Bibliography for MU2304: Issues in Sound, Music And The Moving Image BETA

Adorno, T.W. and Eisler, H. (1994a) Composing for the Films. London: Athlone.

Adorno, T.W. and Eisler, H. (1994b) Composing for the Films. New ed. Athlone P.

Altman, R. (1987) The American Film Musical. Bloomington: Indiana University Press.

Altman, R. (2004a) ‘Music For Films’, in Silent Film Sound. New York: Columbia University Press, pp. 249–271.

Altman, R. (2004b) ‘Music For Films’, in Silent Film Sound. New York: Columbia University Press, pp. 249–271.

Altman, R. and Handzo, S. (1995) ‘The Sound of Sound: A Brief History of the Reproduction of Sound in Movie Theaters’, Cinéaste, 21(1), pp. 68–71. Available at: http://www.jstor.org/stable/41688110.

Brown, J. (2009a) ‘Music in Film and Television’, in An Introduction to Music Studies. Cambridge: Cambridge University Press, pp. 201–218.

Brown, J. (2009b) ‘Music in Film and Television’, in An Introduction to Music Studies. Cambridge, UK: Cambridge University Press, pp. 201–218. Available at: https://www-vlebooks-com.ezproxy01.rhul.ac.uk/Product/Index/2007214?page=0&startBookmarkId=-1.

Brown, J. and Davison, A. (2013a) ‘Overture’, in The Sounds of the Silents in Britain. New York: Oxford University Press, pp. 1–16. Available at: http://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=13278222410002671&institutionId=2671&customerId=2670.

Brown, J. and Davison, A. (2013b) ‘Overture’, in The Sounds of the Silents in Britain. New York: Oxford University Press, pp. 1–12.

Brown, R.S. (1994a) ‘Actions/Interactions: The Source Beyond the Source’, in Overtones and Undertones: Reading Film Music. University of California Press, pp. 67–92. Available at: https://www-fulcrum-org.ezproxy01.rhul.ac.uk/concern/monographs/z316q2161.

Brown, R.S. (1994b) Overtones and Undertones: Reading Film Music. University of California Press.

Brown, R.S. and American Council of Learned Societies (1994) Overtones and Undertones: Reading Film Music. Berkeley: University of California Press. Available at: http://hdl.handle.net/2027/heb.08124.

Buhler, J. (2013) ‘Gender, Sexuality and the Soundtrack’, in D. Neumeyer (ed.) The Oxford Handbook of Film Music Studies. Oxford University Press, pp. 366–382. Available at: https://doi.org/10.1093/oxfordhb/9780195328493.001.0001.

Buhler, J. (2015) ‘Gender, Sexuality and the Soundtrack’, in D. Neumeyer (ed.) The Oxford Handbook of Film Music Studies. Oxford: Oxford University Press, pp. 366–382.

Buhler, J. and Lewis, H. (2016a) ‘Evolving Practices for Film Music and Sound, 1925–1935’, in M. Cooke and F. Ford (eds) The Cambridge Companion to Film Music. Cambridge: Cambridge University Press, pp. 7–28.

Buhler, J. and Lewis, H. (2016b) ‘Evolving Practices for Film Music and Sound, 1925–1935’, in M. Cooke and F. Ford (eds) The Cambridge Companion to Film Music. Cambridge: Cambridge University Press, pp. 7–28. Available at: https://doi-org.ezproxy01.rhul.ac.uk/10.1017/9781316146781.

Buhler, J., Neumeyer, D. and Deemer, R. (2010a) Hearing the Movies: Music and Sound in Film History. New York: Oxford University Press.

Buhler, J., Neumeyer, D. and Deemer, R. (2010b) Hearing the Movies: Music and Sound in Film History. New York: Oxford University Press.

Buhler, J., Neumeyer, D. and Deemer, R. (2010c) ‘The Transition to Sound Film (1926–1932)’, in Hearing the Movies: Music and Sound in Film History. New York: Oxford University Press.

