This book bridges the existing gap between film sound and film music studies by bringing
together scholars from both disciplines who challenge the constraints of their subject areas by
thinking about integrated approaches to the soundtrack. As the boundaries between scoring and
sound design in contemporary cinema have become increasingly blurred both film music and film
sound studies have responded by expanding their range of topics and the scope of their analysis
beyond those traditionally addressed. The running theme of the book is the disintegration of
boundaries which permeates discussions about industry labour technology aesthetics and
audiovisual spectatorship. The collaborative nature of screen media is addressed not only in
scholarly chapters but also through interviews with key practitioners that include sound
recordists sound designers composers orchestrators and music supervisors who honed their
skills on films TV programmes video games commercials and music videos.
