THE NEW SOUNDTRACK

The New Soundtrack brings together leading edge academic and professional perspectives on the complex relationship between sound and moving images. Former editors of The Soundtrack, Stephen Deutsch, Larry Sider and Dominic Power, bring their expertise to this project, providing a new platform for discourse on how aural elements combine with moving images. The New Soundtrack also encourages writing on more current developments, such as sound installations, computer-based delivery, and the psychology of the interaction of image and sound. The journal has an illustrious Editorial Board containing some of the most prominent people working with sound in the arts and media and the discourse which surrounds it.

The New Soundtrack includes contributions from recognised practitioners in the field, including composers, sound designers and directors, giving voice to the development of professional practice, alongside academic contributions. Each issue also features a short compilation of book and film reviews on recently released publications and artefacts.

Editorial Board: Rick Altman, Haim Bresheeth, John Broomhall, Ross Brown, Carter Burwell, Michael Chanan, Michel Chion, Ian Christie, Richard Combs, Gustavo Costantini, Ian Cross, Claudia Gorbman, Rens Machielse, Walter Murch, Roberto Perpignani, Gianluca Sergi, Sean Street, Randy Thom, Elisabeth Weis. Edited by Stephen Deutsch, Dominic Power and Larry Sider

For details on subscribing or contributing articles, go to THE NEW SOUNDTRACK page at EUP.

THE SOUNDTRACK

The Soundtrack website

Volume 1.1
The soundtrack - Stephen Deutsch
The sound of Coen comedy - Randall Barnes
Post-production sound: a new production mode for interactive media - Rob Bridgett
The edge of perception: sound in Tarkovsky's Stalker - Stefan Smith

Volume 1.2
How do you like your room?' Thoughts on the use of sound in Barton Fink - Walter Murch
Conceiving the rhythms of silence - Roger Crittenden
Aspects of synchrony in animation - Stephen Deutsch
Phew! Whaam! Aaargh! Boo!: Sense, Sensation, and Picturing Sound - Marina Warner
The voice and the uncanny - Chu-Li Shewring

Volume 1.3
An interview with Mike Figgis
The man who was indeed there: Carter Burwell in the Coen brothers' films - Michel Chion
The problem of music in actuality television - Richard Bates & Stephen Deutsch
"I Wanted an Electronic Silence ...": Musicality in Sound Design and the Influences of New Music on the
Process of Sound Design for Film - Mark Underwood

Volume 2.1
Chance Encounters: Serendipity and the Use of Music in the Films of Jean Cocteau and Harry Smith - David Chapman
On Sound Designing: Cast Away - Randy Thom
A Concise History of Western Music for Film-makers - Stephen Deutsch
Enlarging the Diegetic Space: Uses of the Multi-channel Soundtrack in Cinematic Narrative - Christos Manolas and Sandra Pauletto
Staging Sound: A Matter of Dissociation - Daniel Deshays
Speaking, Singing, Screaming: Controlling the Female Voice in American Cinema - Liz Greene
Patriotic Dissonance: The Soundtrack of Hail the Conquering Hero - Dominic Power

Volume 2.2
Cold World: The Deathly Void of Sound - David Toop
The equivalence of space and music: Eisenstein and Frank Lloyd Wright - Robert Robertson
Lecture at the Eighth School of Sound International Symposium, London 2009 - Hildegard Westerkamp
The omnipresent soundscape of drones: reflections of Bill Viola's sound design in Five Angels for the Millennium - Tina Rigby Hanssen
Electronic realities and identity fugue in Chris Petit's Radio On (1979) - Matthew Pink

NB In Volume 2.2, the link to Hildegard Westerkamp's audio and video clips on page 155 was incorrectly printed. The correct link is http://www.intellectbooks.co.uk/journals/thesoundtrack


Volume 3.1
Available August 2010





Home