zgraja6. The Residence Within: Silence, Immersion, and Contemplative Play in VideogamesDamien SchlarbPart II: On the Cusp between Sound and SilenceHelena Rapp, Elisabeth Sommerlad7. The Shock of Silence: An Apporach to Philosophical Immersion in MediaSebastian R. Richter8. Moments of Silence in Life is Strange: Flow, Immersion, and Involvement as as Result of Lack of GameplayMichael Mosel9. In the Eye of the Hurricane: How Silent Moments in The Big Short (2015) and Money Monster (2016) Configure Empathetic and Immersive Processes of Film ReceptionDieter Merlin10. Broken Times of Silence: Choreographing Time in Once Upon a Time in the WestSaori Kanemaki11. The Birth of the Talkies out of the Spirit of Silence: Alan Crossland’s The Jazz Singer (1927)Heinz HieblerPart III: Reception, Context, SpaceHelena Rapp, Elisabeth Sommerlad12. The Silenced Reception Spaces of Theater and Cinema, Or: About the Politics of Silence as Immersive ExperienceLaura Katharina Mücke, Patric Blaser13. The Delightful Paradox: Towards an Aesthetics of Silence in Early Sound FilmsDaniel Wiegand14. Empty Times: Melodic Hardcore Punk and the Problem of ImmersionClemens Spahr15. The Depth of the Sea, the Depth of Listening, and the Figure of Isolde as AvatarGabriela Lendle16. The Sounds of Magic: Silence, Sounds, and Immersion in Theme ParksFlorian Freitag