Book Manuscripts

An Acoustic Ecology of the Cinema. Monograph under contract with Oxford University Press (expected 2018).

Sound, Media, Ecology. Edited collection (with Milena Droumeva). Under review at Palgrave MacMillan.

Peer Reviewed Essays

Book Chapters

Unsettling the Soundtrack: Acoustic Profiling and the Documentation of Community and Place. The Routledge Companion to Screen Music and Sound. Miguel Mera, Ron Sadoff, and Ben Winters, eds. New York: Routledge, 2017.

Acoustical Properties: Practicing Contested Spaces in the Films of Philippe Grandrieux. The Oxford Handbook of Sound and Image in Western Art. Yael Kaduri, ed. Oxford: Oxford University Press, 2016. Publisher’s info here. Local PDF here.

Seeing Then, Hearing Now: Audiovisual Counterpoint at the Intersection of Dual Production Contexts in Larry Kent’s Hastings Street. Cinephemera: Archives, Ephemeral Cinema, and New Screen Histories in Canada. Zoë Druick and Gerda Cammaer, eds. McGill-Queen’s University Press, 2014: 232-255. Publisher’s info here.

Waren noch andere Explosionen zu hören? Audiovisuelle (A)Synchronität in den Medien des 21. Jahrhunderts am Beispiel des Films 9/11 der Brüder Naudet. (Hearing Secondary Explosions: The Naudet Brothers’ 9/11 and Audiovisual (A)Synchronization in 21st Century Media). German translation in Ton. Texte zur Akustik im Dokumentarfilm. Volko Kamensky and Julian Rohrhuber, ed. Berlin: Vorwerk 8, 2013: 272-295. Publisher’s info here.

Film Sound, Acoustic Ecology, and Performance in Electroacoustic Music. In Music, Sound and Multi-Media. Jamie Sexton, ed. University of Edinburgh Press, 2007:121-141. Ebook access here. Local PDF here.

The Mask that Conceals Nothing: On the Concepts of Marital Fidelity and the Lo-Fi Soundscape in Eyes Wide Shut. In Stanley Kubrick: Explorations into His Films and Legacy. Gary Rhodes, ed. Jefferson: McFarland, 2008:157-169. Publisher’s info here.

The Dual Substance of Cinema: What Kazantzakis’s Christ can teach us about Sound/Image Relationships in Film. In Scandalizing Jesus: Kazantzakis’s Last Temptation of Christ Fifty Years On. Darren J. Middleton, ed. New York: Continuum, 2005: 203-216. Publisher’s info here. Local PDF here.

Journal Articles

“Oh What a Beautiful City”: Performing Transitional Vancouver in the CBUT’s City Song. Cinephile 10, no. 1 (Summer 2014): 33-38. Local PDF here.

The Ecology of Listening while Looking in the Cinema: Reflective Audioviewing in Gus Van Sant’s Elephant. Organised Sound 17, no. 3 (Dec. 2012). Journal access here. Local PDF here.

Audiovisual Ecology in the Cinema. Cinephile 6, no. 1 (Spring 2010): 25-30. Open access here.

The Visible Acousmêtre: Voice, Body and Space Across the Two Versions of Donnie Darko. Music, Sound and the Moving Image 3, no. 1 (Spring 2009): 47-70. Journal access here. Local PDF here.

Public Scholarship

Unsettling the World Soundscape Project: The Bell Tower of False Creek, Vancouver. Sounding Out! (Sept. 3, 2015). Open access here.

Bell Tower of False Creek. Soundscape: The Journal of Acoustic Ecology 14, no. 1 (Winter/Spring 2014-15): 16-20. Local PDF here.

Unsettled Listening: Integrating Film and Place. Sounding Out! (Aug. 14, 2014). Open access here.

Journal / Blog Series Editing

Unsettling the World Soundscape Project. Sounding Out! (Aug./Sept. 2015) (3 posts). Open access here.

