The Palgrave Handbook of Sound Design and Music in Screen Media

1. Front Matter

   Pages i-xix

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2. Introduction

   • Liz Greene, Danijela Kulezic-Wilson

   Pages 1-13

3. Boundaries and Their Disintegration

   1. Front Matter

      Pages 15-15

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   2. From Noise: Blurring the Boundaries of the Soundtrack

      • Liz Greene

      Pages 17-32

   3. Interview 1: Sound Recording, Sound Design and Collaboration—An Interview with Ann Kroeber

      • Liz Greene

      Pages 33-42

   4. Organizing Sound: Labour Organizations and Power Struggles that Helped Define Music and Sound in Hollywood

      • Gianluca Sergi

      Pages 43-56

   5. Mixing as a Hyperorchestration Tool

      • Sergi Casanelles

      Pages 57-72

   6. Emotional Sound Effects and Metal Machine Music: Soundworlds in Silent Hill Games and Films

      • K. J. Donnelly

      Pages 73-88

4. Presence, Immersion, Space

   1. Front Matter

      Pages 89-89

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   2. Towards 3-D Sound: Spatial Presence and the Space Vacuum

      • Miguel Mera

      Pages 91-111

   3. Inner and Outer Worlds in the Film Gravity: A Multidisciplinary Approach

      • Gilbert Gabriel, David Sonnenschein

      Pages 113-121

   4. Intertwining Music and Sound in Film

      • Martine Huvenne

      Pages 123-137

   5. Interview 2: Reality and Representation—An Interview with Dario Marianelli

      • Miguel Mera

      Pages 139-150

5. Listening: Affect and Body

   1. Front Matter

      Pages 151-151

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   2. Sound Effects/Sound Affects: ‘Meaningful’ Noise in the Cinema

      • James Wierzbicki

      Pages 153-168

   3. Listening to Violence: Point-of-Audition Sound, Aural Interpellation, and the Rupture of Hearing

      • Tony Grajeda

      Pages 169-182

   4. Acoustic Disgust: Sound, Affect, and Cinematic Violence

      • Lisa Coulthard

      Pages 183-193

6. Time and Memory

   1. Front Matter

      Pages 195-195

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   2. Mad Sound and the Crystal-Image: The Soundtrack of Rivette’s L’Amour fou

      • Byron Almén, James Buhler

      Pages 197-212

   3. The Sonic Realm in The Quatermass Experiment: Medium and Genre and Sound

      • Robynn J. Stilwell

      Pages 213-228

This book bridges the existing gap between film sound and film music studies by bringing together scholars from both disciplines who challenge the constraints of their subject areas by thinking about integrated approaches to the soundtrack. As the boundaries between scoring and sound design in contemporary cinema have become increasingly blurred, both film music and film sound studies have responded by expanding their range of topics and the scope of their analysis beyond those traditionally addressed. The running theme of the book is the disintegration of boundaries, which permeates discussions about industry, labour, technology, aesthetics and audiovisual spectatorship. The collaborative nature of screen media is addressed not only in scholarly chapters but also through interviews with key practitioners that include sound recordists, sound designers, composers, orchestrators and music supervisors who honed their skills on films, TV programmes, video games, commercials and music videos.

• audio
• musicality
• film
• film music
• cinema
• music

• Liverpool John Moores University, Liverpool, United Kingdom

  Liz Greene

• University College Cork, Cork, Ireland

  Danijela Kulezic-Wilson

Liz Greene is a Senior Lecturer in Filmmaking at Liverpool John Moores University. She has published articles in The Soundtrack, Music and the Moving Image, The New Soundtrack, and SEQUENCE amongst other journals and anthologies, and continues to work in sound in the film industry.


Danijela Kulezic-Wilson is a Lecturer in the School of Music and Theatre at University College Cork. She is the author of The Musicality of Narrative Film (2015) and has been published in journals such as Music and the Moving Image, The New Soundtrack, Alphaville and Music, Sound and the Moving Image.

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