] 2016: 23) . Athens. Late 1930s. I begin here, as this article takes up some of the themes that resonate from Miller's writing: sound and listening, migration and memory, technology and territory. This article attempts two things. First, it argues for
Sound, Citizenship, and Disruptive Representations of Migration
This article discusses the ways sound design in film guides the emotional affect of both sound and pictures on the viewer. Following the theory of conceptual metaphors, the article proposes an approach to "audiovisual metaphors," analyzing emotional and embodied aspects of film sound. It states that pictures and sound have to share emotional and physical characteristics that can be merged by sound designers conceptually and metaphorically in order to improve the emotional and physical affects of a fictional character or object in a film. Thus it argues that the synchresis (audiovisual fusing) of pictures and sound is most effective when embodied image schemata are used by sound design that guide, on an unconscious level, our perception of film. In audiovisual metaphors, image schemata as "force" or "balance" are projected on sound and pictures that create an audiovisual and emotional gestalt of the objects. Using examples from Stanley Kubrick's The Shining and Francis Ford Coppola's Rumble Fish, the article shows how the emotional attributes of fictional character, spaces, and objects can be conceptualized metaphorically, via their very materiality, by sound design—attributes that are perceived prominently on a presymbolic and preconscious level by the viewers but that communicate complex cultural and narrative meanings.
Sonic Experiences of Police Operations and Occupations in Rio de Janeiro's Favelas
A Morning in a Favela I wake to the sound of dogs barking. As I shake off my sleep, I realize the sound that woke me and made the dogs bark had been of shots being fired. I hear the faint thuds of the neighbors walking around in their
A Neurofilmological Approach
Sound has often been considered both by scholars (e.g., Altman 1980: 74 ; Balázs 1985: 123 ) and by filmmakers (e.g., director James Wan in Empire Magazine 2013 ) as a more effective means than image of eliciting fear in film. There is also
On the Temporalities of the Media Event
journalists’ questions. As the reporting of the event proceeded, the footage of his confession was broken into sound bites and eventually replayed with the sound off, overlaid with journalists’ voice-overs providing updates on the situation. In Greek
Actuality, Microphone, Radio-film
This essay addresses the effects and experiences that become possible, and become the object of fascination and reflection, when early German radio mobilized-when it moved out of the studio to transmit from places in the "outside world." Mobile electro-acoustic technologies enabled a new sense of exteriority and new experiences of time and space. The paper reconstructs and analyzes three rhetorical figures associated with this mobilized radio. First, the complex concept of actuality, among other things, referred to temporal liveness and the palpable auditory presence of location sound. Second, the popular rhetorical and visual image of the "traveling microphone," emphasized new relations of inside and outside, studio and world, reality and representation. Third, comparisons between radio and film-including the term "radio-film," an early name for live location broadcasts-provided a vocabulary for understanding the properties of a mobile radio, including the intense sense of an outside world made present for the listener at home.
Gerrit K. Roessler
This article examines Ulrich Horstmann's science fiction radio play Die Bunkermann-Kassette (The Bunker Man Cassette, 1979), in which the author frames fears and anxieties surrounding a potential nuclear conflict during the Cold War as apocalyptic self-annihilation of the human race. Radio, especially radio drama, had a unique role in capturing the historical imaginaries and traumatic experiences surrounding this non-event. Horstmann's radio drama and the titular cassette tape become sound artifacts that speak to the technological contexts of their time, while their acoustic content carries the past sounds into the present. In the world of the play, these artifacts are presented in a museum of the future, which uses the possibilities of science fictional imagination and speculation to create prosthetic memories of the Cold War. The article suggests that these memories are cyborg memories, because the listener is a fully integrated component of radio technology that makes these memories and recollections of imagined events possible in the first place.
Popular Music in Postwar Germany at the Crossroads of the National and Transnational
Kirkland A. Fulk
Germany both beyond and in concert with (pun intended) the prevalence of the textual and visual. Edited volumes such as Celia Applegate and Pamela Potter’s Music and German National Identity (2002), Nora M. Alter and Lutz Koepnick’s Sound Matters (2004
An Interview with Caryl Phillips about The Atlantic Sounds and The European Tribe
Nicklas Hållén and Caryl Phillips
Born on the Caribbean island of St. Kitts, Caryl Phillips grew up in the United Kingdom. For many years he has been living in the United States and currently teaches at Yale University. In addition to being an award-winning novelist, he is the author of two travelogues. In The European Tribe (1987), Phillips travels from Morocco, through Continental Europe, to Soviet Moscow. More than a report from a certain place and time, his travelogue is an indictment of the provincialism of Eurocentric discourses of whiteness in European societies. It describes a journey where Shakespeare, Anne Frank, and James Baldwin offer guidance through a landscape of racial tribalism and exclusion. The Atlantic Sound (2000) is a travel narrative that comprises a series of journeys across the Atlantic sphere, connecting places and stories that are central in the history of the transatlantic slave trade. It begins with Phillips repeating his family’s journey from the Caribbean to the United Kingdom aboard a banana boat. After an interlude of historical fiction that recreates the experiences of John Ocansey, a late nineteenth-century West African traveler in Liverpool, Phillips visits this monumental hub in the transatlantic slave trade and then goes to Ghana to participate in Panafest, a Pan-African festival held at a former slave fort. The next part of the book sees Phillips at another apex of the Atlantic triangle—Charleston, South Carolina. The book ends in the Negev desert where he visits a community of African-American settlers claiming Israeli ancestry.
This article aims to contextualise music as it was experienced in Tehran in 2004 (when the research for this work was conducted) - music that comes from various ethnic groups within Iran, and music coming from the diaspora. The relationships between various genres of music and people, as well as between music and the government, are examined. The malleability of musicians and their capacity to coordinate their expertise with popular and governmental expectations and limitations are then analysed. In this way, a fascinating yet little studied area in the anthropology of Iran at the time of research is addressed.