The Vancouver Papers. Special issue of, Offscreen 18, nos. 11-12 (Nov./Dec. 2014) (10 essays). Open access here.

Sound in the Cinema and Beyond. Special issue of, Offscreen 11, nos. 8-9 (August/Sep. 2007) (10 essays). Open access here.

Essays in Conference Proceedings

Modernidad arquitectónica, ecología acústica y representación cinemática: Playtime de Jacques Tati y el proyecto de Diseño Acústico de Murray Schafer. (Architectural Modernity, Acoustic Ecology, and Cinematic Representation: Jacques Tati’s Playtime and R. Murray Schafer’s project of Acoustic Design). Spanish Translation in, Megalópolis sonoras: Identidad cultural y sonidos en peligro de extinción. (Sound Megalopolis: Cultural Identity and Sounds in Danger of Extinction). Proceedings of the WFAE (World Forum for Acoustic Ecology) 2009 conference. Perla Olivia Rodríguez Reséndiz, ed. Mexico City: Fonoteca Nacional, 2009:453-463.

Book Reviews

Review of Re-Agitator: A Decade of Writing on Takashi Miike, by Tom Mes. Offscreen 17, no. 5 (May 31st 2013). Open access here.

Review of Pervert in the Pulpit: Morality in the Works of David Lynch, by Jeff Johnson. The Journal of Popular Film and Television 37, no. 1 (Spring 2009): 45-46. Journal access here.

Selected Blog Posts

Sound Writing Practices. The Schizophone (Nov. 13, 2013). Open access,

Mapping the WSP Archive. The Schizophone (Sept. 14, 2013). Open access,

Synoptique Column (2004-2005)

Squalid Infidelities 4: Chasing the Diegetic Dragon. Synoptique 10 (Aug 2005). Open access here

Squalid Infidelities 3: Big Fun in my Living Room. Synoptique 9 (May 2005). Open access here.

Squalid Infidelities 2: Worshiping Surface with Eyes Wide Shut. Synoptique 7 (Feb. 2005). Open access here.

Squalid Infidelities 1: A Question of Definition. Synoptique 5 (Nov. 2004). Open access here.

Selected Reviews and Commentary

The Passion of the Zone: Ecological Shortsightedness and the Limits of Auditory Extension in Andrei Tarkovsky’s Stalker. Offscreen 20, no. 5 (May 2016). Open access here.

Spotlight Essay: Defining Vancouver in Sylvia Spring’s Madeleine Is… / Scene Reviews: The Bitter AshWolfpen PrincipleSkip Tracer. In World Film Locations: Vancouver. Rachel Walls, ed. Bristol: Intellect Ltd., 2013. Publisher’s info here.

L’évidence du film. Hors champ (Oct. 9 2012). Published in conjunction with the retrospective of the films of Philippe Grandrieux at Féstival Nouveau Cinéma in Montreal. Open access here.

Resonance of the Soul: The Function of a Sound Motif in The Clone Returns Home. Offscreen 14, no. 5 (May 2010). Open access here.

4’33” in the Soundscape of a Haunted Guggenheim. The Schizophone (May 9, 2010). Open access here.

Movimento e stasi I film di Ishii Sogo. Co-authored with Peter Rist. (Movement and Stasis in the Films of Sogo Ishii). Italian translation in, Cinergie 19 (Spring 2010): 34-35.

Emerging from Loss: Hearing Regained. Commentary in, Soundscape: The Journal of Acoustic Ecology 6, no. 1 (Winter 2006): 23-25. Open access here.

Sonic Fiction: Synaesthetic Videos from Austria. DVD review essay in, Offscreen 9, no. 11 (Nov. 2005). Open access here.

Life on the Edge of Perception: Immobility in Recent Video Installations. Review essay in, Ciel Variable 67 (Summer 2005): 28-29. Open access here.

