Long before virtual reality captured the imagination, holography provided artists with a new, challenging, three-dimensional medium. Its very immateriality demanded that artists approach its illusions in unforeseen and inventive ways.

Apparition provides the first detailed study of holographic art in Australia, of the artists producing it and the scientific institutions assisting them. It includes examinations of the work of Paula Dawson, Alexander, and Margaret Benyon and of the institutional collaborations developed by artists such as George Gittoes and David Warren. The book also provides an important historical survey of this advanced-technology art and canvasses the theoretical, perceptual and philosophical issues posed by the hyperreality of the holographic medium.

Rebecca Coye is a lecturer and Philip Hayward a senior lecturer, both in media and communication studies at Macquarie University, Sydney, Australia.

Animation films are widely consumed in the general population and the study of animation films has blossomed. But music and sound are often marginalized, despite the significance of music, voice talent, sound design and effects for both the films and their marketing. Drawn to Sound unpacks animation film sound and music tracks, and contextualises them within the screen and music industries. Focusing on feature-length, widely-distributed films released in the post-WW2 period, the book highlights work from key centres of animation production, such as the USA, the UK, Japan, significant studios including Disney, Aardman Animation and Studio Ghibli, and major auteurs like Tim Burton. Chapters by animation experts such as Paul Wells and Daniel Goldmark and by film music authorities including Philip Hayward, Ian Inglis and Janet Halfyard offer international perspectives on the history and aesthetics of music and sound in animation film. Contributions from authors in Japan, Australia, England, the USA and Canada explore animation soundtracks, their creators and their production approaches. Different disciplinary perspectives from music, media, cultural and animation studies offer models for future analysis. As the first of its kind, this anthology is an invaluable resource for students, teachers and researchers in film, animation, music and media studies.