- 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. Contemporary animated films are not the cartoons of yore. For the sound designer, an advantage of working on animated films today is the opportunity for early collaboration between sound designer and animators. The sound designer must consider the appropriateness of sound mix with visual style: “Each film calls for its own sound design aesthetic.” Coraline and recent animated films by Robert Zemeckis choose simplicity (no elaborate background, no complex layering of sounds) to match the storytelling. The Incredibles and Bolt have complex, multilayered sound; the point in each case is to achieve clarity.
Randy Thom, Director of Sound Design at Lucasfilm’s Skywalker Sound, is a prolific and honored sound editor and designer. Like Walter Murch and Ben Burtt, he advocates for film sound as a creative endeavor and not simply a technical process. His more than 75 films since the late 1970s include Forrest Gump, Contact, Castaway, two of the Harry Potter films, and animation films from The Incredibles and Ratatouille to The Simpsons Movie, Bee Movie, Coraline, and Despicable Me.
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