September 20th, 2009

Editors:

  • Natalie Lewandowski (Queensland Conservatorium, Griffith University, Brisbane)
    Natalie LewandowskiEditorial Assistant Natalie Lewandowski is a B.Commerce (2006) and B.Arts Hons 1st Class (2007) graduate from Macquarie University, and is currently a full-Scholarship PhD candidate. Natalie was awarded the Macquarie University prize for E-commerce in 2005 and Honours – 1st class for her thesis “Sound…Tracks” in 2007. Natalie has worked as a research assistant, as well as Marketing Manager, Sponsorship Coordinator and Public Relations Manager for numerous arts and retail organisations.
  • Philip Hayward (UTS, Sydney)
    Philip HaywardPhilip Hayward is Research Advisor in Music and Media Arts at the University of Technology Sydney and is an adjunct professor in the Division of Research at Southern Cross University. He is also a member of the audiovisual ensemble The Moviolas.

Site Editor:

  • Alex Mesker (Macquarie University, Sydney, Australia)
    No Photo AvailableAffiliation: Media, Music, Communication & Cultural Studies, Macquarie University

Editorial Board:

  • Giorgio Biancorosso (University of Hong Kong)
    Giorgio BiancorossoGiorgio Biancorosso teaches Musicology and Film Studies in the School of Humanities, The University of Hong Kong. Recent publications include an essay on sound in The Routledge Companion to Film and Philosophy (2008) and the chapter “Ludwig’s Wagner and Visconti’s Ludwig,” in Wagner and Cinema (IUP, 2009). He is completing the book Musical Aesthetics through Cinema for Oxford University Press. Biancorosso is also active in Hong Kong as a magazine writer and concert programmer.
  • Anne Cranny-Francis (University of Technology, Sydney, Australia)
    Anne Cranny-FrancisAnne Cranny-Francis is Professor of Cultural Studies and Director of the Transforming Cultures Research Centre at the University of Technology, Sydney.  She has worked extensively on feminist studies, literacy, and media. Her most recent work is on touch, touch technologies and on sound.
  • Mark Evans (Macquarie University, Sydney, Australia)
    Mark EvansMark Evans is currently Head of Music, Media and Cultural Studies at Macquarie University , Australia. He is co-editor of Perfect Beat: The Pacific Journal of Research into Contemporary Music and Popular Culture, and has published articles on a range of topics, including: the use of sound in the ‘Matrix’ films; copyright; CD-Rom; Christian music; rock journalism; and country music in Australia. He is also a pianist and has recorded and performed in various contemporary styles. His research interests include Contemporary Congregational Music, Popular Music Musicology and Industry, Australian Country Music and Film Music Studies. He is Series Editor for the ‘Genre, Music, Sound’ publications by Equinox Publishing (2007-2010).
  • Jon Fitzgerald (Southern Cross University, Australia)
    No Photo AvailableJon Fitzgerald researches in the contemporary music program at Southern Cross University, Australia. He has previously written on a variety of musical and screen sound topics and he is the author of Popular Music Theory and Musicianship (1999/2003). He is also an experienced performer and composer.
  • Michael Hannan (Southern Cross University, Australia)
    Michael HannanMichael Hannan established the Contemporary Music program at Southern Cross University, Australia, teaches composition and music theory and is Professor in the School of Arts and Social Sciences. For his PhD completed in 1979, he studied musicology at the University of Sydney. In 1980 he undertook postgraduate studies in music composition with Peter Sculthorpe. He is the sole author of two books, Peter Sculthorpe: His Music and Ideas 1929-1979 (University of Queensland Press, 1982) and The Australian Guide to Careers in Music (UNSW Press, 2003). His main areas of published research activity are in: screen music and sound (particularly in Australian feature films); work practices of musicians; the education of professional musicians; arts practice-based research; local music cultures.
  • Roger Hillman (Australian National University, ACT)
    Roger HillmanRoger Hillman is Associate Professor of Film Studies and German Studies at the Australian National University, Canberra. Research publications have spanned European cinema, German literature, musicology, and narrativity. Most recently he co-authored with three German colleagues a book on transculturality, engaging with Turkish-German literature and films (Transkulturalität: Münster, 2007).
  • Henry Johnson (University of Otago, Dunedin, NZ)
    Henry JohnsonHenry Johnson is Professor in the Department of Music, University of Otago, New Zealand. His teaching and research interests are in the field of ethnomusicology, particularly the creative and performing arts of Asia and its diasporas. His recent books include The Koto (Hotei, 2004), Asia in the Making of New Zealand (Auckland UP, 2006; co-edited with Brian Moloughney), Performing Japan (Global Oriental, 2008; co-edited with Jerry Jaffe), and The Shamisen (Brill, 2010). His article on Japanese animation, music education and cultural nationalism was published in Animation Journal (2009).
  • Sarah Keith (Macquarie University, Sydney, Australia)
    Natalie LewandowskiSarah Keith is a Lecturer at the Department of Media, Music, Communication & Cultural Studies, Macquarie University. 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.
  • Kyoko Koizumi (Otsuma Women’s University, Tokyo, Japan)
    Kyoko KoizumiKyoko Koizumi is an associate professor of School of Social Information Studies at Otsuma Women’s University, Tokyo, Japan. Her recent paper titled ‘Creative Soundtrack Expression: Tôru Takemitsu’s Score for Kwaidan’ is included in Terror Tracks: Music, Sound and Horror Cinema (2009), edited by Philip Hayward.
  • Theo Van Leeuwen (University of Technology, Sydney, Australia)
    Theo Van LeeuwenBefore becoming an academic, Theo van Leeuwen worked as a film and television producer, scriptwriter and director in his native Holland and in Australia. He studied linguistics and semiotics at Macquarie and Sydney University and at the CETSAS in Paris. He has worked at Macquarie University, the University of the Arts (London), and Cardiff University, and lectured at many other universities. He is now Dean of the Faculty of Arts and Social Sciences, University of Technology, Sydney. He has written several books and articles on discourse analysis, visual communication and multimodality, including Introducing Social Semiotics (Routledge, 2005) and Discourse and Practice (Oxford University Press, 2008) His new book, The Language of Colour (Routledge) will be published in late 2010.
  • James Wierzbicki (University of Sydney, Australia)
    No Photo AvailablePreviously on the musicology staffs of the University of Michigan and the University of California-Irvine, and for more than twenty years chief classical music critic for the St. Louis Post-Dispatch and other large American newspapers, James Wierzbicki currently focuses on twentieth-century music in general and film music in particular. Along with a monograph on the electronic score for the 1956 film Forbidden Planet (Scarecrow Press, 2005) and Film Music: A History (Routledge, 2009), his recent publications include articles in Beethoven Forum, Music and the Moving Image, Opera Quarterly, Screen Sound, the Journal of the American Musicological Society, and Musical Quarterly
  • Nabeel Zuberi (University of Auckland, NZ)
    No Photo AvailableDr Nabeel Zuberi has written several forthcoming book chapters on music cultures and media, mainly related to Afrodiasporic genres and electronica. He is currently completing Understanding Popular Music for Sage Publications, UK. This snapshot of the field tries to make sense of the continuities and discontinuities in the musical environment as digital technologies increasingly mediate the production, distribution and consumption of music. Since 2007, he has been engaged in a Mediating Muslims research project on contemporary media and Muslim subjects, primarily in the UK. Nabeel’s research interests include; Popular music studies and the screen, British cultural studies, Indian and South Asian diaspora media and African-American media.

