Bibliography for FLM231 Sound Design BETA

ALLEN, Julien. 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. New York: Routledge.

ATKINSON, Sarah. 2011. ‘Surrounded by Sound: The Aesthetics of Multichannel and Hypersonic Soundscapes and Aural Architectures’. The Soundtrack 4(1), 5–21.

BARNES, Randall. 2007. ‘The Sound of Coen Comedy: Music, Dialogue and Sound Effects in Raising Arizona’. The Soundtrack 1(1), 15–28.

BECK, Jay. 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. London: Faber.

BOORMAN, JOHN and DONOHUE, WALTER. 1996. Projections 6: Film-Makers on Film-Making. London: Faber.

BROPHY, PHILIP. 2004. 100 Modern Soundtracks. vol. BFI screen guides. London: BFI ( British Film Institute).

BROWN, Royal S. 1994. ‘Actions/Interactions: The Source beyond the Source [IN] Overtones and Undertones: Reading Film Music’. In Overtones and Undertones: Reading Film Music. Berkeley: University of California Press, 67–91.

BROWN, ROYAL S. 1994. Overtones and Undertones: Reading Film Music. Berkeley: University of California Press. Available at: https://go.openathens.net/redirector/falmouth.ac.uk?url=https://www.jstor.org/stable/jj.2711586.

BROWN, Royal S. 2008. ‘Music and/as Cine-Narrative or Ceci n’est Pas Un Leitmotif’. In A Companion to Narrative Theory. Oxford: Blackwell, 451–65.

BUHLER, JAMES, FLINN, CARYL, and NEUMEYER, DAVID. 2000. Music and Cinema. Hanover, N.H.: Wesleyan University Press.

BURLINGAME, JONCROWDUS, GARY, 1945-. 1995. ‘Music at the Service of the Cinema: An Interview with Ennio Morricone.’ Cineaste 21(1), [online], 76–2. Available at: 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. Boston, [Mass.]: Northeastern University Press.

CHADABE, JOEL. 1997. Electric Sound: The Past and Promise of Electronic Music. Upper Saddle River, N.J.: Prentice Hall.

CHION, MICHEL. 2009. Film: A Sound Art. vol. Film and culture. Chichester: Columbia University Press.

CHION, Michel. 2018. Audio-Vision: Sound on Screen [electronic resource]. New York: Columbia University Press. Available at: http://www.vlebooks.com/vleweb/product/openreader?id=Falmouth&isbn=9780231546379.

CHION, MICHEL and GORBMAN, CLAUDIA. 1994a. ‘Introduction to Audiovisual Analysis [IN] Audio-Vision: Sound on Screen’. In Audio-Vision: Sound on Screen. Chichester: Columbia University Press, 185–214.

CHION, MICHEL and GORBMAN, CLAUDIA. 1994b. ‘The Audio Visual Scene’. In Audio-Vision: Sound on Screen. Chichester: Columbia University Press, 66–94.

CHION, MICHEL and GORBMAN, CLAUDIA. 1994c. ‘Toward an Audiological Poetics’. In Audio-Vision: Sound on Screen. Chichester: Columbia University Press, 169–84.

CHION, MICHEL and GORBMAN, CLAUDIA. 1999. The Voice in Cinema. Chichester: Columbia University Press.

COLLINS, K and P TAGG. 2001. ‘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. 101–8.

COOK, DAVID A. 2000. ‘Technological Innovation and Aesthetic Response’. In Lost Illusions: American Cinema in the Shadow of Watergate and Vietnam, 1970-1979. Berkeley: University of California Press, 355–70.

COOK, FRANK D., DIGIDESIGN TRAINING & EDUCATION, and EBRARY, INC. 2009. Pro Tools 101: Official Courseware Version 8.0 [electronic resource]. Boston, MA: Course Technology.

COOK, PERRY R. 1999. Music, Cognition, and Computerized Sound: An Introduction to Psychoacoustics. Cambridge, Mass: MIT Press.

COX, CHRISTOPH and WARNER, DANIEL. 2004. Audio Culture: Readings in Modern Music. London: Continuum.

DICKINSON, KAY. 2003a. ‘Pop Speed, Teenagers and the MTV Aesthetic’. In Movie Music, the Film Reader. London: Routledge, 143–51.

DICKINSON, KAY. 2003b. Movie Music, the Film Reader. vol. In focus (Routledge film readers). London: Routledge.

DONNELLY, K. J. 2001. Film Music: Critical Approaches. Edinburgh: Edinburgh University Press. Available at: https://go.openathens.net/redirector/falmouth.ac.uk?url=https://www.jstor.org/stable/10.3366/j.ctvxcrhsn.

DONNELLY, KJ. 2009. ‘Saw Heard: Musical Sound Design in Contemporary Cinema’. In Film Theory and Contemporary Hollywood Movies. London: Routledge.

