1.
Altman R. Music For Films. In: Silent Film Sound. Columbia University Press; 2004:249-271.
2.
Altman R. The American Film Musical. Indiana University Press; 1987.
3.
Chion M, Gorbman C. Audio-Vision: Sound on Screen. Columbia University Press; 1994.
4.
Cook N. Models of Multimedia. In: Analysing Musical Multimedia. Clarendon Press; 1997:98-129.
5.
Goldmark D. Tunes for ’Toons: Music and the Hollywood Cartoon. University of California Press; 2005.
6.
Gorbman C. Unheard Melodies: Narrative Film Music. BFI; 1987.
7.
Mera M, Burnand D. European Film Music. Ashgate; 2006.
8.
Powrie P, Stilwell RJ. Changing Tunes: The Use of Pre-Existing Music in Film. Ashgate; 2006. https://www-taylorfrancis-com.ezproxy01.rhul.ac.uk/books/edit/10.4324/9781315095882/changing-tunes-use-pre-existing-music-film-robynn-stilwell
9.
Brown J. Music in Film and Television. In: An Introduction to Music Studies. Cambridge University Press; 2009:201-218.
10.
Brown J. Music in Film and Television. In: An Introduction to Music Studies. Cambridge University Press; 2009:201-218. https://www-vlebooks-com.ezproxy01.rhul.ac.uk/Product/Index/2007214?page=0&startBookmarkId=-1
11.
Kalinak KM. Film Music: A Very Short Introduction. Oxford University Press; 2010.
12.
Kalinak KM. Film Music: A Very Short Introduction. Oxford University Press; 2010. https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=497617
13.
Brown RS. Overtones and Undertones: Reading Film Music. University of California Press; 1994.
14.
Brown RS. Actions/Interactions: The Source Beyond the Source. In: Overtones and Undertones: Reading Film Music. University of California Press; 1994:67-92. https://www-fulcrum-org.ezproxy01.rhul.ac.uk/concern/monographs/z316q2161
15.
Buhler J, Neumeyer D, Deemer R. Hearing the Movies: Music and Sound in Film History. Oxford University Press; 2010.
16.
Chion M, Gorbman C. Audio-Vision: Sound on Screen. Columbia University Press; 1994.
17.
Donnelly KJ. ‘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 University Press; 2001:16-61.
18.
Heldt G. Film-Music Theory. In: Cooke M, Ford F, eds. The Cambridge Companion to Film Music. Cambridge University Press; 2016:97-113. http://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=13286810060002671&institutionId=2671&customerId=2670
19.
Heldt G. Film-Music Theory. In: Cooke M, Ford F, eds. The Cambridge Companion to Film Music. Cambridge University Press; 2016:97-113. https://doi-org.ezproxy01.rhul.ac.uk/10.1017/9781316146781
20.
Heldt G. Music and Levels of Narration in Film: Steps Across the Border. Intellect; 2013. http://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=13278235420002671&institutionId=2671&customerId=2670
21.
Heldt G. The Conceptual Toolkit: Music and Levels of Narration. In: Music and Levels of Narration in Film: Steps Across the Border. Intellect; 2013.
22.
Smith J. Bridging the Gap: Reconsidering the Border between Diegetic and Nondiegetic Music. Music and the Moving Image. 2009;2(1):1-25. http://www.jstor.org/stable/10.5406/musimoviimag.2.1.0001
23.
Stilwell RJ. The Fantastical Gap between Diegetic and Nondiegetic. In: Beyond the Soundtrack: Representing Music in Cinema. University of California Press; 2007:184-202.
24.
Stilwell RJ. The Fantastical Gap Between Diegetic and Nondiegetic. In: Beyond the Soundtrack: Representing Music in Cinema. University of California Press; 2007:184-202. https://www-fulcrum-org.ezproxy01.rhul.ac.uk/concern/monographs/1j92g782p
25.
Winters B. The Non-Diegetic Fallacy: Film, Music, and Narrative Space. Music & Letters. 2010;91(2):224-244. http://www.jstor.org/stable/40871578
26.
Cooke M. The Silent Cinema. In: A History of Film Music. Cambridge University Press; 2008:1-42.
