'New Systems, New Aesthetics'
This special issue of The Soundtrack will trace the development of new creative practices in connection to the capabilities of emerging technologies. Often in humanities discourses, there is a tendency to get side-tracked with conversations about ‘technological determinism.’ The concept of affordances — or taking up action possibilities in the interaction between an agent and the properties of a system — offers a more nuanced approach to move beyond the traditional notion of deterministic technologies. This issue will explore the practices that emerge in the context of new technical affordances. We are particularly interested in the convergences and divergences with cinematic sound design practices in the creation of audio content for games.
Please send proposals to editor, Michael Filimowicz, at firstname.lastname@example.org
Full articles should be 6,000-8,000 words in length. All articles submitted should be original work and must not be under consideration by other publications.
Call For Reviews
The Soundtrack seeks scholastic reviews on the latest books, media, games, films, musical scores and conferences. If you would like to submit a review or have something you would like the journal to review, please send your inquiry to the editor.
Special issue of The Soundtrack on ‘Sound and Music in Emerging Audiovisual Media’
At a time when technology routinely alters audiovisual media at the levels of production, distribution and reception, this theme issue of The Soundtrack will consider the impact of the digital landscape on the various relationships between sound, music and moving images. The issue aims to bring together scholars and practitioners with expertise in sound studies, digital media and music, in order to explore topics such as: tech-influenced developments in the music video, the emergence of the ‘visual album’ format, and sound quality on streaming platforms and in virtual reality and reworked media.
For example, how does the recent popularity of lip-syncing as
entertainment fit with previous models of audiovisual synchronisation? Does this trend, which includes viral YouTube videos and the show /Lip Sync Battle/ (2015—), complicate previous scholarship on the relationship between the voice and the body on the soundtrack, such as Rick Altman’s (1980) analysis of ‘cinema as ventriloquism’? What is the sonic impact of the shift towards consuming moving image media on sites such as Netflix, and using laptops and portable devices? How have technological developments facilitated a new wave of music videos; such as Björk’s 360-degree virtual reality video for ‘Stonemilker’ (2015)? And why, in the words of Sony Interactive’s audio director, Garry Taylor, can badly implemented audio ‘seriously hinder people’s acceptance of their virtual reality’?
Reflecting on these changes, articles will ideally reassess the relevance of conclusions previously drawn about the links between sound, music and moving images, while using broader theories of technology and digital culture to develop modified approaches for analysing these links. Authors are welcome to generate their own research topic, although submissions which address the following subjects are particularly encouraged:
- New trends in audiovisual synchronisation
- New developments in the music video
- The relationship between ‘visual albums’ and cinema
- Sound and digital streaming
- Sound and reworked media, such as audiovisual essays
- Sound and virtual reality
Please send abstracts of 300-400 words and a short bio to guest editor, Jennifer O’Meara, at email@example.com by August 10th 2016.
Expressions of interest and inquiries regarding potential topics are also welcome.
Full articles should be 6,000-8,000 words in length.
Deadline for receipt of abstracts: August 10th 2016
Applicants notified: August 24th 2016
Full articles due: November 2016
Final articles due: April/May 2017
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 a range of critical traditions such as Film Studies, Media Studies, Musicology, Cultural History and Cultural Studies, but also newer research domains in Ludology, New Media, Reflective Practice and others, 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; sound and music in video games and interactive media; 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; new interdisciplinary approaches; 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.
For further detailed information regarding submissions please refer to the above Notes for Contributors.