Table of Contents

Introduction: Sci Fidelity - Music, Sound and Genre History by Philip Hayward; 1. Hooked on Aetherophonics: The Day The Earth Stood Still, by Rebecca Leydon; 2. Atomic Overtones and Primitive Undertones: Akira Ifukube's Sound Design for Godzilla, by Shuhei Hosokawa; 3. Forbidden Planet: Effects and Affects in the Electro Avant Garde, by Rebecca Leydon; 4. The Transmolecularisation of [Black] Folk: Space is the Place, Sun Ra and Afrofuturism, by Nabeel Zuberi; 5. Nostalgia, Masculinist Discourse, and Authoritarianism in John Williams' Scores for Star Wars and Close Encounters of the Third Kind, by Neil Lerner; 6. Sound and Music in the Mad Max trilogy, by Rebecca Coyle; 7. 'These are my nightmares': Music and Sound in the films of David Cronenberg, by Paul Theberge; 8. Ambient Soundscapes in Blade Runner, by Michael Hannan and Melissa Carey; 9. 'I'll be back': Recurrent sonic motifs in James Cameron's Terminator films, by Karen Collins; 10. Inter-Planetary Soundclash: Music, Technology and Territorialisation in Mars Attacks!, by Philip Hayward; 11. Mapping The Matrix: Virtual Spatiality and the realm of the perceptual, by Mark Evan

Promotional Information

A stimulating and diverse collection of essays on aspects of music, sound and science fiction cinema

About the Author

The editor, Philip Hayward, is Professor of Contemporary Music Studies at Macquarie University, Sydney and co-editor of Perfect Beat - The Pacific Journal of Research into Contemporary Music and Popular Culture. He has written and edited several previous books, including Culture, Technology and Creativity in the Late 20th Century (1991), Future Visions: New Technologies of the Screen (1994) and Widening the Horizon: Exoticism in Post-War Popular Music (1999).