The Soundtrack is a multi-disciplinary journal which brings together research in the area of music and sound in relation to film and other moving image media. Drawing on the critical traditions of Film Studies, Media Studies, Musicology, Cultural History and Cultural Studies, the journal welcomes articles which address a diversity of topics and which contribute to the development of what is becoming an increasingly important field of study in its own right.
A complex cultural, technological, industrial and artistic phenomenon, sound-with-moving image is a rich area for analysis, investigation and speculation. We encourage writing that is accessible to audiences from a diversity of intellectual backgrounds and disciplines as well as providing a forum for practitioners. Contributions are invited on topics such as: the history of sound design in narrative cinema; the nostalgia film and cultural memory; the Hollywood (and other) film musical; early sound cinema; musical sound effects and comedy; the music biopic and public history; television's music history; dialogue and music in contemporary film; the 'affect' of the film score; technology and perception in film sound.
The Soundtrack's aim is to nurture this new and expanding area of academic investigation in dialogue with soundtrack producers of all kinds.