1.
Chion, Michel, Gorbman, Claudia. Introduction to audiovisual analysis [IN] Audio-vision: sound on screen. In: Audio-Vision: Sound on Screen. Columbia University Press; 1994:185-214.
2.
Thom R. Designing a movie for sound. In: Soundscape: The School of Sound Lectures 1998-2001. [New ed.]. The School of Sound; 2010:121-137.
3.
Holman, Tomlinson. Objective Sound [IN] Sound for film and television. In: Sound for Film and Television. 3rd ed. Focal; 2010:1-21. https://www.dawsonera.com/guard/protected/dawson.jsp?name=https://shibboleth.falmouth.ac.uk/idp/shibboleth&dest=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9780080517407
4.
Sergi G. Sound matters. In: The Dolby Era: Film Sound in Contemporary Hollywood. Vol Inside popular film. Manchester University Press; 2004:3-10.
5.
Barnes R. The sound of Coen comedy: music, dialogue and sound effects in Raising Arizona. The Soundtrack. 2007;1(1):15-28. doi:10.1386/st.1.1.15_1
6.
WEIS, E. The Trail of the Snail: Recent Literature on Sound Design. IRIS. 1999;27:95-109.
7.
Sergi, Gianluca. Tackling sound: suggestions for sound analysis [IN] The Dolby era: film sound in contemporary Hollywood. In: The Dolby Era: Film Sound in Contemporary Hollywood. Vol Inside popular film. Manchester University Press; 2004:136-163.
8.
Yewdall, David Lewis. Dialog editors [IN] Practical art of motion picture sound. In: Practical Art of Motion Picture Sound. 3rd ed. Focal; 2007:345-364.
9.
Allen J. Chamber of Horrors: Julien Allen on ‘Saving Private Ryan’. Reverse Shot. (No. 27).
10.
Rick Altman. Moving Lips: Cinema as Ventriloquism. Yale French Studies. 1980;(No. 60). https://go.openathens.net/redirector/falmouth.ac.uk?url=http://www.jstor.org/stable/2930005
11.
Sergi, Gianluca. Interviews with the makers of sound: Gary Rydstrom. In: The Dolby Era: Film Sound in Contemporary Hollywood. Vol Inside popular film. Manchester University Press; 2004:163-180.
12.
Yewdall DL. Sound editorial: sync-sync, chop chop. In: Practical Art of Motion Picture Sound. 4th ed. Focal; 2012:291-332. https://ebookcentral.proquest.com/lib/falmouth-ebooks/reader.action?docID=709490&ppg=302
13.
Collins K, Tagg P. The sonic aesthetics of the industrial: re-constructing yesterday’s soundscape for today’s alienation and tomorrow’s dystopia. In: Sound Practice: The 1st UKISC Conference on Sound Culture and Environments. Dartington Hall Conference Centre and Dartington College of Arts 16th-20th February 2001. UK and Ireland Soundscape Community; 2001:101-108.
14.
Whittington, William. Suggestive fragments in THX 1138. In: Sound Design & Science Fiction. 1st ed. University of Texas Press; 2007:75-92. https://ebookcentral.proquest.com/lib/falmouth-ebooks/reader.action?ppg=84&docID=3443235&tm=1540291484292
15.
Chion, Michel, Gorbman, Claudia. The Audio visual scene. In: Audio-Vision: Sound on Screen. Columbia University Press; 1994:66-94.
16.
Yewdall, David Lewis. Custom recording sound effects. In: Practical Art of Motion Picture Sound. 4th ed. Focal; 2012:191-228. https://ebookcentral.proquest.com/lib/falmouth-ebooks/reader.action?docID=709490&ppg=202
17.
Beck J. Citing the sound: ‘The Conversation’, ‘Blow out’ and the mythological ontology of the soundtrack in ‘70s film’. Journal of popular film and television. 2002;XXIX(No. 4).
18.