‘Casablanca | Box of Broadcasts’ (2018). ITV3. Available at: https://learningonscreen.ac.uk/ondemand/index.php/prog/001C11A0?bcast=126670270.

Catherine Haworth (2012) ‘Introduction: Gender, Sexuality, and the Soundtrack’, Music, Sound, and the Moving Image, 6(2), pp. 113–135. Available at: https://muse.jhu.edu/article/495229.

Chion, M. and Gorbman, C. (1994a) Audio-Vision: Sound on Screen. New York: Columbia University Press.

Chion, M. and Gorbman, C. (1994b) Audio-Vision: Sound on Screen. New York: Columbia University Press.

Cook, N. (1997a) Analysing Musical Multimedia. Oxford [England]: Clarendon Press.

Cook, N. (1997b) ‘Models of Multimedia’, in Analysing Musical Multimedia. Oxford [England]: Clarendon Press, pp. 98–129.

Cooke, M. (2008a) A History of Film Music. Cambridge: Cambridge University Press.

Cooke, M. (2008b) ‘The Silent Cinema’, in A History of Film Music. Cambridge: Cambridge University Press, pp. 1–42.

Cooper, M.C. (2001) ‘King Kong’. [S.l.]: Universal.

Crosland, A. and Jolson, A. (2007) ‘The Jazz Singer’. Warner Home Entertainment.

Curtiz, M. (2004) ‘Casablanca’. Warner Home Video.

Curtiz, M. (2009) ‘The Adventures of Robin Hood’. Warner Home Video.

Curtiz, M. (2014) ‘The Adventures of Robin Hood | Box of Broadcasts’. Channel 5. Available at: https://learningonscreen.ac.uk/ondemand/index.php/prog/0056511F?bcast=114756158.

Davison, A. (2013) ‘Title Sequences for Contemporary Television Serials’, in J. Richardson and C. Gorbman (eds) The Oxford Handbook of New Audiovisual Aesthetics. New York, NY: Oxford University Press, pp. 146–167.

Davison, A. (no date) ‘Title Sequences for Contemporary Television Serials’, in The Oxford Handbook of New Audiovisual Aesthetics                      Less... Moreaudiovisualaestheticsimmersionparticipationsensorysemioticcinematiccyberspaceaudio-visionaural dimension, pp. 146–167. Available at: http://www.oxfordhandbooks.com/view/10.1093/oxfordhb/9780199733866.001.0001/oxfordhb-9780199733866.

Denisoff, R.S. and Plasketes, G. (1990) ‘Synergy in 1980s Film and Music: Formula for Success or Industry Mythology?’, Film History, 4(3), pp. 257–276. Available at: http://www.jstor.org/stable/3815137.

Donnelly, K.J. (2001) ‘“Analytical and Interpretive Approaches to Film Music (I): Analysing the Music” and “Analytical and Interpretive Approaches to Film Music (II): Analysing Interactions of Music and Film”’, in Film Music: Critical Approaches. Edinburgh: Edinburgh University Press, pp. 16–61.

Donnelly, K.J. (2005a) ‘Music for Television 1: Music for Television Drama’, in The Spectre of Sound: Music in Film and Television. BFI, pp. 110–133.

Donnelly, K.J. (2005b) The Spectre of Sound: Music in Film and Television. London: BFI.

‘Forbidden Planet (1956)’ (2017). BBC2 England. Available at: https://learningonscreen.ac.uk/ondemand/index.php/prog/006BC44F?bcast=124842967.

Franklin, P. (2011) ‘Into the Mists . . . Subjective Realms (and the Undoing of Men?): Film’s Critique of Music’, in Seeing Through Music: Gender and Modernism in Classic Hollywood Film Scores. New York: Oxford University Press, pp. 62–85. Available at: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=3054209.

Franklin, P. (2016a) ‘Returning to Casablanca’, in M. Cooke and F. Ford (eds) The Cambridge Companion to Film Music. Cambridge: Cambridge University Press, pp. 126–137. Available at: http://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=13286810060002671&institutionId=2671&customerId=2670.

