Editorial

This journal was both a while in the making and long overdue. The study of music, sound, and the moving image came into its own as a field in the 1990s when a body of literature began to appear that turned what had been isolated texts such as Film Sound (Weis and Belton 1985) and Composing for the Films (Adorno and Eisler 1947) into a scholarly conversation. By the first few years of this century, there was a recognizable reading list. But that conversation still did not have a place – it was stuck in the metaphorical corridors of others' buildings.

Music, Sound, and the Moving Image seeks to change that. We welcome all kinds of scholarly works on all topics – from foley sound semiotics to videogame soundtrack sales, from silent film theatre organ practices to theorizations of sounding bodies in installation art, from anime sound editing to Nollywood music styles. We welcome work from media studies and film studies scholars, musicologists and music theorists/analysts, sound studies scholars, and anyone else who wants to enter this compelling conversation.

We hope to include book and conference reviews and translations in addition to full-length essays, and we'd very much like to hear ideas from you of what else you'd like us to include.

Thanks for reading this first issue – we hope you'll not only keep reading, but let us know what you think.