- The Oxford Handbook of New Audiovisual Aesthetics
- List of Contributors
- About the Companion Website
- Classical Music for the Posthuman Condition
- Beyond Music: Mashup, Multimedia Mentality, and Intellectual Property
- The Audio-Logo-Visual and the Sound of Languages in Recent Film
- The End of Diegesis As We Know It?
- Sounding Out Film
- Audio-Visual Space in an Era of Technological Convergence
- Title Sequences for Contemporary Television Serials
- No Country for Old Music
- Cue the Big Theme? The Sound of the Superhero
- Video Speech in Latin America
- Pixar and the Animated Soundtrack
- Notes on Sound Design in Contemporary Animated Films
- ZigZag: Reanimating Len Lye as Improvised Theatrical Performance and Immersive Visual Music
- The Mutating Musical and the Sound of Music
- Chinese Rock ‘n’ Roll Film and Cui Jian on Screen
- The Neosurrealist Musical and Tsai Ming-Liang’s the Wayward Cloud
- Parties in Your Head: From the Acoustic to the Psycho-Acoustic
- Sensory Aspects of Contemporary Cinema
- The Sound of Intensified Continuity
- Extending Film Aesthetics: Audio Beyond Visuals
- The Audiovisual Construction of Transgender Identity in <i>Transamerica</i>
- Soundscapes of Istanbul in Turkish Film Soundtracks
- Audiovisual Objects, Multisensory People, and the Intensified Ordinary in Hong Kong Action Films
- Music Video’s Second Aesthetic?
- Aesthetics and Hyperembodiment in Pop Videos: Rihanna’s “Umbrella”
- The Emancipation of Music Video: Youtube and the Cultural Politics of Supply and Demand
- Music Video Transformed
- “Betwixt and Between” Worlds: Spatial and Temporal Liminality in Video Art-Music
- Sound Events: Innovation in Projection and Installation
- Contextualizing Game Audio Aesthetics
- Implications of Interactivity: What Does it Mean for Sound to be “Interactive”?
- Multichannel Gaming and the Aesthetics of Interactive Surround
- Sound and Vision: The Audio/Visual Economy of Musical Performance
- Foreground Flatland
- Remaking the Urban: The Audiovisual Aesthetics of Ipod Use
- On Soundscape Methods and Audiovisual Sensibility
- Leaving Something to the Imagination: “Seeing” New Places through a Musical Lens
Abstract and Keywords
This article appears in the Oxford Handbook of New Audiovisual Aesthetics edited by John Richardson, Claudia Gorbman, and Carol Vernallis. This chapter explores audiovisual intensification in post-1997 Hong Kong action films, focusing on the performance of everyday activities in Johnnie To’s 2004 Breaking News (Dai si gin, 2004) This film’s heightened depictions of materiality, temporality, and the ordinary provide a means to register multisensory experience in a changing urban society. Sound and music work alongside the narrative and the mise-en-scène, creating a contrapuntal weave of lines through the film. Without relying on dialogue, Breaking News reveals the weight and dimensionality of the human in ways specific to both digital cinema and Hong Kong experience. Everyday objects, and the quotidian activities associated with them, are granted a strong audiovisual presence; this helps create an intensified ordinary that deepens and supplements the film’s status as action cinema.
Charles Kronengold has published on popular and classical music, urban cinema, and aesthetics. He is Assistant Professor of Musicology at Stanford University and the author of two forthcoming books, Live Genres in Late Modernity and Different Methods, Different Signs: Crediting Thinking in Soul Music.
Access to the complete content on Oxford Handbooks Online requires a subscription or purchase. Public users are able to search the site and view the abstracts and keywords for each book and chapter without a subscription.
If you have purchased a print title that contains an access token, please see the token for information about how to register your code.