Neu: Music, Sound, and the Moving Image Volume: 12, Number: 2 (December 2018)

Music, Sound, and the Moving Image is the first international scholarly journal devoted to the study of the interaction between music and sound in moving image media – film, television, music video, advertising, computer games, mixed-media installation, digital art, live cinema, et alia.

Co-edited by Helen Hanson (University of Exeter), Jay Beck (Carleton College) and Ian Gardiner (Goldsmiths), the journal is truly interdisciplinary, inviting contributions across a range of critical methodologies, including musicology and music analysis, film studies, popular music studies, cultural theory, aesthetics, semiotics, sociology, marketing, sound studies, and music psychology.

You can keep up to date with the journal by clicking here https://online.liverpooluniversitypress.co.uk/action/doUpdateAlertSettings?action=addJournal&journalCode=msmi to sign up to new issue alerts, and can learn more about the title at its webpage here https://online.liverpooluniversitypress.co.uk/loi/msmi.

The above issue is now available online at: https://online.liverpooluniversitypress.co.uk/toc/msmi/12/2?ai=s4&ui=51qs&af=T

Content

Introduction https://online.liverpooluniversitypress.co.uk/doi/10.3828/msmi.2018.6?ai=s4&ui=51qs&af=T


When Britannia Ruled the Sound Waves: Britain’s Transition to Sound in Its European Context https://online.liverpooluniversitypress.co.uk/doi/10.3828/msmi.2018.7?ai=s4&ui=51qs&af=T
Geoff Brown


The Transition from the Silent into the Sound Era in German Cinema: The Innovative Use of Sound in Pabst’s Westfront 1918 https://online.liverpooluniversitypress.co.uk/doi/10.3828/msmi.2018.8?ai=s4&ui=51qs&af=T
Maike Helmers


‘Have You a Happy Voice?’: Women’s Voices and the Talkie Revolution in Britain 1929–1932 https://online.liverpooluniversitypress.co.uk/doi/10.3828/msmi.2018.9?ai=s4&ui=51qs&af=T
Laraine Porter


Tantalising Fragments: Scotland’s Voice in the Early Talkies in Britain and Jenny Gilbertson’s The Rugged Island: A Shetland Lyric (1934) https://online.liverpooluniversitypress.co.uk/doi/10.3828/msmi.2018.10?ai=s4&ui=51qs&af=T
Sarah Neely


The Silent Film Shortage: The Cinematograph Exhibitors’ Association and the Coming of Sound, 1928–1929 https://online.liverpooluniversitypress.co.uk/doi/10.3828/msmi.2018.11?ai=s4&ui=51qs&af=T
Nyasha Sibanda


Empowering Cinema Operators in the USA and UK, 1927–1933 https://online.liverpooluniversitypress.co.uk/doi/10.3828/msmi.2018.12?ai=s4&ui=51qs&af=T
John Izod


Responses of the Film Industry and Audiences to the Introduction of Sound Cinema in Turkey (1929–1933) https://online.liverpooluniversitypress.co.uk/doi/10.3828/msmi.2018.13?ai=s4&ui=51qs&af=T
Özge Özyilmaz

Variable Areas: The Transition to Sound and the Birth of the Robot Voice https://online.liverpooluniversitypress.co.uk/doi/10.3828/msmi.2018.14?ai=s4&ui=51qs&af=T
Bryony Dixon

Contributors to Issue 12:2 https://online.liverpooluniversitypress.co.uk/doi/10.3828/msmi.2018.15?ai=s4&ui=51qs&af=T

Index to Volume 12 https://online.liverpooluniversitypress.co.uk/doi/10.3828/msmi.2018.16?ai=s4&ui=51qs&af=T