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Keyword : Sound
1.

An analysis of sound in The Clone Returns Home.

2.

An overview of the short film programs at the Festival Nouveau Cinéma 2009.

3.

Author Robert Robertson's sixth Offscreen essay on the audiovisual aspects of Sergei Eisenstein.

4.

For this final forum, I invited short contributions from practitioners of audiovisual art working outside of the realm of cinema proper to offer some thoughts on the current state of the art, and what the future might hold for artists interesting in achieving higher levels of integration between sound and image.

5.

In our final feature essay, Charles Stankievech keeps us firmly rooted within the realm of sound. Yet like the other essays in this issue, he too is interested in the blurring of a boundary line: that between the experiences of interiority and exteriority as mediated by headphone technologies.

6.

In the first essay of this issue to eschew considerations specific to audiovisual relationships, Jonathan Sterne nevertheless continues with the more general theme of blurred boundaries by considering the hybridization of media technologies and musical instruments that we have become so used to in today’s world of basement recording studios and stadium DJ concerts.

7.

This essay serves as the point of transition between the two general sections of this edition of Offscreen: Sound in the Cinema and Beyond.

8.

To complete the section of this issue dedicated to the cinema proper, we have a forum addressing an ongoing debate regarding the continuing relevance of the term diegesis and its attendant distinctions between diegetic and non-diegetic sound.

9.

In this essay, Brett Kashmere examines Ryan Tebo’s recent documentary Whoever Fights Monsters, a film which examines the nature of improvisational jazz through a unique approach to the filmmaking process itself.

10.

This piece centers upon a discussion with Hildegard Westerkamp about the use of her soundscape compositions in the films of Gus Van Sant.

11.

In this essay, Randall Barnes takes us deep into the concept of “designing a film for sound” using Barton Fink as a case study for examining the close working relationship between writer/directors Joel and Ethan Coen, sound designer Skip Lievsay, and composer Carter Burwell.

12.

This issue begins with a celebration of sound in film, bringing together ten short essays by a variety of film scholars detailing auditory moments from the history of cinema that they have found to be worthy of discussion.

13.

The explosion of academic interest in sound studies over the past decade has ensured that I can no longer begin a special sound-oriented issue of a journal such as this by declaring the topic a “neglected domain.” Serious inquiry dealing with sound from a wealth of disciplinary perspectives has definitively taken place. In many ways, being free of the cachet that comes with obscurity is very appealing; I no longer have to justify my interest in sound, and can now comfortably take it for granted that the auditory dimension is worthy of exploration in its own right.

14.

An analysis of the great montagists Sergei Eisenstein’s interest in synaesthesia and occult traditions.

15.

A review of Austrian experimental/avant-garde films on a DVD collection produced by Index.

16.

An review essay of the compilation DVD from Index, Sonic Fiction: Synaesthetic Videos from Austria.

17.

An interview with the seminal figure in structural cinema, Peter Kubelka.

18.

Writer Randolph Jordan weaves through a thematic pattern of pregnancy/death/rebirth which left its mark on FanTasia 2005.

19.

First of two part essay on Eisenstein's audiovisual strategies for his sound film Que Viva Mexico! and how his use of music and noise relates to his concept of 'nonindifferent nature'

20.

First of two part essay on Eisenstein's audiovisual strategies for his sound film Que Viva Mexico! and how his use of music and noise relates to his concept of 'nonindifferent nature'


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ISSN 1712-9559.