Franklin, P. (2016b) ‘Returning to Casablanca’, in M. Cooke and F. Ford (eds) The Cambridge Companion to Film Music. Cambridge: Cambridge University Press, pp. 126–137. Available at: https://doi-org.ezproxy01.rhul.ac.uk/10.1017/9781316146781.

Frayling, C. (1998) Spaghetti Westerns: Cowboys and Europeans From Karl May to Sergio Leone. Rev. ed. London: I. B. Tauris.

Fred M Wilcox (2007) ‘Forbidden Planet’. Warner Home Video S.l. Available at: https://librarysearch.royalholloway.ac.uk/primo-explore/fulldisplay?docid=44ROY_ALMA_DS2127630590002671&context=L&vid=44ROY_VU2&lang=en_US&search_scope=LSCOP_44ROY_NOTJOURNAL&adaptor=Local%20Search%20Engine&tab=tab2&query=any,contains,Forbidden%20Planet%20%20U,AND&sortby=date&mode=advanced&offset=0.

Fred Steiner (1983) ‘Keeping Score of the Scores: Music for Star Trek’, The Quarterly Journal of the Library of Congress, 40(1). Available at: https://www.jstor.org/stable/29781960?seq=1#metadata_info_tab_contents.

George, W.T. (1914) Playing to Pictures: A Guide to Pianists and Conductors of Motion Picture Theatres. London: E.T. Heron & Co. Available at: http://www.victorianpopularculture.amdigital.co.uk/Documents/Details/EXEBD_33687.

Getman, J. (2015) ‘The Venus Drug: Gender in the Music of Star Trek’, in Music, Race, and Gender in the Original Series of Star Trek (1966-1969). University of Michigan. Available at: https://deepblue.lib.umich.edu/bitstream/handle/2027.42/113404/jgetman_1.pdf?sequence=1&isAllowed=y.

Godsall, J. (2018) Reeled In: Pre-Existing Music in Narrative Film. London: Routledge.

Godsall, J. (no date) Listening to Beethoven in and Through the King’s Speech | The Avid Listener. Available at: https://theavidlistenerblog.com/2020/07/27/listening-to-beethoven-in-and-through-the-kings-speech/.

Goldmark, D. (2005) Tunes for ’Toons: Music and the Hollywood Cartoon. Berkeley: University of California Press.

Gorbman, C. (1987a) Unheard Melodies: Narrative Film Music. London: BFI.

Gorbman, C. (1987b) Unheard Melodies: Narrative Film Music. London: BFI.

Gorbman, C. (2007a) ‘Auteur Music’, in Beyond the Soundtrack Representing Music in Cinema. Berkeley: University of California Press, pp. 149–162. Available at: https://librarysearch.royalholloway.ac.uk/primo-explore/fulldisplay?docid=44ROY_ALMA_DS5147133170002671&context=L&vid=44ROY_VU2&lang=en_US&search_scope=LSCOP_44ROY_NOTJOURNAL&adaptor=Local%20Search%20Engine&tab=tab2&query=any,contains,Beyond%20the%20Soundtrack:%20Representing%20Music%20in%20Cinema&sortby=rank.

Gorbman, C. (2007b) ‘Auteur Music’, in Beyond the Soundtrack: Representing Music in Cinema. Berkeley: University of California Press, pp. 149–162. Available at: https://ebookcentral-proquest-com.ezproxy01.rhul.ac.uk/lib/rhul/detail.action?docID=922914.

Guido Heldt (2012) ‘“... There’s No Music Playing, and It’s Not Snowing”: Songs and Self-Reflexivity in Curtisland’, Music, Sound, and the Moving Image, 6(1), pp. 73–91. Available at: https://muse.jhu.edu/article/481181.

