The Elephant Man's Sound, Tracked
- Submitting institution
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Liverpool John Moores University
- Unit of assessment
- 34 - Communication, Cultural and Media Studies, Library and Information Management
- Output identifier
- 2188
- Type
- D - Journal article
- DOI
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- Title of journal
- NECSUS: European Journal of Media Studies
- Article number
- -
- First page
- 0
- Volume
- Autumn 2020
- Issue
- -
- ISSN
- 2213-0217
- Open access status
- Compliant
- Month of publication
- November
- Year of publication
- 2020
- URL
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https://necsus-ejms.org/the-elephant-mans-sound-tracked/
- 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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-
- Proposed double-weighted
- No
- Reserve for an output with double weighting
- No
- Additional information
- Liz Greene is co-editor with Danijela Kulezic-Wilson of The Palgrave Handbook of Sound Design and Music in Screen Media: Integrated Soundtracks (2016). This anthology was conceived by both editors to bridge the gap between sound design and music studies. It offers for the first time a collection of essays that address both fields of study within film, television, gaming, and animation studies. Both editors were responsible for inviting contributions, reviewing submissions, requesting revisions, working with authors in the redrafting phase and copy editing. The editors also worked with authors to obtain correct permissions and copyright clearances. The anthology includes original essays and interviews that had not been previously published before. The anthology contains 25 chapters and 5 interviews, amounting to 468 pages in total. The themes covered in the volume are structured under the following headings: the disintegration of boundaries in music and sound design; breaking conventions; affective listening and phenomenology; presence, immersion and space; time and memory; the sound of machines and non-humans; and the musicality of the soundtrack.
Alongside her co-written “Introduction” (pp.1-13), Greene wrote a single authored chapter “From Noise: Blurring the Boundaries of the Soundtrack” (pp.17-32), and conducted an interview with a leading practitioner of film sound design, “Sound Recording, Sound Design and Collaboration – An Interview with Ann Kroeber” (pp.33-42). Greene’s research draws from archival research into the Sound Mountain archive which houses the pre-eminent sound designer, Alan Splet’s sound effects libraries, and is curated by Splet’s partner Kroeber. Greene’s contributions tie together the centrality of Splet and Kroeber’s partnership in creating iconic sounds for the New Hollywood soundtrack. The chapter “From Noise” discusses each aspect of the soundtrack and argues that all of Splet’s work could be considered as sound, noise, silence, music, and/or sound effect illustrating the blurring boundaries of the soundtrack.
- Author contribution statement
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- Non-English
- No
- English abstract
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