Introduction: 'We Need to Hear Your Voices'

Wilcox, F

Introduction: 'We Need to Hear Your Voices'

Wilcox, F

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Publisher:: Routledge
Publication Type:: Chapter
Citation:: Women's Music for the Screen Diverse Narratives in Sound, 2022, pp. 1-11
Issue Date:: 2022-01-01

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Field	Value	Language
dc.contributor.author	Wilcox, F https://orcid.org/0000-0002-9031-6492
dc.contributor.editor	Wilcox, F https://orcid.org/0000-0002-9031-6492
dc.date.accessioned	2023-01-27T02:41:26Z
dc.date.available	2023-01-27T02:41:26Z
dc.date.issued	2022-01-01
dc.identifier.citation	Women's Music for the Screen Diverse Narratives in Sound, 2022, pp. 1-11
dc.identifier.isbn	0367210266
dc.identifier.isbn	9780367210267
dc.identifier.uri	http://hdl.handle.net/10453/165521
dc.description.abstract	Women’s Music for the Screen: Diverse Narratives in Sound addresses a current gap in screen soundtrack studies, focusing on the work of female-identifying composers. Using Hildur Guðnadóttir’s acceptance speech for her 2020 Oscar for Joker (2019) as an anchor, this chapter outlines the global phenomenon of women’s problematic underrepresentation in screen music, collating empirical data from several recent international surveys to impart a more nuanced understanding of the key issues and make a clear case for change. The book’s structure is outlined; 12 chapters present individual profiles of some of those women who have achieved the greatest visibility at the international level in the last 80 years: Bebe Barron, Delia Derbyshire, Wendy Carlos, Shirley Walker, Lolita Ritmanis, Laura Karpman, Anne Dudley, Rachel Portman, Lisa Gerrard, Mica Levi, Hildur Guðnadóttir, and Winifred Phillips. The book’s three case study chapters are also outlined: a survey of the barriers female-identifying screen composers face; an history of Japanese women’s music for video games; and a survey of Australian women’s music for television. This inaugural publication about women’s screen music sees several consistent threads emerge– namely, women’s rich contribution to electronic music scores; women’s skill at negotiating adaptive career paths as wives, mothers, and minorities; their capacity to tap the emotional vein of narratives to enrich screen scores, and their advocacy against the gendered disadvantage so prevalent in their field.
dc.format.extent	16
dc.language	en
dc.publisher	Routledge
dc.relation	http://purl.org/au-research/grants/arc/DE230100693
dc.relation.ispartof	Women's Music for the Screen Diverse Narratives in Sound
dc.relation.isbasedon	10.4324/9780429264924-1
dc.rights	info:eu-repo/semantics/closedAccess
dc.title	Introduction: 'We Need to Hear Your Voices'
dc.type	Chapter
pubs.organisational-group	/University of Technology Sydney
pubs.organisational-group	/University of Technology Sydney/Faculty of Arts and Social Sciences
utslib.copyright.status	closed_access	*
pubs.consider-herdc	true
dc.date.updated	2023-01-27T02:41:25Z
pubs.place-of-publication	New York
pubs.publication-status	Published
dc.location	New York

Abstract:

Women’s Music for the Screen: Diverse Narratives in Sound addresses a current gap in screen soundtrack studies, focusing on the work of female-identifying composers. Using Hildur Guðnadóttir’s acceptance speech for her 2020 Oscar for Joker (2019) as an anchor, this chapter outlines the global phenomenon of women’s problematic underrepresentation in screen music, collating empirical data from several recent international surveys to impart a more nuanced understanding of the key issues and make a clear case for change. The book’s structure is outlined; 12 chapters present individual profiles of some of those women who have achieved the greatest visibility at the international level in the last 80 years: Bebe Barron, Delia Derbyshire, Wendy Carlos, Shirley Walker, Lolita Ritmanis, Laura Karpman, Anne Dudley, Rachel Portman, Lisa Gerrard, Mica Levi, Hildur Guðnadóttir, and Winifred Phillips. The book’s three case study chapters are also outlined: a survey of the barriers female-identifying screen composers face; an history of Japanese women’s music for video games; and a survey of Australian women’s music for television. This inaugural publication about women’s screen music sees several consistent threads emerge– namely, women’s rich contribution to electronic music scores; women’s skill at negotiating adaptive career paths as wives, mothers, and minorities; their capacity to tap the emotional vein of narratives to enrich screen scores, and their advocacy against the gendered disadvantage so prevalent in their field.

Please use this identifier to cite or link to this item:

http://hdl.handle.net/10453/165521