This article appears in theOxford Handbook of New Audiovisual Aestheticsedited by John Richardson, Claudia Gorbman, and Carol Vernallis. This introduction frames the book by providing an overview of its authors' work and theorizing new audiovisual aesthetics.1 The first section reviews the current state of research on audiovisuality; it considers how the audiovisual landscape has changed and how new research might respond to these changes. The section attends closely to boundaries, as some of the most fundamental changes are occurring between or at the margins of conventional forms and categories. Immersion, participation, and sensory enrichment are among the core issues discussed in this section. The second section illuminates these observations via two case studies, on audiovisuality in the London 2012 Olympic Games and on the Chinese independent filmThe World. The final section describes fifteen key areas in which research on the audiovisual is currently being pursued.
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