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Video games and film share many similar characteristics from both a
narrative and musical perspective. These media present compelling stories
to their respective audience by incorporating similar plot devices, which
are enhanced by soundtracks that often endure similar compositional
techniques. Among these are the use of recurring associative themes,
leitmotivic scoring, transformative procedures, and the manipulation of
diegetic and nondiegetic boundaries.

Despite these similarities, musical scoring to video games differ greatly
from their cinematic counterpart. This may be due most notably to the fact
that video games enjoy a deeper level of interaction with their players
than films do with their audiences. As a result, time is experienced much
differently among the two mediums. While films may span only a few hours,
video games may span hundreds of hours, requiring different compositional
strategies in its scoring.

With the abundance of games based on pre-existing films, films based on
pre-existing games, and original role-playing games drawing on filmic
techniques and narratives, we have a unique opportunity to strengthen our
understanding of music’s role in these two similar, yet unique mediums. We
are looking for writers who are interested in in contributing their
research regarding music in the so-called “film-based video game” and the
“game-based movie.” Topics may include (not limited to):

   - Comparative analyses of compositional procedures in film and video
   game music (leitmotifs, idée fixes, diegetic/non-diegetic music, etc.)
   - Comparative analyses of filmic and ludic techniques and music’s role
   among them.
   - Nostalgia, memory, and/or legacy among the two mediums
   - Exploration of trans-medial relationship with other mediums (TV shows,
   fan-based webisodes, cartoons, commercials, etc.)
   - Ludic/musical/filmic methods of representation (race, gender,
   ethnicities, etc.)

The book will be split into four sections:

   - Games based on films (e.g. Star Wars)
   - Films based on games (e.g. Silent Hill)
   - Games serving as sequels, prequels, and parallels to films (e.g.
   Ghostbusters: Afterlife, Matrix Reloaded)
   - RPGs that incorporate cinematic compositional techniques

Completed chapters should be between 7000 and 10000 words. Successful
chapters should explore compositional processes in both film and video
games as a comparative analysis.
Please send abstracts (~300 words) and a bio to richanatonemusic -at- by March 31, 2021. 


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