The turn of the millennium has heralded an outgrowth of culture that demonstrates an awareness of the ephemeral nature of history and the complexity underpinning the relationship between location and the past. This has been especially apparent in the shifting relationship between landscape, memory and sound in film, television and other media. The result is growing interest in soundtracks, as part of audiovisual culture, as well as an interest in the spectral aspects of culture more generally. This collection of essays focuses on audiovisual forms that foreground landscape, sound and memory. The scope of inquiry emphasises the ghostly qualities of a certain body of soundtracks, extending beyond merely the idea of 'scary films' or 'haunted houses.' Rather, the notion of sonic haunting is tied to ideas of trauma, anxiety or nostalgia associated with spatial and temporal dislocation in contemporary society. Touchstones for the approach are the concepts of psychogeography and hauntology, pervasive and established critical strategies that are interrogated and refined in relation to the reification of the spectral within the soundtracks under consideration here.

1. IntroductionK.J. Donnelly (University of Southampton, UK) and Aimée Mollaghan (Queen's University, Belfast, UK)2. What wind in what trees? Listening to Blow-Up (1966)Paul Newland (Worcester University, UK)3. Imaginal Space and the Occult Soundtrack in Guy Maddin's Keyhole (2011)Daniel Bishop (Indiana University, USA)4. The Haunted and the MediumK.J. Donnelly (University of Southampton, UK)5. Producing Paranormal Sounds: the BBC Radiophonic Workshop, The Legend of Hell House (1973) and The Stone Tape (1972)Jamie Sexton (University of Northumbria, UK)6. Cries and Whispers: Inner Time, Landscape and Sound in the Television Adaptations of Alan GarnerCraig Wallace (Queen's University, Belfast, UK)7. Concrète Spaces: Musique Concrète in Gus van Sant's Elephant (2003) and Paranoid Park (2007)Jessica Shine (Munster Technological University, Ireland)8. Arctic Noir and Acoustic Terror: Sounding Uncanny Landscapes of CrimeLisa Coulthard (University of British Columbia, Canada) 9. Acoustic Ghosts and Haunted Landscapes in Contemporary British Landscape CinemaAimée Mollaghan (Queen's University, Belfast, UK)10. The Trajectory of Death: Justin Kurzel's Screen Adaptation of Shakespeare's Macbeth (2015)Danijela Kulezic-Wilson (University College Cork, Ireland)11. Haunted Folk: Spectres of the Analogue in Annihilation (2018)John McGrath (University of Surrey, UK)12. Sonic Novelty and Conceptual Obscurity: Music, Landscape and Enigma in Picnic at Hanging Rock (Peter Weir, 1975)Jady Jiang (University of Southampton, UK)13. Outside Inside: Nature, Gender and the Altered Domestic Space in Possum (1997) and Nature's Way (2006)Andrea Wright (Edge Hill University, UK)Index