Contributors to Issue 10:2
- Contributors to Issue 10:2
Alexis Bennett is an Associate Lecturer and doctoral student at Goldsmiths, University of London, where his focus is on British film music in the 1930s. He read music and literature at the University of Edinburgh before studying screen composition with Dario Marianelli at the Royal College of Music and performance at the Guildhall School. As a composer he works with filmmakers and animators and has performed widely with early music ensembles, including The Dufay Collective and Florilegium, and various ceilidh bands in the London area. He is Edison Fellow at the British Library Sound Archive.
Lex@alexisbennett.co.uk
www.alexisbennett.co.uk
Ian Garwood is a Senior Lecturer in Film and Television Studies at University of Glasgow. He has published a number of written articles and books considering the relationship between sound and the moving image, including the monographs The Pop Song in Film (London: Wallflower Press, 2006) and The Sense of Film Narration (Edinburgh: Edinburgh University Press, 2013). He has also produced audiovisual film criticism on sound and the moving image, including How Little We Know: An Essay Film about Hoagy Carmichael, Indy Vinyl: Close Ups, Needle Drops, Aerial Shots–Records in US Independent Cinema, and The Place of Voiceover in Academic Audiovisual Film and Television Criticism.
ian.garwood@glasgow.ac.uk
Liz Greene is a Senior Lecturer in Filmmaking in the Liverpool Screen School, Liverpool John Moores University. Her research interests are in film sound, the audiovisual essay, and documentary film. She is on the editorial board of The Soundtrack journal and the International Advisory Board of Alphaville: Journal of Film and Screen Media. She won an Irish Film and Television Academy Award for best sound in 2006 for the television series Pure Mule. She continues to work in film sound and recently worked on We Were There (2014), Breathe (2015) and Yakov Yanki Jack (2015). She has published articles on sound and documentary film in a number of journals and edited collections and is the co-editor of The Palgrave Handbook of Sound Design and Music in Screen Media: Integrated Soundtracks (2016).
l.greene@ljmu.ac.uk
Michiel Kamp is Junior Assistant Professor of Musicology at Utrecht University, where he teaches music and media. Michiel is co-founder of the UK-based Ludomusicology Research Group, which has organised yearly conferences on video game music in the UK and abroad since 2011, and has recently co-edited a volume with the same name. He has previously contributed to a special issue of Philosophy & Technology on video game music and ecological psychology.
M.Kamp1@uu.nl
Philippa Lovatt is a Lecturer in Media and Communications at the University of Stirling. She is also Primary Investigator of the AHRC-funded Southeast Asian Cinemas Research Network–‘Promoting Dialogue Across Critical and Creative Practice’–and an Associate Editor of The New Soundtrack journal (Edinburgh University Press). She gained her PhD (‘Cinema’s Spectral Sounds: History, [End Page 221] Memory, Politics’) from the University of Glasgow in 2011, after which she taught Sound Theory on the MSc Sound Design for the Moving Image programme at Glasgow School of Art. Philippa has published her work in the journals Screen, The New Soundtrack, and the interdisciplinary sound studies journal SoundEffects, as well as in a number of edited collections. She is currently working on her first monograph, Sound Design and the Ethics of Listening in Global Cinema.
philippa.lovatt@stir.ac.uk
Meredith C. Ward is a Lecturer in the Film and Media Studies Program at Johns Hopkins University. She is also affiliated faculty for the Johns Hopkins Center for Advanced Media Studies, where she engages with PhD students pursuing a certificate in media studies. Her dissertation ‘Chatter, Reverberation, and the Static in the System: Noise in American Cinema Culture’ won the Society for Cinema and Media Studies Dissertation Award in 2016. Her work engages with American aural history and its relationship to film history and theory, with a particular focus on the notion of the ‘soundscape’ as it relates to the experience of cinema exhibition itself. Her work also appeared in the journal Nineteenth Century Theatre and Film in 2016. She is currently adapting her dissertation into a...
