CALL FOR PAPERS: ISSUE 5, INTERACTIVE AND GAME AUDIO
THE AUSTRALASIAN JOURNAL OF SOUNDTRACK STUDIES
The fifth issue of Screen Sound is scheduled for publication in early 2014. The issue theme is ‘Playing with Sound: Interactive and Game Audio’.
Submissions are invited that address this theme by analysing:
- Sound, music and voices in various examples of games or a specific game
- The narrative contribution of sound/music in games
- The contribution of music/sound to genre and generic conventions in games
- Developing audio for independent games
- The history of the sound and music in games and its evolution in line with technological advances, especially pertaining to Australasia
- Aspects of interactivity involving sound and music in games
- Industry perspectives (eg licensing personnel and issues; budgeting; global and team-based workflows; etc)
- The use of sound and music in interactive and game marketing campaigns
- Industry tie-ins from film and/or TV to games and interactive applications, and how intermedia sound and music is approached
- Live performances and events involving games and/or interactive media
- Sound and music for mobile games
- Audio and music games as a new game category
- Composition and sound design crediting for games and interactive media
- Popular music and games
- Audio signifiers of ‘nation’ or ‘place’ in game sound and music
- Other relevant approaches and issues
In addressing the journal’s specific focus on Australasia, game sound may be approached in a variety of ways, such as:
- Profile of Australasian personnel contributing to music and/or sound
- Examination of the oeuvre of a specific game sound practitioners
- Comparison of Australasian game sound to international game sound
- Australasian interactive and game audio production and collaborative practices in the context of global media flows
- Semiotic analyses of voice and performance (including regional ‘accents’ or pronunciation styles by voice actors), or sounds/sound design, or music/theme songs, etc
- Analysis of industry issues relating to contracts, credits, production teams, etc
- Participant studies of gamers and their uses of and attitudes to sound/music/voices
- Investigation of sound in games and interactive media in relation to a film or television or other originating texts (linked to Australasia)
- Production studies of a particular Australasian company, examining how music and sound are created
- The approaches of Australasian professional associations, collection agencies, investors and other media/music institutions to game audio
- Other approaches relevant to the theme and regional focus
Screen Sound also accepts articles on non-theme topics and we are keen to accept submissions on sound/music in television, animation, online, mobile technologies, advertising and media performance domains, whether or not they address the issue theme.
The journal comprises three sections:
- Double blind referee section with articles of 4,000-8,000 words. Submission deadline: November 4, 2013. Abstracts by September 10, 2012.
- Single referee edited section with industry reports, edited interview transcripts, feature reviews, etc. Word length: 2,000-5,000. Submission deadline: November 27, 2013.
- Edited, non-refereed section of reviews, reports, responses and reprints of seminal reports, etc. Word length: 1,000-4,000. Submission deadline: December 4, 2013.
All proposals for articles should be sent to email@example.com
ISSUE 5 GUEST EDITOR: SARAH KEITH
CO-EDITORS: NATALIE LEWANDOWSKI, ALEX MESKER
GUEST EDITOR PROFILE
Dr Sarah Keith lectures in the Department of Media, Music, Communication & Cultural Studies, Macquarie University, Sydney, Australia. She has a BA (Hons) and a PhD from Macquarie University, titled ‘Standards for Deviation: developing laptop performance of generative contemporary electronic music’. Her research publications encompass music production technology, computer-mediated composition, and performance. Further areas of research include non-linear applications of audio in game and interactive contexts, music and culture, and music for documentary film.
About the Journal
SCREEN SOUND: THE AUSTRALASIAN JOURNAL OF SOUNDTRACK STUDIES
CO-EDITORS: NATALIE LEWANDOWSKI, ALEX MESKER, SARAH KEITH
FOUNDING EDITOR: REBECCA COYLE
Screen Sound investigates, analyses and documents sound in relation to screen images, whether on large or small screens, in installation, performance or online. The journal encourages studies of sound forms, functions and production, focusing on music, sound design, effects and atmospheres, dialogue and performance, production processes and/or roles of personnel. Articles, reviews and interviews are published in English language from scholars, researchers and practitioners. The journal is multidisciplinary in its remit, accommodating all aspects of screen music and sound, and media, music, cultural, marketing and economic analysis.
The publication focuses on sound on screen media and issues relevant to work produced in Australia, Aotearoa/New Zealand, and Oceania. It provides a forum for production studies and debates relevant to the region, and aims to build a distinct body of scholarly work. Editorial and Industry Advisory Board members include soundtrack academics, practitioners and experts from Auckland, Canberra, Dunedin, Hong Kong, Lismore, Melbourne, Sydney, and Tokyo.
The journal is produced annually as a refereed online journal at http://www.screensoundjournal.org/