[Commlist] Music, Sound, and the Moving Image: audiovisual essays as videographic film criticism

The editors of /Music, Sound, and the Moving Image 
<https://www.liverpooluniversitypress.co.uk/journal/msmi>/ (/MSMI/) are 
delighted to announce a new initiative: the publication of 
double-anonymous peer-reviewed audiovisual essays in a *free to 
read* and audioview format.

We hear from them how this ground-breaking initiative came about, as 
they also invite contributions in this format for publication in future 
issues.

/MSMI/ is the first international scholarly journal devoted to the study 
of the interaction between music and sound in moving image media, 
including film, television, music video, advertising, computer games, 
mixed-media installation, digital art, live cinema, et alia.

The editors of /MSMI/ invite scholars at all stages of their career or 
study to submit work that is themed around the relationship between 
music, sound, and the moving image, in line with the remit of this 
journal. In our recent issues, we began the new initiative of including 
audiovisual contributions, which are being published alongside written 
open-access components on the journal’s website. The written statement 
(250–500 words) accompanying the audiovisual essay is also being 
published in the pages of the journal with a link to the audiovisual work.

Submitted audiovisual works to the journal have been double-anonymous 
peer-reviewed, and we will continue to do so. Unless there is a 
voice-over that gives away the identity of the maker, the process will 
involve reviewing work with no other personal identifiers. To this end, 
we invite submissions with no identifying credits attached to the work. 
As far as we are aware, /MSMI /will be the first journal to offer such 
an approach in what has become a rapidly growing field of videographic 
film criticism.

This initiative has come about due to the specialisations within the 
editorial team. Both Neepa Majumdar and Liz Greene make audiovisual 
essays. Majumdar is a co-editor of the prestigious journal 
/[in]Transition/ and Greene has guest edited special issues of 
/Necsus/ on sound and music for screen media. We envision each future 
issue of the journal to contain at least one audiovisual essay, in 
addition to the usual three written essays and book reviews section, but 
there are already plans in place for themed and guest-edited audiovisual 
essay issues of the journal.

– *Editors:
*Ben Winters, The Open University
Neepa Majumdar, University of Pittsburgh
Liz Greene, Liverpool John Moores University

*Submit your work*

If you are interested in submitting this type of work to the journal, 
please take a look at our submission guidelines 
<https://www.liverpooluniversitypress.co.uk/pb-assets/documents/Journals/msmi_styleguide-1678789824.pdf> and 
get in touch with the editors of the journal at (msmijournal /at/ gmail.com) 
<mailto:(msmijournal /at/ gmail.com)>.

*Audiovisual Essays*

**

*Video Essay: Footsteps*

By *Evelyn Kreutzer *
MSMI Volume 16.2

/“Due in part to Hitchcock’s careful, hierarchical approach to sound 
balance, and perhaps also to historical and technological conventions in 
sound recording and mixing as well as trends in shoe manufacturing and 
fashion, the sounds of Cary Grant’s, Tipi Hedren’s, and James Stewart’s 
heels seemed to produce more distinct and/or affirmative sounds than 
those of my own world and time, and they became attached to my 
Ur-fascination with cinema’s ability to capture and replay a moment in 
time”./

  * EVELYN KREUTZER
//

Watch for free > 
<https://www.liverpooluniversitypress.co.uk/doi/10.3828/msmi.2022.7>

*Video Essay: Insincere Inclusion? Ignorant Appropriation? A Symphony 
Orchestra Plays South Indian Film Music*

By  Sureshkumar P. Sekar
MSMI Volume 17.1

/“ I kept thinking about the meaning lost in translation, both in Hindi 
dialogues and lyrics and English subtitles. The meaning of the spoken 
word was not the only element that was lost in translation; some of the 
meaning of the score was also lost. Melodic parts that were played with 
traditional Indian instruments in the film’s recorded score were 
reproduced on stage with non-Indian instruments. This caused the 
film/music to lose some of its cultural specificity and therefore its 
syncretic affectivity”./

  * SURESHKUMAR P. SEKAR
//

Watch for free > 
<https://www.liverpooluniversitypress.co.uk/doi/10.3828/msmi.2023.4>

*Sign up to receive new issue alerts*

To sign up to table of contents alerts from /MSMI /and receive a 
notification when new issues are published, visit the /MSMI/ home page 
<https://www.liverpooluniversitypress.co.uk/journal/msmi> and click the 
‘sign up to TOC alerts’ button.


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