Introduction: ; 1. Carol Vernallis and Amy Herzog ; Cinema in the Realm of the Digital: Foundational Approaches ; 2. Thomas Elsaesser, Digital Cinema: Convergence or Contradiction? ; 3. Jean-Pierre Geuens, Angels of Light ; 4. William Whittington, Lost in Sensation-Reevaluating the Role of Cinematic Sound in the Digital Age ; Dialogue: Screens and Spaces ; 5. Sean Cubitt, Large Screens, Third Screens, Virtuality and Innovation ; 6. Will Straw, Public Screens and Urban Life ; Glitches, Noise, and Interruption: Materiality and Digital Media ; 7. Laura U. Marks, A Noisy Brush with the Infinite: Noise in Enfolding-Unfolding Aesthetics ; 8. Lisa Coulthard, Dirty Sound: Haptic Noise in New Extremism ; 9. Caetlin Benson-Allott, Going Gaga for Glitch: Digital Failure @nd Feminist Spectacle in Twenty-F1rst Century Music Video ; 10. Joanna Demers, Discursive Accents in Some Recent Digital Media Works ; 11. Melissa Ragona, Doping the Voice ; Uncanny Spaces and Acousmatic Voices ; 12. William Cheng, Monstrous Noise: Silent Hill and the Aesthetic Economies of Fear ; 13. Amy Herzog, 'Charm the Air to Give a Sound': The Uncanny Soundscape of Punchdrunk's Sleep No More> ; 14. George Toles, A Gash in the Portrait: Martin Arnold's Deanimated ; 15. Warren Buckland, The Acousmatic Voice and Metaleptic Narration in Inland Empire ; Dialogue: Visualization and Sonification ; 16. Lev Manovich, Visualization Methods for Media Studies ; 17. Jake Smith, Explorations in Cultureson ; Virtual Worlds, Paranoid Structures, and States of War ; 18. Dale Chapman, Music and the State of Exception in Alfonso Cuaron's Children of Men ; 19. Matthew Sumera, Understanding the Pleasures of War's Audiovision ; 20. James Buhler and Alex Newton, Outside the Law of Action: Music and Sound in the Bourne Trilogy ; 21. Eleftheria Thanouli, Debating the Digital: Film and Reality in Barry Levinson's Wag the Dog ; 22. Theo Cateforis, Between Artifice and Authenticity: Music and Media in Wag the Dog ; Blockbusters! Franchises, Remakes, and Intertextual Practices ; 23. Jessica Aldred, 'I Am Beowulf! Now, It's Your Turn': Playing With (And As) the Digital Convergence Character ; 24. Carol Donelan and Ron Rodman, Lion and Lambs: Industry-Audience Negotiations in the Twilight Saga Franchise ; 25. Aylish Wood, Sonic Times in Watchmen and Inception ; 26. Miguel Mera, Inglo(u)rious Basterdization? Tarantino and the War Movie Mashup ; Dialogue: De-Coding Source Code ; 27. Garrett Stewart, Sound Thinking: Looped Time, Duped Track ; 28. Sean Cubitt, Source Code: Eco-Criticism and Subjectivity ; 29. James Buhler, Notes to Source Code's Soundtrack ; Rethinking Audiovisual Embodiment ; 30. Kiri Miller, Virtual and Visceral Experience in Music-Oriented Videogames ; 31. David McCarthy and Maria Zuazu, A Gaga-World Pageant: Channeling Difference and the Performance of Networked Power ; 32. Paul Morris and Susanna Paasonen, Coming to Mind: Pornography and the Mediation of Intensity ; Sounds and Images of the New Digital Documentary ; 33. John Belton, The World in the Palm of Your Hand: Agnes Varda, Trinh T. Minh-ha, and the Digital Documentary ; 34. Selmin Kara, The Sonic Summons: Meditations on Nature and Anempathetic Sound in Digital Documentaries ; 35. Jennifer Peterson, Workers Leaving the Factory: Witnessing Industry in the Digital Age ; Modes of Composition: Digital Convergence and Sound Production ; 36. Eric Lyon, The Absent Image in Electronic Music ; 37. Jann Pasler, Hugues Dufourt's Cinematic Dynamism: Space, Timbre, and Time in L'Afrique d'apres Tiepolo ; 38. Ron Sadoff, Scoring for Film and Video Games: Collaborative Practices and Digital Post-Production ; 39. Nicola Dibben, Visualising the App Album with Bjork's Biophilia ; Digital Aesthetics Across Platform and Genre ; 40. Carol Vernallis, Accelerated Aesthetics: a New Lexicon of Time, Space and Rhythm ; 41. Jay Beck, Acoustic Auteurs and Transnational Cinema ; 42. Allan Cameron, Instrumental Visions: Electronica, Music Video, and the Environmental Interface ; Index
