08:45-09:00 Welcome and Introduction to Sound on Screen IV
09:00-10:20 Session 1
Steve Whitford: The 'Truth of Sound': Developing and Deploying an Immersive Location Sound Recording Methodology in Realist Filmmaking
Lindsay Steenberg: The Sonic Architectures of Loud and Quiet Fright Scenes in Hollywood Franchises
Calum White: The 20th Century Frontiersman: 1970s Masculinity and the Sound of the American Man in 'Big Jake'
10:20-10:30 Break
10:30-11:50 Session 2
Julia Durand: Music for Cars, Elephants, and Donald Trump: Library Music in Everyday Online Media
Harry Whalley: Composing the Machine: Exploring the Continuum from Concrete Sounds to Figurative Music in Film and Beyond
Angela English: A Lovely Garden: Music and Song in Local Archive Film
11:50-12:00 Break
12:00-13:20 Session 3
Malcolm Troon: Antecedent Diegesis
James Deaville: Lost in Transcription? Issues in Captioning Music for D/deaf and Hard-of-Hearing Audiences in Audiovisual Media
Steyn Van Roey: Oparadox
13:20-14:00 Lunch Break
14:00-15:40 Session 4
Jennifer Smith: Welshness in Video Games
Mattia Merlini: A Mukokuseki Music? Vertical Stateless Eclecticism in Japanese Role-Playing Games and Visual Novels
Andy Birtwistle: The Disruptive Power of Voice: Authenticity and Otherness in 'The Forgotten Village' (1941)
Beth Carroll: Bridging the Gap in Thai Girl Love Series
15:40-15:50 Break
15:50-16:50 Session 5
David Etheridge: Jazz Harmonies and Instrumentation and Barry Gray's Impressionist Music for 'Thunderbirds'
James Heazlewood-Dale: A 'Different' Kind of Blue: The Divergent Practices of Jazz Scoring in Children's Film and Television
16:50-17:00 Break
17:00-18:00 Session 6
Shuhui Fan: High Meets Low: The Role of Pre-Existing Classical Music in the Cult Comedy Film 'The Big Lebowski'
Amelia Fisher: 'Nobody in the World Plays Like You': Diegetic Performance in 'EMMA' (2020)
09:00-10:00 RMA Sound on Screen Study Group Annual General Meeting
10:30-11:50 Session 7
Francesca Ceccherini: Sounding Trauma: The Politics of Resistance and Re-Existence in the Works of Komîna Fîlm a Rojava, Wang Bing and Open Group
Jaz Margalit: 'When the Morning Stars Sang Together': Musical Transcendence in Malik's 'Tree of Life'
Dave Ireland: Scoring Justice, Perspective and Power: The Functions of Music in Courtroom-Based Historical Films
11:50-12:00 Break
12:00-13:00 Session 8
Seana Dubh: The Other Edis: Exploring Uncanny Threads and the Affective Potential of Sound and Vision within Non-Narrative, Environment-Based Work
Michael Baumgartner: Affectual Comportment and Bodily Humanities: Visceral Avant-Garde Music in Recent Feature Films
13:00-15:20 Break
15:20-17:00 Session 9
Raymond Sookram: Play in Fragmented Worlds: The Paracosmic Multimedia of Glitch Game Sound
Dylan Young: Adapting Music within Transmedia Franchises: The Immersive Aural World of 'Star Wars' Video Games
Joan Gubert Sarda: Watercolour Melodies: The Role of Music in Nómada Studio's 'GRIS'
Beth Hunt: One Small Step for Players, One Giant Leap for Video Games: Live Accompaniment Video Game Concerts
09:30-10:00 Refreshments
10:00-11:20 Session 10
Matt Lawson: Serious Tunes for Frivolous Toons: The Use of 'Serious' and Classical Music in Animation and Cartoons
Daniel White: Singing and Sounding CBeebies: The Role of Music and Sound in Educational Early Years Programming, with a Focus on the 'Blocks' Universe
Jan Butler: The Pedagogic Potential of 'Unheard Melodies': Using Media Music to Support Music Teaching in Primary Schools
11:20-11:30 Break
11:30-12:50 Session 11
Nick Reyland: Listen Carefully: Audiovisual Climate, Sound Design, and 'The Wire's Ethnographic Imaginary
Miguel Mera: First-Person Cromwell? Acoustic Proxemics in 'Wolf Hall'
Steve Halfyard: 'Severance' through Convergence: The In(nie)s and Out(ie)s of Music, Sound, and a Fantastic Diegesis
12:50-13:40 Lunch Break
13:40-15:00 Session 12
Toby Huelin: 'Flutter Zap', 'Zing Hit', 'Echo Tap': Musical Sound Effects in Contemporary Television Production
Melissa Morton: 'They're our Little Works of Art': Sound Production for Idents and Sonic Logos
Elsa Marshall and Ian Sapiro: Listening to 'Emmerdale': Sound Production Lessons from a Soap Opera
15:00-15:10 Break
15:10-16:30 Session 13
Liane Gualdim Silva: Observing the Observer: The Music of Memory in 'Observer: System Redux'
Raymond Sookram: Broken Glitches and Broken Minds: Towards a Personal Approach to First-Time Gameplay, Ludomusicology and Burning Daylight
James Redelinghuys: About Tails Noir
16:30-16:40 Break
16:40-18:00 Session 14
Louis Lo: A Perceptual Acousmatic Reading of 'A Brighter Summer Day' (1991)
Paul Fung: Mediated Sound in Edward Yang's 'Taipei'
Alex Wai-Lok Lo: Time-Sound as Affect: Mourning Refrains in 'Drive My Car' (2021)
18:00 onwards Close and Social Evening
We are committed to conferences being affordable and accessible, so fees are set as low as possible:
Online fee: £5
In-Person fee (includes online attendance on days 1 and 2): £20
Register to attend here.
