In lieu of an abstract, here is a brief excerpt of the content:

  • About the Authors

anna cabak rédei (anna.cabak_redei@semiotik.lu.se) is a research fellow at the Centre for Cognitive Semiotics and Centre for Languages and Literature, Lund University, since January 2009. She has a PhD in semiotics from Lund University (2007). Her research interests and publications embrace cognitive, semiotic, and psychological approaches to the study of literature, pictures, and film. Cabak Rédei is involved in the research project “The Making of Them and Us (MaTUs),” funded by The Marcus and Amalia Wallenberg Foundation, 2014—2016, which will increase knowledge concerning the cognitive and semiotic mechanisms of narrativizing images depicting the other and self of cultures, in particular in the historical periods of early modernity and current times.

annabel j. cohen (Acohen@upei.ca) (BA, McGill; PhD, Queen’s University; ARCT Royal Conservatory of Music, Toronto) has dedicated her career to the study of music psychology across the lifespan. Her research in the psychology of film music has been supported by the Social Sciences and Humanities Research Council (SSHRC) for over twenty years. She is the editor of Psychomusicology—Music, Mind and Brain, and she serves on consulting boards of several other journals. She is a coeditor of the book Psychology of Music and Multimedia (Tan, Cohen, Lipscomb, and Kendall, 2013, Oxford University Press). A professor of psychology at the University of Prince Edward Island, Fellow of the American Psychological Association, and fellow of the Canadian Psychological Association, she currently directs a seven-year major collaborative research initiative entitled Advancing Interdisciplinary Research in Singing—AIRS (www.airsplace.ca) involving researchers in sixteen countries and supported by SSHRC.

k. j. donnelly (K.J.Donnelly@soton.ac.uk) is reader in film at the University of Southampton. He has written Occult Aesthetics: Synchronization in Sound Cinema (Oxford University Press, 2014), British Film Music and Film Musicals (Palgrave, 2007), The Spectre of Sound: Film and Television Music (British Film Institute, 2005), and Pop Music in British Cinema: A Chronicle (British Film Institute, 2001); and edited the collections Film Music: Critical Approaches (Edinburgh University Press and Continuum, 2001), Music in Science Fiction Television: Tuned to the Future (coedited with Philip Hayward, Taylor and Francis, 2012), and Video Game Music: [End Page 87] Studying Play (coedited with William Gibbons and Neil Lerner, Taylor and Francis, 2014). He is currently coediting a book about new music for silent films and a book about Hitchcock and Herrmann’s partnership.

åse innes-ker, (Ase.Innes-Ker@psy.lu.se) PhD, is a lecturer in psychology at Lund University. She received her PhD in cognitive science and social psychology from Indiana University, Bloomington, in 2003. Her research focuses on emotions and facial emotional expressions, but she has also published in metacognition and witness psychology. She is currently working on projects at the intersection of emotion psychology and film.

david ireland (D.I.Ireland@leeds.ac.uk) is currently a teaching fellow in music psychology at the School of Music at the University of Leeds, UK. His research interests particularly relate to the role of music in the perception of meaning and emotional response to film. His doctoral thesis, completed under the supervision of Dr. Luke Windsor and Prof. David Cooper and funded by a University Research Scholarship, incorporated approaches from music psychology and film-music studies to theorize incongruent film music. Dave has published on the incongruent soundtrack and the construction of the cinematic criminal in the interdisciplinary Constructing Crime collection.

birger langkjær (bilang@hum.ku.dk) is associate professor in film studies at the Department of Media, Cognition and Communication, University of Copenhagen. He has published three monographs (Film Sound & Music; The Listening Viewer; Realism in Danish Cinema) and numerous articles in journals (e.g. Convergence; MedieKultur; Film International; SoundEffects; Short Film Studies). He has contributed to several anthologies (e.g., Realism and “Reality” in Film and Media; Film Style and Story; Visual Authorship) and has been, respectively, editor and editor-in-chief of the journals SoundEffects and MedieKultur. Also, he has recently been head of a research network on “Film, experimental designs and quantitative analysis.” He teaches courses in film theory and analysis, in film sound, in realism, and in cognitive film theory.

alexander...

pdf

Share