Holly is interested in the ways in which music interacts with other disciplines and how such combinations are received. In particular, she focuses on the convergence of music with the visual arts, film, new media, architecture and literature, and focuses on the aesthetics of performance space, intermediality and experimental audiovisuality.
Her primary interest lies in the relationship between sound and image in experimental film and video art. Her first project, Visualising Music: Audio-Visual Relationships in Avant-Garde Film and Video Art investigates the ways in which avant-garde musicians and artists have collaborated to create sonic art (Verlag, 2010). Her next investigation, Sounding the Gallery: Video and the Rise of Art-Music (Oxford University Press, 2013), which was funded by grants from the Irish Research Board, the Fulbright Commission and Trinity College Dublin, draws together the histories of new music and performance practice with theories of film, the visual arts and architecture. Other explorations of this area include The Sound and Music of Experimental Film, a collected volume for Oxford University Press co-edited with Jeremy Barham (2017) and Audiovisual Dissonance, a monograph that traces the ways in which experimental music has been incorporated into mainstream cinematic culture (in progress).
Holly’s other areas of audiovisual interest include the ways that music moves through and between moving image texts: she has edited a collection for Routledge entitled Music and Sound in Documentary Film (2014) and another—Transmedia Directors: Sounds, Images, and The Media Swirl—that explores transmedial modes of storytelling (with Carol Vernallis and Lisa Perrott, Bloomsbury, 2019). Holly, Carol Vernallis and Lisa Perrott are also the founding editors of Bloomsbury’s New Approaches to Music, Sound and Media series, a collection of research monographs dedicated to changing our understandings of sound, image, and their relations across media.
Prior to Goldsmiths, Holly taught at University College Cork and University College Dublin, before spending six years at the University of Liverpool, where she was the founding director of the Research Centre for Audio-Visual Media
Holly holds music degrees from St Hugh’s College Oxford, King’s College London and Magdalene College Cambridge (and thus always wins the boatrace…). Since then, she has held a postdoctoral fellowship at University College Dublin, a Fulbright Scholarship at the DocFilm Institute in San Francisco and a research fellowship at Trinity College Dublin.
Rogers, Holly. 2013. Sounding the Gallery: Video and the Rise of Art Music. Oxford: Oxford University Press. ISBN 978-0-19-986142-2
Rogers, Holly. 2010. Visualising Music: Audio-Visual Relationships in Avant-Garde Film and Video Art. Amsterdam: Lambert. ISBN 3838350561
Vernallis, Carol; Rogers, Holly and Perrott, Lisa, eds. 2020. Transmedia Directors: Artistry, Industry and New Audiovisual Aesthetics. London: Bloomsbury Academic. ISBN 9781501341007
Rogers, Holly. 2021. Sonic Elongation and Sonic Aporia: Two Modes of Disrupted Listening in Film. In: Carlo Cenciarelli, ed. The Oxford Handbook of Cinematic Listening. Oxford: Oxford University Press, pp. 427-449. ISBN 9780190853617
Rogers, Holly. 2019. The Audiovisual Eerie: Transmediating Thresholds in the Work of David Lynch. In: Carol Vernallis; Holly Rogers and Lisa Perrott, eds. Transmedia Directors: Artistry, Industry and the New Audiovisual Aesthetics. New York: Bloomsbury, pp. 241-270. ISBN 9781501341007
Rogers, Holly. 2019. Audio-visual Collisions: Moving Image Technology and the Laterna Magika Aesthetic in New Music Theatre. In: Robert Adlington, ed. New Music Theatre in Europe: Transformations Between 1955-1975. Abingdon: Routledge, pp. 79-100. ISBN 9781138323018
Rogers, Holly. 2017. ‘Audio-Visual Dissonance in Found Footage Films’. In: Holly Rogers and Jeremy Barham, eds. The Sound and Music of Experimental Film. New York: Oxford University Press. ISBN 9780190469900
Rogers, Holly. 2015. ‘Beethoven’s Myth Sympathy: Hollywood’s Reconstruction’. In: Michael Spitzer, ed. Beethoven. Farnham: Ashgate, pp. 509-521. ISBN 978-1-4724-4030-3
Rogers, Holly. 2014. ‘Twisted Synaesthesia: Visual Artists and the Music Video’. In: Germano Celant, ed. Music or Art. Milan: Fondazione Prada, pp. 281-288.
