« In the introduction to The Routledge Companion to Screen Music and Sound (2017), Miguel Mera, Ronald Sadoff and Ben Winters write, ‘screen music and sound has consistently ignored aspects of process in favor of the interpretation of completed texts’ (p. 5). Such calls for analysing media production processes have been made since at least the 1980s (Maltby 1983; Bordwell, Staiger, and Thompson 1985), and have been taken up in archival studies of historic film music production (e.g. Merkley 2007; Jacobs 2014; Luko 2016; Lewis 2017; Platte 2017; Wright 2019). However, the contemporary production of music and sound for audiovisual media has only recently begun to receive attention—in studies of mainstream Hollywood cinema (e.g. Sapiro 2016; Sadoff 2006), music video (Burns and Hawkins 2019), and advertising (e.g. Klein 2009; Deaville 2021), among other areas—and remains largely a mystery to those outside the industry. Given the proliferation of new platforms and methods of creation, there is a plethora of textual forms, modes of production, and creative networks for practitioners, students, and researchers to understand. »
Date limite de soumission : 31 janvier 2022.
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