27.
Altman R. Music For Films. In: Silent Film Sound. Columbia University Press; 2004:249-271.
28.
Lang F, Abel A, Helm B. Metropolis. Published online 2010.
29.
Metropolis | Box of Broadcasts. Published online 1927. https://learningonscreen.ac.uk/ondemand/index.php/prog/000FC741?bcast=116788570
30.
Brown J, Davison A. Overture. In: The Sounds of the Silents in Britain. Oxford University Press; 2013:1-16. http://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=13278222410002671&institutionId=2671&customerId=2670
31.
Brown J, Davison A. Overture. In: The Sounds of the Silents in Britain. Oxford University Press; 2013:1-12.
32.
Buhler J, Neumeyer D, Deemer R. Hearing the Movies: Music and Sound in Film History. Oxford University Press; 2010.
33.
Lampe JB, Zamecnik JS, Breil JC, Simon WC, Lake M, Goldmark D. Sounds for the Silents: Photoplay Music From the Days of Early Cinema. Dover Publications; 2013.
34.
Martin C. Playing the Pictures. The Film Index. Published online 1819:26-27. http://archive.org/stream/filmindex06film#page/n693/mode/2up
35.
Harrison LR. Jackass Music. Moving Picture World. Published online 1911:125-125. http://archive.org/stream/moviwor08chal#page/124/mode/2up
36.
Luz EJ. The Toning Method. Moving Picture News. Published online 1912:29-29. http://archive.org/stream/movingpicturenew06unse#page/n627/mode/2up
37.
George WT. Playing to Pictures: A Guide to Pianists and Conductors of Motion Picture Theatres. E.T. Heron & Co.; 1914. http://www.victorianpopularculture.amdigital.co.uk/Documents/Details/EXEBD_33687
38.
The Dickson Experimental Sound Film. Published online 2008. https://www.youtube.com/watch?v=Y6b0wpBTR1s&feature=youtu.be
39.
Buhler J, Neumeyer D, Deemer R. The Transition to Sound Film (1926–1932). In: Hearing the Movies: Music and Sound in Film History. Oxford University Press; 2010.
40.
Slowik M. ‘The Plasterers’ and Early Sound Cinema Aesthetics. Music, Sound, and the Moving Image. 2010;4(1):55-75. http://muse.jhu.edu/article/387882
41.
Spring K. Pop Go the Warner Bros., et al.: Marketing Film Songs during the Coming of Sound. Cinema Journal. 2008;48(1):68-89. doi:10.1353/cj.0.0066
42.
Crosland A, Jolson A. The Jazz Singer. Published online 2007.
43.
Whale J, Karloff B. Frankenstein. Published online 2008.
44.
Tod Browning. Dracula. Published online 2002. 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
45.
Altman R, Handzo S. The Sound of Sound: A Brief History of the Reproduction of Sound in Movie Theaters. Cinéaste. 1995;21(1):68-71. http://www.jstor.org/stable/41688110
46.
Buhler J, Lewis H. Evolving Practices for Film Music and Sound, 1925–1935. In: Cooke M, Ford F, eds. The Cambridge Companion to Film Music. Cambridge University Press; 2016:7-28.
47.
Buhler J, Lewis H. Evolving Practices for Film Music and Sound, 1925–1935. In: Cooke M, Ford F, eds. The Cambridge Companion to Film Music. Cambridge University Press; 2016:7-28. https://doi-org.ezproxy01.rhul.ac.uk/10.1017/9781316146781
48.
Spadoni R. The Uncanny Body of Early Sound Film. The Velvet Light Trap. 2003;51(1):4-16. doi:10.1353/vlt.2003.0011
49.
Spring K. Saying It With Songs: Popular Music and the Coming of Sound to Hollywood Cinema. Oxford University Press; 2013. http://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=13286809550002671&institutionId=2671&customerId=2670
50.
Slowik M. After the Silents: Hollywood Film Music in the Early Sound Era, 1926-1934. Columbia University Press; 2014.
51.