Marijke de Valck 1. The sound gag: the use of sound for comic effect in the films of Jacques Tati. New review of film and television. 2005;3(No. 2).
19.
Chion, Michel, Gorbman, Claudia. Toward an audiological poetics. In: Audio-Vision: Sound on Screen. Columbia University Press; 1994:169-184.
20.
Yewdall, David Lewis. Foley: The Art of footsteps, props and cloth movement. In: Practical Art of Motion Picture Sound. 4th ed. Focal; 2012:425-464. https://ebookcentral.proquest.com/lib/falmouth-ebooks/reader.action?docID=709490&ppg=436
21.
Burlingame, JonCrowdus, Gary, 1945-. Music at the service of the cinema: an interview with Ennio Morricone. Cineaste. 1995;21(1):76-2. https://www.proquest.com/docview/222652536?accountid=15894
22.
Sound and music in the movies. Cineaste. 1995;21(1):46-2. https://www.proquest.com/docview/222652631?accountid=15894
23.
Fawell, John Wesley. The Music of sound and dialogue. In: The Art of Sergio Leone’s Once upon a Time in the West: A Critical Appreciation. McFarland; 2005:189-202.
24.
Yewdall, David Lewis. ADR and looping: getting the lips to flap in sync. In: Practical Art of Motion Picture Sound. 4th ed. Focal; 2012:383-424. https://ebookcentral.proquest.com/lib/falmouth-ebooks/detail.action?docID=709490&pq-origsite=primo
25.
Dickinson, Kay. Pop speed, teenagers and the MTV aesthetic. In: Movie Music, the Film Reader. Vol In focus (Routledge film readers). Routledge; 2003:143-151.
26.
Vernallis, Carol. Telling and not telling. In: Experiencing Music Video: Aesthetics and Cultural Context. Columbia University Press; 2004:3-26.
27.
Smith S. The edge of perception: sound in Tarkovsky’s Stalker. The Soundtrack. 2007;1(1):41-52. doi:10.1386/st.1.1.41_1
28.
Weis, Elisabeth. Sync tanks: the art and technique of postproduction sound. Cineaste. 1995;21(1):56-2. https://www.proquest.com/docview/222695187?accountid=15894
29.
Donnelly K. Saw heard: musical sound design in contemporary cinema. In: Film Theory and Contemporary Hollywood Movies. Routledge; 2009.
30.
Yewdall, David Lewis. The Re-recording stage: predubbing and the final mix [IN] Practical art of motion picture sound. In: Practical Art of Motion Picture Sound. 3rd ed. Focal; 2007:475-497.
31.
Cook, David A. Technological innovation and aesthetic response. In: Lost Illusions: American Cinema in the Shadow of Watergate and Vietnam, 1970-1979. Vol History of the American cinema. University of California Press; 2000:355-370.
32.
Manolas C, Pauletto S. Enlarging the Diegetic Space: Uses of the Multi-channel Soundtrack in Cinematic Narrative. The Soundtrack. 2009;2(1):39-55. doi:10.1386/st.2.1.39_1
33.
Jordan R. The Visible Acousmêtre: Voice, body and space across the two versions of Donnie Darko. Music, Sound, and the Moving Image. 2009;3(1):47-70. doi:10.3828/msmi.3.1.3
34.
Sergi, Gianluca. The Dolby phenomenon. In: The Dolby Era: Film Sound in Contemporary Hollywood. Vol Inside popular film. Manchester University Press; 2004:11-35.
35.
Altman, Rick. Sound Theory, Sound Practice. Vol AFI film readers. Routledge; 1992.
36.
Brown RS. Actions/Interactions: the source beyond the source [IN] Overtones and undertones: reading film music. In: Overtones and Undertones: Reading Film Music. University of California Press; 1994:67-91.
37.
Brown, Royal S. Overtones and Undertones: Reading Film Music. University of California Press; 1994. https://go.openathens.net/redirector/falmouth.ac.uk?url=https://www.jstor.org/stable/jj.2711586
38.