Dr. Jan Butler (Senior Lecturer in Popular Music, Oxford Brookes University)
Dr. James Cateridge (Senior Lecturer in Film, Oxford Brookes University)
Dr. Matt Lawson (Senior Lecturer in Music, Oxford Brookes University)
Dr. Lindsay Steenberg (Reader in Film Studies, Oxford Brookes University)
The Sound on Screen research network at Oxford Brookes University are delighted to announce the call for papers for Sound on Screen IV, a three-day conference dedicated to exploring the intersection of sound, music, and screen media. We invite scholars and practitioners to submit abstracts for 15 to 20-minute individual papers, position papers, or complete three-paper panels that delve into any aspect of sound, sound design, or music for screen, emphasising innovative perspectives and methodologies.
While we pride ourselves on our broad, inclusive programme of papers, this year we are particularly interested in contributions that address understudied areas such as virtual reality, video games, interactive films in public locations or tourist attractions, and non-mainstream film and television. This is an opportunity to expand current methodologies and challenge traditional approaches to the study of sound and music in screen media.
Our call is open to scholars at all stages of their careers, from emerging postgraduate researchers or composers, to established academics and practitioners. We aim to foster an inclusive and supportive environment for dialogue and collaboration among participants.
The conference will be fully online on Tuesday 24th and Wednesday 25th June for individual papers, and in-person and hybrid on Thursday 26th June. For the final day, we invite three-paper panel proposals on any topic and position papers on the broader discipline and direction of screen music and sound studies. Individual papers are warmly invited for the opening two days only.
To submit a proposal, please provide an abstract of 250-300 words along with a brief bio of 100 words by the submission deadline of 24 January 2025. Proposals should clearly outline your paper's focus and methodology. All submissions should be sent to soundonscreen2025@outlook.com. Decisions will be sent out by the end of February 2025.
The first two days of the conference, Tuesday 24 and Wednesday 25 June 2025, will be online only.
The final day of the conference, Thursday 26 June 2025, will be run as a hybrid event and in person at Oxford Brookes University.
All sessions on 26 June will take place in the Headington Hill Hall and Gipsy Lane sites within Oxford Brookes University's Headington campus. This is a different area from Oxford city centre, roughly 30-40 minutes on foot and on the top of a hill called Headington Hill; it is a very pleasant walk, but be prepared!
If you are coming by car: Please note that there is very limited and expensive parking on site. The best option is to park at Thornhill Park and Ride, directly off the A40. Parking is only £2 for up to 16 hours, and there is a very convenient bus (400) that will take you to Brookes in about 10 minutes. The other Park and Ride sites (Redbridge and Seacourt) are further away and do not have a direct transportation link; also, avoid parking at the John Radcliffe Hospital as parking is expensive and limited. Finally, avoid Botley Road and the whole area around the station as there are roadworks affecting traffic and mobility.
If you are coming by train: Oxford has direct train links to major cities such as London and Birmingham, and access to many others (Reading, Bristol, Cardiff, etc.) via Didcot Parkway. Please note, however, that at the moment there are major engineering works between Didcot and Oxford to repair the Nuneham Viaduct: customers have to travel via replacement bus from Didcot, and this adds approximately 25 minutes to the journey time. Works should be done by the date of the conference, but please check before travelling. From the station, take any bus going up to Headington or Thornhill (280, 400, U1) and get off at Brookes. Alternatively, you can also walk 10 minutes to the Westgate centre and get bus number 8. If you are travelling via Oxford Parkway station, the best way is to travel to Headington bypassing the city centre, which you can do by taking the bus number 700 and getting off at Headington School, 5 minutes away from Brookes.
If you are coming by bus or coach: some buses (most notably the Oxford Tube, which connects Oxford and London via Victoria, Notting Hill, Shepherd's Bush, Hillingdon and Lewknor 24/7) will drop you directly at Brookes, but the majority of long-distance coaches will take you to Gloucester Green bus station. From there, you can walk 5 minutes to the Westgate centre and take buses 8, 280 or 400 to Brookes.
Accommodation in Oxford can be expensive. Headington, the Oxford suburb where our campus is located, has numerous independent guest houses that offer good value. The city centre is more expensive, but is well situated for the main tourist sites and restaurants. Other budget options include university accommodation (subject to availability), the Travelodge hotels at Peartree, Abingdon Road, and Wheatley, and the Premier Inn hotels in Cowley and Oxford Airport (Kidlington). These are all on major, frequent bus routes, and Oxford as a whole is well connected. If Oxford is proving too expensive, then it is possible to stay in surrounding towns such as Abingdon, Didcot, Bicester, and Banbury; all of which might offer more affordable options, and all of which connect to Oxford by bus and/or train.
Oxford is generally not a cheap city to eat out, but it offers an incredible variety of traditional, ethnic and modern eateries. Check out Cowley Road, stretching south-west from the city centre and walking distance from campus, for excellent cuisines from around the world, or try one of the historical pubs in the city centre. If you want something more modern and relaxed, the area around Magdalen Street, Cornmarket Street and the Westgate has lost of chain eateries.