Haunted Soundtracks

K.J. Donnelly is Professor of Film and Film Music at the University of Southampton, UK. He is author of The Shining (2018), Magical Musical Tour: Rock and Pop in Film Soundtracks (2015), Occult Aesthetics: Sound and Image Synchronization (2013), British Film Music and Film Musicals (2007), The Spectre of Sound (2005) and Pop Music in British Cinema (2001); and editor of Film Music: Critical Approaches (2001), co-editor (with Phil Hayward) of Music in Science Fiction Television: Tuning to the Future (2012), co-editor (with Will Gibbons and Neil Lerner) of Music in Video Games: Studying Play (2014), co-edited with Ann-Kristin Wallengren, Today’s Sounds for Yesterday’s Films: Making Music for Silent Cinema (2016), co-edited with Steve Rawle, Hitchcock and Herrmann: Partners in Suspense (2017) and co-edited with Beth Carroll, Contemporary Musical Films (2018). He is series editor for the 'Music and the Moving Image' and 'Palgrave Studies in Audio-Visual Culture' and is on the editorial boards of seven journals.Aimee Mollaghan is subject lead for Film at Queen’s University, Belfast, UK. Prior to this she was a Senior Lecturer at Edge Hill University, UK. She is the author of The Visual Music Film (Palgrave, 2015). Her current research is centred on psychogeography, landscape and soundscape in contemporary cinema and artist’s film.

Located at the crossroads linking cultural geography, acoustic ecology, trauma studies and media history, Haunted Soundtracks explores cinematic representations of landscape from across the globe and across time. The book’s 13 chapters feature incisive analyses attentive both to the formal and hermeneutic dimensions of audiovisual storytelling. More importantly, its contributors renew our perceptions of this imagery – its sights and sounds – through their fresh takes on questions of authorship, genre and national cinema. Following in the footsteps of pioneers, like R. Murray Schafer, Haunted Soundtracks offers both a snapshot of the state of the field and a strong indication of what the future of sound studies in academia could be.

• 1. IntroductionK.J. Donnelly (University of Southampton, UK) and Aimée Mollaghan (Queen’s University, Belfast, UK)2. What wind in what trees? Listening to Blow-Up (1966)Paul Newland (Worcester University, UK)3. Imaginal Space and the Occult Soundtrack in Guy Maddin’s Keyhole (2011)Daniel Bishop (Indiana University, USA)4. The Haunted and the MediumK.J. Donnelly (University of Southampton, UK)5. Producing Paranormal Sounds: the BBC Radiophonic Workshop, The Legend of Hell House (1973) and The Stone Tape (1972)Jamie Sexton (University of Northumbria, UK)6. Cries and Whispers: Inner Time, Landscape and Sound in the Television Adaptations of Alan GarnerCraig Wallace (Queen’s University, Belfast, UK)7. Concrète Spaces: Musique Concrète in Gus van Sant's Elephant (2003) and Paranoid Park (2007)Jessica Shine (Munster Technological University, Ireland)8. Arctic Noir and Acoustic Terror: Sounding Uncanny Landscapes of CrimeLisa Coulthard (University of British Columbia, Canada) 9. Acoustic Ghosts and Haunted Landscapes in Contemporary British Landscape CinemaAimée Mollaghan (Queen’s University, Belfast, UK)10. The Trajectory of Death: Justin Kurzel’s Screen Adaptation of Shakespeare’s Macbeth (2015)Danijela Kulezic-Wilson (University College Cork, Ireland)11. Haunted Folk: Spectres of the Analogue in Annihilation (2018)John McGrath (University of Surrey, UK)12. Sonic Novelty and Conceptual Obscurity: Music, Landscape and Enigma in Picnic at Hanging Rock (Peter Weir, 1975)Jady Jiang (University of Southampton, UK)13. Outside Inside: Nature, Gender and the Altered Domestic Space in Possum (1997) and Nature’s Way (2006)Andrea Wright (Edge Hill University, UK)Index