Industry Advisory Board:

  • Martin Armiger (AFTRS)
    No Photo AvailableMartin Armiger has written music for around one hundred and fifty projects: feature films, telemovies, documentaries, drama series and mini-series, animation, game shows, as well as for radio, theatre and concert performance. These projects include Cherie Nowlan’s films Clubland and Thank God He Met Lizzie, Yahoo Serious’s Young Einstein (Best Music AFI Awards), Jane Campion’s Sweetie and Two Friends, Jan Chapman’s 1984 ABC series Sweet and Sour, the long-banned 1975 heroin exposé film Pure Shit, as well as Marking Time, The Secret Life of Us, Come In Spinner (Best Soundtrack Album APRA 1990), Bodysurfers, Police Rescue (Best TV Theme AGSC) and many others.  He composed the current on air music for ABC TV News and his most recent film music is for Mark Lewis’ 3D feature Cane Toads: The Conquest (to be released in 2010). Before all this he played guitar and wrote songs for a living, touring and recording with the Melbourne band, The Sports. He is Head of Screen Music at AFTRS.
  • Matthew Davies (NFSA, ASRA)
    No Photo AvailableMatthew’s early work experience includes technical and client service positions in the telecommunications and music industries. He then worked at the Australian Broadcasting Corporation for ten years as an operator, technical producer, researcher and broadcaster. He developed his passion for sound archives in the ABC’s radio archive and then commenced work at the National Film & Sound Archive in 1993. From a starting point in the Sound Preservation section, he went on to become Operations Manager of NFSA’s Preservation and Technical Services Branch with responsibility for administrative and operational support for programs including assessment of risk in the NFSA’s media collections and planning of active preservation programs to maintain the collection content. For ten years Matthew was an on-line tutor and lecturer in “Preservation of AV Media” offered originally by University of New South Wales and by Charles Sturt University since 2002. Matthew is now the Senior Curator of Sound, Broadcast & New Media at the NFSA, and also a member of the IASA technical committee, chair of IASA’s National Archives Section, and President of the Australasian Sound Recordings Association.
  • Matthew Hancock (Screen Australia)
    Matthew HancockMatthew Hancock has spent over a decade researching and writing media policy in both public and private organisations. He is currently the Assistant Manager, Strategy and Research at Screen Australia, the Federal Government’s primary support agency for the development, production and marketing of feature films, television drama, documentaries and emerging forms of interactive storytelling. He holds Arts and Masters degrees in media production and education and recently completed a Graduate Certificate in the field of media economics. In July 2010, he will launch a discussion paper at the Melbourne International Film Festival called ‘Mitigating Risk: A Case for Greater Numbers of Adaptations in the Australian Film Industry’, a collaboration between Screen Australia and the Centre for Screen Business at the Australian Film, Television and Radio School.
  • Dr Glenda Keam (Composers Association of NZ)
    No Photo AvailableAffiliation: New Zealand Guild of Screen Composers
  • Jo Smith (AGSC)
    No Photo AvailableAffiliation: Australian Guild of Screen Composers
  • Mark Ward
    Mark WardMark Ward is a sound designer for cinema, and a media educator. Recently Head of Sound at AFTRS, he currently teaches at the Institute for Interactive Media and Learning at The University of Technology, Sydney. Recent publications include ‘Beyond the visual: applying cinematic sound design to the online environment’, in Digital Experience Design: Ideas, Industries, Interaction (Intellect Books, 2008) co-authored with Linda Leung, and ‘Voice, Videogames, and the Technologies of Immersion’, in V01CE – the grain of the voice in digital arts and media (MIT Press, 2010).

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