Paul Theberge – författare

Essays on the use of music and sound in films from Godzilla to Star Wars and beyond. In recent years, music and sound have been increasingly recognized as an important, if often neglected, aspect of film production and film studies. Off the Planet comprises a lively, stimulating, and diverse collection of essays on aspects of music, sound, and science fiction cinema. Following a detailed historical introduction to the development of sound and music in the genre, individual chapters analyze key films, film series, composers, and directors in the postwar era. The first part of the anthology profiles seminal 1950s productions such as The Day the Earth Stood Still, the first Godzilla film, and Forbidden Planet. Later chapters analyze the work of composer John Williams, the career of director David Cronenberg, the Mad Max series, James Cameron''s Terminators, and other notable SF films such as Space Is the Place, Blade Runner, Mars Attacks!, and The Matrix. Off the Planet is an important contribution to the emerging body of work in music and film, with contributors including leading film experts from Australia, Canada, Japan, New Zealand, the United Kingdom, and the United States.

Stereo is everywhere. The whole culture and industry of music and sound became organized around the principle of stereophony during the twentieth century. But nothing about this—not the invention or acceptance or ubiquity of stereo—was inevitable. Nor did the aesthetic conventions, technological objects, and listening practices required to make sense of stereo emerge fully formed, out of the blue.This groundbreaking book uncovers the vast amount of work that has been required to make stereo seem natural, and which has been necessary to maintain stereo's place as a dominant mode of sound reproduction for over half a century. The essays contained within this book are thematically grouped under (Audio) Positions, Listening Cultures, and Multichannel Sound and Screen Media; the cumulative effect is to advance research in music, sound, and media studies and to build new bridges between the fields.With contributions from leading scholars across several disciplines, Living Stereo re-tells the history of twentieth-century aural and musical culture through the lens of stereophonic sound.

Stereo is everywhere. The whole culture and industry of music and sound became organized around the principle of stereophony during the twentieth century. But nothing about this-not the invention or acceptance or ubiquity of stereo-was inevitable. Nor did the aesthetic conventions, technological objects, and listening practices required to make sense of stereo emerge fully formed, out of the blue.This groundbreaking book uncovers the vast amount of work that has been required to make stereo seem natural, and which has been necessary to maintain stereo's place as a dominant mode of sound reproduction for over half a century. The essays contained within this book are thematically grouped under (Audio) Positions, Listening Cultures, and Multichannel Sound and Screen Media; the cumulative effect is to advance research in music, sound, and media studies and to build new bridges between the fields.With contributions from leading scholars across several disciplines, Living Stereo re-tells the history of twentieth-century aural and musical culture through the lens of stereophonic sound.

Stereo is everywhere. The whole culture and industry of music and sound became organized around the principle of stereophony during the twentieth century. But nothing about this—not the invention or acceptance or ubiquity of stereo—was inevitable. Nor did the aesthetic conventions, technological objects, and listening practices required to make sense of stereo emerge fully formed, out of the blue.This groundbreaking book uncovers the vast amount of work that has been required to make stereo seem natural, and which has been necessary to maintain stereo's place as a dominant mode of sound reproduction for over half a century. The essays contained within this book are thematically grouped under (Audio) Positions, Listening Cultures, and Multichannel Sound and Screen Media; the cumulative effect is to advance research in music, sound, and media studies and to build new bridges between the fields.With contributions from leading scholars across several disciplines, Living Stereo re-tells the history of twentieth-century aural and musical culture through the lens of stereophonic sound.