The Music and Sound of Experimental Film
Edited by Holly Rogers and Jeremy Barham
Author Information
Holly Rogers is a senior lecturer in Music at Goldsmiths, University of London. Before this, she was the founding director of the Research Centre for Audio-Visual Media at the University of Liverpool, Fulbright Scholar at the DocFilm Institute in San Francisco and Research Fellow at the Humanities Institute of Ireland. Her primary interest lies in the relationship between sound and image in experimental film, video art and music video. Holly is the author Visualising Music: Audio-Visual Relationships in Avant-Garde Film and Video Art (2010) and Sounding the Gallery: Video and the Rise of Art-Music (2013). She has also edited two books on audiovisual media: Music and Sound in Documentary Film (2014) and Transmedia Directors: Sound, Image and the Digital Swirl (with Carol Vernallis and Lisa Perrott, forthcoming). She is a founding editor for the book series New Approaches to Sound, Music and Media.
Jeremy Barham is Reader in Music at the University of Surrey. His academic interests lie in the areas of Mahler, 19th- and 20th-century Austro-German music and culture, screen music, and jazz. He has undertaken periods of archival research in Vienna, Philadelphia, Paris, Berlin, and Wiesbaden, and convened three international conferences, on Mahler (2011), early film music (2014) and the music and legacy of Miles Davis and John Coltrane (2016).
Contributors:
Jeremy Barham is Reader in Music at the University of Surrey. He researches in the areas of Mahler and early modernist culture, screen music, and jazz. His is currently working on two monographs: Post-Centenary Mahler: Revaluations of Musical Meaning (Indiana) and Music, Time and the Moving Image (Cambridge). He is series editor of the Oxford Studies in Recorded Jazz, and has been convener of international conferences on Mahler (2011), early non-Hollywood sound film (2014), and the music and legacy of Miles Davis and John Coltrane (2016).
Andy Birtwistle is Reader in Film and Sound at Canterbury Christ Church University and is the author of Cinesonica: Sounding Film and Video ( 2010). In addition to research on film sound, he has published on artists' film and video, modernism and music, and Taiwan cinema. Andy is also a sound artist and filmmaker whose work has been screened, exhibited and broadcast internationally. Examples of his creative work in sound and video can be found at chimpsonic.com. He is currently the Director of the Centre for Practice Based Research in the Arts at Canterbury Christ Church University.
Malcolm Cook is a lecturer at Middlesex University and Central Saint Martins, University of the Arts London. He was awarded a PhD at Birkbeck, University of London in 2013 for his doctoral thesis "Animating perception: British cartoons from music hall to cinema", which addressed early British animated cartoons prior to the advent of sound cinema, with a particular focus on the relationship between the moving image and the graphic arts and other pre-cinematic entertainments. He has subsequently published a number of chapters and articles on animation, early cinema, and their intermedial relationships. His book, Adapting Science Fiction to Television: Small Screen, Expanded Universe, co-authored with Max Sexton was published in 2015.
Dieter Daniels is Professor for Art History and Media Theory at the Academy of Visual Arts (HGB) in Leipzig. He is an art historian, media theorist and exhibition curator focusing on media history, media art and the relation between art and music. He is the author and editor of monographs on Marcel Duchamp, George Brecht and John Cage and is editor of Audiovisuology: A Reader (2015).
Terence Dobson's book The Film Work of Norman McLaren is the fullest account of McLaren's work yet to appear in print. He has published extensively on Norman McLaren and he has presented, with the National Film Board of Canada's support, a wide selection of McLaren's films and experiments on a national tour of New Zealand. He received his Ph.D. from the University of Canterbury, N.Z., his M.Phil. from Griffith University, Australia, and has lectured in film animation at universities in both countries.
Paul Hegarty is Professor in University College Cork, where he teaches visual culture, theory and sound-related matters. His last book is Rumour and Radiation: Sound in Video Art (2015). Peter Gabriel: Global Citizen is out on Reaktion in 2016, and he is currently working on a book on pioneering minimalist Peter Roehr, in collaboration with Sarah Hayden, and associated events with the Daimler Foundation. He is series co-editor (with Greg Hainge) of the new sound series 'ex:centrics'.
Nessa Johnston is Lecturer in Media, Film and Television at Edge Hill University. Her research and teaching interests are primarily focussed on sound in film and moving image media, with a special interest in the sound aesthetics of low-budget, American independent, experimental, alternative and cult films. A practising sound designer, Nessa is co-ordinator of the NECS (European Network for Cinema and Media Studies) Sound and Music in Media Work Group, and an associate editor of The New Soundtrack.
