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The Sonic Gaze

Hearing Multimedia Critically

  • 2025
  • Book
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About this book

This book provides a framework with which to critically hear multimedia. In the digital age, where streaming and social media are the consumable medias of choice, sound is an undeniably important part of modern multimedia. Over the last 30 years, film and television have undergone major technological transformations, not the least of which is the shift from analog to digital means of reproduction. This shift was not done in a vacuum, but part of global shift in the political landscape. Amassing technological advances in tandem with the growing rift between the working and ruling class launched us deep into late capitalism. This book uses the lens of late capitalism from 1990–2020 to contextualize sonic power dynamics present throughout mass multimedia in the United States. The book examines animated serials featuring women antagonists and their soundscapes as a means of deconstructing the oppressive sonic structures present in their respective multimedia(s). The book utilizes a phenomenological approach to view these power dynamics, using the Sonic Gaze as a framework to view and recognize oppressive sound structures against women, femmes, and non-binary confirming folx. By listening to portrayals of these women of power, the book hears them from a slant, allowing for an examination of power.

Table of Contents

Frontmatter
Chapter 1. Introducing the Sonic Gaze
Abstract
“Introducing the Sonic Gaze” lays the theoretical foundation for the Sonic Gaze framework.
T. J. Laws-Nicola
Chapter 2. Hearing Agency
Abstract
“Why are the Bullies Blonde?” examines how the Sonic Gaze can function through “girl power,” as popularized in the 1990s, with Hey Arnold!’s (1996–2004) Helga Pataki as the centerpiece.
T. J. Laws-Nicola
Chapter 3. Sounding Fascism
Abstract
“Sounding Fascism” expands on the relationship between television and fascism through analysis of key antagonists from Legend of Korra and Steven Universe.
T. J. Laws-Nicola
Chapter 4. Existence as Resistance
Abstract
“Existence as Resistance” examines the overlap between the Sonic Gaze and the sonic color line through a focused study on Black femme antagonists in three television shows: As Told by Ginger (2000–2006), Star Wars: Resistance (2018–2020), and Vixen (2015–2016).
T. J. Laws-Nicola
Chapter 5. Sonic Destruction
Abstract
“Sonic Destruction” analyzes the musical treatment of Carmen Sandiego from the series Where on Earth is Carmen Sandiego? (1994–1999), using the Sonic Gaze to highlight musical colonialism.
T. J. Laws-Nicola
Chapter 6. Putting Her (Sound) in Her Place
Abstract
“Putting Her (Sound) in Her Place” centers on representation, both in and outside of the Screen, and how we process and hear these events through the Sonic Gaze.
T. J. Laws-Nicola
Chapter 7. It Sounds Like Witchcraft
Abstract
“It Sounds Like Witchcraft” takes a look at the 1992–1993 animated television series King Arthur and the Knights of Justice, using the Sonic Gaze to examine power and the patriarchy through Morgana.
T. J. Laws-Nicola
Chapter 8. Being Mouthy
Abstract
“Being Mouthy” applies the Sonic Gaze framework to timbre as well as music through three different series: Uncle Grandpa (2013–2017), Trollhunters: Tales of Arcadia (2016–2018), and Infinity Train (2019–2021). In each of these shows, Lena Headey voices the main antagonist.
T. J. Laws-Nicola
Chapter 9. The Sonic Gaze
Abstract
“The Sonic Gaze” expands the Sonic Gaze to include elements and events outside of the examples used in this study.
T. J. Laws-Nicola
Backmatter
Title
The Sonic Gaze
Author
T.J. Laws-Nicola
Copyright Year
2025
Electronic ISBN
978-3-032-06862-0
Print ISBN
978-3-032-06861-3
DOI
https://doi.org/10.1007/978-3-032-06862-0

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