The Soundtrack
ISSN 1751-4193
1.1
V o l u m e O n e N u m b e r O n e
i n t el l e c t J o ur n a l s
|
F i l m S t u d i e s
The Soundtrack
Volume 1 Number 1 – 2007
The scope of
The Soundtrack
focuses on the aural elements whichcombine with moving images. It regards the sounds which accompanythe visuals not as a combination ofdisparate disciplines, but as a unifiedand coherent entity. It assumes that irrespective ofindustrialdeterminants, the soundtrack is perceived as a continuum by theaudience; that music, dialogue, effects and atmospheres are instrumentsin the sonification ofthe film, analogous perhaps to the strings, brass,woodwinds and percussion in an orchestra. The journal is rigorousacademically yet accessible to all interested readers.
Editorial Board
Rick Altman – University ofIowa, USAHaim Bresheeth – University ofEast London, UK John Broomhall – Audio Director, UKMichael Chanan – Roehampton University, UKMichel Chion – Author and Composer, FranceIan Christie – Birkbeck College University ofLondon, UKGustavo Costantini – University ofBuenos Aires, Sound Designer andComposer, ArgentinaRebecca Coyle – Southern Cross University, Lismore, AustraliaIan Cross – University ofCambridge, UKClaudia Gorbman – University ofWashington, Tacoma, USAPhilip Hayward – Macquarie University, Sydney, AustraliaWalter Murch – Editor and Sound Designer, USARens Machielse – Utrecht School ofthe Arts (HKU), HollandRoberto Perpignani – Centro Sperimentale di Cinematografia, FilmEditor, ItalyGianluca Sergi – University ofNottingham, UKSean Street – Bournemouth University, UKRandy Thom – Sound Designer, USAElisabeth Weis – Brooklyn College, City University ofNew York, USA
Journal Editors
Stephen Deutsch (chair)The Media School, BournemouthUniversityFern Barrow, Poole, Dorset BH12 5BBUnited Kingdom+44 (0)1202 965102Larry SiderThe School ofSound, LondonDominic PowerThe National Film & Television School,BeaconsfieldPrinted and bound in Great Britain by4edge Ltd. Hockley. www.4edge.co.uk
The Soundtrack
is published three times a year by Intellect, The Mill, ParnallRoad, Bristol. BS16 1JG, UK. The current subscriptionrates are (personal) £33and £210 (institutional). Postage within the UK is free whereas it is £9 for therest ofEurope and £12 elsewhere. Advertising enquiries should be a addressedto: marketing@intellectbooks.com© 2007 Intellect Ltd. Authorization to photocopy items for internal or personaluse or the internal or personal use ofspecific clients is granted by Intellect Ltd forlibraries and other users registered with the Copyright Licensing Agency (CLA) inthe UK or the Copyright Clearance Center (CCC) Transactional Reporting Servicein the USA provided that the base fee is paid directly to the relevant organization.ISSN 1751-4193
Notes for Contributors
The Soundtrack
would like to invite papers in the following generic areas:
•
How technological developments impact upon soundtrack aesthetics•The intersection ofmusic & sound in film•The training offilm composers and sound designers•Early sound cinema•Sound for European silent film•Issues ofcognition and the soundtrack•Notable works and practices•Musique Concréte and Film•Sound in interactive media•Representations ofreality and fantasy through sound•The relationship between picture editing and the soundtrackIn addition to the scholarly contribution ofacademics, the journal will give voiceto the development ofprofessional practice. As such, we aim to include in eachissue select contributions from recognised practitioners in the field, who mayinclude composers, sound designers, directors, etc. Each issue ofthe journal willalso include a short compilation ofbook and film reviews relating to recentlyreleased publicationsand artefacts. The electronic version ofthe journal affordscontributors the opportunity to present original work as QT movies embeddedinto text.
Submission Details
Contributions (5000–6000 wordsfor Major Papers, 1000–3000 words for reviewsand shorter articles) should include original work ofa research or developmentalnature and/or proposed new methods or ideas that are clearly and thoroughlypresented and argued.Articles should be original and not be under consideration by any otherpublication. They should be written in a clear and concise style and should notnormally exceed 8000 words in length. Contributions should be submitted electro-nically. The referencing should be in Harvard format, with endnotes rather thanfootnotes. The article should be accompanied by a series ofMetadata, including:Article title; author(s)’ name(s), affiliation address and biography; abstract;keywords; and references. All material will be read on a Macintosh computer andshould be submitted in Word
®
capable ofbeing read on a Macintosh computerusing the OSX platform.The Journal is academic and major articles are usually refereed. However, wealso intend to publish non-refereed papers ofa more polemical and exploratorynature. Anonymity is accorded to authors and referees. There are normally tworeferees, chosenfor their expertise within the subject area. They are asked tocomment on comprehensibility, originality and scholarly worth ofthe article sub-mitted. The referees’comments and any additional comments the Editor may wishto add that require amendments will then need to be acted on for the article toreceive further consideration by the Editor before it may be published in the journal.For the electronic version ofthe journal, copyright cleared audio and videoextracts should be sent separately on CD or DVD in Quicktime
®
Movie format.Each extract should be labelled identically in both the text and movie folder.Further detailed information regarding submissions is available from theIntellect website (http://www.intellectbooks.co.uk/journals.php?issn=17514193)under
Notes for Contributors
.
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The Soundtrack: Volume: 1 | Issue: 1 (Read in "Fullscreen")
This journal focuses its attention on the aural elements which combine with moving images. It regards the sounds which accompany the visuals not as a combination of disparate disciplines, but as a unified and coherent entity. It assumes that irrespective of the industrial determinants, the soundtrack is perceived as a continuum by the audience.
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