1.
Chion, Michel, Gorbman, Claudia: Introduction to audiovisual analysis [IN] Audio-vision: sound on screen. In: Audio-vision: sound on screen. pp. 185–214. Columbia University Press, Chichester (1994).
2.
Thom, R.: Designing a movie for sound. In: Soundscape: The School of Sound lectures 1998-2001. pp. 121–137. The School of Sound, London (2010).
3.
Holman, Tomlinson: Objective Sound [IN] Sound for film and television. In: Sound for film and television. pp. 1–21. Focal, London (2010).
4.
Sergi, G.: Sound matters. In: The Dolby era: film sound in contemporary Hollywood. pp. 3–10. Manchester University Press, Manchester (2004).
5.
Barnes, R.: The sound of Coen comedy: music, dialogue and sound effects in Raising Arizona. The Soundtrack. 1, 15–28 (2007). https://doi.org/10.1386/st.1.1.15_1.
6.
WEIS, E.: The Trail of the Snail: Recent Literature on Sound Design. IRIS. 27, 95–109 (1999).
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. pp. 136–163. Manchester University Press, Manchester (2004).
8.
Yewdall, David Lewis: Dialog editors [IN] Practical art of motion picture sound. In: Practical art of motion picture sound. pp. 345–364. Focal, Oxford (2007).
9.
Allen, J.: Chamber of Horrors: Julien Allen on ‘Saving Private Ryan’. Reverse Shot.
10.
Rick Altman: Moving Lips: Cinema as Ventriloquism. Yale French Studies. (1980).
11.
Sergi, Gianluca: Interviews with the makers of sound: Gary Rydstrom. In: The Dolby era: film sound in contemporary Hollywood. pp. 163–180. Manchester University Press, Manchester (2004).
12.
Yewdall, D.L.: Sound editorial: sync-sync, chop chop. In: Practical art of motion picture sound. pp. 291–332. Focal, Amsterdam (2012).
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. pp. 101–108. UK and Ireland Soundscape Community, Totnes (2001).
14.
Whittington, William: Suggestive fragments in THX 1138. In: Sound design & science fiction. pp. 75–92. University of Texas Press, Austin, TX (2007).
15.
Chion, Michel, Gorbman, Claudia: The Audio visual scene. In: Audio-vision: sound on screen. pp. 66–94. Columbia University Press, Chichester (1994).
16.
Yewdall, David Lewis: Custom recording sound effects. In: Practical art of motion picture sound. pp. 191–228. Focal, Oxford (2012).
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. XXIX, (2002).
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. 3, (2005).
19.
Chion, Michel, Gorbman, Claudia: Toward an audiological poetics. In: Audio-vision: sound on screen. pp. 169–184. Columbia University Press, Chichester (1994).
20.
Yewdall, David Lewis: Foley: The Art of footsteps, props and cloth movement. In: Practical art of motion picture sound. pp. 425–464. Focal, Oxford (2012).
21.
Burlingame, JonCrowdus, Gary, 1945-: Music at the service of the cinema: an interview with Ennio Morricone. Cineaste. 21, 76–2 (1995).
22.
Sound and music in the movies. Cineaste. 21, 46–2 (1995).
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. pp. 189–202. McFarland, Jefferson, N.C. (2005).
24.
Yewdall, David Lewis: ADR and looping: getting the lips to flap in sync. In: Practical art of motion picture sound. pp. 383–424. Focal, Amsterdam (2012).
25.
Dickinson, Kay: Pop speed, teenagers and the MTV aesthetic. In: Movie music, the film reader. pp. 143–151. Routledge, London (2003).
26.
Vernallis, Carol: Telling and not telling. In: Experiencing music video: aesthetics and cultural context. pp. 3–26. Columbia University Press, New York (2004).
27.
Smith, S.: The edge of perception: sound in Tarkovsky’s Stalker. The Soundtrack. 1, 41–52 (2007). https://doi.org/10.1386/st.1.1.41_1.
28.
Weis, Elisabeth: Sync tanks: the art and technique of postproduction sound. Cineaste. 21, 56–2 (1995).
29.
Donnelly, K.: Saw heard: musical sound design in contemporary cinema. In: Film theory and contemporary Hollywood movies. Routledge, London (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. pp. 475–497. Focal, Oxford (2007).
31.
Cook, David A.: Technological innovation and aesthetic response. In: Lost illusions: American cinema in the shadow of Watergate and Vietnam, 1970-1979. pp. 355–370. University of California Press, Berkeley (2000).
32.
Manolas, C., Pauletto, S.: Enlarging the Diegetic Space: Uses of the Multi-channel Soundtrack in Cinematic Narrative. The Soundtrack. 2, 39–55 (2009). https://doi.org/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. 3, 47–70 (2009). https://doi.org/10.3828/msmi.3.1.3.
34.
Sergi, Gianluca: The Dolby phenomenon. In: The Dolby era: film sound in contemporary Hollywood. pp. 11–35. Manchester University Press, Manchester (2004).
35.
Altman, Rick: Sound theory, sound practice. Routledge, New York (1992).
36.
Brown, R.S.: 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, Berkeley (1994).
37.
Brown, Royal S.: Overtones and undertones: reading film music. University of California Press, Berkeley (1994).
38.
Buhler, James, Flinn, Caryl, Neumeyer, David: Music and cinema. Wesleyan University Press, Hanover, N.H. (2000).
39.
Chion, M.: Audio-vision: sound on screen. Columbia University Press, New York (2018).
40.