Aimee Mollaghan is a lecturer in media, film and television at Edge Hill University, where she teaches courses on animation, sound, film and visual culture. A graduate of the University of Glasgow and Glasgow School of Art, she researches music and sound across disciplinary boundaries. She is author of the book The Visual Music Film (2015) and has published articles on sound and music in experimental moving image works. Most recently her article '''The Rest is Silence': Psychogeography, Soundscape and Nostalgia in Pat Collins' Silence" was published in The New Soundtrack.
Daniel Muzyczuk is a curator, writer and the head of the Modern Art Department at the Muzeum Sztuki. He has curated numerous projects, including: Long Gone (Susan Philipsz), Gone to Croatan (with Robert Rumas, Mariusz Waras and Krzysztof Topolski), Factory, MORE IS MORE (with Agnieszka Pindera and Joanna Zieli?ska), Melancholy of Resistance (with Agnieszka Pindera), Sounding the Body Electric: Experiments in Art and Music in Eastern Europe 1957-1984 (with David Crowley), Deliberations on Economics Cooked Up In the Back Room: 30 Years of Wschodnia Gallery, and Notes from the Underground: Eastern European Alternative Art and Music Scene 1968-1994 (with David Crowley) and Museum of Rhythm (with Natasha Ginwala). He is the winner (together with Agnieszka Pindera) of the Igor Zabel Competition in 2011. He was co-curator of the Polish Pavilion for the 55th Venice Biennale (with Agnieszka Pindera) and, since 2015, has been vice-president of AICA Poland.
Holly Rogers is a senior lecturer in music at Goldsmiths, University of London. Before this, she was the founding director of the Research Centre for Audio-Visual Media at the University of Liverpool, Fulbright Scholar at the DocFilm Institute in San Francisco and Research Fellow at the Humanities Institute of Ireland. Her primary interest lies in the relationship between sound and image in experimental film, video art and music video. Holly is the author of Visualising Music: Audio-Visual Relationships in Avant-Garde Film and Video Art (2010) and Sounding the Gallery: Video and the Rise of Art-Music (2013). She has also edited two books on audiovisual media: Music and Sound in Documentary Film (2014) and Transmedia Directors: Sound, Image and the Digital Swirl (with Carol Vernallis and Lisa Perrott, forthcoming). She is a founding editor for the Bloomsbury book series New Approaches to Sound, Music and Media.
Eric Smigel is Associate Professor of Music and Coordinator of the Musicology Program at San Diego State University, where he teaches music history, music research and a general education course in Psychedelic Rock of the 1960s. He has published articles on interdisciplinary collaborations in the field of American experimental music and is currently under contract with the University of Illinois Press to complete the first historical biography of composer James Tenney, which will highlight the composer's relationship with filmmaker Stan Brakhage and visual artist Carolee Schneemann.
Juan A. Suárez teaches American Studies at the University of Murcia, in Spain. He is the author of the books Bike Boys, Drag Queens, and Superstars (1996), Pop Modernism: Noise and the Reinvention of the Everyday (2007) and Jim Jarmusch (2007) and of numerous essays on modernist literature and experimental film in Spanish and English. Recent work in English has appeared in Grey Room, ExitBook, Criticism and Screen and in the edited collections Film Analysis, 2nd. Ed., eds. J. Geiger and R. L. Rutsky (2013), Birds of Paradise: Costume as Cinematic Spectacle, ed. Marketa Uhlirova (2014) and The Modernist World, eds. Lindgren and Ross (2015). He is currently writing a book on experimental film and queer materiality.
James Tobias is Associate Professor in the English Department of the University of California, Riverside. He is the author of Sync: Stylistics of Hieroglyphic Time (2010) and the guest editor of a special issue of Music, Sound, and the Moving Image on the topic of digital screens and musical innovation (2016). His research interests include musicality in audiovisual media, interactive media, histories and theories of the avant-garde and theories of gender and sexuality.
Carol Vernallis's areas of specialisation are music video and recent film; her research deals more broadly with questions of sound and image in moving media. Her first book, Experiencing Music Video, attempts to theorise the genre. Her second, Unruly Media: YouTube, Music Video, and the New Digital Cinema, takes account of a new mediascape driven by intensified audiovisual relations. The book considers techniques and strategies that are shared between the three forms of digital media it focuses on. She's now working more closely with directors and other practitioners who create innovative audiovisual work across platforms and media-her book-in-progress (with Holly Rogers and Lisa Perrott) is entitled Transmedia Directors-and she is asking about the viewer/listener's experience of audiovisuality in today's media-saturated, multi-platform swirl. She is also co-editor of The Oxford Handbook of New Audiovisual Aesthetics and The Oxford Handbook of Sound and Image in Digital Media.