Halfyard, J. and Hancock, V. (2014) ‘Scoring Fantasy Girls: Music and Female Agency in Indiana Jones and the Mummy Films’, in J.K. Halfyard (ed.) The Music of Fantasy Cinema. Sheffield UK: Equinox Publishing Ltd, pp. 175–192.

Halfyard, J.K. (2016) Sounds of Fear and Wonder: Music in Cult TV. London: I.B. Tauris. Available at: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=4890500.

Hanson, H. (2009) ‘Sound Affects: Post-production Sound, Soundscapes and Sound Design in Hollywood’s Studio Era’, Music, Sound, and the Moving Image, 1(1), pp. 27–49. Available at: https://muse.jhu.edu/article/268999.

Harrison, L.R. (1911) ‘Jackass Music’, Moving Picture World, pp. 125–125. Available at: http://archive.org/stream/moviwor08chal#page/124/mode/2up.

Heldt, G. (2013a) Music and Levels of Narration in Film: Steps Across the Border. Bristol, UK: Intellect. Available at: http://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=13278235420002671&institutionId=2671&customerId=2670.

Heldt, G. (2013b) ‘The Conceptual Toolkit: Music and Levels of Narration’, in Music and Levels of Narration in Film: Steps Across the Border. Bristol, UK: Intellect.

Heldt, G. (2016a) ‘Film-Music Theory’, in M. Cooke and F. Ford (eds) The Cambridge Companion to Film Music. Cambridge: Cambridge University Press, pp. 97–113. Available at: http://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=13286810060002671&institutionId=2671&customerId=2670.

Heldt, G. (2016b) ‘Film-Music Theory’, in M. Cooke and F. Ford (eds) The Cambridge Companion to Film Music. Cambridge: Cambridge University Press, pp. 97–113. Available at: https://doi-org.ezproxy01.rhul.ac.uk/10.1017/9781316146781.

Hitchcock, A. (2007) ‘Rebecca’. S.l.: Fremantle Home Entertainment.

Howard, L. (2007) ‘The Popular Reception of Samuel Barber’s “Adagio for Strings”’, American Music, 25(1). Available at: https://doi.org/10.2307/40071643.

Hubbert, J. (2015) ‘The Compilation Soundtrack From the 1960s to the Present’, in D. Neumeyer (ed.) The Oxford handbook of film music studies. Oxford: Oxford University Press, pp. 291–318.

Hubbert, J. (no date) ‘The Compilation Soundtrack From the 1960s to the Present’, in The Oxford Handbook of Film Music Studies                      film music studiessilent film erasound film erafilm soundtrackThe Ten CommandmentsCecil B. DeMille12 MonkeysTerry Gilliamvideo game music, pp. 291–318. Available at: http://www.oxfordhandbooks.com/view/10.1093/oxfordhb/9780195328493.001.0001/oxfordhb-9780195328493.

Huron, D. (1989) ‘Music in Advertising: An Analytic Paradigm’, The Musical Quarterly, 73(4), pp. 557–574. Available at: http://www.jstor.org/stable/741819.

Inglis, I. (2003) Popular Music and Film. London: Wallflower.

Jenkins, P. (2017) ‘Wonder Woman’. Warner Bros. Home Ent.

Joe, J. (2006) ‘The Cocktail Siren in David Lynch’s Blue Velvet’, in Music of the Sirens. Bloomington: Indiana University Press, pp. 349–370. Available at: https://ebookcentral-proquest-com.ezproxy01.rhul.ac.uk/lib/rhul/detail.action?docID=288364.

Kalinak, K. (1992) Settling the Score: Music and the Classical Hollywood Film. University of Wisconsin Press.

Kalinak, K.M. (2010a) Film Music: A Very Short Introduction. New York: Oxford University Press.

Kalinak, K.M. (2010b) Film Music: A Very Short Introduction. New York: Oxford University Press. Available at: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=497617.

Kassabian, A. (2001a) Hearing Film: Tracking Identifications in Contemporary Hollywood Film Music. New York: Routledge.