Buhler, James, Flinn, Caryl, Neumeyer, David. Music and Cinema. Wesleyan University Press; 2000.
39.
Chion M. Audio-Vision: Sound on Screen. Columbia University Press; 2018. http://www.vlebooks.com/vleweb/product/openreader?id=Falmouth&isbn=9780231546379
40.
Donnelly KJ. Film Music: Critical Approaches. Edinburgh University Press; 2001. https://go.openathens.net/redirector/falmouth.ac.uk?url=https://www.jstor.org/stable/10.3366/j.ctvxcrhsn
41.
Goldmark, Daniel, Kramer, Lawrence, Leppert, Richard D. Beyond the Soundtrack: Representing Music in Cinema. University of California Press; 2007. http://www.vlebooks.com/vleweb/product/openreader?id=Falmouth&isbn=9780520940550
42.
Sergi, Gianluca. The Dolby Era: Film Sound in Contemporary Hollywood. Vol Inside popular film. Manchester University Press; 2004.
43.
Weis, Elisabeth, Belton, John. Film Sound: Theory and Practice. Columbia University Press; 1985.
44.
Yewdall, David Lewis. Practical Art of Motion Picture Sound. 4th ed. Focal Press; 2012. https://go.openathens.net/redirector/falmouth.ac.uk?url=https://www.taylorfrancis.com/books/9780240815237
45.
Atkinson S. Surrounded by sound: The aesthetics of multichannel and hypersonic soundscapes and aural architectures. The Soundtrack. 2011;4(1):5-21. doi:10.1386/st.4.1.5_1
46.
Boorman, John, Donohue, Walter. Projections 6: Film-Makers on Film-Making. Faber; 1996.
47.
Brophy, Philip. 100 Modern Soundtracks. Vol BFI screen guides. BFI ( British Film Institute); 2004.
48.
Burt, George. The Art of Film Music: Special Emphasis on Hugo Friedhofer, Alex North, David Raksin, Leonard Rosenman. Northeastern University Press; 1994.
49.
Chadabe, Joel. Electric Sound: The Past and Promise of Electronic Music. Prentice Hall; 1997.
50.
Chion, Michel, Gorbman, Claudia. The Voice in Cinema. Columbia University Press; 1999.
51.
Chion, Michel. Film: A Sound Art. Vol Film and culture. Columbia University Press; 2009.
52.
Cook, Frank D., Digidesign Training & Education, ebrary, Inc. Pro Tools 101: Official Courseware Version 8.0. Course Technology; 2009.
53.
Cook, Perry R. Music, Cognition, and Computerized Sound: An Introduction to Psychoacoustics. MIT Press; 1999.
54.
Cox, Christoph, Warner, Daniel. Audio Culture: Readings in Modern Music. Continuum; 2004.
55.
Dickinson, Kay. Movie Music, the Film Reader. Vol In focus (Routledge film readers). Routledge; 2003.
56.
Fawell, John Wesley. The Art of Sergio Leone’s Once upon a Time in the West: A Critical Appreciation. McFarland; 2005.
57.
Gorbman, Claudia. Unheard Melodies: Narrative Film Music. BFI.; 1987.
58.
Hayward, Philip. Off the Planet: Music, Sound and Science Fiction Cinema. Distributed in North America by Indiana University Press; 2004.
59.
Holman, Tomlinson. Sound for Film and Television. 3rd ed. Focal; 2010.
60.
Holman, Tomlinson, Holman, Tomlinson. Surround Sound: Up and Running. 2nd ed. Focal; 2007.
61.
Krikler, Anne. The Magic of Music in Film. Grosvenor House; 2007.
62.
Kassabian, Anahid. Hearing Film: Tracking Identifications in Contemporary Hollywood Film Music. Routledge; 2001.
63.
Lack, Russell. Twenty Four Frames under: A Buried History of Film Music. Quartet Books; 1997.
64.
