The Music and Sound of Experimental Film
- Submitting institution
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Goldsmiths' College
- Unit of assessment
- 33 - Music, Drama, Dance, Performing Arts, Film and Screen Studies
- Output identifier
- 1948
- Type
- B - Edited book
- DOI
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- Publisher
- Oxford University Press
- ISBN
- 9780190469900
- Open access status
- -
- Month of publication
- September
- Year of publication
- 2017
- URL
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- Supplementary information
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- Request cross-referral to
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- Output has been delayed by COVID-19
- No
- COVID-19 affected output statement
- -
- Forensic science
- No
- Criminology
- No
- Interdisciplinary
- No
- Number of additional authors
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0
- Research group(s)
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M - Music
- Proposed double-weighted
- No
- Reserve for an output with double weighting
- No
- Additional information
- This book explores music/sound-image relationships in non-mainstream screen repertoire from the earliest examples of experimental audiovisuality to the most recent forms of expanded and digital technology. It is the result of 6 years of my research into experimental film sound and was curated to tackle the theoretical issues of audiovisual dissonance from a range of perspectives and through a variety of case studies. It remains the only collected investigation into the sound of experimental film._x000D_
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The book was planned around two major themes, which connect with and significantly enlarge upon current critical discourse surrounding realism and audibility in the fiction film, the role of music in mainstream cinema, and the audiovisual strategies of experimental film: audiovisual synchronicity, and audiovisual dissonance. All authors were asked to outline the ways in which their chosen area of research challenged presumptions of visual primacy through one of these aesthetics. To do this, I commissioned papers that approached filmmaking from a range of related theoretical areas, including animated sound, audiovisual synchresis and dissonance, experimental soundscape traditions, found-footage film, the re-mediation of pre-existent music and sound, popular and queer sound cultures, and a diversity of radical technological, aesthetic, tropes in film media traversing the work of early pioneers through to contemporary practice. Intensive editing work was done with authors, who were also asked to respond to other related chapters in the book to keep the theoretical narrative both strong and comparative._x000D_
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I also contributed two important framing chapters. The introduction offers a critical response to the chapters to come, comparing and contrasting their approaches and offering an analysis of the wider issues. It is not intended to be introductory, but a critical comparison of what’s to come. My second chapter is a close interrogation of one particular filmmaking technique—found-footage—and its relation to audiovisual dissonance.
- Author contribution statement
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- Non-English
- No
- English abstract
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