Kassabian, A. (2001b) Hearing Film: Tracking Identifications in Contemporary Hollywood Film Music. London: Routledge. Available at: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=178428.

Kassabian, A. (2001c) Hearing Film: Tracking Identifications in Contemporary Hollywood Film Music. New York: Routledge.

Kassabian, A. (2001d) Hearing Film: Tracking Identifications in Contemporary Hollywood Film Music. London: Routledge. Available at: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=178428.

Kerins, M. (2010) ‘The Look of 5.1: Visual Aesthetics’, in Beyond Dolby (Stereo): Cinema in the Digital Sound Age. Bloomington: Indiana University Press, pp. 84–112. Available at: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=624327.

Kerins, M. (2011) ‘The Look of 5.1: Visual Aesthetics’, in Beyond Dolby (Stereo): Cinema in the Digital Sound Age. Bloomington: Indiana University Press, pp. 84–112.

‘King Kong | Box of Braodcasts’ (2013). BBC4. Available at: https://learningonscreen.ac.uk/ondemand/index.php/prog/000217D1?bcast=101317175.

Kulezic-Wilson, D. (2009) ‘Sound Design is the New Score’, Music, Sound, and the Moving Image, 2(2), pp. 127–131. Available at: https://muse.jhu.edu/article/269098.

Lampe, J.B. et al. (2013) Sounds for the Silents: Photoplay Music From the Days of Early Cinema. Mineola, New York: Dover Publications.

Lang, F., Abel, A. and Helm, B. (2010) ‘Metropolis’. [S.l.]: Kino.

Lerner, N. (2004) ‘Nostalgia, Masculinist Discourse, and Authoritarianism in John Williams’s Scores for Star Wars and Close Encounters of the Third Kind’, in Off the Planet: Music, Sound and Science Fiction Cinema. London: J. Libbey/Perfect Beat Publications, pp. 96–108.

Leydon, R. (2004) ‘Forbidden Planet: Effects and Affects in the Electro Avant Garde’, in Off the Planet: Music, Sound and Science Fiction Cinema. London: J. Libbey/Perfect Beat Publications, pp. 61–76.

Lucas, G. et al. (2004) ‘Star Wars Trilogy: The Empire Strikes Back’. [S.l.]: Twentieth Century Fox.

Luz, E.J. (1912) ‘The Toning Method’, Moving Picture News, pp. 29–29. Available at: http://archive.org/stream/movingpicturenew06unse#page/n627/mode/2up.

Martin, C. (1819) ‘Playing the Pictures’, The Film Index, pp. 26–27. Available at: http://archive.org/stream/filmindex06film#page/n693/mode/2up.

McQueen, A. (2014) ‘“Bring the Noise!”: Sonic Intensified Continuity in the Films of Edgar Wright’, Music, Sound, and the Moving Image, 7(2), pp. 141–165. Available at: https://muse.jhu.edu/article/536550.

McQuiston, K. (2013a) We’ll Meet Again: Musical Design in the Films of Stanley Kubrick. New York: Oxford University Press.

McQuiston, K. (2013b) We’ll Meet Again: Musical Design in the Films of Stanley Kubrick. Oxford: Oxford University Press. Available at: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=4842477.

Mera, M. and Burnand, D. (2006) European Film Music. Aldershot: Ashgate.

‘Metropolis | Box of Broadcasts’ (1927). FilmFour. Available at: https://learningonscreen.ac.uk/ondemand/index.php/prog/000FC741?bcast=116788570.

Miguel Mera (2012) ‘Outing the Score: Music, Narrative, and Collaborative Process in Little Ashes’, Music, Sound, and the Moving Image, 6(1), pp. 93–109. Available at: https://muse.jhu.edu/article/481182.

Morrison, P. (2010) ‘Little Ashes’. Kaleidoscope Home Entertainment Ltd. KAL8024.

Mulvey, L. (2015a) ‘Introduction: Visual Pleasure and Narrative Cinema’, in Understanding Sound Tracks Through Film Theory. Oxford: Oxford University Press, pp. 173–179.

