Show Summary Details

Page of

PRINTED FROM OXFORD HANDBOOKS ONLINE (www.oxfordhandbooks.com). © Oxford University Press, 2018. All Rights Reserved. Under the terms of the licence agreement, an individual user may print out a PDF of a single chapter of a title in Oxford Handbooks Online for personal use (for details see Privacy Policy and Legal Notice).

date: 31 May 2020

Abstract and Keywords

This article appears in the Oxford Handbook of New Audiovisual Aesthetics edited by John Richardson, Claudia Gorbman, and Carol Vernallis. The sound of nightclubs and club music has transformed spatial scale, frequency range, and volume levels in film soundtracks for the past twenty-five years. Across this period, spatialization is intensified, the soundtrack gets noiser, and characterization favors unbalanced psychological states. Consequently, an aural “Other” becomes progressively encoded and registered. The texture of recorded sound on film becomes affected by non-cinematic aurality, responding to approaches to microphone placement in pop music, and the role that psycho-acoustics play in shaping psychological drama. Discussion ensues to audit the noise inside the addled heads of characters in a selection of films which exemplify this transformative audiovision in cinema: Scorpio Rising, Vinyl, Scarface, Blue Velvet, La Vie Nouvelle, and Irréversible.

Keywords: nightclub, noise, psycho-acoustic, microphone, Other

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.

Please subscribe or login to access full text content.

If you have purchased a print title that contains an access token, please see the token for information about how to register your code.

For questions on access or troubleshooting, please check our FAQs, and if you can''t find the answer there, please contact us.