Rogers, Holly. 2013. ‘“Betwixt and Between” Worlds: Spatial and Temporal Liminality in Video Art-Music’. In: Claudia Gorbman; John Richardson and Carol Vernallis, eds. The Oxford Handbook of New Audiovisual Aesthetics. New York: Oxford University Press, pp. 525-542. ISBN 9780199733866
Rogers, Holly. 2013. ‘Spatial Reconfiguration in Interactive Video Art-Music’. In: Karen Collins; Bill Kapralos and Holly Tessler, eds. The Oxford Handbook of Interactive Audio. Oxford: Oxford University Press, pp. 15-30. ISBN 9780199797226
Rogers, Holly. 2012. ‘Death for Five Voices: Gesualdo’s “poetic truth”’. In: Brad Prager, ed. A Companion to Werner Herzog. Hoboken, N.J: Wiley-Blackwell, pp. 187-207. ISBN 978-1-4051-9440-2
Rogers, Holly. 2008. ‘“Noises, Sounds and Sweet Airs”: Singing the Film Space in Prospero’s Books’. In: David Cooper, ed. Cinemusic: Constructing the Film Score. Cambridge: Cambridge Scholar's Publishing, pp. 141-164.
Rogers, Holly. 2020. Sonic Elongation: Creative Audition in Documentary Film. JCMS: Journal of Cinema and Media Studies, 59(2), pp. 88-113. ISSN 0009-7101
Rogers, Holly. 2016. ‘“The public will only believe the truth if it is shot in 3D”: Michel van der Aa, “Nine Years in an Ophanage” (Zenna), Sunken Garden, Scene 6’. Cambridge Opera Journal, 28(2), pp. 277-282. ISSN 0954-5867
Rogers, Holly. 2014. ‘The Musical Script: Norman McLaren, Animated Sound and Audiovisuality’. Animation Journal, 22, pp. 68-84.
Rogers, Holly. 2014. ‘Review: Unruly Media: YouTube, Music Video and the New Digital Cinema (Carol Vernallis); and An Eye for Music: Popular Music and the Audiovisual Surreal (John Richardson)’. Twentieth Century Music, 11(2), pp. 8-14. ISSN 1478-5722
Rogers, Holly. 2013. Composing with Reality: Digital Sound and Music in Documentary Film. ZKOD, 13, pp. 1-13.
Rogers, Holly. 2011. ‘The Unification of the Senses: Intermediality in Video Art-Music’. The Journal of the Royal Music Association, 136(2), pp. 399-428. ISSN 0269-0403
Rogers, Holly. 2008. ‘Audio-Visual Biography: Music and Image in Derek Jarman’s Caravaggio’. The Journal of Musicological Research, 27(2), pp. 134-168. ISSN 0141-1896
Rogers, Holly. 2007. ‘Review: The Museum of Modern Art and the Birth of Art Cinema (Haidee Wasson)’. Scope: Journal of Film Studies, 9,
Rogers, Holly. 2006. Acoustic Architecture: Music and Space in the Video Installations of Bill Viola. twentieth-century music, 2(02), pp. 197-219. ISSN 1478-5722
Rogers, Holly. 2006. 'Beethoven’s Myth Sympathy: Hollywood’s Biographical Reconstruction'. British Postgraduate Musicology, 8, ISSN 1460-9231
Rogers, Holly. 2005. 'Acoustic Architecture: Music and Space in the Video Installations of Bill Viola'. Twentieth Century Music, 2(2), pp. 197-219. ISSN 1478-5722
Rogers, Holly. 2005. ‘Review: Cinema’s Illusions, Opera’s Allure (David Schroeder) / Hollywood Theory, Non-Hollywood Practice (Annette Davison)’. Scope: Journal of Film Studies, 2,
Rogers, Holly. 2004. 'Fitzcarraldo’s Search for Aguirre: Music and Text in the Amazonian Films of Herzog'. Journal of the Royal Musical Association, 129(1), pp. 77-99. ISSN 0269-0403
Rogers, Holly. 2005. Alternative Models of Music-Image Interaction in Film. Doctoral thesis, Magdalene College, Cambridge University