Assistant Professor (Limited Term Appointment), Cinema
See my website for full details:
Sound, Media, Ecology. Edited collection (with Milena Droumeva). https://www.palgrave.com/us/book/9783030165680
Manuscript in Preparation
An Acoustic Ecology of the Cinema. Monograph under contract with Oxford University Press (expected 2020).
Re-placing the Vancouver Soundscape: Performing Documentary Research in False Creek. Critical Distance: New Explorations in Documentary Theory and Practice. Gerda Cammaer, Blake Fitzpatrick, and Bruno Lessard, eds. London: Palgrave Macmillan.
Unsettling the Soundtrack: Acoustic Profiling and the Documentation of Community and Place. In The Routledge Companion to Screen Music and Sound. Miguel Mera, Ron Sadoff, and Ben Winters, eds. New York: Routledge, 2017.
“Oh What a Beautiful City”: Performing Transitional Vancouver in the CBUT’s City Song. Cinephile 10, no. 1 (Summer 2014): 33-38.
Waren noch andere Explosionen zu hören? Audiovisuelle (A)Synchronität in den Medien des 21. Jahrhunderts am Beispiel des Films 9/11 der Brüder Naudet. (Hearing Secondary Explosions: The Naudet Brothers’ 9/11 and Audiovisual (A)Synchronization in 21st Century Media). German translation in Ton. Texte zur Akustik im Dokumentarfilm. Volko Kamensky and Julian Rohrhuber, ed. Berlin: Vorwerk 8, 2013: 272-295.
The Ecology of Listening while Looking in the Cinema: Reflective Audioviewing in Gus Van Sant’s Elephant. Organised Sound 17, no. 3 (Dec. 2012).
Audiovisual Ecology in the Cinema. Cinephile 6, no. 1 (Spring 2010): 25-30.
The Visible Acousmêtre: Voice, Body and Space Across the Two Versions of Donnie Darko. Music, Sound and the Moving Image 3, no. 1 (Spring 2009): 47-70.
Film Sound, Acoustic Ecology, and Performance in Electroacoustic Music. In Music, Sound and Multi-Media. Jamie Sexton, ed. University of Edinburgh Press, 2007:121-141.
The Mask that Conceals Nothing: On the Concepts of Marital Fidelity and the Lo-Fi Soundscape in Eyes Wide Shut. In Stanley Kubrick: Explorations into His Films and Legacy. Gary Rhodes, ed. Jefferson: McFarland, 2008:157-169.
The Dual Substance of Cinema: What Kazantzakis’s Christ can teach us about Sound/Image Relationships in Film. In Scandalizing Jesus: Kazantzakis’s Last Temptation of Christ Fifty Years On. Darren J. Middleton, ed. New York: Continuum, 2005: 203-216.
Selected Public Scholarship
Unsettling the Film History Classroom through Sound. Cinema Journal Teaching Dossier 5, no. 2 (Re-visiting the Film History Survey, edited by Paul McEwan and Allison Whitney). http://www.teachingmedia.org/unsettling-the-canadian-film-history-classroom-through-sound/
Interférence : la géographie sonore chez David Lynch. 24 Images 184 (October 2017). Translated by Bruno Dequen.
Unsettling the World Soundscape Project: The Bell Tower of False Creek, Vancouver. Sounding Out! (Sept. 3, 2015). Open access, http://soundstudiesblog.com/2015/09/03/unsettling-the-world-soundscape-project-the-bell-tower-of-false-creek-vancouver/
Essays in Preparation
Pole Positions: Exposure and Intersection on Indigenous Land Under Vancouver’s Burrard Bridge. Critical Topography. Gerda Cammaer, Blake Fitzpatrick, and Bruno Lessard, eds. Montreal: McGill-Queen’s University Press. (1500 words; copy-editing in progress; expected 2018).
Listening to Films Outside the Classroom: Acoustic Ecology’s Pedagogical Value for Film Studies. The Oxford Handbook of Cinematic Listening. Carlo Cenciarelli, ed. (6000 words; revisions in progress; expected 2020)
AcousticProfiling in Hogan’s Alley: Mapping Intersectional Soundways in the LostVancouver Neighborhood of Stan Douglas’ iOS app Circa 1948. The Interactive Documentary in Canada. Michael Baker and Jessica Mulvogue, eds. McGill-Queen's University Press. (6000 words; revisions in progress, expected 2020).
Listening from the Empty Booth: Performing the Grateful Dead Audience in Amir Bar-Lev's Long Strange Trip. Images of Sound and Fury: Mapping the Rockumentary Genre. Edited by Gunnar Iverson and Scott MacKenzie. (6000 words; revisions in progress; expected 2020).
Guest editor, Returning to Twin Peaks. Special issue of, Offscreen 21, nos. 11-12 (Nov./Dec. 2017) (10 essays).
Guest editor, Twenty Years of Takashi Miike at the Fantasia International Film Festival. Special issue of, Offscreen 21, no. 3 (March 2017).
Guest editor, Unsettling the World Soundscape Project. Blog series on, Sounding Out! (August/Sept., 2015).
Guest editor, The Vancouver Papers. Special issue of, Offscreen 18, nos. 11-12 (Nov./Dec. 2014) (10 essays).
Guest editor, Sound in the Cinema and Beyond. Special issue of, Offscreen 11, nos. 8-9 (August/Sep. 2007) (10 essays).
Bell Tower of False Creek: Hearing Urban Mobility around Vancouver’s Burrard Bridge. Presented at, Critical Topography, May 20-22, 2015, Critical Topography Research Group, Trent University, Peterborough, ON, Canada; Documentary Media Research Centre, Ryerson University, Toronto, ON, Canada. Info here.
Unsettled Listening: An Acoustic Ecology of the Cinema. Presented by invitation in the Film and Digital Media Department at University of California, Santa Cruz, February 12, 2015.
Longitudinal Listening: Mapping Soundscape Histories Across Media. Presented by invitation as part of the Background / ThisPlace exhibition, May 23, 2013, Grunt Gallery, Vancouver, BC, Canada.
Constructing an Acoustic History of Vancouver on Film. Presented by invitation at, The Sound of Architecture (J. Irwin Miller Symposium). Oct. 4-6, 2012, Yale School of Architecture, Yale University, New Haven, Connecticut, USA.
The Schizophonic Imagination: Audiovisual Ecology in the Cinema. Presented by invitation in the context of a public lecture series by short-listed candidates for a tenure-track position in film studies at Concordia University, Jan. 6, 2012.
Visual Music Cinema and the Ideologies of Sound/Image Synchronization. Presented by invitation at, Sound Studies Working Group, Oct. 28, 2012, Center for Interdisciplinary Studies in Society and Culture, Concordia University, Montreal, QC, Canada.
A New Model for the Compilation Film Soundtrack: Soundscape Composition in the Films of Gus Van Sant. Presented by invitation at, SEMCINE IV (International Film and Audiovisual Seminar). July 21-26, 2008, Salvador, Bahia, Brazil.
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