Violence permeates Tom and Jerry in the repetitive, physically violent gags and scenes of humiliation and mocking, yet unarguably, there is comedic value in the onscreen violence.The musical scoring of Tom and Jerry in the early William Hanna and Joseph Barbera period of production (pre-1958) by Scott Bradley played a key role in conveying the comedic impact of violent gags due to the close synchronisation of music and sound with visual action and is typified by a form of sound design characteristic of zip crash animation as described by Paul Taberham (2012), in which sound actively participates in the humour and directly influences the viewer’s interpretation of the visual action. This research investigates the sound-image relationships in Tom and Jerry through practice, by exploring how processes of decontextualisation and desynchronisation of sound and image elements of violent gags unmask the underlying violent subtext of Tom and Jerry’s slapstick comedy. This research addresses an undertheorised area in animation related to the role of sound-image synchronisation and presents new knowledge derived from the novel application of audiovisual analysis of Tom and Jerry source material and the production of audiovisual artworks. The findings of this research are discussed from a pan theoretical perspective drawing on theorisation of film sound and cognitivist approaches to film music.

This investigation through practice, supports the notion that intrinsic and covert processes of sound-image synchronisation as theorised by Kevin Donnelly (2014), play a key role in the reading of slapstick violence as comedic. Therefore, this practice-based research can be viewed as a case study that demonstrates the potential of a sampling-based creative practice to enable new readings to emerge from sampled source material. Novel artefacts were created in the form of audiovisual works that embody specific knowledge of factors related to the reconfiguration of sound-image relations and their impact in altering viewers’ readings of violence contained within Tom and Jerry. Critically, differences emerged between the artworks in terms of the extent to which they unmasked underlying themes of violence and potential mediating factors are discussed related to the influence of asynchrony on comical framing, the role of the unseen voice, perceived musicality and perceptions of interiority in the audiovisual artworks. The research findings yielded new knowledge regarding a potential gender-based bias in the perception of the human voice in the animated artworks produced. This research also highlights the role of intra-animation dimensions pertaining to the use of the single frame, the use of blank spaces and the relationship of sound-image synchronisation to the notion of the acousmatic imaginary. The PhD includes a portfolio of experimental audiovisual artworks produced during the testing and experimental phases of the research on which the textual dissertation critically reflects.