Mulvey, L. (2015b) ‘Introduction: Visual Pleasure and Narrative Cinema’, in Understanding Sound Tracks Through Film Theory, pp. 173–179. Available at: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=3056445.

Mundy, J. (1999) Popular Music on Screen: From Hollywood Musical to Music Video. Manchester: Manchester University Press.

‘Once Upon a Time in the West (1968)’ (2011). FilmFour. Available at: https://learningonscreen.ac.uk/ondemand/index.php/prog/0009752F?bcast=66666992.

Powrie, P. and Stilwell, R.J. (2006a) Changing Tunes: The Use of Pre-Existing Music in Film. Aldershot, Hants, England: Ashgate. Available at: https://www-taylorfrancis-com.ezproxy01.rhul.ac.uk/books/edit/10.4324/9781315095882/changing-tunes-use-pre-existing-music-film-robynn-stilwell.

Powrie, P. and Stilwell, R.J. (2006b) Changing Tunes: The Use of Pre-Existing Music in Film. Aldershot, Hants, England: Ashgate.

Priewe, M. (2017) ‘The Power of Conformity: Music, Sound, and Vision in Back to the Future’, European journal of American studies, 12(4). Available at: https://doi.org/10.4000/ejas.12409.

Prock, S. (2014) ‘Strange Voices: Subjectivity and Gender in Forbidden Planet’s Soundscape of Tomorrow’, Journal of the Society for American Music, 8(03), pp. 371–400. Available at: https://doi.org/10.1017/S1752196314000248.

‘Rebecca | Box of Broadcasts’ (2016). BBC2 England. Available at: https://learningonscreen.ac.uk/ondemand/index.php/prog/0001C654?bcast=123041682.

Rodman, R. (2011a) ‘"Coperettas,” "Detecterns,” and Space Operas: Music and Genre Hybridization in American Television’, in Music in Television: Channels of Listening. New York: Routledge, pp. 35–56.

Rodman, R. (2011b) ‘"Coperettas,” "Detecterns,” and Space Operas: Music and Genre Hybridization in American Television’, in Music in Television: Channels of Listening. New York: Routledge, pp. 35–56. Available at: https://ebookcentral-proquest-com.ezproxy01.rhul.ac.uk/lib/rhul/detail.action?docID=668779.

Romney, J. and Wootton, A. (1995) Celluloid Jukebox: Popular Music and Movies Since the 50s. London: BFI.

Royal S. Brown (1994) Overtones and Undertones Reading Film Music. Berkeley: University of California Press. Available at: https://librarysearch.royalholloway.ac.uk/primo-explore/fulldisplay?docid=44ROY_ALMA_DS5147131100002671&context=L&vid=44ROY_VU2&lang=en_US&search_scope=LSCOP_44ROY_NOTJOURNAL&adaptor=Local%20Search%20Engine&tab=tab2&query=any,contains,Overtones%20and%20Undertones:%20Reading%20Film%20Music&sortby=rank&offset=0.

‘Scott Pilgrim vs the World | Box of Broadcasts’ (2010). Channel 4. Available at: https://learningonscreen.ac.uk/ondemand/index.php/prog/02FA5FBF?bcast=122280015.

Sergei Eisenstein (1968) The Film Sense. London: Faber and Faber. Available at: https://librarysearch.royalholloway.ac.uk/primo-explore/fulldisplay?docid=44ROY_ALMA_DS2123905630002671&context=L&vid=44ROY_VU2&lang=en_US&search_scope=LSCOP_44ROY_NOTJOURNAL&adaptor=Local%20Search%20Engine&tab=tab2&query=any,contains,The%20Film%20Sense&offset=0.

