Allen, J. (n.d.). Chamber of Horrors: Julien Allen on ‘Saving Private Ryan’. Reverse Shot, No. 27.
Altman, Rick. (1992). Sound theory, sound practice: Vol. AFI film readers. Routledge.
Atkinson, S. (2011). Surrounded by sound: The aesthetics of multichannel and hypersonic soundscapes and aural architectures. The Soundtrack, 4(1), 5–21. https://doi.org/10.1386/st.4.1.5_1
Barnes, R. (2007). The sound of Coen comedy: music, dialogue and sound effects in Raising Arizona. The Soundtrack, 1(1), 15–28. https://doi.org/10.1386/st.1.1.15_1
Beck, J. (2002). Citing the sound: ‘The Conversation’, ‘Blow out’ and the mythological ontology of the soundtrack in ‘70s film’. Journal of Popular Film and Television, XXIX(No. 4).
Boorman, John. (1995). Projections: film-makers on film-making, 4. Faber.
Boorman, John & Donohue, Walter. (1996). Projections 6: film-makers on film-making. Faber.
Brophy, Philip. (2004). 100 modern soundtracks: Vol. BFI screen guides. BFI ( British Film Institute).
Brown, R. S. (1994). Actions/Interactions: the source beyond the source [IN] Overtones and undertones: reading film music. In Overtones and undertones: reading film music (pp. 67–91). University of California Press.
Brown, R. S. (2008). 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 (pp. 451–465). Blackwell.
Brown, Royal S. (1994). Overtones and undertones: reading film music. University of California Press. https://go.openathens.net/redirector/falmouth.ac.uk?url=https://www.jstor.org/stable/jj.2711586
Buhler, James, Flinn, Caryl, & Neumeyer, David. (2000). Music and cinema. Wesleyan University Press.
Burlingame, JonCrowdus, Gary, 1945-. (1995). Music at the service of the cinema: an interview with Ennio Morricone. Cineaste, 21(1), 76–2. https://www.proquest.com/docview/222652536?accountid=15894
Burt, George. (1994). The art of film music: special emphasis on Hugo Friedhofer, Alex North, David Raksin, Leonard Rosenman. Northeastern University Press.
Chadabe, Joel. (1997). Electric sound: the past and promise of electronic music. Prentice Hall.
Chion, M. (2018). Audio-vision: sound on screen [Electronic resource]. Columbia University Press. http://www.vlebooks.com/vleweb/product/openreader?id=Falmouth&isbn=9780231546379
Chion, Michel. (2009). Film: a sound art: Vol. Film and culture. Columbia University Press.
Chion, Michel & Gorbman, Claudia. (1994a). Introduction to audiovisual analysis [IN] Audio-vision: sound on screen. In Audio-vision: sound on screen (pp. 185–214). Columbia University Press.
Chion, Michel & Gorbman, Claudia. (1994b). The Audio visual scene. In Audio-vision: sound on screen (pp. 66–94). Columbia University Press.
Chion, Michel & Gorbman, Claudia. (1994c). Toward an audiological poetics. In Audio-vision: sound on screen (pp. 169–184). Columbia University Press.
Chion, Michel & Gorbman, Claudia. (1999). The voice in cinema. Columbia University Press.
Collins, K., & Tagg, P. (2001). The sonic aesthetics of the industrial: re-constructing yesterday’s soundscape for today’s alienation and tomorrow’s dystopia. Sound Practice: The 1st UKISC Conference on Sound Culture and Environments. Dartington Hall Conference Centre and Dartington College of Arts 16th-20th February 2001, 101–108.
Cook, David A. (2000). 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 (pp. 355–370). University of California Press.
Cook, Frank D., Digidesign Training & Education, & ebrary, Inc. (2009). Pro tools 101: official courseware version 8.0 [Electronic resource]. Course Technology.
Cook, Perry R. (1999). Music, cognition, and computerized sound: an introduction to psychoacoustics. MIT Press.
Cox, Christoph & Warner, Daniel. (2004). Audio culture: readings in modern music. Continuum.
Dickinson, Kay. (2003a). Movie music, the film reader: Vol. In focus (Routledge film readers). Routledge.
Dickinson, Kay. (2003b). Pop speed, teenagers and the MTV aesthetic. In Movie music, the film reader: Vol. In focus (Routledge film readers) (pp. 143–151). Routledge.
Donnelly, K. (2009). Saw heard: musical sound design in contemporary cinema [Electronic resource]. In Film theory and contemporary Hollywood movies. Routledge.
Donnelly, K. J. (2001). Film music: critical approaches. Edinburgh University Press. https://go.openathens.net/redirector/falmouth.ac.uk?url=https://www.jstor.org/stable/10.3366/j.ctvxcrhsn
Elsaesser, T. (2009). The Mind game film [IN] Puzzle films: complex storytelling in contemporary world cinema. In Puzzle films: complex storytelling in contemporary world cinema (pp. 13–41). Wiley-Blackwell.