Melodrama for a Dying Medium: Richard Kerr’s Adventures on the Periphery. In the Exhibition Catalogue for Richard Kerr’s Industry show, Nov. 4 2004 – Jan. 23 2005. Cinémathèque Québécoise, Montreal, QC.

Suicide is for the Birds: Takashi Miike’s Tales of De-Territorializing Flight at Fantasia 2003 and Beyond. Offscreen (Oct. 2003). Open access here.

The Echopeople: Reflections on the Concept of Echolocation in Gerry. Offscreen (March 2003). Open access here.

Brakhage’s Silent Legacy for Sound Cinema. Offscreen (Feb. 2003). Open access here.

Transcending the Fragmentation of Experience: The Acousmêtre On the Air in the Films of Michael Snow. Offscreen (Nov. 2002). Open access here.


Psycho-Geographies of the World to Come: A Conversation with Trevor Mowchun at the Montreal Premiere of His First Feature Film. Offscreen [open article]. Open access here.

(with Donato Totaro) She Who Must Burn: Interview with Larry Kent. Offscreen 19, no. 4 (April 2015). Open access here.

Jack Darcus: The Offscreen Interview. Offscreen 18, nos. 11-12 (Nov./Dec. 2014). Open access here.

The Work of Hildegard Westerkamp in the Films of Gus Van Sant: An Interview with the Soundscape Composer. Offscreen 11, nos. 8-9 (August/Sep. 2007). Open access here.

(with Adam Rosadiuk) Industry: An Interview with Richard Kerr. Synoptique (Nov. 2004). Open access here.

Festival Coverage

Artifacts of Age: A Fragmentary Recollection of Fantasia 2015. Offscreen 20, no. 6 (June 2016).

Kid Power: Children in the Movies at Fantasia 2014. Offscreen 19, no. 4 (April 2015).

A Lesson of the Evil at Fantasia 2013. Offscreen 18, no. 5 (May 2014).

Fantasia 2011: Turning the Rear-View Mirror. Offscreen 16, no. 5 (May 2012).

Fantasia 2010, Part Two: Year of the Doll. Offscreen 15, no. 4 (April 2011).

Forevermore: Longevity at Fantasia 2010. Offscreen 15, no. 4 (April 2011).

Fantasia 2009. Offscreen 14, no. 5 (May 2010).

Festival Nouveau Cinéma 2009: The Long End of the Short. Offscreen 13, no. 12 (Dec. 2009).

Town and Country: City Films and the Wilderness at Festival Nouveau Cinema 2008. Offscreen 13, no. 5 (May 2009).

A Dozen Defining Moments from Fantasia 2008. Offscreen 12, no. 11 (Nov. 2008).

America Goes Green at Fantasia 2007. Offscreen 12, no. 3 (March 2008).

Lights in the Dusk: Beautiful Beasts at FCN 2006. Offscreen 10, no. 11 (Nov. 2006).

Fantasia 2006: A Strange Circus Indeed. Offscreen 10, no. 9 (Sept. 2006).

Pregnant Silences: Waiting in Expectation at Fantasia 2004/05. Offscreen 9, no. 8 (Aug. 2005).

Suicide, Regeneration, and a Tear Upon Waking: Fantasia 2003. Offscreen (Oct. 2003).

FCMM 2002: Short Films Exposed. Offscreen (Dec. 2002).

Comedia 2002: Documentaries and Shorts. Offscreen (July 2002).

Mutek 2002 – Part One: Panels and Critical Discourse. Offscreen (May 2002).

Mutek 2002 – Part Two: The Performances. Offscreen (May 2002).

Mutek 2002 – Part Three: The Films. Offscreen (May 2002).

Sounding Off: Report on FCMM 2001. Offscreen (Dec. 2001).

Fantasia 2001 Report: Post 9/11. Offscreen (Sept. 2001).

Fantasia 2001: Mid-Festival Report. Offscreen (July 2001).