Slowik MJ. Hollywood Film Music in the Early Sound Era, 1926-1934. Published online 2012. https://www.google.co.uk/_/chrome/newtab?rlz=1C1CHBD_en-gbGB785GB785&ie=UTF-8
52.
Curtiz M. Casablanca. Published online 2004.
53.
Casablanca | Box of Broadcasts. Published online 2018. https://learningonscreen.ac.uk/ondemand/index.php/prog/001C11A0?bcast=126670270
54.
Gorbman C. Unheard Melodies: Narrative Film Music. BFI; 1987.
55.
Cooper MC. King Kong. Published online 2001.
56.
King Kong | Box of Braodcasts. Published online 2013. https://learningonscreen.ac.uk/ondemand/index.php/prog/000217D1?bcast=101317175
57.
Curtiz M. The Adventures of Robin Hood. Published online 2009.
58.
Curtiz M. The Adventures of Robin Hood | Box of Broadcasts. Published online 2014. https://learningonscreen.ac.uk/ondemand/index.php/prog/0056511F?bcast=114756158
59.
Lucas G, Hamill M, Ford H, Fisher C. Star Wars Trilogy: The Empire Strikes Back. Published online 2004.
60.
The Empire Strikes Back | Box of Broadcasts. Published online 2018. https://learningonscreen.ac.uk/ondemand/index.php/prog/00117ADA?bcast=128101233
61.
Adorno TW, Eisler H. Composing for the Films. Athlone; 1994.
62.
Franklin P. Returning to Casablanca. In: Cooke M, Ford F, eds. The Cambridge Companion to Film Music. Cambridge University Press; 2016:126-137. http://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=13286810060002671&institutionId=2671&customerId=2670
63.
Franklin P. Returning to Casablanca. In: Cooke M, Ford F, eds. The Cambridge Companion to Film Music. Cambridge University Press; 2016:126-137. https://doi-org.ezproxy01.rhul.ac.uk/10.1017/9781316146781
64.
Kalinak K. Settling the Score: Music and the Classical Hollywood Film. University of Wisconsin Press; 1992.
65.
Smith J. Unheard Melodies? A Critique of Psychoanalytic Theories of Film Music. In: Post-Theory: Reconstructing Film Studies. University of Wisconsin Press; 1996:230-247.
66.
Winters B. Erich Wolfgang Korngold’s The Adventures of Robin Hood: A Film Score Guide. Vol 6. Scarecrow Press; 2007.
67.
Winters B. Erich Wolfgang Korngold’s The Adventures of Robin Hood: A Film Score Guide. Vol v.6. Scarecrow Press; 2007. https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=1365247
68.
Rodman R. "Coperettas,” "Detecterns,” and Space Operas: Music and Genre Hybridization in American Television. In: Music in Television: Channels of Listening. Routledge; 2011:35-56.
69.
Rodman R. "Coperettas,” "Detecterns,” and Space Operas: Music and Genre Hybridization in American Television. In: Music in Television: Channels of Listening. Routledge; 2011:35-56. https://ebookcentral-proquest-com.ezproxy01.rhul.ac.uk/lib/rhul/detail.action?docID=668779
70.
Donnelly KJ. Music for Television 1: Music for Television Drama. In: The Spectre of Sound: Music in Film and Television. BFI; 2005:110-133.
71.
Huron D. Music in Advertising: An Analytic Paradigm. The Musical Quarterly. 1989;73(4):557-574. http://www.jstor.org/stable/741819
72.
Davison A. Title Sequences for Contemporary Television Serials. In: Richardson J, Gorbman C, eds. The Oxford Handbook of New Audiovisual Aesthetics. Oxford University Press; 2013:146-167.
73.
Davison A. Title Sequences for Contemporary Television Serials. In: The Oxford Handbook of New Audiovisual Aesthetics Less... Moreaudiovisualaestheticsimmersionparticipationsensorysemioticcinematiccyberspaceaudio-Visionaural Dimension. ; :146-167. http://www.oxfordhandbooks.com/view/10.1093/oxfordhb/9780199733866.001.0001/oxfordhb-9780199733866
74.
Donnelly KJ. The Spectre of Sound: Music in Film and Television. BFI; 2005.
