I am a researcher and practitioner whose main interests are in the theory, history and practice of film sound. Other research centres on videographic criticism, archival studies, production studies, documentary studies, and Irish cinema. My recent publications include: a co-edited anthology The Palgrave Handbook of Sound Design and Music in Screen Media: Integrated Soundtracks (2016); a special co-edited issue of Music, Sound and the Moving Image on “Breath and the Body of the Voice in Cinema” (2016); and an article “About Silence” in SEQUENCE: Serial Studies in Media, Film and Music (2016). I am currently making a feature length video essay on the role of sound design in cinema, which is an accompaniment to my forthcoming monograph on Alan Splet and Sound Design: An Archival Study.
I have worked as a sound trainee, boom operator, sound recordist, editor, mixer and designer in the Irish film and television industries for the past 16 years, including working on the multi-award winning drama series Pure Mule, which received an Irish Film and Television Academy (IFTA) Award for best sound in film and television at the 2006 awards ceremony. I recently completed the sound design and music for a 60 minute documentary film We Were There (Laura Aguiar & Cahal McLaughlin, 2014); the location sound for Breathe (James Doherty, 2015); a sound edit and mix for Yakov Yanki Jack (Colette Lewis, 2015); the location sound for The Breeder (Demelza Kooij, 2017), and the location sound for Pills (Lisa Keogh, 2019). My audiovisual essay, Velvet Elephant was screened at the Ghent Film Festival in October 2017 and I am currently directing a feature length documentary film on the significance of eyebrows in Liverpool.