Sergei Eisenstein (2000) ‘Alexander Nevsky’. S.l..: Eureka. Available at: https://librarysearch.royalholloway.ac.uk/primo-explore/fulldisplay?docid=44ROY_ALMA_DS2122809910002671&context=L&vid=44ROY_VU2&lang=en_US&search_scope=LSCOP_44ROY_NOTJOURNAL&adaptor=Local%20Search%20Engine&tab=tab2&query=any,contains,Alexander%20Nevsky&sortby=rank.

Sergio Leone (2004) ‘Once Upon a Time in the West’. S.l.: Paramount. Available at: https://librarysearch.royalholloway.ac.uk/primo-explore/fulldisplay?docid=44ROY_ALMA_DS2127708710002671&context=L&vid=44ROY_VU2&lang=en_US&search_scope=LSCOP_44ROY_NOTJOURNAL&adaptor=Local%20Search%20Engine&isFrbr=true&tab=tab2&query=any,contains,once%20upon%20a%20time%20in%20the%20west,AND&sortby=date&facet=frbrgroupid,include,298630503&mode=advanced&offset=0.

Shail, A., Stoate, R., and British Film Institute (2010) Back to the Future. Basingstoke: Palgrave Macmillan.

Slowik, M. (2010) ‘“The Plasterers” and Early Sound Cinema Aesthetics’, Music, Sound, and the Moving Image, 4(1), pp. 55–75. Available at: http://muse.jhu.edu/article/387882.

Slowik, M. (2014) After the Silents: Hollywood Film Music in the Early Sound Era, 1926-1934. New York: Columbia University Press.

Slowik, M.J. (2012) ‘Hollywood Film Music in the Early Sound Era, 1926-1934’. Available at: https://www.google.co.uk/_/chrome/newtab?rlz=1C1CHBD_en-gbGB785GB785&ie=UTF-8.

Smith, J. (1996) ‘Unheard Melodies? A Critique of Psychoanalytic Theories of Film Music’, in Post-Theory: Reconstructing Film Studies. Madison: University of Wisconsin Press, pp. 230–247.

Smith, J. (1998) Sounds of Commerce: Marketing Popular Film Music. Columbia U.P.

Smith, J. (2001a) ‘Popular Songs and Comic Allusion in Contemporary Cinema’, in Soundtrack Available: Essays on Film and Popular Music. Durham [N.C.]: Duke University Press, pp. 407–430.

Smith, J. (2001b) ‘Popular Songs and Comic Allusion in Contemporary Cinema’, in Soundtrack Available: Essays on Film and Popular Music. Durham, [N.C.]: Duke University Press, pp. 407–430. Available at: https://ebookcentral-proquest-com.ezproxy01.rhul.ac.uk/lib/rhul/detail.action?docID=1167529.

Smith, J. (2009) ‘Bridging the Gap: Reconsidering the Border between Diegetic and Nondiegetic Music’, Music and the Moving Image, 2(1), pp. 1–25. Available at: http://www.jstor.org/stable/10.5406/musimoviimag.2.1.0001.

Smith, J. (2013a) ‘The Sound of Intensified Continuity’, in J. Richardson and C. Gorbman (eds) The Oxford Handbook of New Audiovisual Aesthetics. New York, NY: Oxford University Press, pp. 331–356.

Smith, J. (2013b) ‘The Sound of Intensified Continuity’, in J. Richardson and C. Gorbman (eds) The Oxford Handbook of New Audiovisual Aesthetics. New York, NY: Oxford University Press, pp. 331–356. Available at: https://doi.org/10.1093/oxfordhb/9780199733866.001.0001.

Smith, J. (2013c) ‘"The Tunes They Are A-Changing”: Moments of Historical Rupture and Reconfiguration in the Production and Commerce of Music in Film’, in D. Neumeyer (ed.) The Oxford Handbook of Film Music Studies. Oxford University Press, pp. 270–290. Available at: https://doi.org/10.1093/oxfordhb/9780195328493.001.0001.

Smith, J. (2015) ‘"The Tunes They Are A-Changing”: Moments of Historical Rupture and Reconfiguration in the Production and Commerce of Music in Film’, in D. Neumeyer (ed.) The Oxford Handbook of Film Music Studies. Oxford: Oxford University Press, pp. 270–290.