Jonze, Spike, Lewman, Mark, Jenkins, Andy. [The Work of Director Spike Jonze]. Directors Label DVD; 2003.
65.
Boorman, John. Projections: Film-Makers on Film-Making, 4. Faber; 1995.
66.
Mera, Miguel, Burnand, David. European Film Music. Vol Ashgate popular and folk music series. Ashgate; 2006.
67.
Mundy, John. Popular Music on Screen: From the Hollywood Musical to Music Video. Vol Music and society. Manchester University Press; 1999.
68.
Reay, Pauline. Music in Film: Soundtracks and Synergy. Vol Short cuts. Wallflower Press; 2004.
69.
Rumsey, Francis, McCormick, Tim. Sound and Recording. 6th ed. Elsevier/Focal; 2009.
70.
Schafer, R. Murray. The Soundscape: Our Sonic Environment and the Tuning of the World. Destiny Books
71.
Sider, Larry, Freeman, Diane, Sider, Jerry. Soundscape: The School of Sound Lectures 1998-2001. [New ed.]. The School of Sound; 2010.
72.
Sonnenschein, David. Sound Design: The Expressive Power of Music, Voice and Sound Effects in Cinema. Michael Wiese; 2001.
73.
Sullivan, Jack, ebrary, Inc. Hitchcock’s Music. Yale University Press; 2006.
74.
Prendergast, Roy M. Film Music: A Neglected Art : A Critical Study of Music in Films. 2nd ed. W.W. Norton; 1992.
75.
Brown RS. Music and/as cine-narrative or ceci n’est pas un leitmotif. In: A Companion to Narrative Theory. Vol Blackwell companions to literature and culture. Blackwell; 2008:451-465.
76.
Howard, David M., Angus, J. A. S. Acoustics and Psychoacoustics. 4th ed. Focal; 2009.
77.
Gibbs, Tony. The Fundamentals of Sonic Art and Sound Design. AVA Academia; 2007.
78.
Rumsey, Francis. Spatial Audio. Vol Music technology series. Focal Press; 2001.
79.
Tozzoli, Rich. Pro Tools Surround Sound Mixing. 2nd ed. Hal Leonard; 2011.
80.
Rona, Jeffrey C. The Reel World: Scoring for Pictures. 2nd ed., rev.expanded. Hal Leonard; 2009.
81.
Kompanek, Sonny. From Score to Screen: Sequencers, Scores, & Second Thoughts : The New Film Scoring Process. Schirmer Trade Books; 2004.
82.
Schelle, Michael. The Score: Interviews with Film Composers. Silman-James Press; 1999.
83.
Karlin, Fred, Wright, Rayburn. On the Track: A Guide to Contemporary Film Scoring. 2nd ed. Routledge; 2004.
84.
Rose, Jay. Audio Postproduction for Film and Video. 2nd ed. Focal; 2009.
85.
Elsaesser T. The Mind game film [IN] Puzzle films: complex storytelling in contemporary world cinema. In: Puzzle Films: Complex Storytelling in Contemporary World Cinema. Wiley-Blackwell; 2009:13-41.
86.
Ververis, Constantine. Mike Figgis : Time Code and the screen [IN] New punk cinema. In: New Punk Cinema. Vol Traditions in world cinema. Edinburgh University Press; 2005:168-179.
87.
Jamendo Music | Free music downloads. https://www.jamendo.com/
88.
Freesound.org - license free effects. https://www.freesound.org/
89.
mobygratis - music from Moby, for students. http://www.mobygratis.com/
90.
FilmSound.org: dedicated to the Art of Film Sound Design & Film Sound Theory. http://filmsound.org/
91.
Framework Journal of Cinema and Media. http://www.frameworknow.com/
92.
Music, Sound, and the Moving Image.
94.
The New Soundtrack. http://www.euppublishing.com/loi/sound
95.
Journal of Sonic Studies. http://sonicstudies.org/
96.
Sound Studies. http://www.tandfonline.com/loi/rfso20