Hardback : £110.00
This book explores the role of music and sound in experimental film from the earliest work of pioneers such as Walther Ruttmann to latter-day experiments with new and digital media. Chapters examine issues relating to the avant-garde, abstraction, animation, found footage, queer film, visual music and VJing.
Holly Rogers is a senior lecturer in Music at Goldsmiths, University of London. Before this, she was the founding director of the Research Centre for Audio-Visual Media at the University of Liverpool, Fulbright Scholar at the DocFilm Institute in San Francisco and Research Fellow at the Humanities Institute of Ireland. Her primary interest lies in the relationship between sound and image in experimental film, video art and music video. Holly is the author Visualising Music: Audio-Visual Relationships in Avant-Garde Film and Video Art (2010) and Sounding the Gallery: Video and the Rise of Art-Music (2013). She has also edited two books on audiovisual media: Music and Sound in Documentary Film (2014) and Transmedia Directors: Sound, Image and the Digital Swirl (with Carol Vernallis and Lisa Perrott, forthcoming). She is a founding editor for the book series New Approaches to Sound, Music and Media. Jeremy Barham is Reader in Music at the University of Surrey. His academic interests lie in the areas of Mahler, 19th- and 20th-century Austro-German music and culture, screen music, and jazz. He has undertaken periods of archival research in Vienna, Philadelphia, Paris, Berlin, and Wiesbaden, and convened three international conferences, on Mahler (2011), early film music (2014) and the music and legacy of Miles Davis and John Coltrane (2016).
Show moreThis book explores the role of music and sound in experimental film from the earliest work of pioneers such as Walther Ruttmann to latter-day experiments with new and digital media. Chapters examine issues relating to the avant-garde, abstraction, animation, found footage, queer film, visual music and VJing.
Holly Rogers is a senior lecturer in Music at Goldsmiths, University of London. Before this, she was the founding director of the Research Centre for Audio-Visual Media at the University of Liverpool, Fulbright Scholar at the DocFilm Institute in San Francisco and Research Fellow at the Humanities Institute of Ireland. Her primary interest lies in the relationship between sound and image in experimental film, video art and music video. Holly is the author Visualising Music: Audio-Visual Relationships in Avant-Garde Film and Video Art (2010) and Sounding the Gallery: Video and the Rise of Art-Music (2013). She has also edited two books on audiovisual media: Music and Sound in Documentary Film (2014) and Transmedia Directors: Sound, Image and the Digital Swirl (with Carol Vernallis and Lisa Perrott, forthcoming). She is a founding editor for the book series New Approaches to Sound, Music and Media. Jeremy Barham is Reader in Music at the University of Surrey. His academic interests lie in the areas of Mahler, 19th- and 20th-century Austro-German music and culture, screen music, and jazz. He has undertaken periods of archival research in Vienna, Philadelphia, Paris, Berlin, and Wiesbaden, and convened three international conferences, on Mahler (2011), early film music (2014) and the music and legacy of Miles Davis and John Coltrane (2016).
Show morePreface: Jeremy Barham
Introduction: Holly Rogers
Chapter 1: Absolute Sounding Images: Abstract Film and Radio Drama
of the 1920s as Complementary Forms of a Media Specific Art, Dieter
Daniels
Chapter 2: A Primitivism of the Senses: The Role of Music in Len
Lye's Experimental Animation,
Malcolm Cook
Chapter 3: An Educational Avant-Garde: Sound and Music in Julien
Bryan's OIAA Films on Latin America, 1942-1949, James Tobias
Chapter 4: bup bup bup: Aural Innovation in the Films of Norman
McLaren, Terence Dobson
Chapter 5: Sights and Sounds of the Moving Mind: The Visionary
Soundtracks of Stan Brakhage, Eric Smigel
Chapter 6: Discontinuities and Resynchronisations: The Use of Sound
in Polish Experimental Cinema from the 1930s to the 1980s, Daniel
Muzyczuk
Chapter 7: Grid Intensities: Hearing Structures in Chantal
Akerman's Films of the 1970s, Paul Hegarty
Chapter 8: Meaning and Musicality: Sound-Image Relations in the
Films of John Smith, Andy Birtwistle
Chapter 9: Audiovisual Dissonance in Found-Footage Film, Holly
Rogers
Chapter 10: Rebalancing the Picture/Sound Relationship: The
Audiovisual Compositions of Lis Rhodes, Aimee Mollaghan
Chapter 11: Sounding Decay in the Digital Age: Audio-Visions of
Decasia (2002) and Lyrical Nitrate (1991), Nessa Johnston
Chapter 12: The Sound of Queer Experimental Film, Juan A.
Suárez
Chapter 13: Avant-Gardists and the Lure of Pop Music, Carol
Vernallis
Chapter 14: The Music of Gustav Mahler in Experimental Film
Contexts: Questions of Visual Music and Intermedial Theory, Jeremy
Barham
Holly Rogers is a senior lecturer in Music at Goldsmiths,
University of London. Before this, she was the founding director of
the Research Centre for Audio-Visual Media at the University of
Liverpool, Fulbright Scholar at the DocFilm Institute in San
Francisco and Research Fellow at the Humanities Institute of
Ireland. Her primary interest lies in the relationship between
sound and image in experimental film, video art and music video.
Holly is the author
Visualising Music: Audio-Visual Relationships in Avant-Garde Film
and Video Art (2010) and Sounding the Gallery: Video and the Rise
of Art-Music (2013). She has also edited two books on audiovisual
media: Music
and Sound in Documentary Film (2014) and Transmedia Directors:
Sound, Image and the Digital Swirl (with Carol Vernallis and Lisa
Perrott, forthcoming). She is a founding editor for the book series
New Approaches to Sound, Music and Media.
Jeremy Barham is Reader in Music at the University of Surrey. His
academic interests lie in the areas of Mahler, 19th- and
20th-century Austro-German music and culture, screen music, and
jazz. He has undertaken periods of archival research in Vienna,
Philadelphia, Paris, Berlin, and Wiesbaden, and convened three
international conferences, on Mahler (2011), early film music
(2014) and the music and legacy of Miles Davis and John Coltrane
(2016).
"A truly multidisciplinary volume where scholars in film studies,
musicology, media studies, and sound studies not only appear side
by side, but they also speak to each other as they unpack
innovative techniques used to create novel and fascinating
experiences of music, sound, and the moving image." -- Journal of
Musicological Research
"The Music and Sound of Experimental Film is an excellent and much
needed collection that assesses 'the experimental impulse' of the
soundtrack. The editors have assembled a remarkably strong set of
essays that considers the processes by which experimental sound
reworks film and experimental film reworks the soundtrack. The
result is an important collection that all scholars of the
soundtrack will want on their bookshelf."-James Buhler, University
of
Texas at Austin
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