ELSAESSER, Thomas. 2009. ‘The Mind Game Film [IN] Puzzle Films: Complex Storytelling in Contemporary World Cinema’. In Puzzle Films: Complex Storytelling in Contemporary World Cinema. Malden, MA: Wiley-Blackwell, 13–41.

FAWELL, JOHN WESLEY. 2005a. ‘The Music of Sound and Dialogue’. In The Art of Sergio Leone’s Once upon a Time in the West: A Critical Appreciation. Jefferson, N.C.: McFarland, 189–202.

FAWELL, JOHN WESLEY. 2005b. The Art of Sergio Leone’s Once upon a Time in the West: A Critical Appreciation. Jefferson, N.C.: McFarland.

‘FilmSound.Org: Dedicated to the Art of Film Sound Design & Film Sound Theory’. n.d. [online]. Available at: http://filmsound.org/.

‘Framework Journal of Cinema and Media’. n.d. [online]. Available at: http://www.frameworknow.com/.

‘Freesound.Org - License Free Effects’. n.d. [online]. Available at: https://www.freesound.org/.

GIBBS, TONY. 2007. The Fundamentals of Sonic Art and Sound Design [electronic resource]. Lausanne: AVA Academia.

GOLDMARK, DANIEL, KRAMER, LAWRENCE, and LEPPERT, RICHARD D. 2007. Beyond the Soundtrack: Representing Music in Cinema. Berkeley: University of California Press. Available at: 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. Bloomington, IN: Distributed in North America by Indiana University Press.

Holman, Tomlinson. 2010. ‘Objective Sound [IN] Sound for Film and Television’. In Sound for Film and Television. London: Focal, 1–21. Available at: 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 [electronic resource]. 3rd ed. Amsterdam: Focal.

HOLMAN, TOMLINSON and HOLMAN, TOMLINSON. 2007. Surround Sound: Up and Running [electronic resource]. 2nd ed. Amsterdam: Focal.

HOWARD, DAVID M. and ANGUS, J. A. S. 2009. Acoustics and Psychoacoustics [electronic resource]. 4th ed. Amsterdam: Focal.

‘Jamendo Music | Free Music Downloads’. n.d. [online]. Available at: https://www.jamendo.com/.

JONZE, SPIKE, LEWMAN, MARK, and JENKINS, ANDY. 2003. [The Work of Director Spike Jonze]. Directors Label DVD.

JORDAN, Randolph. 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.

‘Journal of Sonic Studies’. n.d. [online]. Available at: http://sonicstudies.org/.

KARLIN, FRED and WRIGHT, RAYBURN. 2004. On the Track: A Guide to Contemporary Film Scoring. 2nd ed. New York: Routledge.

KASSABIAN, ANAHID. 2001. Hearing Film: Tracking Identifications in Contemporary Hollywood Film Music. London: Routledge.

KOMPANEK, SONNY. 2004. From Score to Screen: Sequencers, Scores, & Second Thoughts : The New Film Scoring Process. New York: Schirmer Trade Books.

KRIKLER, ANNE. 2007. The Magic of Music in Film. Guildford: Grosvenor House.

LACK, RUSSELL. 1997. Twenty Four Frames under: A Buried History of Film Music. London: Quartet Books.

MANOLAS, Christos and Sandra PAULETTO. 2009. ‘Enlarging the Diegetic Space: Uses of the Multi-Channel Soundtrack in Cinematic Narrative’. The Soundtrack 2(1), 39–55.

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 and BURNAND, DAVID. 2006. European Film Music. vol. Ashgate popular and folk music series. Aldershot: Ashgate.

‘Mobygratis - Music from Moby, for Students’. n.d. [online]. Available at: http://www.mobygratis.com/.

MUNDY, JOHN. 1999. Popular Music on Screen: From the Hollywood Musical to Music Video. vol. Music and society. Manchester: 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. London: W.W. Norton.

REAY, PAULINE. 2004. Music in Film: Soundtracks and Synergy. vol. Short cuts. London: Wallflower Press.

RICK ALTMAN. 1980. ‘Moving Lips: Cinema as Ventriloquism’. Yale French Studies (No. 60), [online]. Available at: 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. New York: Hal Leonard.

ROSE, JAY. 2009. Audio Postproduction for Film and Video. 2nd ed. Oxford: Focal.

RUMSEY, FRANCIS. 2001. Spatial Audio [electronic resource]. vol. Music technology series. Oxford: Focal Press.

RUMSEY, FRANCIS and MCCORMICK, TIM. 2009. Sound and Recording [electronic resource]. 6th ed. Amsterdam: Elsevier/Focal.

SCHAFER, R. MURRAY. n.d. The Soundscape: Our Sonic Environment and the Tuning of the World. Rochester, Vt: Destiny Books.

SCHELLE, MICHAEL. 1999. The Score: Interviews with Film Composers. Los Angeles: Silman-James Press.

SERGI, Gianluca. 2004. ‘Sound Matters’. In The Dolby Era: Film Sound in Contemporary Hollywood. Manchester: Manchester University Press, 3–10.