Fawell, John Wesley. (2005a). The art of Sergio Leone’s Once upon a time in the West: a critical appreciation. McFarland.
Fawell, John Wesley. (2005b). The Music of sound and dialogue. In The art of Sergio Leone’s Once upon a time in the West: a critical appreciation (pp. 189–202). McFarland.
FilmSound.org: dedicated to the Art of Film Sound Design & Film Sound Theory. (n.d.). http://filmsound.org/
Framework Journal of Cinema and Media. (n.d.). http://www.frameworknow.com/
Freesound.org - license free effects. (n.d.). https://www.freesound.org/
Gibbs, Tony. (2007). The Fundamentals of Sonic Art and Sound Design [Electronic resource]. AVA Academia.
Goldmark, Daniel, Kramer, Lawrence, & Leppert, Richard D. (2007). Beyond the soundtrack: representing music in cinema. University of California Press. http://www.vlebooks.com/vleweb/product/openreader?id=Falmouth&isbn=9780520940550
Gorbman, Claudia. (1987). Unheard melodies: narrative film music. BFI.
Hayward, Philip. (2004). Off the planet: music, sound and science fiction cinema. Distributed in North America by Indiana University Press.
Holman, Tomlinson. (2010). Objective Sound [IN] Sound for film and television [Electronic resource]. In Sound for film and television (3rd ed, pp. 1–21). Focal. 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
Holman, Tomlinson. (2010). Sound for film and television (3rd ed) [Electronic resource]. Focal.
Holman, Tomlinson & Holman, Tomlinson. (2007). Surround sound: up and running (2nd ed) [Electronic resource]. Focal.
Howard, David M. & Angus, J. A. S. (2009). Acoustics and psychoacoustics (4th ed) [Electronic resource]. Focal.
Jamendo Music | Free music downloads. (n.d.). https://www.jamendo.com/
Jonze, Spike, Lewman, Mark, & Jenkins, Andy. (2003). [The work of director Spike Jonze]. Directors Label DVD.
Jordan, R. (2009). The Visible Acousmêtre: Voice, body and space across the two versions of Donnie Darko. Music, Sound, and the Moving Image, 3(1), 47–70. https://doi.org/10.3828/msmi.3.1.3
Journal of Sonic Studies. (n.d.). http://sonicstudies.org/
Karlin, Fred & Wright, Rayburn. (2004). On the track: a guide to contemporary film scoring (2nd ed). Routledge.
Kassabian, Anahid. (2001). Hearing film: tracking identifications in contemporary Hollywood film music. Routledge.
Kompanek, Sonny. (2004). From score to screen: sequencers, scores, & second thoughts : the new film scoring process. Schirmer Trade Books.
Krikler, Anne. (2007). The magic of music in film. Grosvenor House.
Lack, Russell. (1997). Twenty four frames under: a buried history of film music. Quartet Books.
Manolas, C., & Pauletto, S. (2009). Enlarging the Diegetic Space: Uses of the Multi-channel Soundtrack in Cinematic Narrative. The Soundtrack, 2(1), 39–55. https://doi.org/10.1386/st.2.1.39_1
Marijke de Valck 1. (2005). The sound gag: the use of sound for comic effect in the films of Jacques Tati. New Review of Film and Television, 3(No. 2).
Mera, Miguel & Burnand, David. (2006). European film music: Vol. Ashgate popular and folk music series. Ashgate.
mobygratis - music from Moby, for students. (n.d.). http://www.mobygratis.com/
Mundy, John. (1999). Popular music on screen: from the Hollywood musical to music video: Vol. Music and society. Manchester University Press.
Music, Sound, and the Moving Image. (n.d.).
Prendergast, Roy M. (1992). Film music: a neglected art : a critical study of music in films (2nd ed). W.W. Norton.
Reay, Pauline. (2004). Music in film: soundtracks and synergy: Vol. Short cuts. Wallflower Press.
Rick Altman. (1980). Moving Lips: Cinema as Ventriloquism. Yale French Studies, No. 60. https://go.openathens.net/redirector/falmouth.ac.uk?url=http://www.jstor.org/stable/2930005
Rona, Jeffrey C. (2009). The reel world: scoring for pictures (2nd ed., rev.expanded). Hal Leonard.
Rose, Jay. (2009). Audio postproduction for film and video (2nd ed). Focal.
Rumsey, Francis. (2001). Spatial audio: Vol. Music technology series [Electronic resource]. Focal Press.
Rumsey, Francis & McCormick, Tim. (2009). Sound and recording (6th ed) [Electronic resource]. Elsevier/Focal.
Schafer, R. Murray. (n.d.). The soundscape: our sonic environment and the tuning of the world. Destiny Books.