75.
Halfyard JK. Sounds of Fear and Wonder: Music in Cult TV. I.B. Tauris; 2016. https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=4890500
76.
Fred Steiner. Keeping Score of the Scores: Music for Star Trek. The Quarterly Journal of the Library of Congress. 1983;40(1). https://www.jstor.org/stable/29781960?seq=1#metadata_info_tab_contents
77.
Tim Summers. Star Trek and the Musical Depiction of the Alien Other. Music, Sound, and the Moving Image. 2013;7(1):19-52. https://muse.jhu.edu/article/514829
78.
Smith J. Popular Songs and Comic Allusion in Contemporary Cinema. In: Soundtrack Available: Essays on Film and Popular Music. Duke University Press; 2001:407-430.
79.
Smith J. Popular Songs and Comic Allusion in Contemporary Cinema. In: Soundtrack Available: Essays on Film and Popular Music. Duke University Press; 2001:407-430. https://ebookcentral-proquest-com.ezproxy01.rhul.ac.uk/lib/rhul/detail.action?docID=1167529
80.
Denisoff RS, Plasketes G. Synergy in 1980s Film and Music: Formula for Success or Industry Mythology? Film History. 1990;4(3):257-276. http://www.jstor.org/stable/3815137
81.
Guido Heldt. ‘... There’s No Music Playing, and It’s Not Snowing’: Songs and Self-Reflexivity in Curtisland. Music, Sound, and the Moving Image. 2012;6(1):73-91. https://muse.jhu.edu/article/481181
82.
Inglis I. Popular Music and Film. Wallflower; 2003.
83.
Kassabian A. Hearing Film: Tracking Identifications in Contemporary Hollywood Film Music. Routledge; 2001.
84.
Kassabian A. Hearing Film: Tracking Identifications in Contemporary Hollywood Film Music. Routledge; 2001. https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=178428
85.
Mundy J. Popular Music on Screen: From Hollywood Musical to Music Video. Manchester University Press; 1999.
86.
Priewe M. The Power of Conformity: Music, Sound, and Vision in Back to the Future. European journal of American studies. 2017;12(4). doi:10.4000/ejas.12409
87.
Romney J, Wootton A. Celluloid Jukebox: Popular Music and Movies Since the 50s. BFI; 1995.
88.
Shail A, Stoate R, British Film Institute. Back to the Future. Palgrave Macmillan; 2010.
89.
Smith J. Sounds of Commerce: Marketing Popular Film Music. Columbia U.P.; 1998.
90.
Smith J. "The Tunes They Are A-Changing”: Moments of Historical Rupture and Reconfiguration in the Production and Commerce of Music in Film. In: Neumeyer D, ed. The Oxford Handbook of Film Music Studies. Oxford University Press; 2015:270-290.
91.
Smith J. "The Tunes They Are A-Changing”: Moments of Historical Rupture and Reconfiguration in the Production and Commerce of Music in Film. In: Neumeyer D, ed. The Oxford Handbook of Film Music Studies. Oxford University Press; 2013:270-290. doi:10.1093/oxfordhb/9780195328493.001.0001
92.
Wojcik PR, Knight A. Soundtrack Available: Essays on Film and Popular Music. Duke University Press; 2001.
93.
Wojcik PR, Knight A. Soundtrack Available: Essays on Film and Popular Music. Duke University Press; 2001. https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=1167529
94.
Scott Pilgrim vs the World | Box of Broadcasts. Published online 2010. https://learningonscreen.ac.uk/ondemand/index.php/prog/02FA5FBF?bcast=122280015
95.
Kulezic-Wilson D. Sound Design is the New Score. Music, Sound, and the Moving Image. 2009;2(2):127-131. https://muse.jhu.edu/article/269098
96.
McQueen A. ‘Bring the Noise!’: Sonic Intensified Continuity in the Films of Edgar Wright. Music, Sound, and the Moving Image. 2014;7(2):141-165. https://muse.jhu.edu/article/536550
97.
Kerins M. The Look of 5.1: Visual Aesthetics. In: Beyond Dolby (Stereo): Cinema in the Digital Sound Age. Indiana University Press; 2011:84-112.