Snyder, Z. (2011) ‘Sucker Punch’. Burbank, CA: Warner Home Video.

Spadoni, R. (2003) ‘The Uncanny Body of Early Sound Film’, The Velvet Light Trap, 51(1), pp. 4–16. Available at: https://doi.org/10.1353/vlt.2003.0011.

Spring, K. (2008) ‘Pop Go the Warner Bros., et al.: Marketing Film Songs during the Coming of Sound’, Cinema Journal, 48(1), pp. 68–89. Available at: https://doi.org/10.1353/cj.0.0066.

Spring, K. (2013) Saying It With Songs: Popular Music and the Coming of Sound to Hollywood Cinema. New York: Oxford University Press. Available at: http://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=13286809550002671&institutionId=2671&customerId=2670.

Stilwell, R.J. (2007a) ‘The Fantastical Gap between Diegetic and Nondiegetic’, in Beyond the Soundtrack: Representing Music in Cinema. Berkeley: University of California Press, pp. 184–202.

Stilwell, R.J. (2007b) ‘The Fantastical Gap Between Diegetic and Nondiegetic’, in Beyond the Soundtrack: Representing Music in Cinema. University of California Press, pp. 184–202. Available at: https://www-fulcrum-org.ezproxy01.rhul.ac.uk/concern/monographs/1j92g782p.

‘The Dickson Experimental Sound Film’ (2008). Available at: https://www.youtube.com/watch?v=Y6b0wpBTR1s&feature=youtu.be.

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‘The Hunger Games | Box of Broadcasts’ (2019). FilmFour. Available at: https://learningonscreen.ac.uk/ondemand/index.php/prog/02E3193E?bcast=128242272.

Tim Summers (2013) ‘Star Trek and the Musical Depiction of the Alien Other’, Music, Sound, and the Moving Image, 7(1), pp. 19–52. Available at: https://muse.jhu.edu/article/514829.

Tod Browning (2002) ‘Dracula’. Universal. Available at: https://librarysearch.royalholloway.ac.uk/primo-explore/fulldisplay?docid=44ROY_ALMA_DS2128079440002671&context=L&vid=44ROY_VU2&lang=en_US&search_scope=LSCOP_44ROY_ALL&adaptor=Local%20Search%20Engine&isFrbr=true&tab=tab1&query=any,contains,Dracula&sortby=date&facet=frbrgroupid,include,1288048949&offset=0.

Whale, J. and Karloff, B. (2008) ‘Frankenstein’. Universal.

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Whittington, W. (2013b) ‘Lost in Sensation: Reevaluating the Role of Cinematic Sound in the Digital Age’, in The Oxford Handbook of Sound and Image in Digital Media. New York: Oxford University Press, pp. 61–74. Available at: https://www-oxfordhandbooks-com.ezproxy01.rhul.ac.uk/view/10.1093/oxfordhb/9780199757640.001.0001/oxfordhb-9780199757640.

Wierzbicki, J.E. (2005) Louis and Bebe Barron’s Forbidden Planet: A Film Score Guide. Lanham, Md: Scarecrow Press.

Winters, B. (2007a) Erich Wolfgang Korngold’s The Adventures of Robin Hood: A Film Score Guide. Lanham, Md: Scarecrow Press.

Winters, B. (2007b) Erich Wolfgang Korngold’s The Adventures of Robin Hood: A Film Score Guide. Blue Ridge Summit: Scarecrow Press. Available at: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=1365247.

Winters, B. (2010) ‘The Non-Diegetic Fallacy: Film, Music, and Narrative Space’, Music & Letters, 91(2), pp. 224–244. Available at: http://www.jstor.org/stable/40871578.

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Wojcik, P.R. and Knight, A. (2001b) Soundtrack Available: Essays on Film and Popular Music. Durham, [N.C.]: Duke University Press. Available at: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=1167529.