Donnelly, K.J.: Film music: critical approaches. Edinburgh University Press, Edinburgh (2001).
41.
Goldmark, Daniel, Kramer, Lawrence, Leppert, Richard D.: Beyond the soundtrack: representing music in cinema. University of California Press, Berkeley (2007).
42.
Sergi, Gianluca: The Dolby era: film sound in contemporary Hollywood. Manchester University Press, Manchester (2004).
43.
Weis, Elisabeth, Belton, John: Film sound: theory and practice. Columbia University Press, Guildford (1985).
44.
Yewdall, David Lewis: Practical art of motion picture sound. Focal Press, Oxford (2012).
45.
Atkinson, S.: Surrounded by sound: The aesthetics of multichannel and hypersonic soundscapes and aural architectures. The Soundtrack. 4, 5–21 (2011). https://doi.org/10.1386/st.4.1.5_1.
46.
Boorman, John, Donohue, Walter: Projections 6: film-makers on film-making. Faber, London (1996).
47.
Brophy, Philip: 100 modern soundtracks. BFI ( British Film Institute), London (2004).
48.
Burt, George: The art of film music: special emphasis on Hugo Friedhofer, Alex North, David Raksin, Leonard Rosenman. Northeastern University Press, Boston, [Mass.] (1994).
49.
Chadabe, Joel: Electric sound: the past and promise of electronic music. Prentice Hall, Upper Saddle River, N.J. (1997).
50.
Chion, Michel, Gorbman, Claudia: The voice in cinema. Columbia University Press, Chichester (1999).
51.
Chion, Michel: Film: a sound art. Columbia University Press, Chichester (2009).
52.
Cook, Frank D., Digidesign Training & Education, ebrary, Inc: Pro tools 101: official courseware version 8.0. Course Technology, Boston, MA (2009).
53.
Cook, Perry R.: Music, cognition, and computerized sound: an introduction to psychoacoustics. MIT Press, Cambridge, Mass (1999).
54.
Cox, Christoph, Warner, Daniel: Audio culture: readings in modern music. Continuum, London (2004).
55.
Dickinson, Kay: Movie music, the film reader. Routledge, London (2003).
56.
Fawell, John Wesley: The art of Sergio Leone’s Once upon a time in the West: a critical appreciation. McFarland, Jefferson, N.C. (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, Bloomington, IN (2004).
59.
Holman, Tomlinson: Sound for film and television. Focal, Amsterdam (2010).
60.
Holman, Tomlinson, Holman, Tomlinson: Surround sound: up and running. Focal, Amsterdam (2007).
61.
Krikler, Anne: The magic of music in film. Grosvenor House, Guildford (2007).
62.
Kassabian, Anahid: Hearing film: tracking identifications in contemporary Hollywood film music. Routledge, London (2001).
63.
Lack, Russell: Twenty four frames under: a buried history of film music. Quartet Books, London (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, London (1995).
66.
Mera, Miguel, Burnand, David: European film music. Ashgate, Aldershot (2006).
67.
Mundy, John: Popular music on screen: from the Hollywood musical to music video. Manchester University Press, Manchester (1999).
68.
Reay, Pauline: Music in film: soundtracks and synergy. Wallflower Press, London (2004).
69.
Rumsey, Francis, McCormick, Tim: Sound and recording. Elsevier/Focal, Amsterdam (2009).
70.
Schafer, R. Murray: The soundscape: our sonic environment and the tuning of the world. Destiny Books, Rochester, Vt.
71.
Sider, Larry, Freeman, Diane, Sider, Jerry: Soundscape: The School of Sound lectures 1998-2001. The School of Sound, London (2010).
72.
Sonnenschein, David: Sound design: the expressive power of music, voice and sound effects in cinema. Michael Wiese, Studio City, Calif (2001).
73.
Sullivan, Jack, ebrary, Inc: Hitchcock’s music. Yale University Press, New Haven [Conn.] (2006).
74.
Prendergast, Roy M.: Film music: a neglected art : a critical study of music in films. W.W. Norton, London (1992).
75.
Brown, R.S.: Music and/as cine-narrative or ceci n’est pas un leitmotif. In: A companion to narrative theory. pp. 451–465. Blackwell, Oxford (2008).
76.
Howard, David M., Angus, J. A. S.: Acoustics and psychoacoustics. Focal, Amsterdam (2009).
77.
Gibbs, Tony: The Fundamentals of Sonic Art and Sound Design. AVA Academia, Lausanne (2007).
78.
Rumsey, Francis: Spatial audio. Focal Press, Oxford (2001).
79.
Tozzoli, Rich: Pro Tools surround sound mixing. Hal Leonard, Milwaukee, Wis (2011).
80.
Rona, Jeffrey C.: The reel world: scoring for pictures. Hal Leonard, New York (2009).
81.
Kompanek, Sonny: From score to screen: sequencers, scores, & second thoughts : the new film scoring process. Schirmer Trade Books, New York (2004).
82.
Schelle, Michael: The score: interviews with film composers. Silman-James Press, Los Angeles (1999).
83.
Karlin, Fred, Wright, Rayburn: On the track: a guide to contemporary film scoring. Routledge, New York (2004).
84.
Rose, Jay: Audio postproduction for film and video. Focal, Oxford (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. pp. 13–41. Wiley-Blackwell, Malden, MA (2009).
86.
Ververis, Constantine: Mike Figgis : Time Code and the screen [IN] New punk cinema. In: New punk cinema. pp. 168–179. Edinburgh University Press, Edinburgh (2005).
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.
95.
Journal of Sonic Studies.
