sound design as a practice

In recent years, some composers have argued that film music has become aligned with sound design as a practice, and has even become subsumed within it. In particular this has coincided with the ubiquity of digital tools and virtual instruments among composers. Can we still see contemporary film music as its own distinct form of film practice?
According to Alexander Galloway, “If photographs are images, and films are moving images, then video games are actions.” Music for videogames accordingly is tied up with questions of player action and interactivity, though also still inspired by the history and legacy of music for film and television. How is videogame music different to music for these other forms? In your response, focus on one or two key videogames as texts.
How do transnational screen sound practices - such as dubbing and subtitling - involve both productive exchange between cultures and also the navigation of significant cultural differences, or even geo-political tensions between nations? In your response, focus on one or two key case film or television case studies. 
Over its history, Hollywood has represented race, gender, sexuality, and other markers of ‘otherness’ through casting, dialogue, mise-en-scene, and cinematography, often leading to stereotypes and problematic tropes. Focussing on one of the categories of race, gender, or sexuality, analyse how these tropes have been constructed and reinforced musically. What role has film music played in creating the ‘other’, and can such tropes still be seen today?