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Civil insecurity, democracy and the home
Tom Whittaker

democracy, one whose walls became increasingly reinforced through the rising popularity of home security and surveillance. In particular, the chapter explores how the soundscape of the home, historically associated with peace and privacy, was threatened through the deviant sounds of delinquents, as well as through the noises of alarms, sirens, explosions and other ambient noises. Through exploring the acoustic borders between inside and outside, private space and public space, this chapter ultimately aims to show how the films revealed public anxieties around the subject

in The Spanish quinqui film
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Listening to installation and performance
Ming-Yuen S. Ma

Media soundscapes: listening to installation and performance Media scholars have pointed out the recent ubiquity of moving image media in the historically ‘visual’ art spaces of museums and art galleries.1 Indeed, I cannot recall a recent visit to an art gallery, museum, or alternative art space where I did not encounter works that feature or incorporate video, film, animation, or other forms of media. As a result, there is much to listen to in these ‘noisy’ spaces. Caleb Kelly provides a description: ‘Upon entering almost any contemporary gallery space, we hear

in There is no soundtrack
Tom Whittaker

routes, and the consumption of the songs as mobile objects through the prominent use of car stereos in the films – that is central to the shaping of migrant youth subculture during the Transition to democracy. This chapter illustrates how, through sound, the delinquents were able to actively produce a space of their own, both inside and outside the film text. It will argue that the soundscape that they produced was one of

in Screening songs in Hispanic and Lusophone cinema
Dorothy Kim

What ‘foreign’ soundscape does Margery Kempe import back to England? Sarah Salih comes closest to seeing Margery Kempe as a foreigner after her pilgrimage to the cosmopolitan capitals of Rome and Jerusalem, astutely observing that ‘on Margery's return, England had become a foreign land’. 1 If one contextualises her particular devotional practices within the heterogeneous Christian, multiracial, multireligious, and cosmopolitan soundscape of Jerusalem, her notorious tears become a sign of

in Encountering The Book of Margery Kempe
Purification, candles, and the Inviolata as music for churching
Jane D. Hatter

modern women’s lives, there has as yet been no study of the soundscape of churching ceremonies nor any exploration of how this soundscape was converted for early Protestant practice. 3 The stakes around churching were high since the death of women in childbirth was extremely common during the fifteenth and sixteenth centuries and the bodies of women who had not been churched were

in Conversions
Authenticating spaces of violence and immorality in Salón México and Víctimas del pecado
David F. García

and scene sequences. 3 Whether or not they believed their films shaped the minds and actions of their audiences, Fernández and his collaborators did construct Afro-Cuban soundscapes to draw audiences into believable urban and nocturnal spaces of immorality and violence during a time when Mexico City was undergoing rapid urbanisation, industrialisation, and cultural cosmopolitanism. 4 Indeed, Figueroa characterised both

in Screening songs in Hispanic and Lusophone cinema
Ruth Livesey

Soundscapes of the city 6 •• Soundscapes of the city in Margaret Harkness, A City Girl (1887), Henry James, The Princess Casamassima (1885–86), and Katharine Buildings, Whitechapel Ruth Livesey This morning I walked along Billingsgate from Fresh Wharf to the London Docks. Crowded with loungers smoking bad tobacco, and coarse careless talk with clash of halfpenny on the pavement now and again … The lowest form of leisure – senseless curiosity about street rows, idle gazing at the street sellers, low jokes. (Beatrice Potter Webb, Diary, 6 May 1887 [Webb, 1992

in Margaret Harkness

The great American film critic Manny Farber memorably declared space to be the most dramatic stylistic entity in the visual arts. He posited three primary types of space in fiction cinema: the field of the screen, the psychological space of the actor, and the area of experience and geography that the film covers. This book brings together five French directors who have established themselves as among the most exciting and significant working today: Bruno Dumont, Robert Guediguian, Laurent Cantet, Abdellatif Kechiche, and Claire Denis. It proposes that people think about cinematographic space in its many different forms simultaneously (screenspace, landscape, narrative space, soundscape, spectatorial space). Through a series of close and original readings of selected films, it posits a new 'space of the cinematic subject'. Dumont's attraction to real settings and locality suggests a commitment to realism. New forms and surfaces of spectatorship provoke new sensations and engender new kinds of perception, as well as new ways of understanding and feeling space. The book interrogates Guediguian's obsessive portrayal of one particular city, Marseilles. Entering into the spaces of work and non-work in Cantet's films, it asks what constitutes space and place within the contemporary field of social relations. The book also engages with cultural space as the site of social integration and metissage in the work of Kechiche, his dialogues with diasporic communities and highly contested urban locales. Denis's film work contains continually shifting points of passage between inside and outside, objective and subjective, in the restless flux.

Rethinking art, media, and the audio-visual contract
Author: Ming-Yuen S. Ma

There is no soundtrack is a specific yet expansive study of sound tactics deployed in experimental media art today. It analyses how audio and visual elements interact and produce meaning, drawing from works by contemporary media artists ranging from Chantal Akerman, to Nam June Paik, to Tanya Tagaq. It then links these analyses to discussions on silence, voice, noise, listening, the soundscape, and other key ideas in sound studies. In making these connections, the book argues that experimental media art – avant-garde film, video art, performance, installation, and hybrid forms – produces radical and new audio-visual relationships that challenge and destabilize the visually-dominated fields of art history, contemporary art criticism, cinema and media studies, and cultural studies as well as the larger area of the human sciences. This book directly addresses what sound studies scholar Jonathan Sterne calls ‘visual hegemony’. It joins a growing body of interdisciplinary scholarship that is collectively sonifying the study of culture while defying the lack of diversity within the field by focusing on practitioners from transnational and diverse backgrounds. Therefore, the media artists discussed in this book are of interest to scholars and students who are exploring aurality in related disciplines including gender and feminist studies, queer studies, ethnic studies, postcolonial studies, urban studies, environmental analysis, and architecture. As such, There Is No Soundtrack makes meaningful connections between previously disconnected bodies of scholarship to build new, more complex and reverberating frameworks for the study of art, media, and sound.

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Nostalgia and al-zaman al-gamiil (the ‘beautiful old times’)
Mona Abaza

music genres defies any logic. It also fascinates me, as I think it could well be the subject of a superb anthropological work on Cairo’s unique and disturbing soundscapes as an expression of the increasing ‘disjunctures’ (to borrow from Appadurai) of globalisation (Appadurai 1990: 295) as well as the specificity of the ‘glocalisation’ processes. But practically speaking, one has to wonder whether the multilingual songs – German lullabies, high Arabic or colloquial Sufi zikr and other religious music, famous Arabic film songs, or Egyptian belly dances – really have

in Cairo collages