Sounding Science Fiction

The questions that energise this call for papers centre on : • How does one sound science fiction ? • How do the sounds of science fiction affect/move/interpolate ...
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Sounding Science Fiction Extrait du Vincent Rouzé http://rouzev.free.fr/spip.php?article183

Sounding Science Fiction - Archives du site - Doctorants & Université - Appel à communication -

Date de mise en ligne : mardi 11 mars 2008

Description :

Sounding Science Fiction will be an edited collection that examines the way that sound, in all its aesthetic and technological forms, is deployed to audio-sense a science fiction encounter, world, or universe. The collection will be concerned with sound design and sound signification, and with affect and feeling, so that questions of form, style, narrative, authorship, production, subjectivity, and embodiment, will all work their way into the book. Science fiction film and television, live cinema, music video, computer games, advertising, weblogs, digital art, mixed media installations, radio, and music, are all potential sites of investigation and analysis.

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Sounding Science Fiction

Appel à communication pour cette nouvelle collection "sounding science fiction" interrogeant le sonore dans ses diverses formes... Call For Papers : New Edited Collection Closing Date : July 1st 2008

Sounding Science Fiction March 7th, 2008 · No Comments

Call For Papers : New Edited Collection Closing Date : July 1st 2008

Proposals approximately 500 words can be sent electronically, preferably as a word attachment, to :

[(Sean Redmond Senior Lecturer in Film Studies, Victoria University of Wellington, New Zealand)]

Summary Sounding Science Fiction will be an edited collection that examines the way that sound, in all its aesthetic and technological forms, is deployed to audio-sense a science fiction encounter, world, or universe. The collection will be concerned with sound design and sound signification, and with affect and feeling, so that questions of form, style, narrative, authorship, production, subjectivity, and embodiment, will all work their way into the book. Science fiction film and television, live cinema, music video, computer games, advertising, weblogs, digital art, mixed media installations, radio, and music, are all potential sites of investigation and analysis.

The questions that energise this call for papers centre on : • • • • •

How does one sound science fiction ? How do the sounds of science fiction affect/move/interpolate audiences ? What semiotic, ideological, spatial, phenomenological, psychoanalytical relations are in play when one sounds science fiction ? What is the relationship between science fiction sound and image, or sound and space, or sound and exhibition context ? When one hears (but does not see) science fiction, what images are brought to the mind, what feelings of the 'future' are created ?

Copyright © Vincent Rouzé

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Sounding Science Fiction Essays could take any number of approaches to the topic, but could include : • • • • • • • • • • • • • • • • • • • • •

Otherworldly sounds Hearing the uncanny Sound as prophecy and enlightenment Alien sounds and otherness (sex, race, gender, class) Sound design (and full future world immersion) Sound effects/affect Composition/composers Sounding future weapons/warfare/cities/movement/travel/invasions/space Sounding Global (catastrophe) The interiority of science fiction sound (existential sound) Sound as trauma, loss, dystopia Sounding science fiction paranoia The carnality of science fiction sound Posthuman sound Sounding cyborg Contrapuntal music and the science fiction image/artefact Sounding scientific/rationalist (in dialogue, speech, voice-over) Live science fiction sound The sound image The 'moment' of sound (close textual analysis of a key sequence) Authoring science fiction sound : key auteurs of sound design Cultish science fiction sound

Sounding Science Fiction's multi-disciplinary and multi-site focus will build on the work done in single case studies such as William Whittington's Sound Design and Science Fiction (2007), and on edited collections such as Philip Hayward's Off The Planet : Music, Sound And Science Fiction Cinema (2004), which take film/cinema as their central/sole text.

Copyright © Vincent Rouzé

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