Abstract and Keywords
This article appears in the Oxford Handbook of Sound and Image in Digital Media edited by Carol Vernallis, Amy Herzog, and John Richardson. This essay examines a growing number of filmmakers who construct personal sound aesthetics that rework the rules of sound and image relations. This trend has emerged over the past decade, and it finds global filmmakers engaged in a revitalization of the affective powers of film sound in a digitally converged world. Under consideration are issues of sound authorship, acoustic markers of cultural identity, how sound tropes circulate transnationally, and whether the rules governing sound and image are culturally determined.
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