University of Hertfordshire

By the same authors

Visualising Video Palace: The Sound of Monstrosity

Research output: Contribution to conferencePaper

Standard

Visualising Video Palace: The Sound of Monstrosity. / McMurdo, Shellie.

2019. Paper presented at Embodying Fantastika.

Research output: Contribution to conferencePaper

Harvard

McMurdo, S 2019, 'Visualising Video Palace: The Sound of Monstrosity', Paper presented at Embodying Fantastika, 8/08/19 - 10/08/19.

APA

McMurdo, S. (2019). Visualising Video Palace: The Sound of Monstrosity. Paper presented at Embodying Fantastika.

Vancouver

McMurdo S. Visualising Video Palace: The Sound of Monstrosity. 2019. Paper presented at Embodying Fantastika.

Author

McMurdo, Shellie. / Visualising Video Palace: The Sound of Monstrosity. Paper presented at Embodying Fantastika.

Bibtex

@conference{6ae0b189648e4859b68f67938a231cf9,
title = "Visualising Video Palace: The Sound of Monstrosity",
abstract = "Video Palace is an intriguing text through which to examine monstrous embodiment, as the presence, texture, and appearance of its monsters is reconceptualised through sound alone. This paper will demonstrate how Video Palace uses what could be considered {"}bad{"} noise, such as distortion, glitches, and interference, to assist the audience in their visualisation of monstrosity, and examine how it pushes its diegetic recording technology to the point of (faux) breakdown to imply monstrous forms that cannot be contained by the medium.The anxieties present in Video Palace circulate around both old and new media forms, the uncanny possibilities of technology, and the fragile boundaries between realms. Through noise, the podcast creates monstrous beings that straddle a spectral past full of fading memories of VHS rentals stores and the technologies of our current cultural moment. This paper will therefore investigate how the {"}bad{"} noises in Video Palace are utilised to underline both its horror and its authenticity.This paper will present Video Palace as representative of a new and innovative subgenre of podcasts that are connected to, but different from, found footage horror cinema, and in doing so will demonstrate how Video Palace encourages a form of active listening during which the audience lean into the sound, recreating the found footage horror subgenre on a purely audio level.Video Palace not only uses {"}bad{"} sound, distortion, and glitches to assist the listener in their visualisation of monstrous bodies. It is also concerned with the physiological reactions we can have to sound, and as such this paper will connect it to earlier binaural radio plays and accounts of real life horror without visual referent, while showing how it utilises the podcast form to create monsters for the digital age.",
author = "Shellie McMurdo",
year = "2019",
language = "English",
note = "Embodying Fantastika ; Conference date: 08-08-2019 Through 10-08-2019",

}

RIS

TY - CONF

T1 - Visualising Video Palace: The Sound of Monstrosity

AU - McMurdo, Shellie

PY - 2019

Y1 - 2019

N2 - Video Palace is an intriguing text through which to examine monstrous embodiment, as the presence, texture, and appearance of its monsters is reconceptualised through sound alone. This paper will demonstrate how Video Palace uses what could be considered "bad" noise, such as distortion, glitches, and interference, to assist the audience in their visualisation of monstrosity, and examine how it pushes its diegetic recording technology to the point of (faux) breakdown to imply monstrous forms that cannot be contained by the medium.The anxieties present in Video Palace circulate around both old and new media forms, the uncanny possibilities of technology, and the fragile boundaries between realms. Through noise, the podcast creates monstrous beings that straddle a spectral past full of fading memories of VHS rentals stores and the technologies of our current cultural moment. This paper will therefore investigate how the "bad" noises in Video Palace are utilised to underline both its horror and its authenticity.This paper will present Video Palace as representative of a new and innovative subgenre of podcasts that are connected to, but different from, found footage horror cinema, and in doing so will demonstrate how Video Palace encourages a form of active listening during which the audience lean into the sound, recreating the found footage horror subgenre on a purely audio level.Video Palace not only uses "bad" sound, distortion, and glitches to assist the listener in their visualisation of monstrous bodies. It is also concerned with the physiological reactions we can have to sound, and as such this paper will connect it to earlier binaural radio plays and accounts of real life horror without visual referent, while showing how it utilises the podcast form to create monsters for the digital age.

AB - Video Palace is an intriguing text through which to examine monstrous embodiment, as the presence, texture, and appearance of its monsters is reconceptualised through sound alone. This paper will demonstrate how Video Palace uses what could be considered "bad" noise, such as distortion, glitches, and interference, to assist the audience in their visualisation of monstrosity, and examine how it pushes its diegetic recording technology to the point of (faux) breakdown to imply monstrous forms that cannot be contained by the medium.The anxieties present in Video Palace circulate around both old and new media forms, the uncanny possibilities of technology, and the fragile boundaries between realms. Through noise, the podcast creates monstrous beings that straddle a spectral past full of fading memories of VHS rentals stores and the technologies of our current cultural moment. This paper will therefore investigate how the "bad" noises in Video Palace are utilised to underline both its horror and its authenticity.This paper will present Video Palace as representative of a new and innovative subgenre of podcasts that are connected to, but different from, found footage horror cinema, and in doing so will demonstrate how Video Palace encourages a form of active listening during which the audience lean into the sound, recreating the found footage horror subgenre on a purely audio level.Video Palace not only uses "bad" sound, distortion, and glitches to assist the listener in their visualisation of monstrous bodies. It is also concerned with the physiological reactions we can have to sound, and as such this paper will connect it to earlier binaural radio plays and accounts of real life horror without visual referent, while showing how it utilises the podcast form to create monsters for the digital age.

M3 - Paper

T2 - Embodying Fantastika

Y2 - 8 August 2019 through 10 August 2019

ER -