98.
Kerins M. The Look of 5.1: Visual Aesthetics. In: Beyond Dolby (Stereo): Cinema in the Digital Sound Age. Indiana University Press; 2010:84-112. https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=624327
99.
Hanson H. Sound Affects: Post-production Sound, Soundscapes and Sound Design in Hollywood’s Studio Era. Music, Sound, and the Moving Image. 2009;1(1):27-49. https://muse.jhu.edu/article/268999
100.
Smith J. The Sound of Intensified Continuity. In: Richardson J, Gorbman C, eds. The Oxford Handbook of New Audiovisual Aesthetics. Oxford University Press; 2013:331-356.
101.
Smith J. The Sound of Intensified Continuity. In: Richardson J, Gorbman C, eds. The Oxford Handbook of New Audiovisual Aesthetics. Oxford University Press; 2013:331-356. doi:10.1093/oxfordhb/9780199733866.001.0001
102.
Whittington W. Lost in Sensation: Reevaluating the Role of Cinematic Sound in the Digital Age. In: The Oxford Handbook of Sound and Image in Digital Media. Oxford University Press; 2013:61-74.
103.
Whittington W. Lost in Sensation: Reevaluating the Role of Cinematic Sound in the Digital Age. In: The Oxford Handbook of Sound and Image in Digital Media. Oxford University Press; 2013:61-74. https://www-oxfordhandbooks-com.ezproxy01.rhul.ac.uk/view/10.1093/oxfordhb/9780199757640.001.0001/oxfordhb-9780199757640
104.
Godsall J. Listening to Beethoven in and Through the King’s Speech | The Avid Listener. https://theavidlistenerblog.com/2020/07/27/listening-to-beethoven-in-and-through-the-kings-speech/
105.
Godsall J. Reeled In: Pre-Existing Music in Narrative Film. Routledge; 2018.
106.
Gorbman C. Auteur Music. In: Beyond the Soundtrack Representing Music in Cinema. University of California Press; 2007:149-162. 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
107.
Gorbman C. Auteur Music. In: Beyond the Soundtrack: Representing Music in Cinema. University of California Press; 2007:149-162. https://ebookcentral-proquest-com.ezproxy01.rhul.ac.uk/lib/rhul/detail.action?docID=922914
108.
Howard L. The Popular Reception of Samuel Barber’s ‘Adagio for Strings’. American Music. 2007;25(1). doi:10.2307/40071643
109.
Hubbert J. The Compilation Soundtrack From the 1960s to the Present. In: Neumeyer D, ed. The Oxford Handbook of Film Music Studies. Oxford University Press; 2015:291-318.
110.
Hubbert J. 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. ; :291-318. http://www.oxfordhandbooks.com/view/10.1093/oxfordhb/9780195328493.001.0001/oxfordhb-9780195328493
111.
Powrie P, Stilwell RJ. Changing Tunes: The Use of Pre-Existing Music in Film. Ashgate; 2006.
112.
McQuiston K. We’ll Meet Again: Musical Design in the Films of Stanley Kubrick. Oxford University Press; 2013.
113.
McQuiston K. We’ll Meet Again: Musical Design in the Films of Stanley Kubrick. Oxford University Press; 2013. https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=4842477
114.
Jenkins P. Wonder Woman. Published online 2017.
115.
Buhler J. Gender, Sexuality and the Soundtrack. In: Neumeyer D, ed. The Oxford Handbook of Film Music Studies. Oxford University Press; 2015:366-382.
116.
Buhler J. Gender, Sexuality and the Soundtrack. In: Neumeyer D, ed. The Oxford Handbook of Film Music Studies. Oxford University Press; 2013:366-382. doi:10.1093/oxfordhb/9780195328493.001.0001
117.
The Hunger Games | Box of Broadcasts. Published online 2019. https://learningonscreen.ac.uk/ondemand/index.php/prog/02E3193E?bcast=128242272
118.
Morrison P. Little Ashes. Published online 2010.
119.
Rebecca | Box of Broadcasts. Published online 2016. https://learningonscreen.ac.uk/ondemand/index.php/prog/0001C654?bcast=123041682
120.