Schelle, Michael. (1999). The score: interviews with film composers. Silman-James Press.
Sergi, G. (2004). Sound matters. In The Dolby era: film sound in contemporary Hollywood: Vol. Inside popular film (pp. 3–10). Manchester University Press.
Sergi, Gianluca. (2004a). Interviews with the makers of sound: Gary Rydstrom. In The Dolby era: film sound in contemporary Hollywood: Vol. Inside popular film (pp. 163–180). Manchester University Press.
Sergi, Gianluca. (2004b). 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 (pp. 136–163). Manchester University Press.
Sergi, Gianluca. (2004c). The Dolby era: film sound in contemporary Hollywood: Vol. Inside popular film. Manchester University Press.
Sergi, Gianluca. (2004d). The Dolby phenomenon. In The Dolby era: film sound in contemporary Hollywood: Vol. Inside popular film (pp. 11–35). Manchester University Press.
Sider, Larry, Freeman, Diane, & Sider, Jerry. (2010). Soundscape: The School of Sound lectures 1998-2001 ([New ed.]). The School of Sound.
Smith, S. (2007). The edge of perception: sound in Tarkovsky’s Stalker. The Soundtrack, 1(1), 41–52. https://doi.org/10.1386/st.1.1.41_1
Sonnenschein, David. (2001). Sound design: the expressive power of music, voice and sound effects in cinema. Michael Wiese.
Sound and music in the movies. (1995). Cineaste, 21(1), 46–2. https://www.proquest.com/docview/222652631?accountid=15894
Sound Studies. (n.d.). http://www.tandfonline.com/loi/rfso20
Sullivan, Jack & ebrary, Inc. (2006). Hitchcock’s music [Electronic resource]. Yale University Press.
The New Soundtrack. (n.d.). http://www.euppublishing.com/loi/sound
The Soundtrack. (n.d.).
Thom, R. (2010). Designing a movie for sound. In Soundscape: The School of Sound lectures 1998-2001 ([New ed.], pp. 121–137). The School of Sound.
Tozzoli, Rich. (2011). Pro Tools surround sound mixing (2nd ed). Hal Leonard.
Vernallis, Carol. (2004). Telling and not telling. In Experiencing music video: aesthetics and cultural context (pp. 3–26). Columbia University Press.
Ververis, Constantine. (2005). Mike Figgis : Time Code and the screen [IN] New punk cinema. In New punk cinema: Vol. Traditions in world cinema (pp. 168–179). Edinburgh University Press.
WEIS, E. (1999). The Trail of the Snail: Recent Literature on Sound Design. IRIS, 27, 95–109.
Weis, Elisabeth. (1995). Sync tanks: the art and technique of postproduction sound. Cineaste, 21(1), 56–2. https://www.proquest.com/docview/222695187?accountid=15894
Weis, Elisabeth & Belton, John. (1985). Film sound: theory and practice. Columbia University Press.
Whittington, William. (2007). Suggestive fragments in THX 1138. In Sound design & science fiction (1st ed, pp. 75–92). University of Texas Press. https://ebookcentral.proquest.com/lib/falmouth-ebooks/reader.action?ppg=84&docID=3443235&tm=1540291484292
Yewdall, D. L. (2012). Sound editorial: sync-sync, chop chop. In Practical art of motion picture sound (4th ed, pp. 291–332). Focal. https://ebookcentral.proquest.com/lib/falmouth-ebooks/reader.action?docID=709490&ppg=302
Yewdall, David Lewis. (2007a). Dialog editors [IN] Practical art of motion picture sound. In Practical art of motion picture sound (3rd ed, pp. 345–364). Focal.
Yewdall, David Lewis. (2007b). 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, pp. 475–497). Focal.
Yewdall, David Lewis. (2012). ADR and looping: getting the lips to flap in sync. In Practical art of motion picture sound (4th ed, pp. 383–424). Focal. https://ebookcentral.proquest.com/lib/falmouth-ebooks/detail.action?docID=709490&pq-origsite=primo
Yewdall, David Lewis. (2012a). Custom recording sound effects. In Practical art of motion picture sound (4th ed, pp. 191–228). Focal. https://ebookcentral.proquest.com/lib/falmouth-ebooks/reader.action?docID=709490&ppg=202
Yewdall, David Lewis. (2012b). Foley: The Art of footsteps, props and cloth movement. In Practical art of motion picture sound (4th ed, pp. 425–464). Focal. https://ebookcentral.proquest.com/lib/falmouth-ebooks/reader.action?docID=709490&ppg=436
Yewdall, David Lewis. (2012c). Practical art of motion picture sound (4th ed) [Electronic resource]. Focal Press. https://go.openathens.net/redirector/falmouth.ac.uk?url=https://www.taylorfrancis.com/books/9780240815237