SERGI, GIANLUCA. 2004a. ‘Tackling Sound: Suggestions for Sound Analysis [IN] The Dolby Era: Film Sound in Contemporary Hollywood’. In The Dolby Era: Film Sound in Contemporary Hollywood. Manchester: Manchester University Press, 136–63.

SERGI, GIANLUCA. 2004b. ‘Interviews with the Makers of Sound: Gary Rydstrom’. In The Dolby Era: Film Sound in Contemporary Hollywood. Manchester: Manchester University Press, 163–80.

SERGI, GIANLUCA. 2004c. ‘The Dolby Phenomenon’. In The Dolby Era: Film Sound in Contemporary Hollywood. Manchester: Manchester University Press, 11–35.

SERGI, GIANLUCA. 2004d. The Dolby Era: Film Sound in Contemporary Hollywood. vol. Inside popular film. Manchester: Manchester University Press.

SIDER, LARRY, FREEMAN, DIANE, and SIDER, JERRY. 2010. Soundscape: The School of Sound Lectures 1998-2001. [New ed.]. London: The School of Sound.

SMITH, Stefan. 2007. ‘The Edge of Perception: Sound in Tarkovsky’s Stalker’. The Soundtrack 1(1), 41–52.

SONNENSCHEIN, DAVID. 2001. Sound Design: The Expressive Power of Music, Voice and Sound Effects in Cinema. Studio City, Calif: Michael Wiese.

‘Sound and Music in the Movies.’ 1995. Cineaste 21(1), [online], 46–2. Available at: https://www.proquest.com/docview/222652631?accountid=15894.

‘Sound Studies’. n.d. [online]. Available at: http://www.tandfonline.com/loi/rfso20.

SULLIVAN, JACK and EBRARY, INC. 2006. Hitchcock’s Music [electronic resource]. New Haven [Conn.]: Yale University Press.

‘The New Soundtrack’. n.d. [online]. Available at: http://www.euppublishing.com/loi/sound.

‘The Soundtrack’. n.d.

THOM, Randy. 2010. ‘Designing a Movie for Sound’. In Soundscape: The School of Sound Lectures 1998-2001. London: The School of Sound, 121–37.

TOZZOLI, RICH. 2011. Pro Tools Surround Sound Mixing. 2nd ed. Milwaukee, Wis: Hal Leonard.

VERNALLIS, CAROL. 2004. ‘Telling and Not Telling’. In Experiencing Music Video: Aesthetics and Cultural Context. New York: Columbia University Press, 3–26.

Ververis, Constantine. 2005. ‘Mike Figgis : Time Code and the Screen [IN] New Punk Cinema’. In New Punk Cinema. Edinburgh: Edinburgh University Press, 168–79.

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), [online], 56–2. Available at: https://www.proquest.com/docview/222695187?accountid=15894.

WEIS, ELISABETH and BELTON, JOHN. 1985. Film Sound: Theory and Practice. Guildford: Columbia University Press.

WHITTINGTON, WILLIAM. 2007. ‘Suggestive Fragments in THX 1138’. In Sound Design & Science Fiction. Austin, TX: University of Texas Press, 75–92. Available at: https://ebookcentral.proquest.com/lib/falmouth-ebooks/reader.action?ppg=84&docID=3443235&tm=1540291484292.

YEWDALL, DAVID LEWIS. 2007a. ‘Dialog Editors [IN] Practical Art of Motion Picture Sound’. In Practical Art of Motion Picture Sound. Oxford: Focal, 345–64.

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. Oxford: Focal, 475–97.

YEWDALL, David Lewis. 2012. ‘Sound Editorial: Sync-Sync, Chop Chop’. In Practical Art of Motion Picture Sound. Amsterdam: Focal, 291–332. Available at: https://ebookcentral.proquest.com/lib/falmouth-ebooks/reader.action?docID=709490&ppg=302.

YEWDALL, DAVID LEWIS. 2012a. ‘Custom Recording Sound Effects’. In Practical Art of Motion Picture Sound. Oxford: Focal, 191–228. Available at: 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. Oxford: Focal, 425–64. Available at: https://ebookcentral.proquest.com/lib/falmouth-ebooks/reader.action?docID=709490&ppg=436.

Yewdall, David Lewis. 2012. ‘ADR and Looping: Getting the Lips to Flap in Sync’. In Practical Art of Motion Picture Sound. Amsterdam: Focal, 383–424. Available at: https://ebookcentral.proquest.com/lib/falmouth-ebooks/detail.action?docID=709490&pq-origsite=primo.

YEWDALL, DAVID LEWIS. 2012c. Practical Art of Motion Picture Sound [electronic resource]. 4th ed. Oxford: Focal Press. Available at: https://go.openathens.net/redirector/falmouth.ac.uk?url=https://www.taylorfrancis.com/books/9780240815237.