Hitchcock A. Rebecca. Published online 2007.
121.
Snyder Z. Sucker Punch. Published online 2011.
122.
Franklin P. 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. Oxford University Press; 2011:62-85. https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=3054209
123.
Halfyard J, Hancock V. Scoring Fantasy Girls: Music and Female Agency in Indiana Jones and the Mummy Films. In: Halfyard JK, ed. The Music of Fantasy Cinema. Equinox Publishing Ltd; 2014:175-192.
124.
Catherine Haworth. Introduction: Gender, Sexuality, and the Soundtrack. Music, Sound, and the Moving Image. 2012;6(2):113-135. https://muse.jhu.edu/article/495229
125.
Joe J. The Cocktail Siren in David Lynch’s Blue Velvet. In: Music of the Sirens. Indiana University Press; 2006:349-370. https://ebookcentral-proquest-com.ezproxy01.rhul.ac.uk/lib/rhul/detail.action?docID=288364
126.
Kassabian A. Hearing Film: Tracking Identifications in Contemporary Hollywood Film Music. Routledge; 2001.
127.
Kassabian A. Hearing Film: Tracking Identifications in Contemporary Hollywood Film Music. Routledge; 2001. https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=178428
128.
Lerner N. 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. J. Libbey/Perfect Beat Publications; 2004:96-108.
129.
Miguel Mera. Outing the Score: Music, Narrative, and Collaborative Process in Little Ashes. Music, Sound, and the Moving Image. 2012;6(1):93-109. https://muse.jhu.edu/article/481182
130.
Getman J. 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; 2015. https://deepblue.lib.umich.edu/bitstream/handle/2027.42/113404/jgetman_1.pdf?sequence=1&isAllowed=y
131.
Mulvey L. Introduction: Visual Pleasure and Narrative Cinema. In: Understanding Sound Tracks Through Film Theory. Oxford University Press; 2015:173-179.
132.
Mulvey L. Introduction: Visual Pleasure and Narrative Cinema. In: Understanding Sound Tracks Through Film Theory. ; 2015:173-179. https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=3056445
133.
Sergio Leone. Once Upon a Time in the West. Published online 2004. 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
134.
Once Upon a Time in the West (1968). Published online 2011. https://learningonscreen.ac.uk/ondemand/index.php/prog/0009752F?bcast=66666992
135.
Frayling C. Spaghetti Westerns: Cowboys and Europeans From Karl May to Sergio Leone. Rev. ed. I. B. Tauris; 1998.
136.
Fred M Wilcox. Forbidden Planet. Published online 2007. 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
137.
Forbidden Planet (1956). Published online 2017. https://learningonscreen.ac.uk/ondemand/index.php/prog/006BC44F?bcast=124842967
138.
Sergei Eisenstein. Alexander Nevsky. Published online 2000. 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
139.
Adorno TW, Eisler H. Composing for the Films. New ed. Athlone P.; 1994.
140.
Royal S. Brown. Overtones and Undertones Reading Film Music. University of California Press; 1994. 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
141.
Brown RS, American Council of Learned Societies. Overtones and Undertones: Reading Film Music. University of California Press; 1994. http://hdl.handle.net/2027/heb.08124
142.
Cook N. Analysing Musical Multimedia. Clarendon Press; 1997.
143.
Cooke M. A History of Film Music. Cambridge University Press; 2008.
144.
Sergei Eisenstein. The Film Sense. Faber and Faber; 1968. 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
145.
Leydon R. Forbidden Planet: Effects and Affects in the Electro Avant Garde. In: Off the Planet: Music, Sound and Science Fiction Cinema. J. Libbey/Perfect Beat Publications; 2004:61-76.
146.
Prock S. Strange Voices: Subjectivity and Gender in Forbidden Planet’s Soundscape of Tomorrow. Journal of the Society for American Music. 2014;8(03):371-400. doi:10.1017/S1752196314000248
147.
Wierzbicki JE. Louis and Bebe Barron’s Forbidden Planet: A Film Score Guide. Vol no. 4. Scarecrow Press; 2005.
